29 found
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  1.  41
    From Abbild to Bild? Depiction and Resemblance in Husserl’s Phenomenology.Claudio Rozzoni - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):117-130.
    In a well-known course he gave in 1904-1905, Edmund Husserl developed a ‘threefold’ notion of image revolving around the notion of depiction [Abbildung]. More specifically, the phenomenological description allows a seeing-in to emerge as an essential characteristic of the image consciousness, in which an image object assumes the role of a representant [Repräsentant] in order to allow us to see the image subject in the image itself. Nevertheless, our paper – focusing particularly on what might be called the depictive art (...)
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  2. A Husserlian Approach to Aesthetic Experience: Existential Disinterest and Axiological Interest.Claudio Rozzoni - 2019 - Phainomenon 29 (1):115-133.
    As early as 1905, Husserl made clear that, when it comes to aesthetic consideration, our “interest” is not directed toward the existence of the object as such, but rather toward the object’s way of appearance. Husserl’s famous letter to Hofmannsthal (1907) goes as far as to suggest that any existential concerns are potentially even a menace to the purity of aesthetic experience. This position clearly echoes Kant’s account of aesthetic judgment presented in the third Critique, notably as regards the notion (...)
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  3.  60
    Cinema Consciousness: Elements of a Husserlian Approach to Film Image.Claudio Rozzoni - 2016 - Studia Phaenomenologica 16:295-324.
    By drawing on Husserl’s manuscripts on Phantasy, Image Consciousness and Memory, this paper aims to shed light on some of the primary concepts defining his notion of image—such as “belief,” “presentification” and perzeptive Phantasie—and endeavours to show how such concepts could be profitably developed for the sake of a phenomenological description of film image. More in particular, these analyses aim to give a phenomenological account of the distinction between positing film images, presupposing a claim to reality—for example the ones we (...)
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  4.  22
    Corso Vincennes – Saint Denis.Gilles Deleuze & Claudio Rozzoni - 2011 - Chiasmi International 13:177-178.
  5.  7
    Corso Vincennes – Saint Denis (20/01/1987).Gilles Deleuze & Claudio Rozzoni - 2011 - Chiasmi International 13:177-178.
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  6.  11
    Estratto. Proust. Una teoria, – e una pratica concordante, – del linguaggio.Maurice Merleau-Ponty & Claudio Rozzoni - 2019 - Chiasmi International 21:53-59.
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  7.  31
    Jorge Molder: 'I’m a photographer in particular'. Interview with Claudio Rozzoni.Jorge Molder & Claudio Rozzoni - 2018 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 11 (2):7-14.
    This is the text of the Claudio Rozzoni's interview with Jorge Molder that took place in Portuguese on June 21, 2018, at the artist's atelier in Lisbon. English translation by Claudio Rozzoni.
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  8.  3
    Art, expérience esthétique, valeur : une approche phénoménologique de l’artification.Claudio Rozzoni - 2020 - Nouvelle Revue d'Esthétique 24 (2):35-43.
    L’« artification » peut être conçue comme un processus entraînant « le passage du non-art à l’art ». Selon une perspective phénoménologique (notamment husserlienne), ce passage semble impliquer deux mouvements neutralisants qui le constituent et que l’on pourrait nommer « imagification » et « esthétisation ». D’une part, une telle neutralisation est l’indice d’une suspension de tout intérêt, à la fois de l’artiste et du spectateur, pour l’existence ou la non-existence de « l’objet artifié » (Husserl reprend et relance ici (...)
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  9.  18
    A Short Note On The Fold.Claudio Rozzoni - 2011 - Chiasmi International 13:165-168.
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  10.  7
    Une Courte Note Sur Le Pli.Claudio Rozzoni - 2011 - Chiasmi International 13:161-164.
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  11.  36
    Abstract: The Paths of Music: nocturne Ideas.Claudio Rozzoni - 2006 - Chiasmi International 8:270-271.
  12.  10
    Body Becoming Image: The Theatrical Window.Claudio Rozzoni - 2015 - HORIZON. Studies in Phenomenology 4 (1):114-123.
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  13.  11
    Breve Nota Sulla Piega.Claudio Rozzoni - 2011 - Chiasmi International 13:169-172.
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  14.  6
    Breve Nota Sulla Piega.Claudio Rozzoni - 2011 - Chiasmi International 13:169-172.
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  15.  14
    Chi scrive? Chi legge? Il chiasma fra autore e lettore a partire dalle Recherches sur L’usage littéraire du langage.Claudio Rozzoni - 2014 - Chiasmi International 16:325-334.
    The recent publication of Recherches sur l’usage littéraire du langage, the preparatory notes for Merleau-Ponty’s “Monday course” at the Collège de France in 1953, provides further evidence of the turning points of the French philosopher’s reflections during this period. This course, on the style of expression in the work of Stendhal and Valery, is interesting in that it truly reveals to us a unique perspective on the questions that, on the one hand, are related to research made during the previous (...)
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  16.  44
    Intorno A Una Domanda ‘Inedita’ Di Merleau-Ponty: Proust Philosophe?Claudio Rozzoni - 2010 - Chiasmi International 12:183-201.
    Autour d’une question ‘inédite’ de Merleau-Ponty : Proust philosophe?Le présent essai tentera d’approfondir certains des aspects les plus significatifs des pages, toutes encore inédites, que Merleau-Ponty avait écrites en vue du Cours du jeudi de 1953-1954 au Collège de France sur Le problème de la parole. Il se concentrera en particulier sur la partie du cours dans laquelle Merleau-Ponty formule une question importante concernant l’auteur de la Recherche, ou plutôt là où il se demande si Proust est un philosophe. Il (...)
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  17.  28
    I Sentieri Della Musica.Claudio Rozzoni - 2006 - Chiasmi International 8:257-268.
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  18.  6
    I Sentieri Della Musica.Claudio Rozzoni - 2006 - Chiasmi International 8:257-268.
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  19.  17
    Lo Spazio Estetico.Claudio Rozzoni - 2011 - Chiasmi International 13:217-239.
    L’espace esthétiqueLe « renversement du cartésianisme » chez Deleuze et Merleau-PontyCet essai se propose de développer le rapport entre Deleuze et Merleau-Ponty à partir de la tentative des deux philosophes français d’aller au-delà du courantde pensée qu’on pourrait qualifi er, comme le fait Merleau-Ponty lui-même, de « cartésianisme ».Nous commençons notre itinéraire avec la critique que les deux philosophes adressent à la notion cartésienne de « ligne » – passage obligé pour penser, à travers Leibniz et sa notion de « (...)
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  20.  16
    Corso Vincennes – Saint Denis (20/01/1987).Claudio Rozzoni - 2011 - Chiasmi International 13:177-178.
    L’espace esthétiqueLe « renversement du cartésianisme » chez Deleuze et Merleau-PontyCet essai se propose de développer le rapport entre Deleuze et Merleau-Ponty à partir de la tentative des deux philosophes français d’aller au-delà du courantde pensée qu’on pourrait qualifi er, comme le fait Merleau-Ponty lui-même, de « cartésianisme ».Nous commençons notre itinéraire avec la critique que les deux philosophes adressent à la notion cartésienne de « ligne » – passage obligé pour penser, à travers Leibniz et sa notion de « (...)
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  21.  32
    Jorge Molder: 'I’m a photographer in particular'. Interview with Claudio Rozzoni.Claudio Rozzoni - 2018 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 11 (2):87-99.
    The œuvre of Portuguese photographer Jorge Molder can be construed as a series of series. These series are filled with a wealth of absent presences, of possibilities that arise and fade without ever reaching actualization or confirmation, thereby contributing to create a ‘detective-story’ atmosphere. This also proves to be true as regards Molder’s own body. Indeed, his face, his hands are recurrent “subjects” running through his 40 years of work. Even so, when we ask who the man is that we (...)
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  22. Phantasy-Ego, Image Consciousness and Aesthetic Experience : Phenomenological Approaches.Claudio Rozzoni & Luís de Sousa - 2019 - Phainomenon 29 (1):5-8.
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  23.  17
    Perspectival truth: Michael Haneke’s «The castle» and the fragmentation of the real.Claudio Rozzoni - 2021 - Lebenswelt. Aesthetics and Philosophy of Experience 16.
    Haneke’s 1997 adaptation of Franz Kafka’s Das Schloß is thus far his last work for television[1]. Although «the Austrian film almanac lists» it «as a feature film» and it «was released in Austrian cinemas before its television première» [2], Haneke has always professed The Castle to be a TV film adaption, «an honorable enterprise» aimed at «bring[ing] literature closer to an audience» [3]. This is a significant remark, as it conveys a belief that this specific double status – qua TV (...)
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  24.  32
    Résumé: Les sentiers de la musique: les idées nocturnes.Claudio Rozzoni - 2006 - Chiasmi International 8:269-270.
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  25.  23
    The Phenomenological Image: A Husserlian Inquiry into Reality, Phantasy, and Aesthetic Experience.Claudio Rozzoni - 2023 - De Gruyter.
    Our environment is changing rapidly, as is the spectrum of possible relationships we can entertain with it. Against this background, one important task emerging in contemporary philosophical discussion concerns defining the status of contemporary images and the "iconic spaces" we encounter with ever-increasing frequency in their various forms. Within this context, the dimension of perception seems to be losing its primacy over the image, making a philosophical description of the relationships between image and reality all the more necessary. Among images, (...)
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  26.  11
    Une Courte Note Sur Le Pli.Claudio Rozzoni - 2011 - Chiasmi International 13:161-164.
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  27.  4
    Une Courte Note Sur Le Pli.Claudio Rozzoni - 2011 - Chiasmi International 13:161-164.
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  28.  7
    Une disparition de l'auteur?Claudio Rozzoni - 2022 - Revue Philosophique De Louvain 119 (3):415-434.
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  29.  13
    Mauro Carbone, Eleonora Sparvoli (a c. di), Proust et la philosophie aujourd’hui; Dario Ferrari, Paolo Godani (a c. di), La sartoria di Proust. Estetica e costruzione nella «Recherche»; Thierry Marchaiss. [REVIEW]Claudio Rozzoni - 2010 - Rivista di Estetica 45:204-207.
    È noto come il capolavoro di Marcel Proust, À la recherche du temps perdu, sia stato fin dal suo apparire oggetto privilegiato dell’interesse dei filosofi: non sarebbe pertanto fruttuoso, in questa breve recensione, limitarci a porre l’attenzione su tale osservazione. Forse meno noto, e in ogni caso meritevole d’essere posto in evidenza e degno di attenta considerazione, è il fatto che anche negli ultimi anni, i primi del secolo appena nato, si sia assistito, in Italia come in ambito internaz...
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