https://www.peren-revues.fr/revue-k/132 Publications de Auteurs Gianluca Solla fr 0 https://www.peren-revues.fr/revue-k/1532 The essay explores how Ettore Majorana’s disappearance serves as a productive blind spot for destituent thought. Treating absence as an irreducible event, the analysis shows that every discursive attempt to fill the void fails. Yet it is precisely this failure that opens space for a politics of subtraction, in which power is suspended, and the subject’s voice is redefined within the possibility of not speaking. mar., 01 juil. 2025 22:31:24 +0200 mer., 09 juil. 2025 22:32:58 +0200 https://www.peren-revues.fr/revue-k/1532 https://www.peren-revues.fr/revue-k/1344 Jane Avril’s Memoirs symbolize the essence of dance within the realm of the event. It depicts the intersection of dance and music, marking the profound metamorphosis of the dancer herself. One can interpret this as an indication of both calling and evolution. Yet, it also invites further exploration, particularly concerning the concept of rhythm and one’s encounter with it. mar., 25 juin 2024 16:24:10 +0200 mar., 29 oct. 2024 09:47:46 +0100 https://www.peren-revues.fr/revue-k/1344 https://www.peren-revues.fr/revue-k/1070 The history of theater testifies how a special power lurks in the choir: it can help those slaves who have lost it as a result of their condition of radical subjugation and the violence to which they have been subjected to find a new entry into the language. The essay tries to construct the hypothesis of this minor and so to speak karst connection between ancient Greek theater and the songs of the slaves, as they are inserted in a mainstream film based on a true story, 12 Years a Slave, by British director Steve McQueen. jeu., 18 janv. 2024 16:09:43 +0100 mer., 14 févr. 2024 14:07:32 +0100 https://www.peren-revues.fr/revue-k/1070 https://www.peren-revues.fr/revue-k/981 Despite the appearances by which she has often been held captive, the figure of Medea can be read as an expression of absolute love. In particular, what emerges from a reading of Euripides' tragedy is what we might call the unrelenting cruel nature of love. In the frightening gesture with which she gives death to her children, the dismissal of the logic of power is intertwined with a paradoxical expression of love, for which giving death can sometimes represent the only possible gesture of care. mar., 16 janv. 2024 11:08:28 +0100 mar., 16 janv. 2024 11:08:41 +0100 https://www.peren-revues.fr/revue-k/981 https://www.peren-revues.fr/revue-k/899 Two aspects link the figure of Pinocchio to his plebeian origins: the material of which the puppet is made and the hunger that grips him. These factors seem to contradict each other, as they are usually part of two distinct problem groups. Yet in Collodi's novel they intertwine giving rise to the composition of his adventures, when it is their union that produces the unlikely trait of the fantastic world. lun., 15 janv. 2024 11:38:47 +0100 lun., 15 janv. 2024 11:38:58 +0100 https://www.peren-revues.fr/revue-k/899 https://www.peren-revues.fr/revue-k/529 This essay intends to analyze the belonging of the figure of the Tramp/Charlot to the dimension of the destituent power starting from the reference to some of the very first films in which his mask appears. It is about questioning cinema as a form of historical witness. In particular, the essay emphasizes the value of contingency and accidentality for a theory of cinema understood as a “theory of the accident”. mar., 02 janv. 2024 14:06:26 +0100 mar., 02 janv. 2024 14:08:19 +0100 https://www.peren-revues.fr/revue-k/529 https://www.peren-revues.fr/revue-k/295 In the essay Marilyn’s figure is thought through the reference to the Nymph in Italian Renaissance painting. In particular, my hypothesis is that Marilyn constitutes a posthumous survival of the Nymph. The connection between distant and apparently incommunicable worlds like Ghirlandaio’s and Botticelli’s works and the cinematography of Hollywood is made possible by Aby Warburg’s extraordinary intuition about the existence of a pathos that is a power that circulates between the ages and that, from time to time, finds in the symbols and pictures its different formalizations. Even when they belong to different moments of history, there is a secret but powerful communication among the images of a culture. mer., 29 nov. 2023 11:51:23 +0100 mar., 13 févr. 2024 08:54:20 +0100 https://www.peren-revues.fr/revue-k/295 https://www.peren-revues.fr/revue-k/127 The article outlines the terms in which the ethics of translation is always a political act. Beyond the possibility of nationalistic identity, the language is always a meeting with the other, the different, the incompatible. Through Hölderlin’s reflections on his own version of Sophocles’ Antigone, the essay dwells particularly on the ethical implications of the “ruin”-theme that Antigone represents for the polis and that Hölderlin performs on his own language. mar., 28 nov. 2023 11:40:28 +0100 lun., 12 févr. 2024 14:10:48 +0100 https://www.peren-revues.fr/revue-k/127