https://www.peren-revues.fr/revue-k/879 Archives fr lun., 15 janv. 2024 11:11:08 +0100 mar., 30 avril 2024 14:49:31 +0200 https://www.peren-revues.fr/revue-k/879 0 https://www.peren-revues.fr/revue-k/880 lun., 15 janv. 2024 11:11:38 +0100 https://www.peren-revues.fr/revue-k/880 https://www.peren-revues.fr/revue-k/887 lun., 15 janv. 2024 11:33:10 +0100 https://www.peren-revues.fr/revue-k/887 https://www.peren-revues.fr/revue-k/888 lun., 15 janv. 2024 11:37:25 +0100 https://www.peren-revues.fr/revue-k/888 https://www.peren-revues.fr/revue-k/889 The essay interprets The Adventures of Pinocchio as a work of morphological instability. To this end, while acknowledging the importance of the pedagogical intention from which Collodi could move, the work presents evidence relating to the stylistic level (§ 1), the narrative organization (§ 2) and the figural construction of the conclusive sequence (§ 3). The analysis of these three levels confirms that the metamorphism so characteristic of the Collodian protagonist cannot be reduced to a teleological determinism. lun., 15 janv. 2024 11:37:51 +0100 https://www.peren-revues.fr/revue-k/889 https://www.peren-revues.fr/revue-k/895 In this article, the author argues that what makes Pinocchio fascinating in today’s context is the constant process of mutations he is involved in, a process that can be envisioned from many angles – metamorphosis from a species to another, animal-becoming, escape lines, etc. Pinocchio is a troublemaker in family as in society for he is an ill-born child, some sort of a prematurate whose fate is to be acosmic, uncontrollable, recalcitrant. Collodi’s novel constantly swings from road movie to tale of terror and this is what makes it so attractive for the children, readers or listeners and for the adults, storytellers. Any reader or listener can see that its happy ending is nothing but scam and lie so that the the show can go on endless – Pinocchio’s quietening is just a pretence, a lull in anticipation of new misconducts and dissolute behaviors ; for Pinocchio is incorrigible and irredeemable – yesterday’s and today’ riffraff... lun., 15 janv. 2024 11:38:19 +0100 https://www.peren-revues.fr/revue-k/895 https://www.peren-revues.fr/revue-k/899 Two aspects link the figure of Pinocchio to his plebeian origins: the material of which the puppet is made and the hunger that grips him. These factors seem to contradict each other, as they are usually part of two distinct problem groups. Yet in Collodi's novel they intertwine giving rise to the composition of his adventures, when it is their union that produces the unlikely trait of the fantastic world. lun., 15 janv. 2024 11:38:47 +0100 https://www.peren-revues.fr/revue-k/899 https://www.peren-revues.fr/revue-k/903 Collodi’s Pinocchio can be read as a psychoanalytical novel, interpreting its characters as conceptual figures. Jacques Lacan, Melanie Klein and Donald Winnicott’s theories are considered in order to understand the psychological development of Pinocchio’s character. Particularly, this essay considers the relationship between Pinocchio and the Fairy with Turquoise Hair, suggesting that the transformation of Pinocchio from a puppet to a child is the plastic representation of an inner evolution. Pinocchio’s escapes and mischiefs should be considered as part of a peculiar dialectic, played by Pinocchio himself and the Fairy, involving desire, lack and love. This work tries to explore the libidinal dynamics of this classical novel of children’s literature. lun., 15 janv. 2024 11:39:18 +0100 https://www.peren-revues.fr/revue-k/903 https://www.peren-revues.fr/revue-k/906 Pinocchio was written by Carlo Collodi in 1882-83. Peter Pan was created by James Matthew Barrie in 1904. This article proposes a reading of the adventures of the two heroes that goes beyond the usual moral and pedagogical analyses of these stories. The aim of this text is to show how these two characters embody the return to the mythical dimension of childhood, that is opposed to the loss of meaning in the industrial and bourgeois world, an opposition, unfortunately doomed to failure and that illustrates the tragedy of childhood. lun., 15 janv. 2024 11:46:57 +0100 https://www.peren-revues.fr/revue-k/906 https://www.peren-revues.fr/revue-k/912 Chapter 9 of the Adventures of Pinocchio features one of the most ambiguous characters in this novel for young people, the terrible puppetshowman Mangiafoco. Contrary to what his erasure in many adaptations might suggest, this character is one of the richest and most complex characters in the Collodian text. Included since the 1881 version, it is interesting in many ways and helps to structure the link between the realm of men and that of puppets, perhaps anticipating Pinocchio’s future and ultimate metamorphosis. Unlike the circus ringmaster who serves as a repellent in his attempt to brutally educate a Pinocchio turned donkey, Mangiafoco appears to be a fundamental player in the puppet’s education and training process, even before Geppetto and the teacher. In fact, the brief encounter between the puppet and the puppeteer trains Pinocchio in fraternity and mutual aid, in defense through speech and discourse, and serves as an introduction to economics. Numerous adaptations and rewritings of this novel have been proposed, whether it be in the form of films, cartoons, novels or comic strips. If the adaptationsreductions intended for younger children often omit the puppet theatre scene, those intended for older children, or even for an adult reader, transform and reinvest the puppeteer’s character, varying its educational weight and meaning, frequently mixing it with the circus director or the little man of the Land of Toys. This article proposes to analyze the educational function of Mangiafoco in different rewritings, from his being damaged in the 1940 Disney studios’ cartoon where Mangiafoco steals Pinocchio and tries to kidnap him, to his attitude that is alternately cynical, vengeful and helping in Arnaud Boutle and Corinne Denoyelle (2008), to his transformation into a stereotypical capitalist in Winshluss (2008). lun., 15 janv. 2024 11:47:36 +0100 https://www.peren-revues.fr/revue-k/912 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 https://www.peren-revues.fr/revue-k/919 https://www.peren-revues.fr/revue-k/924 Addressing in particular the first three chapters, the contribution undertakes to reveal how the text, Le Avventure di Pinocchio, represents an unsuspected revolt against kings, sovereigns and more generally the figure of the father. It is done through the use of irony and more generally by distancing itself from the logic of identity. lun., 15 janv. 2024 11:48:45 +0100 https://www.peren-revues.fr/revue-k/924 https://www.peren-revues.fr/revue-k/928 lun., 15 janv. 2024 11:53:54 +0100 https://www.peren-revues.fr/revue-k/928 https://www.peren-revues.fr/revue-k/929 lun., 15 janv. 2024 11:54:27 +0100 https://www.peren-revues.fr/revue-k/929 https://www.peren-revues.fr/revue-k/930 lun., 15 janv. 2024 11:55:19 +0100 https://www.peren-revues.fr/revue-k/930 https://www.peren-revues.fr/revue-k/932 lun., 15 janv. 2024 12:01:40 +0100 https://www.peren-revues.fr/revue-k/932 https://www.peren-revues.fr/revue-k/934 lun., 15 janv. 2024 12:02:28 +0100 https://www.peren-revues.fr/revue-k/934 https://www.peren-revues.fr/revue-k/936 lun., 15 janv. 2024 12:03:09 +0100 https://www.peren-revues.fr/revue-k/936 https://www.peren-revues.fr/revue-k/938 Pinocchio is one of those masks that Carmelo Bene frequents and reinterprets throughout his artistic production. In this essay there are the reasons for such an assiduous frequentation as to make Pinocchio a point where the vectors belonging to the aesthetic practice of Carmelo Bene converge. lun., 15 janv. 2024 12:04:47 +0100 https://www.peren-revues.fr/revue-k/938 https://www.peren-revues.fr/revue-k/943 Pinocchio’s myth is an invite to think the “I” in different aspects: human, organic, material. In Pinocchio (live) by Alice Laloy (a play between choreography and puppetry), children are turned into puppets under the eyes of the spectators. At the end, they offer a “trance-dance”, with a choreographic gesture between mechanical and living bodies. From children to puppets, from inanimate body to dance, how can the choreographic gesture be seen as an alienation’s process? lun., 15 janv. 2024 12:13:38 +0100 https://www.peren-revues.fr/revue-k/943 https://www.peren-revues.fr/revue-k/948 Joël Pommerat’s play Pinocchio (Paris, 2008) is inspired by Collodi’s and Commencini‘s works. Then, Pommerat adapted it into opera with Philippe Boesmans (Aix-en-Provence, 2017). In this theatrical combination, could Pinocchio’s adventures reflect the artistic progress, from initiation to masterpieces, through lies and disobedience, in search of truth? lun., 15 janv. 2024 12:14:15 +0100 https://www.peren-revues.fr/revue-k/948 https://www.peren-revues.fr/revue-k/954 According to Emilio Garroni, Pinocchio is a character able to reproduce and multiply starting from an underlying contradiction, that is his "race towards death". Starting from this structural matrix, the essay will analyze the figure of the cyborg in the TV show Westworld (2016-) as a translation of Collodi's character. The analysis will focus on the becoming of the character and particularly on the transformative possibilities of inorganic matter into a subject capable of experiencing the world and organizing their own memories. lun., 15 janv. 2024 12:14:45 +0100 https://www.peren-revues.fr/revue-k/954 https://www.peren-revues.fr/revue-k/960 This work aims to show that there are some similarities between the characters of Carlo Collodi’s fairy tale Pinocchio and Spielsberg’s film Artifical Intelligence. Indeed, the two protagonists are strange beings wishing to become real humans. However, this work also shows that David is a modern Pinocchio since he is an industrial product manufactured to be programmed. He will never become a human, neither will wake up in a human world. lun., 15 janv. 2024 12:15:21 +0100 https://www.peren-revues.fr/revue-k/960 https://www.peren-revues.fr/revue-k/961 “Who is Pinocchio?” Around this question goes this contribution aimed at exploring the relationship that Collodi's novel has with the cinematographic dimension. In particular, this article is inspired by the latest film version of Pinocchio, edited by Matteo Garrone. The remarkable adherence to the spirit that runs through Collodi's text makes Garrone's work one of the most representative of the contemporary film scenario. lun., 15 janv. 2024 12:15:51 +0100 https://www.peren-revues.fr/revue-k/961