Highlights Merleau-Ponty’s curiosity in movie and connects it to his aesthetic theory.
In The Flesh of Images, Mauro Carbone starts off with the purpose that Merleau-Ponty’s frequently misunderstood suggestion of “flesh” used to be otherwise to indicate what he often known as “Visibility.” contemplating imaginative and prescient as inventive voyance, within the visionary experience of constructing as a selected presence anything which, as such, had no longer been current prior to, Carbone proposes unique connections among Merleau-Ponty and Paul Gauguin, and articulates his personal extra improvement of the “new suggestion of sunshine” that the French thinker was once starting to intricate on the time of his unexpected dying. Carbone connects those rules to Merleau-Ponty’s non-stop curiosity in cinema—an curiosity that has been routinely overlooked or circumscribed. concentrating on Merleau-Ponty’s later writings, together with unpublished path notes and records now not but on hand in English, Carbone demonstrates either that Merleau-Ponty’s curiosity in movie used to be sustained and philosophically an important, and additionally that his considering offers a tremendous source for illuminating our modern courting 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 variety of Carbone’s prose—crafted with a undeniable 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 resources for Flesh of Images, The: Merleau-Ponty between Painting and Cinema (SUNY series in Contemporary Continental Philosophy)
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