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  1.  16
    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.  67
    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.  10
    An Unprecedented Deformation: Marcel Proust and the Sensible Ideas.Mauro Carbone - 2010 - State University of New York Press.
  4.  10
    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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  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.  12
    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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  7.  11
    Presentation. In Other Words.Mauro Carbone - 2023 - Chiasmi International 25:19-22.
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  8.  10
    Presentazione. In altre parole.Mauro Carbone - 2023 - Chiasmi International 25:23-26.
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  9.  9
    Présentation. En d’autres termes.Mauro Carbone - 2023 - Chiasmi International 25:13-17.
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  10.  54
    Flesh: Towards the History of a Misunderstanding.Mauro Carbone - 2002 - Chiasmi International 4:49-62.
  11.  8
    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.  10
    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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  13.  5
    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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  14.  10
    Flesh: Towards the History of a Misunderstanding.Mauro Carbone - 2002 - Chiasmi International 4:49-62.
  15.  4
    Presentazione.Mauro Carbone - 2002 - Chiasmi International 4:11-11.
  16.  26
    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 (eds.), Value and Ontology. Ontos-Verlag. pp. 293.
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  17.  19
    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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  18.  32
    Ad limina philosophiae (riassunto).Mauro Carbone - 2001 - Chiasmi International 3:329-330.
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  19.  19
    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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  20.  19
    Ad limina philosophiae.Mauro Carbone - 2001 - Chiasmi International 3:328-329.
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  21.  8
    Ad Limina Philosophiae.Mauro Carbone - 2001 - Chiasmi International 3:311-327.
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  22.  23
    Abstract: Pistorius, Aesthetics and the Reversing of Platonism.Mauro Carbone - 2008 - Chiasmi International 10:46-46.
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  23.  5
    Filosofia-schermi: dal cinema alla rivoluzione digitale.Mauro Carbone - 2016 - Milano: Raffaello Cortina editore.
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  24.  28
    Gli anni Novanta in Italia.Mauro Carbone - 1999 - Chiasmi International 1:15-17.
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  25.  23
    Introduction.Mauro Carbone - 2008 - Chiasmi International 10:15-16.
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  26.  8
    Introduction.Mauro Carbone - 2008 - Chiasmi International 10:15-16.
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  27.  25
    Présentation.Mauro Carbone & Helen A. Fielding - 2005 - Chiasmi International 7:11-12.
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  28.  10
    Presentazione.Mauro Carbone & Leonard Lawlor - 2001 - Chiasmi International 3:11-11.
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  29.  6
    Il sensibile e l'eccedente: mondo estetico, arte, pensiero.Mauro Carbone - 1996 - Milano: Guerini studio.
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  30.  36
    II tempo mitico delle idee: Merleau-Ponty e Deleuze lettori di Proust.Mauro Carbone - 1999 - Chiasmi International 1:213-229.
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  31.  36
    Love and Music: Theme and Variations.Mauro Carbone - 2009 - Chiasmi International 11:63-78.
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  32.  8
    La déformation en tant que principe de déreprésentation.Mauro Carbone - 2013 - Nouvelle Revue D’Esthétique 12 (2):201.
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  33. L'evento dell'11 settembre 2001: quando iniziò il XXI secolo.Mauro Carbone - 2021 - Milano: Mimesis.
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  34.  9
    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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  35.  35
    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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  36.  11
    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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  37.  21
    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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  38.  17
    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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  39.  26
    Le temps mythique des idées (résumé).Mauro Carbone - 1999 - Chiasmi International 1:230-230.
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  40. Merleau-Ponty at the limits of phenomenology.Mauro Carbone - 2013 - In Leonard Lawlor (ed.), Phenomenology: Responses and Developments. Routledge.
     
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  41. 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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  42.  10
    Merleau-Ponty e l'estetica oggi =.Mauro Carbone, Anna Caterina Dalmasso & Elio Franzini (eds.) - 2013 - Milano: Mimesis.
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  43.  38
    Nature et Logos.Mauro Carbone - 2000 - Chiasmi International 2:261-278.
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  44.  15
    Note des Directeurs.Mauro Carbone, Federico Leoni & Ted Toadvine - 2015 - Chiasmi International 17:17-18.
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  45.  12
    Nota dei Direttori.Mauro Carbone, Federico Leoni & Ted Toadvine - 2015 - Chiasmi International 17:21-22.
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  46.  39
    Natura e Logos (riassunto).Mauro Carbone - 2000 - Chiasmi International 2:279-279.
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  47.  9
    Nature et Logos.Mauro Carbone - 2000 - Chiasmi International 2:261-278.
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  48.  19
    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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  49.  6
    Nature et Logos.Mauro Carbone - 2000 - Chiasmi International 2:261-278.
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  50.  30
    Note From the Editorial Team.Mauro Carbone, Federico Leoni & Ted Toadvine - 2015 - Chiasmi International 17:19-20.
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