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Titulos:
Althusser and Pasolini Philosophy, Marxism, and Film / by Agon Hamza.
ISBN:
1-137-56652-3
Lugar de Edición:
Editor:
Fecha de Edición:
Edición #:
1st ed. 2016.
Notas #:
Description based upon print version of record.
Notas Formateada:
Introduction: Althusser and Pasolini -- PART I: On Althusser -- 1. Contextualisation -- 2. Periodization -- 3. Taking Sides: Hegel or Spinoza? -- 4. Structural Causality -- 5. Althusser before Althusser: from Christianity to Communism -- 6. Marxists Preshistory -- 7. Proletariat of Human Condition Versus the Proletariat of Labor -- 8. Christian Materialism -- 9. Antiphilosophy -- 10. Definition of Ideology -- 11. Epistemological Break -- 12. Interpellation -- 13. State Apparatuses -- 14. Church as an Ideological State Apparatus 15. Althussers Politics -- PART II: The Gospel According to Althusser -- 16. Setting the Stage -- 17. Camera as an Ideological Apparatus -- 18. Film as a Commodity -- 19. Representation -- 20. The Christian Reality -- 21. Religious Suspension of the Theological -- 22. Religious-Political -- us Humanity -- 25. The Politics of Religion -- 26. Pasolinis Political Though -- Conclusion: Marxism and Film. .
Nota de contenido:
Agon Hamza offers an in-depth analysis of the main thesis of Louis Althussers philosophical enterprise alongside a clear, engaging dissection of Pier Paolo Pasolinis most important films. There is a philosophical, religious, and political relationship between Althussers philosophy and Pier Paolo Pasolinis films. Hamza teases out the points of contact, placing specific focus on critiques of ideology, religion, ideological state apparatuses, and the class struggle. The discussion, however, does not address Althusser and Pasolini alone. Hamza also draws on Spinoza, Hegel, Marx, and iek to complete his study. Pasolinis films are a treasure-trove of Althusserian thought, and Hamza ably employs Althusserian terms in his reading of the films. Althusser and Pasolini provides a creative reconstruction of Althusserian philosophy, as well as a novel examination of Pasolinis film from the perspective of the filmmakers own thought and Althussers theses. .
Palabras clave:
Aesthetics.; Philosophy, modern.; Social sciences-Philosophy.; Philosophy.; Motion pictures-European influen.; Aesthetics.; Modern Philosophy.; Social Philosophy.; Philosophy of Religion.; European Cinema and TV.

Leader:
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Campo 245:
10^aAlthusser and Pasolini^h[electronic resource] :^bPhilosophy, Marxism, and Film /^cby Agon Hamza.
Campo 246:
Campo 250:
^a1st ed. 2016.
Campo 300:
^a1 online resource (200 p.)
Campo 500:
^aDescription based upon print version of record.
Campo 505:
0 ^aIntroduction: Althusser and Pasolini -- PART I: On Althusser -- 1. Contextualisation -- 2. Periodization -- 3. Taking Sides: Hegel or Spinoza? -- 4. Structural Causality -- 5. Althusser before Althusser: from Christianity to Communism -- 6. Marxists Preshistory -- 7. Proletariat of Human Condition Versus the Proletariat of Labor -- 8. Christian Materialism -- 9. Antiphilosophy -- 10. Definition of Ideology -- 11. Epistemological Break -- 12. Interpellation -- 13. State Apparatuses -- 14. Church as an Ideological State Apparatus 15. Althussers Politics -- PART II: The Gospel According to Althusser -- 16. Setting the Stage -- 17. Camera as an Ideological Apparatus -- 18. Film as a Commodity -- 19. Representation -- 20. The Christian Reality -- 21. Religious Suspension of the Theological -- 22. Religious-Political -- us Humanity -- 25. The Politics of Religion -- 26. Pasolinis Political Though -- Conclusion: Marxism and Film. .
Campo 520:
^a Agon Hamza offers an in-depth analysis of the main thesis of Louis Althussers philosophical enterprise alongside a clear, engaging dissection of Pier Paolo Pasolinis most important films. There is a philosophical, religious, and political relationship between Althussers philosophy and Pier Paolo Pasolinis films. Hamza teases out the points of contact, placing specific focus on critiques of ideology, religion, ideological state apparatuses, and the class struggle. The discussion, however, does not address Althusser and Pasolini alone. Hamza also draws on Spinoza, Hegel, Marx, and iek to complete his study. Pasolinis films are a treasure-trove of Althusserian thought, and Hamza ably employs Althusserian terms in his reading of the films. Althusser and Pasolini provides a creative reconstruction of Althusserian philosophy, as well as a novel examination of Pasolinis film from the perspective of the filmmakers own thought and Althussers theses. .
Campo 650:
0^aAesthetics.
Campo 650:
0^aPhilosophy, modern.
Campo 650:
0^aSocial sciences-Philosophy.
Campo 650:
0^aPhilosophy.
Campo 650:
0^aMotion pictures-European influen.
Campo 650:
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Campo 650:
24^aModern Philosophy.^0http://scigraph.springernature.com/things/product-market-codes/E19000
Campo 650:
24^aSocial Philosophy.^0http://scigraph.springernature.com/things/product-market-codes/E43000
Campo 650:
24^aPhilosophy of Religion.^0http://scigraph.springernature.com/things/product-market-codes/E33000
Campo 650:
24^aEuropean Cinema and TV.^0http://scigraph.springernature.com/things/product-market-codes/413060
Proveniencia:
^aUniversidad de San Andrés - Biblioteca Max Von Buch
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Institucion:
Universidad de San Andrés
Dependencia:
Biblioteca Max Von Buch

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