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 idea of “flesh” was once in a different way to indicate what he also known as “Visibility.” contemplating imaginative and prescient as inventive voyance, within the visionary experience of constructing as a selected presence whatever which, as such, had now not been current prior to, 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 starting to problematic on the time of his unexpected loss of life. Carbone connects those principles to Merleau-Ponty’s non-stop curiosity in cinema—an curiosity that has been frequently overlooked or circumscribed. targeting Merleau-Ponty’s later writings, together with unpublished direction notes and records now not but to be had in English, Carbone demonstrates either that Merleau-Ponty’s curiosity in movie was once sustained and philosophically the most important, and additionally that his pondering offers a big source for illuminating our modern courting to pictures, with profound implications for the longer term of philosophy and aesthetics. construction on his previous paintings on Marcel Proust and contemplating ongoing advancements in optical and media applied sciences, Carbone provides his personal philosophical perception into realizing the visible today.
“The dependent form 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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Additional resources for Flesh of Images, The: Merleau-Ponty between Painting and Cinema (SUNY series in Contemporary Continental Philosophy)
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