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Claudio Rozzoni
New University of Lisbon
  1.  32
    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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  2.  11
    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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  3.  8
    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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  4.  14
    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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  5.  32
    Intorno A Una Domanda 'Inedita' Di Merleau-Ponty.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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  6.  26
    Abstract: The Paths of Music: Nocturne Ideas.Claudio Rozzoni - 2006 - Chiasmi International 8:270-271.
  7.  19
    Corso Vincennes – Saint Denis.Gilles Deleuze & Claudio Rozzoni - 2011 - Chiasmi International 13:177-178.
  8.  22
    Résumé: Les sentiers de la musique: les idées nocturnes.Claudio Rozzoni - 2006 - Chiasmi International 8:269-270.
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  9.  19
    I Sentieri Della Musica.Claudio Rozzoni - 2006 - Chiasmi International 8:257-268.
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  10.  2
    Body Becoming Image: The Theatrical Window.Claudio Rozzoni - 2015 - HORIZON. Studies in Phenomenology 4 (1):114-123.
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  11.  5
    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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  12.  3
    Corso Vincennes – Saint Denis.Gilles Deleuze & Claudio Rozzoni - 2011 - Chiasmi International 13:177-178.
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