https://www.peren-revues.fr/revue-k/351 Publications de Auteurs Roberto Cerenza fr 0 https://www.peren-revues.fr/revue-k/919 The main idea on which this essay reflects is that Pinocchio’s inorganic materiality constitutes the metaphysical foundation of language. In this perspective, Pinocchio’s passage from puppet to man is to be understood not as a mutation of that foundation, which remains immutable, but as a movement of appearance that detaches itself from the foundation to access the historical dimension of finiteness. The focal point of the reflection is the relationship between Pinocchio and Geppetto. lun., 15 janv. 2024 11:48:10 +0100 lun., 15 janv. 2024 11:48:24 +0100 https://www.peren-revues.fr/revue-k/919 https://www.peren-revues.fr/revue-k/587 While analysing Monsieur Verdoux by Charlie Chaplin, this essay argues that a limit is the actual link between Verdoux and Charlot. Both, in other words, share a limit beyond which the transcendence of death can be glimpsed. As their borders get blurred until they become one, their reciprocal differences becoming indifferent, both Verdoux and Charlot are swallowed in the abyss of the transcendence of death – the same abyss swallowing the very distinction between comedy and noir. jeu., 04 janv. 2024 11:48:08 +0100 jeu., 15 févr. 2024 15:32:03 +0100 https://www.peren-revues.fr/revue-k/587 https://www.peren-revues.fr/revue-k/345 The main idea this essay elaborates upon, is that reality takes shape as a repetition-grounded virtuality of the image – as opposed to the image being simply the repetition of a real referent. Thus, Marilyn Monroe’s iconic figure becomes one of the possible symptoms enabling the possibility to retrace the abovementioned inversion of the relationship between reality and image. In this sense, the concept of a “double body” provides an understanding of how cinema turned out to be ultimately unaffected by Marilyn’s death. jeu., 30 nov. 2023 09:03:25 +0100 ven., 09 févr. 2024 15:52:12 +0100 https://www.peren-revues.fr/revue-k/345