The Flesh of Images: Merleau-Ponty between Painting and Cinema
(eBook)

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State University of New York Press, 2015.
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eBook
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Language
English
ISBN
9781438458809

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APA Citation, 7th Edition (style guide)

Mauro Carbone., & Mauro Carbone|AUTHOR. (2015). The Flesh of Images: Merleau-Ponty between Painting and Cinema . State University of New York Press.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Mauro Carbone and Mauro Carbone|AUTHOR. 2015. The Flesh of Images: Merleau-Ponty between Painting and Cinema. State University of New York Press.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Mauro Carbone and Mauro Carbone|AUTHOR. The Flesh of Images: Merleau-Ponty between Painting and Cinema State University of New York Press, 2015.

MLA Citation, 9th Edition (style guide)

Mauro Carbone, and Mauro Carbone|AUTHOR. The Flesh of Images: Merleau-Ponty between Painting and Cinema State University of New York Press, 2015.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work ID28aae32e-0d85-afef-8404-9cb7939bcdf4-eng
Full titleflesh of images merleau ponty between painting and cinema
Authorcarbone mauro
Grouping Categorybook
Last Update2024-05-16 02:01:45AM
Last Indexed2024-06-26 02:44:17AM

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First LoadedNov 2, 2023
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Hoopla Extract Information

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    [synopsis] => 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.

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.
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