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Aronson, Oleg Vladimirovich

Oleg Vladimirovich Aronson (Oleg Aronson, born 1964, Orsha ) - Russian art critic , theorist of film and television, philosopher . Candidate of Philosophy, teacher and public figure [2] [3] .

Oleg Vladimirovich Aronson
Aronson.jpg
Date of Birth
Place of Birth
A country
Scientific fieldfilm science , philosophy
Place of workInstitute of Philosophy RAS
Alma materMIIZHDT
Academic degreePhD in Philosophy
Awards and prizesAndrey Bely Prize (2007)

Thesis: "The philosophical foundations of the analysis of cinematic space" 09.00.03 - M., 1997 [4] .

Winner of the Miron Chernenko Prize of the Guild of Film Critics and Film Critics of Russia ( 2003 ) for research on the border between philosophy and cinema in the book “Metakino” (M., “Ad Margin”, 2003).

Winner of the Andrei Bely Prize for Humanitarian Research ( 2007 ).

Laureate of the fifth season of the Literary Prize named after Alexander Pyatigorsky for the book “Forces of False. The experiences of non-political democracy ”( 2017 - 2018 ).

Content

Education

Born in the city of Orsha (now the Republic of Belarus ) in a family of doctors - Vladimir Borisovich A. and Nina Iosifovna Adashkevich. He graduated from the Moscow Institute of Railway Engineers , Department of Applied Mathematics (1981-1986).

Graduate School of the Institute of Philosophy of the Russian Academy of Sciences (1991-1994).

The dissertation for the degree of candidate of philosophical sciences (1997).

Doctoral studies at the Institute of Philosophy of the Russian Academy of Sciences (2001-2003).

Work

  • Senior Researcher, Institute of Philosophy, Russian Academy of Sciences
  • Senior Researcher, Institute of Russian Anthropological School, Russian State Humanitarian University

Books

  • Bohemia: Community Experience. Outline to the philosophy of antisociality. - M: Pragmatics of Culture, 2002.
  • Metakino. - M.: Ad Marginem , 2003. (Prize named after Miron Chernenko)
  • Communicative image. Movie. Literature. Philosophy. - M.: New Literary Review, 2007. (Andrey Bely Prize in the nomination “Humanitarian Studies” [5] )
  • Beyond the imagination. Contemporary art and modern philosophy. - Nizhny Novgorod, 2009. (co-authored with Elena Petrovskaya)
  • What remains of art. - M.: Institute of Contemporary Art, 2015. (co-authored with Elena Petrovskaya)
  • The power of the false. The experiences of non-political democracy. - M.: Phalanster, 2017 .-- ISBN 978-999999-0-42-4 .
  • P.P. Pasolini . Theorem. - M: Ladomir, 2000. - Afterword Approaching passion.
  • J. Deleuze . Nietzsche and philosophy. - M .: Ad Marginem, 2003. - introductory article Game of random forces.
  • J. Deleuze. Cinema 1: Image-movement. Cinema 2: Image-time. - M.: Ad Marginem, 2004. - Scientific editorial and introductory article.
  • M. Mamardashvili . The experience of physical metaphysics. Vilnius lectures on social philosophy. - M .: Progress-tradition, 2008. - afterword Inappropriate being.
  • K. Metz. Imaginary signifier. Psychoanalysis and cinema. St. Petersburg: Publishing House of the European University in St. Petersburg, 2010. - Preface Semiotic dream.

Interview

  • Radio Liberty
  • "Theories and Practices"

Some articles (more than 200 publications in total)

  • Oleg Aronson on the affective economics of art: from the second volume of the “Proceedings of the IPSI”
  • Forms of Thought at the Limits of the Body (On the Analytical Metaphysics of Valery Podoroga) // Russian Studies in Philosophy. 2016. Vol. 54. No. 4. P. 257–266.
  • Maidan: Redefining Democracy // Russian Studies in Philosophy. 2016. Vol. 54. No. 3. PP. 223-232.
  • Nobody expressed the essence of auteur cinema better than Pasolini. // Aperto Game Over # 2, Autumn 2016, p.16
  • Trust in Distrust: Myths and Values ​​of the European Union in. (in English) - United by or Against Euroscepticism? An Assessment of Public Attitudes towards Europe in the Context of the Crisis / Eds. A. Bârgăoanu, L. Radu, D. Varela. Newcastle-upon-Tyne: Scholars Publishing, 2015. P. 189–205. (coauthored with T. Havlin)
  • Personification and Consumption // Criticism. Summer 2014. Vol. 56. No. 3. P. 525–534.
  • Andrei Tarkóvski: a economia do plano-sequência. - Kinoruss. 2014. No. 5.
  • Übersetzung und Politik: Carl Schmitt in heutigen Russland. In: Kultur und / als Übersetzung. Russisch-deutsche Beziehungen im 20. und 21. Jahrhundert. Christine Engel / Birgit Menzel (Hg.). : Frank & Timme, 2011, S. 57-76
  • Das Zeit-Bild und die Bilder des Sowjetischtn. - In: Das Zeit-Bild im Psreuropäischen Film mach 1945. Böhlau Verlag, 2010, pp. 127–140
  • Die Wiedererfindung des Wunders ”, in: Faktur und fRaktur: Gestorte asthetische Prasenz in Avantgarde und Spatavantgarde. Wien / München, 2006.
  • Das Fernsehbild oder Adam wird nachgeahmt. - In: Russische Medientheorien. Haupt Verlag, Berne, 2005.
  • Le travail des images. Le cinéma stalinien et l'art du réalisme socialist. - In: L'Idealisme soviétique. Pienture et cinéma 1925-1939. Musée de l'art Wallon, Brussels, 2005.
  • The Actor's Body. Constantin Stanislavski's Cinematic Theater. - Third Text, Vol.17, Issue 4. Routledge, 2003.
  • Epidemiology of the Political // New Literary Review. 2016. No. 138 (2). C. 37-48.
  • Affect in the coordinates of nephilosophy // Philosophical Journal. 2015. Vol. 8. No. 1. P. 33–46.
  • Instant document and full memory. In the book. Document Status: Final Paper or Alienated Certificate? Sat articles. Moscow, 2013.P. 218–244.
  • The language of feeling and the language of law. - Captivity 2008, No. 16
  • Censorship as an experience: symptomatology and ethics. - “Index. Dossier on the censorship ”, N 20, 2004.
  • The invention of a miracle. - “ Blue Sofa ”, N 4, 2004.
  • Anarchist ethnicity. - “ Blue Sofa ”, N 6, 2005.
  • Arrogance and magic. - “The Art of Cinema ”, N 9, 2003
  • Imitation policies (approaches to the logic of non-violence). - “The Art of Cinema ”, N 7, 2003
  • Art in the era of its total consumption. - “Critical Mass”, N 3, 2003
  • Screen version: translation and experience. - “ Blue Sofa ”, N 3, 2003
  • The humanism of the enemy: film images of war. - “Index. Dossier on the censorship ”, N 19, 2003.
  • Clash of film adaptations. - “ Cinema Notes ”, N 61, 2003.
  • Community participation - non-participation in the work. - “The Art Journal”, N 41, 2002.
  • Kant and the movie. - On Sat Aesthetics at the turn of cultural traditions. M: IF RAS, 2002.
  • The truth of pornography. - “Critical Mass”, N 1, 2002.
  • Conflicts and communities (about a political function in a statement). - In the book. Language and ethnic conflict. - M.: Gandalf, 2001.
  • Immanent biography ("language of reality" in the concept of P. P. Pazolini). - In the book. Autobiography. Notebooks on analytical anthropology. -M .: Gnosis, 2001
  • Censorship: kinosymptomatics. - “The Art of Cinema ”, N 8, 2001
  • Certificate of life. - “ Cinema Notes ”, N 51, 2001
  • Intonation in philosophy. - “ New Literary Review ”, N 6 (52), 2001
  • Metacino Gilles Deleuze . - On Sat Theory of Artistic Culture, issue 4, M: State. Institute of Art Studies, 2000.
  • Cinema and stage border (comments on the work of KS Stanislavsky "The actor’s work on himself"). - “ Cinema Notes ”, N 47, 2000
  • The return of philosophy (the logic of the cinema of Gilles Deleuze ). - “ Cinema Notes ”, N 46, 2000
  • Philosophical approaches to the analysis of cinema. - On Sat Close-up Historical and theoretical seminar at VGIK. Lectures. 1996-1998. - M., 1999
  • Words and reproductions. - "Logos", N 6, 1999
  • Philology of the sensual. - “ New Literary Review ”, N 29, 1998. (book review by H. Lovgren. Eisenstein's Labirinth: Aspects of Cinematic Synthesis of Arts)
  • Broken desire. - "Art Journal", N 24, 1999
  • Metaphorical foundations of thought. - In the book: Produced and named. Philosophical readings dedicated to M.K. Mamardashvili. 1995 year. - M .: Ad Marginem, 1998.
  • Art and languages ​​of technology. - Chapter in the monograph "Philosophy of Technology", M: IF RAS, 1997
  • Ways of improvisation (Pazolini - Lacu-Labarte). - “ Cinematographic notes ”, N 32, 1997 (in co-authorship with E. Petrovskaya)
  • Face, scene, transcendence (experience of Ingmar Bergman). - “ Cinema Notes ”, N 33, 1997
  • Facial expressions and grammar. The project of the movie Bela Balash. - “ Cinema Notes ”, N 25, 1995.
  • Cinema anthropology of the "Earth". - “ Cinema Notes ”, N 23, 1994.
  • About the cruelty of the theater. - Yearbook of Ad Marginem'93. RIC "Culture", M., 1993.
  • The mise en scene of the cinema theory (phenomenology of Andre Bazin ). - “ Cinema Notes ”, N 20, 1993.

Notes

  1. ↑ LIBRIS - 2012.
    <a href=" https://wikidata.org/wiki/Track:P1182 "> </a> <a href=" https://wikidata.org/wiki/Track:Q1798125 "> </a> <a href = " https://wikidata.org/wiki/Track:P5587 "> </a> <a href=" https://wikidata.org/wiki/Track:P906 "> </a>
  2. ↑ Archived copy (unopened) (inaccessible link) . Date of treatment February 12, 2008. Archived October 23, 2007.
  3. ↑ No - tightening control over civil society
  4. ↑ rulib.com | The Best Place To Find Ru Lib (Neopr.) . Date of treatment April 13, 2013.
  5. ↑ Speech by Oleg Aronson upon receiving the Andrei Bely Prize Archived on May 25, 2014.

Links

  • Carnegie.ru (inaccessible link - history )
  • New.hse.ru (inaccessible link) (inaccessible link)
  • Biography
  • Oleg Aronson in the program "Gordon" on September 13, 2001 on YouTube (inaccessible link)
  • Oleg Aronson in the Gordon program on 09.24.2001 on YouTube (inaccessible link)
Source - https://ru.wikipedia.org/w/index.php?title=Aronson_Oleg_Vladimirovich&oldid=99664283


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