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 inspiration of “flesh” was once in a different way to indicate what he also referred to as “Visibility.” contemplating imaginative and prescient as artistic voyance, within the visionary experience of constructing as a selected presence whatever which, as such, had now not been current sooner than, Carbone proposes unique connections among Merleau-Ponty and Paul Gauguin, and articulates his personal additional improvement of the “new proposal of sunshine” that the French thinker used to be commencing to intricate 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 generally overlooked or circumscribed. targeting Merleau-Ponty’s later writings, together with unpublished direction notes and files no longer but on hand in English, Carbone demonstrates either that Merleau-Ponty’s curiosity in movie used to be sustained and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 presents an incredible source for illuminating our modern dating to pictures, with profound implications for the longer term 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 realizing the visible today.
“The based type of Carbone’s prose—crafted with a definite cadence and phraseology, an inimitable international of language—nevertheless doesn't hide the complexity of his scholarly research.” — Notre Dame Philosophical Reviews
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Additional info for Flesh of Images, The: Merleau-Ponty between Painting and Cinema (SUNY series in Contemporary Continental Philosophy)
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