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Il n'y a pas de rapport religieux

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Since, as [[Lacan ]] claims in his [[Seminar ]] XX: [[Encore]], [[Woman ]] is one of the names of God, would it not be [[logical ]] to conclude that, in the same way that there is no [[sexual ]] rapport, there is also no [[religious ]] rapport? Perhaps, the [[uncanny ]] fact of [[Christ]]'s Crucifixion stands for the silent admission of this fact. In [[order ]] fully to appreciate the uniqueness of the [[figure ]] of Christ, let us start with Gilles [[Deleuze]]'s exemplary [[analysis ]] of Chaplin's late [[films]]:
Between the small [[Jewish ]] barber and the dictator in [[The Great Dictator]], the [[difference ]] is as negligeable as that between their respective moustaches. Yet it results in two situations as infinitely remote, as far opposed as those of [[victim ]] and executioner. Likewise, in [[Monsieur Verdoux]], the difference between the two aspects or demeanors of the same man, the lady-assassin and the loving husband of a paralyzed wife, is so thin that all his wife's intuition is required for the premonition that somehow he "changed." /…/ the burning question of [[Limelight ]] is: what is that "[[nothing]]," that [[sign ]] of age, that small difference of triteness, on account of which the funny clown's [[number ]] changes into a tedious [[spectacle]]?<ref>Deleuze, Gilles, L'[[image]]-mouvement, [[Paris]]: Éditions de Minuit, 1983, p. 234-236.</ref>
The paradigmatic [[case ]] of this imperceptible "almost nothing" are the old [[paranoiac ]] [[science]]-[[fiction ]] films from the early 50s [[about ]] aliens occupying a small American town: they look and act like normal Americans, we can distinguish [[them ]] only via the reference to some minor detail. It is Ernst Lubitsch's To Be Or Not To Be which brings this [[logic ]] to its [[dialectical ]] climax. In one of the funniest scenes of the [[film]], the pretentious [[Polish ]] actor who, as the part of a [[secret ]] mission, has to impersonate the cruel high [[Gestapo ]] officer Erhardt, does this impersonation in an exaggerated way, reacting to the remarks of his interlocutor about his cruel [[treatment ]] of the Poles with loud vulgar [[laughter ]] and a [[satisfied ]] contestation, "So they call me Concentration Camp Erhardt, ha-ha!" We, the spectators, take this for a ridiculous caricature — however, when, later in the film the [[real ]] Erhardt appears, he reacts to his interlocutors in exactly the same way. Although the "real" Erhardt in a way imitates his imitation, "plays himself."
==References==
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