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  1.  57
    The Thinking of the Sensible: Merleau-Ponty's a-Philosophy.Mauro Carbone - 2004 - Northwestern University Press.
    In this first English publication of a well-known and widely respected Italian scholar, readers will encounter the preeminent interpreter of the works of Maurice Merleau-Ponty engaged in a dialogue of critical concern to contemporary philosophy. In subtle and sensitive language eminently suited to the style and substance of Merleau-Ponty's own writings, Mauro Carbone fashions four essays around a central theme-the relations of the sensible and the intelligible, and of philosophy and non-philosophy-that occupied Merleau-Ponty in his later work. An original and (...)
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  2.  2
    The Flesh of Images: Merleau-Ponty Between Painting and Cinema.Mauro Carbone (ed.) - 2015 - State University of New York Press.
    Highlights Merleau-Ponty’s interest in film and connects it to his aesthetic theory.
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  3.  32
    Flesh: Towards the History of a Misunderstanding.Mauro Carbone - 2002 - Chiasmi International 4:49-62.
  4.  1
    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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  5.  41
    The Caducity of Beauty and Aesthetic Temporality.Mauro Carbone - 1998 - Axiomathes 9 (1-2):125-129.
  6.  16
    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 Beatrice Centi & Huemer Wolfgang (eds.), Value and Ontology. Ontos. pp. 293.
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  7.  26
    Ad limina philosophiae (riassunto).Mauro Carbone - 2001 - Chiasmi International 3:329-330.
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  8.  9
    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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  9.  12
    Ad limina philosophiae.Mauro Carbone - 2001 - Chiasmi International 3:328-329.
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  10.  20
    Abstract: Pistorius, Aesthetics and the Reversing of Platonism.Mauro Carbone - 2008 - Chiasmi International 10:46-46.
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  11. 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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  12.  20
    Gli anni Novanta in Italia.Mauro Carbone - 1999 - Chiasmi International 1:15-17.
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  13.  16
    Introduction.Mauro Carbone - 2008 - Chiasmi International 10:15-16.
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  14.  19
    Introduction.Mauro Carbone & Helen A. Fielding - 2005 - Chiasmi International 7:13-14.
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  15.  5
    Introduction.Mauro Carbone & Leonard Lawlor - 2001 - Chiasmi International 3:10-10.
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  16.  24
    II tempo mitico delle idee: Merleau-Ponty e Deleuze lettori di Proust.Mauro Carbone - 1999 - Chiasmi International 1:213-229.
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  17.  31
    Love and Music: Theme and Variations.Mauro Carbone - 2009 - Chiasmi International 11:63-78.
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  18.  7
    La Déformation En Tant Que Principe de Déreprésentation.Mauro Carbone - 2013 - Nouvelle Revue D’Esthétique 12 (2):201.
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  19. 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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  20.  24
    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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  21.  10
    Lo Schermo, la Tela, la Finestra.Mauro Carbone - 2014 - Rivista di Estetica 55:21-34.
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  22.  8
    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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  23.  18
    Le temps mythique des idées (résumé).Mauro Carbone - 1999 - Chiasmi International 1:230-230.
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  24. Merleau-Ponty at the Limits Of.Mauro Carbone - 2010 - In Alan D. Schrift (ed.), The History of Continental Philosophy. University of Chicago Press. pp. 4--111.
     
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  25.  26
    Nature And Logos (Abstract).Mauro Carbone - 2000 - Chiasmi International 2:278-279.
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  26.  9
    Note des Directeurs.Mauro Carbone, Federico Leoni & Ted Toadvine - 2015 - Chiasmi International 17:17-18.
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  27.  6
    Nota Dei Direttori.Mauro Carbone, Federico Leoni & Ted Toadvine - 2015 - Chiasmi International 17:21-22.
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  28.  32
    Natura e Logos (riassunto).Mauro Carbone - 2000 - Chiasmi International 2:279-279.
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  29.  12
    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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  30.  17
    Note From the Editorial Team.Mauro Carbone, Federico Leoni & Ted Toadvine - 2015 - Chiasmi International 17:19-20.
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  31.  7
    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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  32.  35
    Présentation.Mauro Carbone & Leonard Lawlor - 2001 - Chiasmi International 3:9-9.
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  33.  57
    Presentazione.Mauro Carbone & Leonard Lawlor - 2001 - Chiasmi International 3:11-11.
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  34.  36
    Presentazione.Mauro Carbone & Helen A. Fielding - 2005 - Chiasmi International 7:15-16.
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  35.  3
    Presentazione.Mauro Carbone - 2002 - Chiasmi International 4:9-9.
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  36.  4
    Présentation.Mauro Carbone - 2002 - Chiasmi International 4:10-10.
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  37.  4
    Presentazione.Mauro Carbone - 2008 - Chiasmi International 10:11-12.
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  38.  6
    Présentation.Mauro Carbone - 2008 - Chiasmi International 10:13-14.
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  39.  16
    Présentation.Mauro Carbone & Helen A. Fielding - 2005 - Chiasmi International 7:11-12.
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  40.  4
    Presentazione.Mauro Carbone & Leonard Lawlor - 2001 - Chiasmi International 3:11-11.
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  41.  3
    Présentation.Mauro Carbone & Leonard Lawlor - 2001 - Chiasmi International 3:9-9.
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  42.  11
    Pensare (Con) Patočka Oggi: Filosofia Fenomenologica E Filosofia Della Storia.Mauro Carbone & Caterina Croce (eds.) - 2012 - 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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  43.  24
    Pistorius, l’estetica e il rovesciamento del platonismo: Pensare con Merleau-Ponty (I’)oggi.Mauro Carbone - 2008 - Chiasmi International 10:35-44.
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  44.  24
    Résumé : Amour et musique.Mauro Carbone - 2009 - Chiasmi International 11:78-79.
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  45.  18
    Riassunto: Amore e musica.Mauro Carbone - 2009 - Chiasmi International 11:79-80.
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  46.  28
    riassunto: Carne. Per la storia di un fraintendimento.Mauro Carbone - 2002 - Chiasmi International 4:63-64.
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  47.  17
    résumé: Chair: Pour l’histoire d’un malentendu.Mauro Carbone - 2002 - Chiasmi International 4:62-63.
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  48.  24
    Résumé: Pistorius, l’esthétique et Ie renversement du platonisme.Mauro Carbone - 2008 - Chiasmi International 10:45-45.
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  49.  23
    Sur la Possibilite de la Philosophie Aujourd’Hui: Parution de I’edition italienne des derniers cours de Merleau-Ponty au Collège de France.Mauro Carbone - 2003 - Chiasmi International 5:333-336.
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  50.  14
    The Mutation of Our Relations with Screens as a Mutation of Our Relations with Being.Mauro Carbone - 2016 - Studia Phaenomenologica 16:325-342.
    Traces of Maurice Merleau-Ponty’s constant philosophical interest in cinema have been multiplying since the mid-1990s. These traces lead us to understand that such an interest was implicitly linked to the effort of ontologically rehabilitating the screen understood as the condition of possibility of our vision. Therefore I believe that the late Merleau-Ponty was trying to elaborate a conception of our way of seeing that can no longer be shaped on the representative window model, but rather on the screen model. In (...)
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