Oleg Aronson
Biographic Data
| ID | 3940371 |
|---|---|
| NAME | Oleg Aronson |
| GIVEN NAMES | Oleg |
| FAMILY NAME | Aronson |
| SIGNATURE | ARONSON O |
| AFFILIATIONS | Institute of Philosophy |
| ORCID | 0000-0001-6753-7724 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Shame as Sensus Communis
Roundtable
Politics and perversion (Pier Paolo Pasolini’s de Sade today)
The article attempts to examine Pier Paolo Pasolini?s film Salo, or 120 Days of Sodom, not only as an adaptation of Marquis de Sade?s work, but as a possible response to the problems of modern society, which reanimates fascism, no longer as political ideology, but as a ?natural? form of contemporary human sensibility. Relying on his original ?semiology of reality,? the expression of which is cinema, Pasolini?s film embodies the non-political logi…
Imaginary Matter (The Sketch to Formal Understanding of Revolution)
В статье «Материя мнимостей» рассматриваются протесты 1968 г. как продолжение социальных революционных процессов, запущенных Великой французской революцией. Революция интерпретируется автором не как событие исторического разрыва, а как процесс большой длительности (отсылающий к проблематике времени longue durée Фернана Броделя). Знаки так понятой революции располагаются уже вне режима человеческого восприятия и созерцания, вне категорий време…
Preliminary Remarks toward a Formal Understanding of Revolution
In this essay, Oleg Aronson proposes to view the protests of 1968 as a continuation of the social revolutionary processes initiated by the French Revolution. The author interprets revolution not as an event of historical rupture but as a process of long duration (in the sense of Fernand Braudel's longue durée). Signs of such revolution are found beyond the regime of human perception and contemplation, beyond the categories of space and time, in t…
The actor's body Constantin stanislavski's cinematic theatre
Preliminary Remarks toward a Formal Understanding of Revolution
In this essay, Oleg Aronson proposes to view the protests of 1968 as a continuation of the social revolutionary processes initiated by the French Revolution. The author interprets revolution not as an event of historical rupture but as a process of long duration (in the sense of Fernand Braudel's longue durée). Signs of such revolution are found beyond the regime of human perception and contemplation, beyond the categories of space and time, in t…
The actor's body Constantin stanislavski's cinematic theatre
Imaginary Matter (The Sketch to Formal Understanding of Revolution)
В статье «Материя мнимостей» рассматриваются протесты 1968 г. как продолжение социальных революционных процессов, запущенных Великой французской революцией. Революция интерпретируется автором не как событие исторического разрыва, а как процесс большой длительности (отсылающий к проблематике времени longue durée Фернана Броделя). Знаки так понятой революции располагаются уже вне режима человеческого восприятия и созерцания, вне категорий време…
Preliminary Remarks toward a Formal Understanding of Revolution
In this essay, Oleg Aronson proposes to view the protests of 1968 as a continuation of the social revolutionary processes initiated by the French Revolution. The author interprets revolution not as an event of historical rupture but as a process of long duration (in the sense of Fernand Braudel's longue durée). Signs of such revolution are found beyond the regime of human perception and contemplation, beyond the categories of space and time, in t…
Shame as Sensus Communis
Roundtable
Politics and perversion (Pier Paolo Pasolini’s de Sade today)
The article attempts to examine Pier Paolo Pasolini?s film Salo, or 120 Days of Sodom, not only as an adaptation of Marquis de Sade?s work, but as a possible response to the problems of modern society, which reanimates fascism, no longer as political ideology, but as a ?natural? form of contemporary human sensibility. Relying on his original ?semiology of reality,? the expression of which is cinema, Pasolini?s film embodies the non-political logi…
Philosophy (5 works) · Epistemology (4 works) · Law (4 works) · Political science (4 works) · Sociology (4 works) · Art (3 works) · Law (3 works) · Philosophy (3 works) · Politics (3 works) · Psychoanalysis (3 works)