https://www.peren-revues.fr/revue-k/1735 Numéros fr lun., 06 juil. 2026 16:25:28 +0200 lun., 20 juil. 2026 16:37:08 +0200 https://www.peren-revues.fr/revue-k/1735 0 https://www.peren-revues.fr/revue-k/1772 lun., 06 juil. 2026 17:17:46 +0200 https://www.peren-revues.fr/revue-k/1772 https://www.peren-revues.fr/revue-k/1773 lun., 06 juil. 2026 17:21:57 +0200 https://www.peren-revues.fr/revue-k/1773 https://www.peren-revues.fr/revue-k/1776 A direct literary descendant of the warrior women of the Orlando Furioso, Tasso’s Clorinda has rarely been read, unlike Bradamante and Marfisa, against the backdrop of the Quarrel of Women that fueled sixteenth-century cultural debates. Aware of the intrinsic contradictions of both warrior women and his own poetic genre, Tasso seeks an answer with the figure who most recalls Amazonian myths. Clorinda’s androgyny reveals itself to be the centre of a problematic that calls for a gender analysis. lun., 06 juil. 2026 17:42:07 +0200 https://www.peren-revues.fr/revue-k/1776 https://www.peren-revues.fr/revue-k/1783 The essay compares two celebrated female warriors of Renaissance poems: Marfisa and Clorinda. Both are marked by an inner contradiction, yet while Marfisa remains manageable and integrable within the chivalric order, Clorinda generates a crisis that cannot be absorbed and can be resolved only through death and the final baptism. The divergence between these two figures reflects the shift from the ideological horizon of the Renaissance to that of the Counter-Reformation. lun., 06 juil. 2026 17:56:59 +0200 https://www.peren-revues.fr/revue-k/1783 https://www.peren-revues.fr/revue-k/1794 The death of Clorinda and her baptism mark the restoration of order and boundaries in La Gerusalemme liberata. In Il Combattimento, based on Monteverdi’s madrigal Il Combattimento di Tancredi e Clorinda and Tasso’s epic poem, Castellucci – rather than treating it as the climax of a narrative plot – transforms it into a threshold opening onto a reality in which the character persists as an incorporeal voice. This article aims to explore the powers of this incorporeal voice – capable of undermining the very foundations of the world – through an analysis of Castellucci’s production. jeu., 09 juil. 2026 19:40:34 +0200 https://www.peren-revues.fr/revue-k/1794 https://www.peren-revues.fr/revue-k/1802 This article examines the two recognitions (agnizioni) structuring Clorinda’s story in Tasso’s Gerusalemme liberata. Arsete’s revelation of her Christian Ethiopian origins fails to restore an authentic identity, exposing instead a self fashioned beyond religious and gender norms. Tancredi’s recognition of her dying face turns victory into grief, while her violent death enables baptism and salvation. The double agnizione intensifies the poem’s tensions between providence, heroism, and singularity jeu., 16 juil. 2026 23:39:46 +0200 https://www.peren-revues.fr/revue-k/1802 https://www.peren-revues.fr/revue-k/1769 lun., 06 juil. 2026 17:14:55 +0200 https://www.peren-revues.fr/revue-k/1769 https://www.peren-revues.fr/revue-k/1800 lun., 13 juil. 2026 22:44:50 +0200 https://www.peren-revues.fr/revue-k/1800 https://www.peren-revues.fr/revue-k/1753 lun., 06 juil. 2026 16:48:34 +0200 https://www.peren-revues.fr/revue-k/1753 https://www.peren-revues.fr/revue-k/1755 lun., 06 juil. 2026 16:52:35 +0200 https://www.peren-revues.fr/revue-k/1755 https://www.peren-revues.fr/revue-k/1757 lun., 06 juil. 2026 16:58:22 +0200 https://www.peren-revues.fr/revue-k/1757 https://www.peren-revues.fr/revue-k/1764 lun., 06 juil. 2026 17:03:30 +0200 https://www.peren-revues.fr/revue-k/1764 https://www.peren-revues.fr/revue-k/1774 lun., 06 juil. 2026 17:33:06 +0200 https://www.peren-revues.fr/revue-k/1774 https://www.peren-revues.fr/revue-k/1792 We publish here a complete transcript of the French novel Clorinde, ou l’amante tuée par son amant (1597) by anonymous, according to the copy preserved in the Bibliothèque de l’Arsenal in Paris. It is one of the first French adaptations of Tasso’s Liberata as a novel, and especially the first in which Clorinda reciprocates Tancredi’s feelings for her, transforming Tasso’s tragic plot into a more sentimental one. This change would be kept also in later adaptations, testifying the preference of the French audience for a romantic reading of Tasso. jeu., 09 juil. 2026 19:13:23 +0200 https://www.peren-revues.fr/revue-k/1792 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 https://www.peren-revues.fr/revue-k/1741 https://www.peren-revues.fr/revue-k/1746 Les Femmes illustres, ou les Harangues héroïques is a work that lies somewhere between Ovid’s Epistles and a gallery of illustrious women. Published between 1642 and 1644 by Madeleine de Scudéry and her brother Georges, the two volumes give a voice to various historical and literary heroines. Whilst Clorinda is very taciturn in the Gerusalemme Liberata, and dies silently after her baptism in extremis, in the Harangues héroïques she finds ample space to express her feelings. Whilst one might expect a declaration of affection towards Tancrède, the distraught lover, which would explicitly resolve their romantic story, the harangue places far greater emphasis on heroism, respect for the adversary and military glory. Although Clorinde converts to Christianity as she dies, she does not renounce her roots as a virile, warrior-like figure who demands respect for her strength rather than her beauty. Right up to the brink of death, Clorinde resists the demands that others would impose upon her: she resists love and feelings of affection, yet begs Tancred to perpetuate her reputation as a heroine and her glorious deeds. In the Harangues héroïques, Clorinde asserts her status as a non-conformist, proud woman who renounces love, mirroring the woman who rewrites her. lun., 06 juil. 2026 16:39:50 +0200 https://www.peren-revues.fr/revue-k/1746 https://www.peren-revues.fr/revue-k/1804 The obscurities surrounding Clorinde – warrior, gendered identity, religious belonging – find in music their privileged terrain of expression. This contribution explores how these obscurities are refracted through crucial moments of their sonic translation: Monteverdi’s Il Combattimento di Tancredi e Clorinda (1624), its rewriting by Giorgio Battistelli (Ravello, 2005), and Claudio Ambrosini’s Tancredi appresso il Combattimento (2017). Drawing on Butler’s theory of gender performativity and close musical analysis, the article argues that music – through the stile concitato, vocal indeterminacy and temporal superposition – refuses the transparency that literary or religious resolution would seem to offer, preserving Clorinde as a name of resistance to any definitive classification. ven., 17 juil. 2026 00:43:32 +0200 https://www.peren-revues.fr/revue-k/1804 https://www.peren-revues.fr/revue-k/1799 jeu., 09 juil. 2026 21:41:58 +0200 https://www.peren-revues.fr/revue-k/1799