Highlights Merleau-Ponty’s curiosity in movie and connects it to his aesthetic theory.
In The Flesh of Images, Mauro Carbone starts with the purpose that Merleau-Ponty’s usually misunderstood suggestion of “flesh” was once differently to indicate what he also known as “Visibility.” contemplating imaginative and prescient as artistic voyance, within the visionary experience of constructing as a specific presence anything which, as such, had now not been current earlier than, Carbone proposes unique connections among Merleau-Ponty and Paul Gauguin, and articulates his personal extra improvement of the “new thought of sunshine” that the French thinker was once commencing to intricate on the time of his unexpected demise. Carbone connects those principles to Merleau-Ponty’s non-stop curiosity in cinema—an curiosity that has been often missed or circumscribed. targeting Merleau-Ponty’s later writings, together with unpublished path notes and files no longer but to be had in English, Carbone demonstrates either that Merleau-Ponty’s curiosity in movie used to be sustained and philosophically an important, and additionally that his pondering offers a tremendous source for illuminating our modern courting to pictures, with profound implications for the long run of philosophy and aesthetics. construction on his past paintings on Marcel Proust and contemplating ongoing advancements in optical and media applied sciences, Carbone provides his personal philosophical perception into knowing the visible today.
“The based sort of Carbone’s prose—crafted with a undeniable cadence and phraseology, an inimitable international of language—nevertheless doesn't cover the complexity of his scholarly research.” — Notre Dame Philosophical Reviews
Preview of Flesh of Images, The: Merleau-Ponty between Painting and Cinema (SUNY series in Contemporary Continental Philosophy) PDF
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Extra resources for Flesh of Images, The: Merleau-Ponty between Painting and Cinema (SUNY series in Contemporary Continental Philosophy)
86 Bimbenet, E. , 111 Blanchard, T. , forty eight Blumenberg, H. , 112 physique right, 10, eleven, 19, 88 Boehm, G. , 86, 88 Bonan, R. , ninety one Borradori, G. , vii Bresson, R. , forty nine Breton, É. , 104 Buci-Glucksmann, C. , 36, ninety eight, a hundred, one zero one Burke, P. , a hundred and ten Cain, 17 113 114 / Index Cairns, D. , ninety eight Campbell, T. , ninety two Carbone, M. , 88, 107 Cariou, M. , 111 Carnal, nine, 14, sixteen, 24, 25, 32, 36, 37, fifty one, fifty seven, 60, sixty nine, 86, ninety seven, 107 del Caro, A. , 111 Carr, D. , 87 Cartesianism, 7 Caruso, P. , one zero one Casetti, F. , vii, fifty eight, 106 Cauliez A. J. , forty eight Cavarero, A. , 112 Cézanne, P. , forty-one, sixty one, ninety seven, one hundred and one, 108 Char, R. , ninety nine Charcosset, J. -P. , forty six, 102 Chair, 10, 12, 26, 27, 88–90, ninety five Charbonnier, G. , ninety seven Chiasm, 17, 19, eighty two, 88 Childs, E. C. , ninety four Chipp, H. B. , ninety six Christ, thirteen Christian, eight, eleven, 12, 18, 22, 24–28, ninety four, ninety five Cinema/cinematic, four, 41–56, fifty eight, sixty one, sixty three, sixty four, seventy six Clarac, P. , 102 Claudel, P. , 33, 35, eighty, ninety seven, ninety eight, 111 Cohen, A. A. , 109 Cohen-Séhat, G. , forty eight Colli, G. , ninety five conversation, 7, nine, 14 group, 20 Complexion, 26, 27 Concept/Conceptual, 12, 15, 32, 38, 39, forty two, forty six, forty eight, sixty seven, sixty nine, 70, seventy five, eighty one, ninety, ninety five, 109, one hundred ten Conley, T. , a hundred Contat, M. , 102 modern, 2, 32–34, 36, 37, forty-one, forty eight, forty nine, sixty five, seventy seven, ninety six, ninety nine Copenhaver, B. P. , one hundred ten replica, 2, 23, fifty six, fifty seven, 70 Corporeity, 2, fifty two Corps propre, 10, 88 Croce, B. , 24 Dalmasso, A. C. , 103, one zero five Darkness, sixty six, 69–72 Daumier, H. , 23, ninety four Davidson, S. , 88 Davis, D. H. , vii, ninety one Delaunay, R. , sixty four, sixty five, 69–72, 88, 109 Delaunay, S. , 109 Deleuze, G. , 39, seventy nine, eighty one, eighty five, ninety eight, a hundred, 103, 104, 108, 111, 112 intensity, three, four, 10, 19, 60, sixty five, seventy eight Derrida, J. , 10–14, sixteen, 18, 21, 22, 24, 25, 28, 88–91, ninety three, ninety four Descartes, R. , 34, 36, forty nine, sixty four, sixty five, seventy six, ninety nine hope, 2, five, sixty six, sixty seven Di Cesare, D. , vii Didi-Huberman, G. , five, 26, 60, 86, 87, ninety five, 107 distinction, 1, 7, 12, 14, 18, 19, 20, seventy one, seventy two, seventy nine, 86, ninety six, 108, 112 electronic, 20 Diodato, R. , 20, ninety two Dionysos, 25 Dorival, B. , ninety four Dort, B. , forty eight Dreyfus, H. , ninety three, a hundred and one Dreyfus P. , ninety three, one hundred and one Dualisms, fifty five, eighty three Duchamp, M. , 50 Dufrenne, M. , ninety nine Eisher, B. , ninety one Elliston, A. , 87 Embodiment, eight, 12 En-être, 38 Erlebnisse, 60 Ernst, M. , 34, ninety seven Eros, 15, sixteen, ninety Escoubas, E. , 86 Esposito, R. , 18, 19, 89, ninety one, ninety two Ethics, 17 Index / 115 Faber, M. , 87 Fahle, O. , 108 Ferré, A. , 102 Festugière, A. -J. , 70, a hundred and ten Fetishism, sixteen Fichte, J. G. , sixty nine Figural, fifty two Flaxman, G. , 108 Flesh, 1–4, 7–22, 24–28, 32, 33, 35, fifty seven, sixty three, sixty nine, seventy one, seventy two, seventy nine, eighty one, eighty five, 88, 89, ninety, ninety one, ninety five, ninety seven, 103 Fontainas, A. , 24 Fontana, C. , ninety six, a hundred Forain, J. -L. , ninety four fortress, J. , ninety four Foss, P. , 106 Fóti, V. M. , ninety six Fowlie, W. , ninety eight Franck, D. , 10, eleven, 88, 89 Franzini, E. , ninety six Freud, S. thirteen, 15, sixteen, 60, ninety, ninety one Galeta, R. , 108 Gambazzi, P. , a hundred Gauguin, P. , v, 21–25, 27–29, 93–96 Garelli, J. , 86 Gaze, five, 21, fifty nine, sixty nine Genesis, 31, 32, seventy eight, seventy nine, eighty one Gestalt, forty-one, forty two, forty four, forty five, forty six, fifty one, fifty two, fifty four, sixty three Giotto, 23, ninety four Globalization, 14, 18, 19, ninety two God, thirteen, 25, 26, 27, 29, seventy one, seventy two Godard, J. -L. , forty nine, fifty seven, 103, 104, 106 Gracián, B. , one zero one greedy, eleven, 31, 32, 39, sixty six, sixty seven, seventy one, eighty two grey, H. , 106 Greco, M. A. , ninety eight Grohmann, W. , 32, ninety seven Guérin, D. , ninety three Guirgis, T. , 108 Guterman, N. , ninety six Guyer, P. , 102 Harmon, J. L. , ninety two Heidegger, M.