000			04094nam a22004458a 4500
001			ocm00003111
005			20240430143950.0
008			050915s2001 ncu b 001 0 eng
010			_a 2001023111
020			_a0822327228 : _c18.95
040			_aDLC _cDLC
050	0	0	_aP91 _b.R626 2001
069			_a09766378
090			_aP 91 .R626 2001
090			_aP 91 .R626 2001
100	1		_aRodowick, David Norman. _974012
245	1	0	_aReading the figural, or, Philosophy after the new media / _cD.N. Rodowick.
246	3	0	_aReading the figural
246	3	0	_aPhilosophy after the new media
260			_aDurham : _bDuke University Press, _c2001.
263			_a0110
300			_ap. cm.
440		0	_aPost-contemporary interventions _974013
504			_aIncludes bibliographical references and index.
505	0		_aPresenting the Figural -- The Idea of the Figural -- Lyotard's Leap into the Void: The Aesthetic before the New Media -- Paradoxes of the Visual, or Philosophy after the New Media -- Reading the Figural -- Rehearsing the Figural -- Foucault through Deleuze, or The Diagrammatics of Power -- Reading the Figural -- The End of Modernism -- The Figure and the Text -- Film and the Scene of Writing -- "With dreams displaced into a forest of script" -- Hieroglyphics, Montage, Enunciation -- The Ends of the Aesthetic -- The Historical Image -- A Plea for the Dead -- Social Hieroglyphs and the Optics of History -- The Antinomic Character of Time -- Anteroom Thinking, or "The Last Things before the Last" -- A Genealogy of Time -- Two Stories of 1968 -- Two Audiovisual Regimes: The Movement-Image and Time-Image -- The Ends of the Dialectic and the Return of History: Hegel and Nietzsche -- Genealogy, Countermemory, Event -- An Uncertain Utopia--Digital Culture -- An Image of Technological Abundance -- A Digression on Postmodernism -- Three Questions concerning Digital Culture -- An Impossible Ideal of Power.
520			_aIn Reading the Figural, or, Philosophy after the New Media D. N. Rodowick applies the concept of "the figural" to a variety of philosophical and aesthetic issues. Inspired by the aesthetic philosophy of Jean-Francois Lyotard, the figural defines a semiotic regime where the distinction between linguistic and plastic representation breaks down. This opposition, which has been the philosophical foundation of aesthetics since the eighteenth century, has been explicitly challenged by the new electronic, televisual, and digital media. Rodowick -- one of the foremost film theorists writing today -- contemplates this challenge, describing and critiquing the new regime of signs and new ways of thinking that such media have inaugurated.
520	8		_aTo fully comprehend the emergence of the figural requires a genealogical critique of the aesthetic, Rodowick claims. Seeking allies in this effort to deconstruct the opposition of word and image and to create new concepts for comprehending the figural, he journeys through a range of philosophical writings: Thierry Kuntzel and Marie-Claire Ropars-Wuilleumier on film theory; Jacques Derrida on the deconstruction of the aesthetic; Siegfried Kracauer and Walter Benjamin on the historical image as a utopian force in photography and film; and Gilles Deleuze and Michel Foucault on the emergence of the figural as both a semiotic regime and a new stratagem of power coincident with the appearance of digital phenomena and of societies of control.
650		0	_aMass media _xPhilosophy. _974014
650		0	_aVisual communication. _974015
650		0	_aSemiotics. _974016
650		0	_aAesthetics. _974017
852			_9p18.95 _y08-26-2002
907			_a13440 _b08-06-10 _c08-06-10
942			_cBOOK _02
998			_aaudmc _b08-26-02 _cm _da _e- _feng _gncu _h0
905			_aD. N. Rodowick is Professor of Film Studies at King's College London
935			_aPO-10338 GEN4
945			_g0 _i630590 _j0 _laudmc _nCopy Type:01 - Books _o- _p69.64 _q- _r- _s- _t1 _u2 _v9 _w2 _x0 _yi10189920 _z08-06-10
999			_c13440 _d13440