https://www.peren-revues.fr/revue-k/1563 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/1559 Unlike Ettore Majorana, who chose silence and self-exclusion, Oppenheimer not only did not “refuse science” (Sciascia), but became a public witness to the emergence of a new role for the modern scientist. He chose to make himself visible, consistent with the experience of having seen something no one before him had even imagined. In Christopher Nolan’s hands, the journey that led to the creation of the first atomic bomb is portrayed as the progressive attainment of a secret vision of the world – not only by the scientist, but by cinema itself. sam., 05 juil. 2025 18:19:58 +0200 sam., 05 juil. 2025 18:25:29 +0200 https://www.peren-revues.fr/revue-k/1559