https://www.peren-revues.fr/revue-k/186 Entrées d’index fr 0 https://www.peren-revues.fr/revue-k/242 This paper means to examine the theoretical and visual trait of Jean-Luc Godard’s Adieu au langage (2014). The movie questions the efficacy of language for the orienting of the gaze. The matter is that the poverty of language can be pursued but cannot be obtained from within the language itself. On the contrary, the dog, the actual leading character of Godard’s movie, is not naked since he cannot help but be naked. In this sense, one can affirm that the appearances of the dog in Adieu au language represent the reversal of Franz Kafka’s Investigations of a Dog (1922, posthumously published in 1931). Whilst Kafka is the writer who approaches more closely the impersonality of the images, the dog “imprisoned” in his book never accomplishes the “goodbye to language”. After all, Kafka’s dog is identical to the woman undressing and dressing herself in the sitting room in Godard’s movie. mer., 29 nov. 2023 10:39:19 +0100 mar., 13 févr. 2024 09:20:37 +0100 https://www.peren-revues.fr/revue-k/242 https://www.peren-revues.fr/revue-k/185 This article deals with guilt and shame as the unifying threads of Kafka's novel The Trial. What is the object or the ground of guilt - what makes it arise? Or it is maybe rather some sort of a mood, an inclination - unrelated to any distinct object? How does shame as a "pure affect" appear as the Doppelgänger of guilt and projects it into the ontological dimension? Shame is a breach that opens up in the fortress of the human subject and this is why guilt appears to be, at the end, unescapable. mar., 28 nov. 2023 16:26:18 +0100 lun., 12 févr. 2024 13:54:54 +0100 https://www.peren-revues.fr/revue-k/185