https://www.peren-revues.fr/revue-k/742 Entrées d’index fr 0 https://www.peren-revues.fr/revue-k/1274 Jonathan Swift’s Tale of a Tub (1704) was, he claimed, a satire on corruptions in religion and learning written in defense of the Church of England. The atomistic materialism of De Rerum Natura, with its rejection of an incorporeal spirit or soul and its critique of providence, was accordingly one of the principal targets of the Tale; Swift’s contemporaries, however, feared that his parody was an application and extension of, rather than an attack on, Lucretius’ philosophy. Swift’s text shows their fears were well founded. ven., 09 févr. 2024 14:10:40 +0100 jeu., 22 févr. 2024 14:38:06 +0100 https://www.peren-revues.fr/revue-k/1274 https://www.peren-revues.fr/revue-k/738 In this essay a light will be shed on Kazimir Malevich’s post-1927 so-called return to figurative painting, through the rereading of some of his texts, particularly God Has Not Been Cast Down (1922) and The Theory of the Additional Element (1926) as well as comparing them to those of the Formalist Yuri Tynianov from the same years. The hypothesis of a “wcthird way” beyond Suprematism and Socialist realism will be dismissed in favor of an interpretation consistent and coherent with the artist’s cosmic, rebel, and fluid aesthetic vision. ven., 12 janv. 2024 13:40:35 +0100 jeu., 15 févr. 2024 15:08:33 +0100 https://www.peren-revues.fr/revue-k/738