Benjamin, Deleuze and the Baroque
portes grátis
Benjamin, Deleuze and the Baroque
The Early Modern Origins of Media Theory
Levin, Noa
Bloomsbury Publishing PLC
02/2025
240
Dura
9781350414211
Pré-lançamento - envio 15 a 20 dias após a sua edição
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Introduction
I. A Strange Encounter
II. Redefining the Baroque
III. Leibniz, Paradigmatic Baroque Philosopher
Chapter 1: Of Monads and Mirrors: Leibniz's Monad in Deleuze and Benjamin
1.1 The Structure of Expression
1.2 Leibniz's Two Labyrinths
1.3 A Forbidden Tradition
1.4 Continuity of Knowledge and Experience
Chapter 2: Infinite Tasks of Learning: The Baroque-Inspired Critical Epistemologies of Benjamin and Deleuze
2.1 Infinite Analysis
2.2 Refiguring the Idea
2.3 The Concept of Origin
2.4 Minute Perceptions
2.5 Learning as Recollection
Chapter 3: Forces of History and Spectres of Return: The Baroque as Origin of Enlightenment Politics and Historicisms
3.1 Leibniz's Concepts of Force and Historical Progress
3.2 Virtual Histories and Infinite Totalities
3.3 Force and Violence in Origin of the German Trauerspiel
3.4 Apokatastasis and Eternal Return
3.5 Benjamin and Mallarme on Chance and Probability
Chapter 4: It's All about Perspective: The Body Politics of the Baroque Image
4.1 Benjamin's Monadic Montage
4.2 Leibniz's Conceptions of Image and Perspective
4.3 Perspectivism and Mannerism
4.4 Allegory and Symbol
4.4 Perception and Body
Chapter 5: From the Crystal Palace to Cinematic Crystals: The Baroque Optic as Pre-cinematic Form
5.1 Between the Dialectical Image and the Crystal-Image
5.2 Deleuze and Benjamin on Montage and Montrage
5.3 The Crystal Pyramid, Leibniz's Theodicy
Conclusion
I. A Strange Encounter
II. Redefining the Baroque
III. Leibniz, Paradigmatic Baroque Philosopher
Chapter 1: Of Monads and Mirrors: Leibniz's Monad in Deleuze and Benjamin
1.1 The Structure of Expression
1.2 Leibniz's Two Labyrinths
1.3 A Forbidden Tradition
1.4 Continuity of Knowledge and Experience
Chapter 2: Infinite Tasks of Learning: The Baroque-Inspired Critical Epistemologies of Benjamin and Deleuze
2.1 Infinite Analysis
2.2 Refiguring the Idea
2.3 The Concept of Origin
2.4 Minute Perceptions
2.5 Learning as Recollection
Chapter 3: Forces of History and Spectres of Return: The Baroque as Origin of Enlightenment Politics and Historicisms
3.1 Leibniz's Concepts of Force and Historical Progress
3.2 Virtual Histories and Infinite Totalities
3.3 Force and Violence in Origin of the German Trauerspiel
3.4 Apokatastasis and Eternal Return
3.5 Benjamin and Mallarme on Chance and Probability
Chapter 4: It's All about Perspective: The Body Politics of the Baroque Image
4.1 Benjamin's Monadic Montage
4.2 Leibniz's Conceptions of Image and Perspective
4.3 Perspectivism and Mannerism
4.4 Allegory and Symbol
4.4 Perception and Body
Chapter 5: From the Crystal Palace to Cinematic Crystals: The Baroque Optic as Pre-cinematic Form
5.1 Between the Dialectical Image and the Crystal-Image
5.2 Deleuze and Benjamin on Montage and Montrage
5.3 The Crystal Pyramid, Leibniz's Theodicy
Conclusion
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Baroque; media; philosophy; Walter Benjamin; Gilles Deleuze; Leibnitz; perspectivism; Media history
Introduction
I. A Strange Encounter
II. Redefining the Baroque
III. Leibniz, Paradigmatic Baroque Philosopher
Chapter 1: Of Monads and Mirrors: Leibniz's Monad in Deleuze and Benjamin
1.1 The Structure of Expression
1.2 Leibniz's Two Labyrinths
1.3 A Forbidden Tradition
1.4 Continuity of Knowledge and Experience
Chapter 2: Infinite Tasks of Learning: The Baroque-Inspired Critical Epistemologies of Benjamin and Deleuze
2.1 Infinite Analysis
2.2 Refiguring the Idea
2.3 The Concept of Origin
2.4 Minute Perceptions
2.5 Learning as Recollection
Chapter 3: Forces of History and Spectres of Return: The Baroque as Origin of Enlightenment Politics and Historicisms
3.1 Leibniz's Concepts of Force and Historical Progress
3.2 Virtual Histories and Infinite Totalities
3.3 Force and Violence in Origin of the German Trauerspiel
3.4 Apokatastasis and Eternal Return
3.5 Benjamin and Mallarme on Chance and Probability
Chapter 4: It's All about Perspective: The Body Politics of the Baroque Image
4.1 Benjamin's Monadic Montage
4.2 Leibniz's Conceptions of Image and Perspective
4.3 Perspectivism and Mannerism
4.4 Allegory and Symbol
4.4 Perception and Body
Chapter 5: From the Crystal Palace to Cinematic Crystals: The Baroque Optic as Pre-cinematic Form
5.1 Between the Dialectical Image and the Crystal-Image
5.2 Deleuze and Benjamin on Montage and Montrage
5.3 The Crystal Pyramid, Leibniz's Theodicy
Conclusion
I. A Strange Encounter
II. Redefining the Baroque
III. Leibniz, Paradigmatic Baroque Philosopher
Chapter 1: Of Monads and Mirrors: Leibniz's Monad in Deleuze and Benjamin
1.1 The Structure of Expression
1.2 Leibniz's Two Labyrinths
1.3 A Forbidden Tradition
1.4 Continuity of Knowledge and Experience
Chapter 2: Infinite Tasks of Learning: The Baroque-Inspired Critical Epistemologies of Benjamin and Deleuze
2.1 Infinite Analysis
2.2 Refiguring the Idea
2.3 The Concept of Origin
2.4 Minute Perceptions
2.5 Learning as Recollection
Chapter 3: Forces of History and Spectres of Return: The Baroque as Origin of Enlightenment Politics and Historicisms
3.1 Leibniz's Concepts of Force and Historical Progress
3.2 Virtual Histories and Infinite Totalities
3.3 Force and Violence in Origin of the German Trauerspiel
3.4 Apokatastasis and Eternal Return
3.5 Benjamin and Mallarme on Chance and Probability
Chapter 4: It's All about Perspective: The Body Politics of the Baroque Image
4.1 Benjamin's Monadic Montage
4.2 Leibniz's Conceptions of Image and Perspective
4.3 Perspectivism and Mannerism
4.4 Allegory and Symbol
4.4 Perception and Body
Chapter 5: From the Crystal Palace to Cinematic Crystals: The Baroque Optic as Pre-cinematic Form
5.1 Between the Dialectical Image and the Crystal-Image
5.2 Deleuze and Benjamin on Montage and Montrage
5.3 The Crystal Pyramid, Leibniz's Theodicy
Conclusion
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
