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Mauro Carbone [90]M. Carbone [5]Mirella Carbone [1]Michael J. Carbone [1]
  1.  27
    The Flesh of Images: Merleau-Ponty Between Painting and Cinema.Mauro Carbone (ed.) - 2015 - Albany: State University of New York Press.
    Highlights Merleau-Ponty’s interest in film and connects it to his aesthetic theory.
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  2.  73
    The thinking of the sensible: Merleau-Ponty's a-philosophy.Mauro Carbone - 2004 - Evanston, Ill.: Northwestern University Press.
    The time of half-sleep : Merleau-Ponty between Husserl and Proust -- Ad limina philosophiae : Merleau-Ponty and the "introduction" to Hegel's Phenomenology of spirit -- Nature : variations on the theme -- The thinking of the sensible.
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  3.  21
    Philosophy-screens: from cinema to the digital revolution.Mauro Carbone - 2019 - Albany: State University of New York Press. Edited by Marta Nijhuis.
    In The Flesh of Images, Mauro Carbone analyzed Merleau-Ponty's interest in film as it relates to his aesthetic theory. Philosophy-Screens broadens the work undertaken in this earlier book, looking at the ideas of other twentieth-century thinkers concerning the relationship between philosophy and film, and also extending that analysis to address the wider proliferation of screens in the twenty-first century. In the first part of the book, Carbone examines the ways that Sartre, Merleau-Ponty, Lyotard, and Deleuze grappled with the philosophical significance (...)
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  4.  19
    An Unprecedented Deformation: Marcel Proust and the Sensible Ideas.Mauro Carbone - 2010 - State University of New York Press.
    Philosophical interpretation of Proust based on the work of Merleau-Ponty and Deleuze.
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  5. La parola dell àugure Merleau-Ponty e la «filosofia del freudismo».Mauro Carbone - 2004 - Daimon: Revista Internacional de Filosofía 32:95-116.
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  6.  22
    Falling Man.Mauro Carbone - 2017 - Research in Phenomenology 47 (2):190-203.
    Undoubtedly, the tragedy of September 11, 2001 has been an unprecedented visual event. And yet, as was pointed out by an article published in Esquire in 2003, “in the most photographed and videotaped day in the history of the world, the images of people jumping were the only images that became, by consensus, taboo.” This taboo looks like the other side of what Allen Feldman calls a “temporal therapy”: “the audience was being given temporal therapy by witnessing a mechanical sequence (...)
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  7.  12
    Fünf noch unveröffentlichte Briefe Friedrich Nietzsches.Joachim Jung & Mirella Carbone - 2024 - Nietzsche Studien 53 (1):306-357.
    Five Unpublished Letters by Friedrich Nietzsche. Five unpublished letters by Nietzsche to Louise Röder-Wiederhold, as well as an unknown letter (draft) from her own hand suggest that Nietzsche’s negative judgment of her, which has dominated biographical Nietzsche research up to now, was anything but definitive and can be strongly relativized. The new documents also prove that Röder-Wiederhold was not only a temporary “secretary” for Nietzsche, but also an intellectual and humorous, interested, compassionate and independent-thinking correspondence partner, even if she did (...)
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  8.  21
    Presentation. In Other Words.Mauro Carbone - 2023 - Chiasmi International 25:19-22.
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  9. Presentazione.Mauro Carbone & Leonard Lawlor - 2001 - Chiasmi International 3:11-11.
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  10.  19
    Presentazione. In altre parole.Mauro Carbone - 2023 - Chiasmi International 25:23-26.
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  11.  18
    Introduction. « La guerre a -eu- lieu ».Mauro Carbone & Stanislas de Courville - 2023 - Chiasmi International 25:33-36.
    The Russian invasion of 2022 was based on an organized process of influence on the Ukrainian population, aimed at obtaining their support or neutralizing their possible resistance, in concert with the state apparatus. We find, in the backdrop of this process, the memorial conflict between these two countries and their neighbours, concerning World War II and the Soviet Union. This war of influence, or political warfare, which falls within new forms of contemporary hybrid warfare, profoundly has to do with images, (...)
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  12.  18
    Introduction. “The War -has taken- is Taking Place”.Mauro Carbone & Stanislas de Courville - 2023 - Chiasmi International 25:37-40.
    The Russian invasion of 2022 was based on an organized process of influence on the Ukrainian population, aimed at obtaining their support or neutralizing their possible resistance, in concert with the state apparatus. We find, in the backdrop of this process, the memorial conflict between these two countries and their neighbours, concerning World War II and the Soviet Union. This war of influence, or political warfare, which falls within new forms of contemporary hybrid warfare, profoundly has to do with images, (...)
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  13.  86
    Flesh: Towards the History of a Misunderstanding.Mauro Carbone - 2002 - Chiasmi International 4:49-62.
  14.  17
    Présentation. En d’autres termes.Mauro Carbone - 2023 - Chiasmi International 25:13-17.
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  15.  95
    Le Philosophe et Le Cinéaste (French).Mauro Carbone - 2010 - Chiasmi International 12:47-70.
    The Philosopher and the Moviemaker.Merleau-Ponty and the Thinking of CinemaAs its subtitle indicates, the present article is devoted to the relations between Maurice Merleau-Ponty’s philosophy and the thinking of cinema. The first section focuses on two topics, each underlying the lecture on cinema given by Merleau-Ponty in 1945. On the one hand, we find the reflection about the peculiarities of expression in film and cinematic image; on the other, we see the convergence between the inspiration of cinema and that of (...)
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  16. Nature et Logos: “Pourquoi y a-t-il plusieurs exemplaires de chaque chose?”.Mauro Carbone - 2000 - Chiasmi International 2:261-278.
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  17.  29
    Buonarroti, Michelangelo 284.Liliana Albertazzi, Ignacio Angelelli, David Armstrong, Lewis Beck, Bruce Bégout, Jocelyn Benoist, Laura Boella, Eugen V. Bohm-Bawerk, Léon Brunschvicg & Mauro Carbone - 2009 - In W. Huemer & B. Centi, Value and Ontology. Ontos-Verlag. pp. 293.
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  18.  26
    Ai confini dell'esprimibile: Merleau-Ponty a partire da Cézanne e da Proust.Mauro Carbone - 1990 - Milano: Guerini studio.
    Arte e "pre-mondo" : l'opera di Cézanne e la fenomenologia secondo Merleau-Ponty -- Tempo e parola : motivi proustiani in Phénoménologie de la perception -- Dicibilità del mondo e storicità di vita : espressione, verità, storia nel periodo intermedio del pensiero di Merleau-Ponty -- Alle radici stesse dell'essere : visibilità, natura e pittura nell'ultimo Merleau-Ponty -- Nessuno più di Proust : Le visible et l'invisible nello specchio della Recherche.
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  19.  55
    Ad limina philosophiae (riassunto).Mauro Carbone - 2001 - Chiasmi International 3:329-330.
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  20.  33
    Ad Limina Philosophiae: Merleau-Ponty and the Einleitung to Hegel’s Phänomenologie des Geistes.Mauro Carbone - 2001 - Chiasmi International 3:311-327.
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  21.  25
    Ad limina philosophiae.Mauro Carbone - 2001 - Chiasmi International 3:328-329.
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  22.  34
    Abstract: Pistorius, Aesthetics and the Reversing of Platonism.Mauro Carbone - 2008 - Chiasmi International 10:46-46.
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  23.  10
    Filosofia-schermi: dal cinema alla rivoluzione digitale.Mauro Carbone - 2016 - Milano: Raffaello Cortina editore.
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  24. ... Filosofía del derecho, adaptada al programa vigente en la Facultad de derecho y ciencias sociales de Buenos Aires.M. Carbone - 1943 - Buenos Aires,: Editorial Sanná.
     
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  25.  59
    Introduction.Mauro Carbone - 2008 - Chiasmi International 10:15-16.
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  26.  8
    Introduzione. “C’è -stata- la guerra”.Mauro Carbone & Stanislas de Courville - 2023 - Chiasmi International 25:41-44.
    The Russian invasion of 2022 was based on an organized process of influence on the Ukrainian population, aimed at obtaining their support or neutralizing their possible resistance, in concert with the state apparatus. We find, in the backdrop of this process, the memorial conflict between these two countries and their neighbours, concerning World War II and the Soviet Union. This war of influence, or political warfare, which falls within new forms of contemporary hybrid warfare, profoundly has to do with images, (...)
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  27.  10
    Il sensibile e l'eccedente: mondo estetico, arte, pensiero.Mauro Carbone - 1996 - Milano: Guerini studio.
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  28.  15
    La déformation en tant que principe de déreprésentation.Mauro Carbone - 2013 - Nouvelle Revue D’Esthétique 12 (2):201.
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  29. L'evento dell'11 settembre 2001: quando iniziò il XXI secolo.Mauro Carbone - 2021 - Milano: Mimesis.
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  30.  13
    L'empreinte du visuel: Merleau-Ponty et les images aujourd'hui.Mauro Carbone (ed.) - 2013 - Genève: MētisPresses.
    Toujours déjà expressif, habité par la dimension du langage au moment même de l'expérience, le "visuel" est un champ à part entière où se croisent réel et imaginaire, et donc une nouvelle forme de compréhension de notre rapport au monde. En ce sens, les derniers travaux de Merleau-Ponty, par leur réflexion sur la question du visuel, remettent en cause la plupart des catégories par lesquelles nous avons coutume de "nommer" notre rapport au monde. Cette problématique se révèle particulièrement importante aujourd'hui. (...)
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  31.  46
    Lo schermo, la tela, la finestra (e altre superfici quadrangolari normalmente verticali).Mauro Carbone - 2014 - Rivista di Estetica 55:21-34.
    Nonostante l’immagine della visione sia ancora largamente dominata dal paradigma della finestra, per quanto il cinema stesso si sia concepito a partire da tale figura, evocata per altro dal nome del sistema operativo informatico più diffuso nel mondo – Windows –, la mia ipotesi è che, nell’epoca presente, è piuttosto lo schermo ad essere diventato il dispositivo ottico di riferimento, discostandosi in maniera significativa dal modello della finestra. Per questo ritengo che comprendere in che modo pensiamo la nostra esperienza degli (...)
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  32.  25
    La surface obscure.Mauro Carbone - 2019 - Chiasmi International 21:103-115.
    Tout le trajet de la pensée de Merleau-Ponty est traversé – en certains cas de manière plus évidente que d’autres – par ce que je propose de définir comme une idée de la littérature et de la philosophie en tant que dispositifs de vision, pour utiliser une expression qui est née – et ce n’est pas un hasard – dans le domaine des études cinématographiques. Plus précisément, je voudrais montrer que Merleau-Ponty voit la littérature et la philosophie de son époque (...)
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  33.  36
    Le temps mythique des idées (résumé).Mauro Carbone - 1999 - Chiasmi International 1:230-230.
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  34. Merleau-ponty at the limits of.Mauro Carbone - 2010 - In Alan D. Schrift, The History of Continental Philosophy. London: Routledge. pp. 4--111.
     
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  35.  13
    Merleau-Ponty e l'estetica oggi =.Mauro Carbone, Anna Caterina Dalmasso & Elio Franzini (eds.) - 2013 - Milano: Mimesis.
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  36. Merleau-Ponty. L'héritage contemporain, Chiasmi International, n° 1.Mauro Carbone & Douglas Low - 2003 - Revue Philosophique de la France Et de l'Etranger 193 (4):459-461.
     
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  37. Maurice Merleau-Ponty; mutazione ontologica e possibilità della filosofia oggi.M. Carbone - 2005 - In Guido Canziani & Erasmo Silvio Storace, La storia dell'ontologia. Milano: Alboversorio. pp. 149--159.
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  38.  24
    Note des Directeurs.Mauro Carbone, Federico Leoni & Ted Toadvine - 2015 - Chiasmi International 17:17-18.
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  39.  21
    Nota dei Direttori.Mauro Carbone, Federico Leoni & Ted Toadvine - 2015 - Chiasmi International 17:21-22.
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  40.  54
    Natura e Logos (riassunto).Mauro Carbone - 2000 - Chiasmi International 2:279-279.
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  41.  40
    Note From the Editorial Team.Mauro Carbone, Federico Leoni & Ted Toadvine - 2015 - Chiasmi International 17:19-20.
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  42.  17
    O que é uma filosofia-cinema?Mauro Carbone - 2013 - Revista de Filosofia Aurora 25 (37):343.
    Em uma nota originalmente publicada em 1974 somente em italiano, Gilles Deleuze cunhou a expressão filosofia-cinema, aparentemente significando um novo estilo de fazer filosofia, a ser desenvolvido sob a luz das novidades do cinema. A fim de melhor entender o que uma “filosofia-cinema” poderia ser, antes de tudo devemos imaginar o que seria uma “filosofia antiquada”. Proponho caracterizá-la como uma “filosofia-pintura” baseada na noção de “representação”. Por sua vez, essa noção sugere uma concepção peculiar de visão baseada no modelo ótico (...)
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  43.  55
    Presentazione.Mauro Carbone & Helen A. Fielding - 2005 - Chiasmi International 7:15-16.
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  44.  55
    Presentazione.Mauro Carbone - 2002 - Chiasmi International 4:9-9.
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  45.  17
    (2 other versions)Présentation.Mauro Carbone - 2002 - Chiasmi International 4:10-10.
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  46.  7
    Presentazione.Mauro Carbone - 2008 - Chiasmi International 10:11-12.
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  47.  21
    Pensare (con) Patočka oggi: filosofia fenomenologica e filosofia della storia.Mauro Carbone & Caterina Croce (eds.) - 2012 - Napoli: Orthotes.
    «È ancora necessario, oggi in Italia, sforzarsi di sottolineare l’importanza e l’attualità del pensiero di Jan Patočka?» – si chiede Mauro Carbone presentando questo volume.
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  48.  44
    Pistorius, l’estetica e il rovesciamento del platonismo.Mauro Carbone - 2008 - Chiasmi International 10:35-44.
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  49.  27
    Personne n’a été plus loin que Proust.Mauro Carbone - 2000 - Études Phénoménologiques 16 (31-32):35-66.
  50. Per una genealogia dell'idea del chiasma.M. Carbone - 2005 - In Patrick Burke & Sergio Vitale, Il dubbio di Merleau-Ponty: l'arte e l'invisibile. Firenze: Clinamen. pp. 43--49.
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