The Flesh of Images pdf epub mobi txt 電子書下載2025

☆☆☆☆☆

Mauro Carbone is Full Professor of Philosophy at the University of Lyon 3 and a senior member of the Institut Universitaire de France. His books include An Unprecedented Deformation: Marcel Proust and the Sensible Ideas (translated by Niall Keane), also published by SUNY Press. Marta Nijhuis is Lecturer in Philosophy and Theory of Images at the University of Lyon 3 and at EAC Lyon.

出版者:SUNY Press

作者:Mauro Carbone

出品人:

頁數:128

译者:Marta Nijhuis

出版時間:2016-7

價格:$24.95

裝幀:Paperback

isbn號碼:9781438458786

叢書系列:

圖書標籤:

藝術史
圖像理論
film
Philosophy
Merleau-Ponty
Gradschool

下載連結在頁面底部

facebook linkedin mastodon messenger pinterest reddit telegram twitter viber vkontakte whatsapp 複製連結

想要找書就要到小美書屋

book.quotespace.org

立刻按 ctrl+D收藏本頁

你會得到大驚喜!!

Highlights Merleau-Ponty’s interest in film and connects it to his aesthetic theory.

In The Flesh of Images, Mauro Carbone begins with the point that Merleau-Ponty’s often misunderstood notion of “flesh” was another way to signify what he also called “Visibility.” Considering vision as creative voyance, in the visionary sense of creating as a particular presence something which, as such, had not been present before, Carbone proposes original connections between Merleau-Ponty and Paul Gauguin, and articulates his own further development of the “new idea of light” that the French philosopher was beginning to elaborate at the time of his sudden death. Carbone connects these ideas to Merleau-Ponty’s continuous interest in cinema—an interest that has been traditionally neglected or circumscribed. Focusing on Merleau-Ponty’s later writings, including unpublished course notes and documents not yet available in English, Carbone demonstrates both that Merleau-Ponty’s interest in film was sustained and philosophically crucial, and also that his thinking provides an important resource for illuminating our contemporary relationship to images, with profound implications for the future of philosophy and aesthetics. Building on his earlier work on Marcel Proust and considering ongoing developments in optical and media technologies, Carbone adds his own philosophical insight into understanding the visual today.

“The elegant style of Carbone’s prose—crafted with a certain cadence and phrasing, an inimitable world of language—nevertheless does not conceal the complexity of his scholarly research.” — Notre Dame Philosophical Reviews