https://www.peren-revues.fr/revue-k/1329 Numéros fr mar., 25 juin 2024 11:51:41 +0200 mar., 25 juin 2024 11:51:41 +0200 https://www.peren-revues.fr/revue-k/1329 0 https://www.peren-revues.fr/revue-k/1335 mar., 25 juin 2024 12:01:16 +0200 https://www.peren-revues.fr/revue-k/1335 https://www.peren-revues.fr/revue-k/1336 mar., 25 juin 2024 12:08:45 +0200 https://www.peren-revues.fr/revue-k/1336 https://www.peren-revues.fr/revue-k/1337 The contribution proposes to identify in the image Jane Avrìl that of an absolute dance, capable of definitively breaking with the textual and dramatic order that configures dance as a device of glorification of power, of affirmation of the symbolic order of the body. A survivor of catastrophe – of the collapse of the Other – Jane embodies the blindness of a dance exposed to risk, the writing of an absence that dismisses any archetypal totality. Her dance comes to subjectify in an unprecedented way its own de-subjectification, to the point of opposing to any order its own pure and absolute presentation. mar., 25 juin 2024 13:41:04 +0200 https://www.peren-revues.fr/revue-k/1337 https://www.peren-revues.fr/revue-k/1340 In this article, we present a situated philosophico-choreographic speculation, which starts from a somatic approach of Jane Avril’s dance to reflect on how the activity of dancing contributes to the processes of subjectivity and social production, that is to say, to reflect on the micropolitics of dance. mar., 25 juin 2024 15:11:36 +0200 https://www.peren-revues.fr/revue-k/1340 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 https://www.peren-revues.fr/revue-k/1344 https://www.peren-revues.fr/revue-k/1348 Jane Avril, a former patient of the Salpêtrière, feigned the grand hysterical attack to escape the medicalizing grasp of psychiatry through a practice of dissimulation. This maneuver involves a tactic where the “fake” becomes a dodge, granting the nosographic gaze the idiocy of diagnostic gratification to deceive it at a deeper level. It is here that the mimetic and metamorphic art of Charcot’s patients becomes the dancing subversion of a power relationship, thanks to the hysterical metonymy’s ability to evade any clinical capture. The demand for hysterical dance, which Jane transposes from the “clinical theater” of the Salpêtrière to the stage of the Moulin Rouge, eroticizes the impossible, engaging with life and mocking the “master”. It is this “menadic” nature of hysterical desire that uncouples the erotic body from the normativity of biology. My contribution will seek to investigate, in reference to the conceptual figure of Jane Avril, not only within a genealogy of “transference neurosis” but also in the context of its differential framing compared to other clinical and psychoanalytic constellations, the subversive trait of hysteria and its decisive role in the economy of desire. mar., 25 juin 2024 16:40:50 +0200 https://www.peren-revues.fr/revue-k/1348 https://www.peren-revues.fr/revue-k/1353 The essay aims to highlight the representation of Jane Avril developed by Henri de Toulouse-Lautrec in the perspective of what could be defined as an aesthetics of hysteria. Of such a representation, consistent with the appearance of the many automatons that are about to invade the artistic scene of the first decades of the twentieth century, Jane Avril would definitely be said to be an accomplice, but in the construction of a character that does not have much to do with her dancing body. mar., 25 juin 2024 17:13:11 +0200 https://www.peren-revues.fr/revue-k/1353 https://www.peren-revues.fr/revue-k/1358 mer., 26 juin 2024 08:41:15 +0200 https://www.peren-revues.fr/revue-k/1358 https://www.peren-revues.fr/revue-k/1360 mer., 26 juin 2024 08:53:24 +0200 https://www.peren-revues.fr/revue-k/1360 https://www.peren-revues.fr/revue-k/1365 mer., 26 juin 2024 09:15:02 +0200 https://www.peren-revues.fr/revue-k/1365 https://www.peren-revues.fr/revue-k/1367 mer., 26 juin 2024 09:42:52 +0200 https://www.peren-revues.fr/revue-k/1367 https://www.peren-revues.fr/revue-k/1368 The article proposes some possible approaches to the figure of Jane Avril, starting from some of Walter Benjamin’s categories. An interpretation based on Benjamin’s theory of language is proposed for the gesture of dance that gives Jane Avril her name. Although Benjamin’s reference to the Paris in which Jane Avril performs remains crucial, the key to the reading suggested here refers above all to concepts such as “Entsetzen”, “pure mediality”, “mimesis” and “shame”, to explore if and how Jane Avril’s “language” is related to a possible theory of “destituent potentiality”. mer., 26 juin 2024 10:07:52 +0200 https://www.peren-revues.fr/revue-k/1368 https://www.peren-revues.fr/revue-k/1370 The contribution describes a trajectory in the thought of the German journalist and philosopher Siegfried Kracauer. The emergence of mass society is described in these pages in the figures of the Jackson Girls, dance troupes that expressed liberation in the form of entertainment from the cultural traditions inherited from the pre-war period. Dancing, the cult of fun and the thrill generated by an exploding mass society are intertwined in this author with the reflection on the city and its transformations. mer., 26 juin 2024 12:17:56 +0200 https://www.peren-revues.fr/revue-k/1370 https://www.peren-revues.fr/revue-k/1376 This article evokes two phantasmagorical transformations of Jane Avril through the cinema. A first attempt, oriented towards reverie, is exploited by V. Minnelli: dance is not only a vector of remembrance, but a means of transfiguring reality. As if caught in a time crystal, Mulligan, the hero, sees himself as a “white nigger”, dancing in the arms of his beloved who has taken on the features of Jane Avril. Another attempt, this time focused on the frightening nightmare, operates a stronger hybridization. The figures of the Black and the Madwoman now merge. All that remains of Jane is the “epileptic dance” performed on a scary zombie body. It is no longer a question of transfiguring reality, but of showing the liberating powers of dance. mer., 26 juin 2024 15:20:59 +0200 https://www.peren-revues.fr/revue-k/1376 https://www.peren-revues.fr/revue-k/1396 mar., 29 oct. 2024 10:03:37 +0100 https://www.peren-revues.fr/revue-k/1396