https://www.peren-revues.fr/revue-k/566 Entrées d’index fr 0 https://www.peren-revues.fr/revue-k/1187 This article essentially consists in deploying the stakes of the following idea of Lucretius: the void is an intangible and vacant place. By closely following these issues, we realize that they are inseparable from the place of emptiness for Nature and that the meet the issues of the relationship between spirit and matter (and the body). Furthermore, they open up avenues that will be taken by philosophies which are more contemporary to us (those of Badiou and Deleuze). Lucretius, by supporting a materialism including the intangible void has contributed more to make possible a materialism of the intangible Time and the event. Since the spirit arises from a series of events, shouldn't it be turned back to what it comes from and on the Place of the void in which we stand (body-and-soul)? It is this twist that this article also attempts to make. jeu., 01 févr. 2024 16:36:30 +0100 mar., 13 févr. 2024 13:34:52 +0100 https://www.peren-revues.fr/revue-k/1187 https://www.peren-revues.fr/revue-k/1249 The naturalism of Lucretius, to which Deleuze in the sixties dedicates an essay later collected in Logic of sense, plays a significant role in the entire thought of the French philosopher, for at least two aspects. First of all, atomism and pluralism return with evidence in the construction of a philosophy of difference, especially in Difference and Repetition but also in other texts. Second, the description of the encounter with simulacra in perception resonates with the idea of the violent encounter with the signs of sensibility, the only mode of emergence of true thought according to Deleuze. In the article I would like to develop this idea by linking it to another book of those years, namely the volume on Proust. jeu., 08 févr. 2024 14:49:56 +0100 jeu., 08 févr. 2024 14:50:13 +0100 https://www.peren-revues.fr/revue-k/1249 https://www.peren-revues.fr/revue-k/570 According to Rancière’s lesson on the nature of visibility, cinema’s prerogative to derail the order of discourse is an indication of the aesthetic-political potential of the body-image. In this sense, the erratic movement and the unpredictability of the ironic gesture find in Charlot an impressive incarnation, in the name of the incomparability between situations revealed by the “burlesque” action through the expression of infinitely small differences. mer., 03 janv. 2024 15:07:59 +0100 mer., 03 janv. 2024 15:10:11 +0100 https://www.peren-revues.fr/revue-k/570 https://www.peren-revues.fr/revue-k/565 Mime is a central figure in Gilles Deleuze’s Logic of Sense. Starting with a reprise of Deleuzian reference to mime, this essay would try to analyse the re-emergence of mime within the French philosopher's reflection on cinema through the paradigmaticity of the most famous of Charlie Chaplin’s inventions: Charlot. mer., 03 janv. 2024 14:12:20 +0100 mer., 03 janv. 2024 15:09:32 +0100 https://www.peren-revues.fr/revue-k/565