https://www.peren-revues.fr/revue-k/208 Entrées d’index fr 0 https://www.peren-revues.fr/revue-k/275 This article, starting from Konrad Lorenz’s thesis that links human being and dog inside the common destiny of domestication, dwells on the figure of the dog in Kafka. The dog appears to be an ambiguous figure, on the border between animal and humanity, characterized by shame, dependence and submission, but, in its silence and in its strength of instincts, it is also able to practice desertion from and resistance towards human domestication. mer., 29 nov. 2023 11:10:32 +0100 mar., 13 févr. 2024 09:21:24 +0100 https://www.peren-revues.fr/revue-k/275 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/206 The quests pursued by Kafka's narrators are true investigations in which they engage with their whole body. In "Investigations of a Dog" or "The Burrow", we follow, from the inside, mutations as much behavioural as psychological and reflexive, generated by the relation to a fantasized otherness. In the same movement, Kafka also seems to describe, from the outside, a humanity whose moral foundations are shaking and whose specificity is becoming more and more uncertain. Precisely, provoking this disorder is also the aim of the Russian artist Oleg Kulik, who, by adopting the point of view of a dog offers the image of a strange and yet familiar bestiality to an unsettled public. mer., 29 nov. 2023 09:49:08 +0100 lun., 12 févr. 2024 14:37:51 +0100 https://www.peren-revues.fr/revue-k/206