{"text_format":"2","workbook":"xls","n_sheets":1,"sheets":["report2"],"not_rendered":{"charts":0,"images":0,"macros":0,"external_links":1,"defined_names":1,"comments":0,"pivot_tables":0},"unopened":[],"bounds":{"document_bytes":16777216,"sheet_cells":100000,"run_cost":"one","rows_first":2000,"rows_last":500,"rows_between":2000,"halvings":0,"cell_chars":16384,"cell_head_chars":4096},"cells_cut":0,"cells_raw":0,"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":18,"n_cols":5,"rows_kept":18,"cut":false,"hidden":false,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[2,4,2,5],[3,2,3,3],[4,2,4,3],[5,2,5,3],[6,2,6,3],[7,2,7,3],[8,2,8,3],[12,2,12,3],[13,2,13,3],[16,2,16,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNINA9910136108003321"]
[null,null,"Autore",null,"Marion Jean-Luc <1946->"]
[null,null,"Titolo",null,"The crossing of the visible / / Jean-Luc Marion ; translated by James K. A. Smith"]
[null,null,"Pubbl/distr/stampa",null,"Stanford, California : , : Stanford University Press, , 2004"]
[null,null,"ISBN",null,"1-5036-0271-0"]
[null,null,"Descrizione fisica",null,"1 online resource (116 pages)"]
[null,null,"Collana",null,"Cultural memory in the present"]
[null,null,"Disciplina",null,"750/.1/8"]
[null,null,"Soggetti",null,"Visual perception"]
[{"$nulls":4},"Perspective"]
[{"$nulls":4},"Painting - Philosophy"]
[{"$nulls":4},"Phenomenology"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Nota di bibliografia","Includes bibliographical references."]
[null,null,"Nota di contenuto",null,"Frontmatter -- Contents -- Preface -- 1. The crossing of the visible and the invisible -- 2. What gives -- 3. The blind at Shiloh -- 4. The prototype and the image -- Bibliographical note -- Translator’s note -- Notes"]
[null,null,null,"Sommario/riassunto","Painting, according to Jean-Luc Marion, is a central topic of concern for philosophy, particularly phenomenology. For the question of painting is, at its heart, a question of visibility—of appearance. As such, the painting is a privileged case of the phenomenon; the painting becomes an index for investigating the conditions of appearance—or what Marion describes as \"phenomenality\" in general. In The Crossing of the Visible, Marion takes up just such a project. The natural outgrowth of his earlier reflections on icons, these four studies carefully consider the history of painting—from classical to contemporary—as a fund for phenomenological reflection on the conditions of (in)visibility. Ranging across artists from Raphael to Rothko, Caravaggio to Pollock, The Crossing of the Visible offers both a critique of contemporary accounts of the visual and a constructive alternative. According to Marion, the proper response to the \"nihilism\" of postmodernity is not iconoclasm, but rather a radically iconic account of the visual and the arts that opens them to the invisible."]