https://www.peren-revues.fr/revue-k/1044 Entrées d’index fr 0 https://www.peren-revues.fr/revue-k/1741 In the passage from Tasso’s literary apparatus to Bragaglia’s cinematic one, Clorinda emerges as an excessive and resistant figure. Through Sylva Koscina’s bodily performativity, the construction of the gaze, and the tension between exhibition and reticence, the film amplifies the contradictions already present in the poem, presenting Clorinda as a disidentified subjectivity, irreducible to binary paradigms and to the disciplinary technologies that seek to regulate her body, role, and visibility. lun., 06 juil. 2026 16:29:31 +0200 lun., 06 juil. 2026 16:29:31 +0200 https://www.peren-revues.fr/revue-k/1741 https://www.peren-revues.fr/revue-k/1040 This essay engages with Franca Rame’s re-writing and performance of the myth of Medea through the lens of an Agambean theoretical framework. More specifically, I put Rame’s Medea in dialogue with two of her other “obscenely tragic” monologues, Maria alla croce (from Dario Fo’s Mistero Buffo), and Io, Ulrike grido, to show how the Italian playwright/actress envisions the destituent power of a female subjectivity that she re-imagines as a “perpetually construed and constructable” process. jeu., 18 janv. 2024 13:36:07 +0100 jeu., 18 janv. 2024 13:36:22 +0100 https://www.peren-revues.fr/revue-k/1040