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 suggest what he often known as “Visibility.” contemplating imaginative and prescient as inventive voyance, within the visionary feel of making as a selected presence whatever which, as such, had no longer been current sooner than, Carbone proposes unique connections among Merleau-Ponty and Paul Gauguin, and articulates his personal extra improvement of the “new notion of sunshine” that the French thinker used to be commencing to tricky on the time of his surprising loss of life. Carbone connects those rules to Merleau-Ponty’s non-stop curiosity in cinema—an curiosity that has been ordinarily missed or circumscribed. concentrating on Merleau-Ponty’s later writings, together with unpublished path notes and files no longer but to be had in English, Carbone demonstrates either that Merleau-Ponty’s curiosity in movie used to be sustained and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 presents a massive source for illuminating our modern dating to photographs, with profound implications for the long run of philosophy and aesthetics. development on his previous 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 stylish sort of Carbone’s prose—crafted with a definite cadence and phraseology, an inimitable global of language—nevertheless doesn't cover the complexity of his scholarly research.” — Notre Dame Philosophical Reviews
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Extra info for Flesh of Images, The: Merleau-Ponty between Painting and Cinema (SUNY series in Contemporary Continental Philosophy)
W. J. , sixty four, sixty eight, sixty nine, seventy two, 109, one hundred ten Schmidt, D. , vii Schopenhauer, A. , thirteen Scott-Moncrieff, C. okay. , 102 reveal, three, sixty four, sixty eight, seventy two, 107, 108 Seer, 1, 2, 34, fifty nine Seeing, 3–5, nine, 28, 35, 38, 39, forty two, sixty one, sixty five, sixty nine, a hundred Séglard, D. , 87 brilliant, vii, 8–10, 26, 28, 32, 33, 35–39, forty-one, forty two, forty seven, fifty two, 55–57, 66–68, seventy one, seventy two, seventy eight, eighty two, eighty three, eighty five, ninety seven, ninety eight, 104, one zero five, 109, 111 brilliant principles, vii, forty five, 60, seventy two, seventy five, ninety one, 107, 111 Sentient, eight, nine, fifty seven, 106 Shapiro, D. , 109 Sichtbarmachen, 31 Silverman, H. , 109 Simon, C. , ninety seven, ninety eight, 111 Simultaneity/simultaneously, 34, 38, 39, ninety seven, ninety eight, eighty, eighty two dermis, 21, 26, 27, 35, ninety three, ninety five Smith, C. , 102 Smith, D. W. , ninety eight, 108 Smith, M. B. , eighty five Soil, 7–9, thirteen, sixteen Soriano, M. , forty eight Souriau, É. , forty eight Spodheim, R. , 111 Stenning, H. J. , ninety four Stewart, J. , ninety one Stivale, C. , eighty five Stone, nine, 12–14, sixteen, 18, 24, 25, 27, 28, 87, ninety Strachey, J. , ninety one Straus, E. , 86 topic, 1, nine, 14, 15, 36, 39, forty seven, sixty five, seventy five, 78–81, eighty three, 106 Subjectivation, 18 Substance, 21, forty nine floor, five, sixty one, sixty four, ninety five, 107, 108 Taminiaux, J. , 39, one zero one Taormina, M. , 108, 112 Tarizzo, D. , ninety two Tassin, E. , 86 Taylor, A. E. , one hundred ten Taylor, M. , 103 expertise, 2 Tehemama, 24, 27, 28, ninety five Tertullian, thirteen, 89 Texture, four, 7, 18, 20, fifty four, seventy one, seventy nine Thales, eighty two, eighty three Tomlinson, H. , 108 Tracian maid, eighty three fact, nine, 23, 27, forty five, 50, fifty two, sixty three, sixty four, ninety two, 107, 109 Tugby, M. W. , vii Vailland, R. , forty eight Valery, P. , 33 Vallier, R. , 87 Varnedoe, ok. , ninety three, ninety six Veil, 26, 27, 36, sixty four, 66–68, seventy two, eighty one, 109 Vertov, D. , forty three Index / 119 View, four, 26, 31, forty nine, fifty seven, sixty six, sixty seven Viewer, fifty two, fifty seven Vigo, J. , fifty three da Vinci, L. , 34 Viola, B. , fifty four, a hundred and five digital, 18–20, 37, ninety two Visibility, 1, 2, four, 10, 25–27, 29, 31–34, 36, seventy two, eighty five obvious, 1–5, 7, 15, 21, 23, 26, 27, 28, 31–37, 39, forty two, forty seven, 50–52, 57–60, 64–69, 70–72, seventy five, seventy seven, seventy eight, eighty, eighty three, 85–97, 99–101, one hundred and five, 106, 107, 109–112 Visualization, 2, ninety seven Von Herman, W. F. , ninety Voyance, three, 33–37, eighty five, ninety seven, ninety eight Vorstellung, 35 Waldenfels, B. , 88, 89 Walker, N. , ninety Warburg, A. , five Wertheimer, M. , fifty one, fifty two, 104 Wesensschau, 37, a hundred Whidden, S. , ninety eight Wild Being, nine, 22, 23, 27, 28, ninety three Window, three, seventy five wooden, 24, 25, 27, 28, 36 global, 1, 2, four, eight, nine, thirteen, 14, 17, 18, 20, 21, 22, 23, 26, 28, 31, 32, 34, 35, 37–39, forty-one, 47–51, 53–57, sixty one, sixty three, 66–69, seventy five, 78–82, 88–90, ninety two, ninety three, ninety five, ninety eight, ninety nine, 102, 104, one hundred and five, 111 Wunenburger, J. -J. , one hundred ten Zazzo, B. , forty eight Zazzo, R.