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201. The American Journal of Semiotics: Volume > 21 > Issue: 1/4
Alfred G. Mueller II Krostenko illustrating the ‘Language of Social Performance’
202. The American Journal of Semiotics: Volume > 21 > Issue: 1/4
Igor E. Klyukanov Floyd Merrell’s Tasking Textuality
203. The American Journal of Semiotics: Volume > 21 > Issue: 1/4
Robert Hodgson, Jr. Dinda Gorlée ‘On Translating Signs’
204. The American Journal of Semiotics: Volume > 21 > Issue: 1/4
Mimi Marinucci Wilson on Science in Early Modern Thought
205. The American Journal of Semiotics: Volume > 21 > Issue: 1/4
Jennifer L. Adams Bochner and Ellis collection on Autoethnography, Literature, Aesthetics
206. The American Journal of Semiotics: Volume > 21 > Issue: 1/4
Ibrahim Taha Jonathan Culler’s Pursuit of Signs
207. The American Journal of Semiotics: Volume > 21 > Issue: 1/4
Paolo Chirumbolo Marcel Danesi on ‘The Puzzle Instinct’
208. The American Journal of Semiotics: Volume > 21 > Issue: 1/4
Pedro J. Chamizo Domínguez John Deely’s ‘Four Ages’
209. The American Journal of Semiotics: Volume > 21 > Issue: 1/4
Michael B. Ewbank John Deely’s Impact on Philosophy of Semiotics
210. The American Journal of Semiotics: Volume > 27 > Issue: 1/4
Marta Pikor-Niedziałek Gender and Politeness
211. The American Journal of Semiotics: Volume > 27 > Issue: 1/4
Grzegorz A. Kleparski, Marta Pikor-Niedziałek Gender and Language: Towards a Feminist Pragmatics
212. The American Journal of Semiotics: Volume > 27 > Issue: 1/4
Tony Williams It Came From Hunger! Tales of a Cinema Schlockmeister
213. The American Journal of Semiotics: Volume > 27 > Issue: 1/4
Randall Bytwerk Art, Culture, and Media Under the Third Reich
214. The American Journal of Semiotics: Volume > 27 > Issue: 1/4
Steven L. Reagles McLuhan in Space: A Cultural Geography
215. The American Journal of Semiotics: Volume > 27 > Issue: 1/4
Michael Fotiadis A Study of the Remains of Mycenaean Roads and Stations of Bronze Age Greece
216. Sign Systems Studies: Volume > 46 > Issue: 1
Andreas Ventsel, Taras Boyko On the Analysis of Power and Politics from the Perspective of Juri Lotman’s Semiotics of Culture
217. Palimpsest: Volume > 7 > Issue: 2
Amaziah Zuri Finley LaKisha Michelle Simmons, Crescent City Girls: The Lives of Young Black Women in Segregated New Orleans
218. Palimpsest: Volume > 7 > Issue: 2
Courtney S. Cain Adam Ewing, The Age of Garvey: How a Jamaican Activist Created a Mass Movement and Changed Global Black Politics
219. Chiasmi International: Volume > 21
Judith Wambacq L’animisme de Merleau-Ponty et Guattari. Une critique de La machine sensible de Stefan Kristensen
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Avec son livre La machine sensible, Stefan Kristensen réalise, de façon magistrale, deux objectifs. D’abord, il met en lien la pensée de deux philosophes qui sont à première vue très éloignés l’un de l’autre. Il s’agit de Félix Guattari et de Maurice Merleau-Ponty. Traditionnellement, Merleau-Ponty est considéré comme le philosophe du corps, tandis que Guattari est connu comme le philosophe du corps sans organes. Merleau-Ponty est un phénoménologue, tandis que Guattari prétend abandonner le point de vue du sujet. Kristensen démontre avec succès quel est le terrain commun des deux auteurs : la critique de la conception psychanalytique du sujet.Le deuxième objectif du livre découle directement du premier : présenter au lecteur une alternative à la conception intimiste de la subjectivité, soit comprendre la subjectivité comme fondamentalement parcourue par une altérité. Merleau-Ponty a été l’un des premiers, à l’instar de Paul Schilder, à mettre l’accent sur le caractère collectif et intersubjectif de cette altérité. Guattari a compris que cette altérité possède des sédiments politiques et historiques.With his book La machine sensible, Stefan Kristensen accomplishes two goals in a masterly way. First, he links the works of two philosophers who are very different at first sight: Maurice Merleau-Ponty and Félix Guattari. Traditionally, Merleau-Ponty is considered the philosopher of the body, whereas Guattari is known as the philosopher of the body without organs. Merleau-Ponty is a phenomenologist, whereas Guattari pretends to abandon the point of view of the subject. Kristensen identifies the common ground of the two authors: the criticism of the psychoanalytical conception of the subject.The second goal of the book derives directly from the first: present the reader with an alternative for the intimate conception of subjectivity, that is, present him or her with the idea that subjectivity is always characterized by an alterity. Merleau-Ponty, following the example of Paul Schilder, has been one of the first to stress the collective and intersubjective nature of this alterity. Guattari has understood that this alterity has political and historical sediments.Con il suo libro La machine sensible, Stefan Kristensen realizza magistralmente due obiettivi. Innanzitutto, egli mette in relazione il pensiero di due filosofi a prima vista molto distanti tra loro: Félix Guattari e Maurice Merleau-Ponty. Se tradizionalmente Merleau-Ponty è considerato il filosofo del corpo, Guattari è invece noto come il filosofo del corpo senza organi. Merleau-Ponty è un fenomenologo, mentre il pensiero di Guattari intende abbandonare il punto di vista del soggetto. Kristensen propone allora di leggere la critica della concezione psicoanalitica del soggetto come terreno comune tra i due autori. Il secondo obiettivo del libro discende direttamente dal primo: presentare al lettore un’alternativa alla concezione intimista della soggettività, ovvero concepire la soggettività come fondamentalmente percorsa da un’alterità. Merleau-Ponty è tra i primi, sulla scorta di Paul Schilder, a porre l’accento sul carattere collettivo e intersoggettivo di questa alterità. Dal canto suo, Guattari ha compreso che questa alterità possiede dei sedimenti politici e storici.
220. Chiasmi International: Volume > 21
Charles Bobant Compte Rendu de Anna Caterina Dalmasso, Le Corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty
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Dans son livre Le corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty, Anna Caterina Dalmasso met en évidence la présence de la pensée merleau-pontienne dans les réflexions contemporaines relevant des visual studies, de la médiologie et des études cinématographiques. Les analyses menées révèlent un Merleau-Ponty à l’origine d’un certain nombre de « tournants » majeurs dans le questionnement, touchant notamment à la conception de l’image (de l’image copie d’un modèle à l’image qui nous regarde) et du médium (du modèle de la transparence à celui de l’opacité). Enfin, l’une des ambitions – et l’une des réussites – de l’ouvrage est de restituer l’apport significatif de Merleau-Ponty pour les film studies. A.C. Dalmasso jette des lumières nouvelles sur une interrogation en constante évolution, en s’appuyant à la fois sur les textes bien connus (« Le cinéma et la nouvelle psychologie », L’OEil et l’esprit) et les « inédits » (Le Monde sensible et le monde de l’expression).In her book Le corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty, Anna Caterina Dalmasso brings to light the presence of Merleau-pontian thought in contemporary reflections relevant to visual studies, as well as film and media studies. The analyses she carried out reveal a Merleau-Ponty at the origin of a certain number of major “turns” in the inquiry, touching notably on the conception of the image (from the image as copy of a model to the image that looks at us) and of the medium (from the model of transparency to that of opacity). Besides, one of the ambitions – and one of the successes – of the work is to demonstrate the significant contribution of Merleau-Ponty for film studies. A.C. Dalmasso throws new light on an interrogation in constant evolution, stressing both well-known texts (“Film and the New Psychology,” Eye and Mind) and unpublished manuscripts (Le monde sensible et le monde de l’expression).Nel volume Le corps, c’est l’écran. La philosophie du visuel de Merleau-Ponty, Anna Caterina Dalmasso mette in evidenza la presenza del pensiero merleau-pontyano nelle riflessioni contemporanee dei visual studies, della teoria del cinema e dei media. Le analisi che vi sono condotte rivelano un Merleau-Ponty all’origine di alcune importanti “svolte”, che riguardano in particolare la concezione dell’immagine (dall’immagine come copia di un modello ad un’immagine che ci guarda) e del medium (da un modello basato sulla trasparenza a uno che fa perno sulla sua opacità). Inoltre, una delle ambizioni – e uno degli aspetti più originali – dell’opera è quella di restituire il significativo apporto di Merleau-Ponty per l’ambito dei film studies. A.C. Dalmasso fa luce in modo innovativo su un tema di ricerca in costante evoluzione, appoggiandosi ad un tempo su scritti più noti (come “Il cinema e la nuova psicologia” e L’occhio e lo spirito) e su alcuni testi “inediti” (in particolare Le monde sensible et le monde de l’expression).