https://www.peren-revues.fr/revue-k/606 Numéros fr ven., 05 janv. 2024 14:06:22 +0100 mer., 05 juin 2024 13:48:41 +0200 https://www.peren-revues.fr/revue-k/606 0 https://www.peren-revues.fr/revue-k/609 ven., 05 janv. 2024 14:09:17 +0100 https://www.peren-revues.fr/revue-k/609 https://www.peren-revues.fr/revue-k/615 ven., 05 janv. 2024 15:23:21 +0100 https://www.peren-revues.fr/revue-k/615 https://www.peren-revues.fr/revue-k/616 ven., 05 janv. 2024 15:58:24 +0100 https://www.peren-revues.fr/revue-k/616 https://www.peren-revues.fr/revue-k/618 Joan of Arc often cries. As Dreyer shows in his film, La Passion de Jeanne d’Arc, these tears are testimony to her suffering before some unjust judges, but they also allow her to unleash another time within her time. This contribution attempts to show how a status of powerlessness, expressed in weeping, can be transformed into a possibility for collective action. ven., 05 janv. 2024 16:34:51 +0100 https://www.peren-revues.fr/revue-k/618 https://www.peren-revues.fr/revue-k/623 There are two ways of giving cinema an emancipatory scope to a figure like that of Joan of Arc. Either we share his tears, his suffering, in a moment of intense empathy, or the cinematographic experience really allows us to reach, to live this moment of communion. It is this second path that we will take. lun., 08 janv. 2024 10:22:34 +0100 https://www.peren-revues.fr/revue-k/623 https://www.peren-revues.fr/revue-k/630 The contribution proposes to read the conceptual figure of Joan of Arc in the light of the absence of her face delivered to us by history. If her appearance was immediately inscribed in the prophetic order of the sign and, in the process that will condemn her to death, in the juridical order of discourse and in that of history, Bresson’s cinema will be able to consign her image to the void that crosses it. In the editing and automatic voice of the model, Jeanne appear as an infigurable grace that dislocates discourse, politics, history. Starting from the excess that her paradoxical sovereignty constitutes, it will be possible to deconstruct the idea of the people that on her icon, on the historical capture of her event, it has been possible to establish. lun., 08 janv. 2024 12:08:43 +0100 https://www.peren-revues.fr/revue-k/630 https://www.peren-revues.fr/revue-k/633 This article attempts to study the links between the destituent impact of the life of the historical Joan of Arc, on the one hand, the multifaceted mythical figure with which she has been saddled, on the other, and finally Rossellini’s movie, Joan of Arc at the stake (1954). “Ci fu una fanciulla chiamata Giovanna”: is the first line of this adaptation of the oratorio by Claudel and Honegger, as if to show from the outset the intention to return the heroine to her essential indeterminacy. Her naked humanity, but also her belonging to the cosmos, among the stars. lun., 08 janv. 2024 14:55:32 +0100 https://www.peren-revues.fr/revue-k/633 https://www.peren-revues.fr/revue-k/640 The biographical story of Joan of Arc can be read in psychoanalytic terms as a response to the call of the divine Other. While Joan cannot be categorized as a mystic, it is necessary to avoid framing her within the clinical realm of psychosis or delirium. Joan of Arc embodies, rather, the possibility of another form of enjoyment, in Lacan’s terms “Other enjoyment” or “feminine enjoyment”, which challenges the phallic claim to occupy the field of jouissance. lun., 08 janv. 2024 15:35:31 +0100 https://www.peren-revues.fr/revue-k/640 https://www.peren-revues.fr/revue-k/643 This paper examines the various functions of the imaginary starting from the case of Jeanne d’Arc. Assuming Castoriadis’ conception that the imaginary, in its ultimate and radical dimension, is the place of creation, I will explore in the lived experience of young Jeanette the alternation of what Margaret Boden distinguishes as three peculiar forms of creativity (combinational, explorative and transformative). In the first part, in particular, we will identify in Jeanne’s attachment to the religious and political tradition of her people the enactment of reproductive-combinatorial functions of the imaginary, while in the second part, we will seek to demonstrate how her voices and visions imply the creation of a new imaginary reality. lun., 08 janv. 2024 16:24:18 +0100 https://www.peren-revues.fr/revue-k/643 https://www.peren-revues.fr/revue-k/649 The most vivid images of Jeanne d’Arc demonstrate a girl who cried a lot, for her own people as well as for her enemies, who were suffering from the war she was inciting again, a war that served to liberate the oppressed, her people. This contribution attempts to situate her tears theologically in the context of the gift of tears. The tears she actually shed, especially on the day of her death, initiated a politics of tears that did not make her a saint, but a model of humanity until today. mar., 09 janv. 2024 08:57:37 +0100 https://www.peren-revues.fr/revue-k/649 https://www.peren-revues.fr/revue-k/655 mar., 09 janv. 2024 15:28:06 +0100 https://www.peren-revues.fr/revue-k/655 https://www.peren-revues.fr/revue-k/656 mer., 10 janv. 2024 10:08:28 +0100 https://www.peren-revues.fr/revue-k/656 https://www.peren-revues.fr/revue-k/658 mer., 10 janv. 2024 10:20:43 +0100 https://www.peren-revues.fr/revue-k/658 https://www.peren-revues.fr/revue-k/660 The article focuses on Joan of Arc as a figure who can embody Jacques Derrida’s reflections on the gaze and tears. In his texts, Derrida proposes the distinction between eyes that see and eyes that are seen. According to Derrida, blinding is what reveals the truth of the gaze, and it is not the eyes that see, but only the tears that blur vision. The thesis of this paper is that Joan of Arc is an emblematic figure of the emotion that has always been removed from the regime of the authority of seeing. Her tear-filled gaze, as depicted by director Dreyer, can subvert the opposition between the visible and invisible. mer., 10 janv. 2024 10:51:14 +0100 https://www.peren-revues.fr/revue-k/660 https://www.peren-revues.fr/revue-k/666 Marcel Duchamp (1887-1968) is considered to be the father of conceptual art, and his work is understood in terms of indifference, detachment and sometimes alchemy. This text is inspired by my publication (20191), which argues, on the contrary, that the destruction of the myths that led to the First and then the Second World Wars, and of the mechanisms of propaganda that were theorised at that time, is at the heart of his work. Here I refer to the myth of Joan of Arc, which I analyse the imprint left in his major works Le Grand Verre (1915-2923) and Étant Donnés (1946-1968). I take a critical look at the notion of collective emotion as I perceive it in the work of Duchamp, who was born in Rouen at the same time as the monument to Joan of Arc was being built in Bonsecours, on the heights of the city. mer., 10 janv. 2024 11:42:27 +0100 https://www.peren-revues.fr/revue-k/666 https://www.peren-revues.fr/revue-k/671 mer., 10 janv. 2024 12:22:52 +0100 https://www.peren-revues.fr/revue-k/671 https://www.peren-revues.fr/revue-k/672 When we think of Joan of Arc in the movies, we picture Renée Falconetti’s face as framed by Carl Theodor Dreyer in 1928’s The Passion of Joan of Arc: Tear-soaked eyes gazing skyward, a face the size of a movie screen. The weeping face becomes the film’s supreme emblem, triggering the saint’s transcendence, until the face covered in tears strips itself of its particularities to achieve Passion. Focusing on the same theme, Robert Bresson’s Le procès de Jeanne d’Arc (1962) shows us a body stripping itself of its matter to be free from the shackles of corrupt humans. In 1957, with his film Saint Joan, Otto Preminger extracts the soul from the body to represent Jeanne’s never-before-seen background. The filmmaker makes Jeanne appear as a ghost to implement a certain inventiveness in elaborating her image. Jean-Louis Leutrat demonstrates that a form of fantasy is born “between cinema, appearing-disappearing, melancholy, a certain luminous unreality and tears”. In the light of this idea, Jeanne would be a reincarnation of her own tears. Through these three films, and based on the idea of a certain dynamic of tear in terms of Poetic representations, we notice a complementary evolution that helps the regeneration of Joan of Arc as a Saint. mer., 10 janv. 2024 14:30:34 +0100 https://www.peren-revues.fr/revue-k/672 https://www.peren-revues.fr/revue-k/677 The paper aims to investigate the presence of Dreyer’s La passion de Jeanne d’Arc (1927) in Jean-Luc Godard’s Vivre sa vie (1962) and Notre musique (2004). Through an analysis of the shot and reverse shot technique employed by Godard in the sequences in which Nana and Olga converse with Dreyer’s film, the contribution attempts to show how the Godard work can open a destitute image of woman, the embodiment of an escape from any order of discourse. mer., 10 janv. 2024 15:16:14 +0100 https://www.peren-revues.fr/revue-k/677 https://www.peren-revues.fr/revue-k/681 For his own, very personal reinterpretation of the figure of Joan of Arc in his feature film Jeanne la Pucelle (1994), Jacques Rivette chose the actress Sandrine Bonnaire. Such a choice was incontestably influenced by earlier roles performed by Bonnaire (such as Agnès Varda’s Sans toit ni loi, 1985), but also arguably motivated by some of her own personal biographical circumstances. Strength of mind, physical perseverance, alleged illiteracy and tendency toward mysticism are but a few features common to both the historical character of Jeanne and of Sandrine (Bonnaire). mer., 10 janv. 2024 15:52:29 +0100 https://www.peren-revues.fr/revue-k/681