{"id":343,"name":"Jean-Claude Lebensztejn","url":"","description":"teorico, critico e storico dell'arte, \u00e8 professore emerito all'Universit\u00e0 di Parigi I Panth\u00e9on-Sorbonne. Nella sua decennale carriera accademica si \u00e8 occupato di numerosi e poliedrici ambiti di ricerca, che spaziano da Pontormo a Malcolm Morley, dall'arte classica a quella del XVIII secolo e del XX secolo, fino alla musica e al cinema, con una particolare attenzione alle questioni di gusto e delle norme estetiche (vedi il suo \u201cL'art de la tache. Introduction \u00e0 la Nouvelle m\u00e9thode d'Alexander Cozens\u201d). Importante studioso di C\u00e9zanne, ha scritto il testo di riferimento \u201c\u00c9tudes c\u00e9zanniennes\u201d (2006) e curato l'edizione critica delle lettere del pittore, \u201cCinquante-trois lettres\u201d (2011). Tra i suoi ultimi libri, la traduzione del Laozi dal cinese, \u201cLao Tseu. Le canon de la voie et de la vertu \u00bb (2009),  \"Pygmalion\" (2010), \"D\u00e9placements\" (2014), \"Kafka, Sade, Lautr\u00e9amont. R\u00eave d\u00e9chir\u00e9\" (2017), \"Propos filmiques\" (2021). Nel 2019 UTET ha pubblicato il suo \"Figures pissantes. 1280-2014\" (2016) (cfr. \"Figure piscianti. 1280-2014\").","link":"https:\/\/antinomie.it\/index.php\/author\/jean-claude-lebensztejn\/","slug":"jean-claude-lebensztejn","avatar_urls":{"24":"https:\/\/i0.wp.com\/antinomie.it\/wp-content\/uploads\/2022\/01\/Lebensztejn-profilo.jpeg?resize=150%2C150&ssl=1","48":"https:\/\/i0.wp.com\/antinomie.it\/wp-content\/uploads\/2022\/01\/Lebensztejn-profilo.jpeg?resize=150%2C150&ssl=1","96":"https:\/\/i0.wp.com\/antinomie.it\/wp-content\/uploads\/2022\/01\/Lebensztejn-profilo.jpeg?resize=150%2C150&ssl=1"},"meta":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jean-Claude Lebensztejn, Author at Antinomie<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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Nella sua decennale carriera accademica si \u00e8 occupato di numerosi e poliedrici ambiti di ricerca, che spaziano da Pontormo a Malcolm Morley, dall'arte classica a quella del XVIII secolo e del XX secolo, fino alla musica e al cinema, con una particolare attenzione alle questioni di gusto e delle norme estetiche (vedi il suo \u201cL'art de la tache. Introduction \u00e0 la Nouvelle m\u00e9thode d'Alexander Cozens\u201d). Importante studioso di C\u00e9zanne, ha scritto il testo di riferimento \u201c\u00c9tudes c\u00e9zanniennes\u201d (2006) e curato l'edizione critica delle lettere del pittore, \u201cCinquante-trois lettres\u201d (2011). Tra i suoi ultimi libri, la traduzione del Laozi dal cinese, \u201cLao Tseu. Le canon de la voie et de la vertu \u00bb (2009), \\\"Pygmalion\\\" (2010), \\\"D\u00e9placements\\\" (2014), \\\"Kafka, Sade, Lautr\u00e9amont. R\u00eave d\u00e9chir\u00e9\\\" (2017), \\\"Propos filmiques\\\" (2021). Nel 2019 UTET ha pubblicato il suo \\\"Figures pissantes. 1280-2014\\\" (2016) (cfr. \\\"Figure piscianti. 1280-2014\\\").\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/antinomie.it\\\/index.php\\\/author\\\/jean-claude-lebensztejn\\\/\"}}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Jean-Claude Lebensztejn, Author at Antinomie","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/antinomie.it\/index.php\/author\/jean-claude-lebensztejn\/","og_locale":"it_IT","og_type":"profile","og_title":"Jean-Claude Lebensztejn, Author at Antinomie","og_url":"https:\/\/antinomie.it\/index.php\/author\/jean-claude-lebensztejn\/","og_site_name":"Antinomie","og_image":[{"url":"https:\/\/antinomie.it\/wp-content\/uploads\/2022\/01\/Lebensztejn-profilo-150x150.jpeg","type":"","width":"","height":""}],"twitter_card":"summary_large_image","twitter_site":"@antinomie_it","schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"ProfilePage","@id":"https:\/\/antinomie.it\/index.php\/author\/jean-claude-lebensztejn\/","url":"https:\/\/antinomie.it\/index.php\/author\/jean-claude-lebensztejn\/","name":"Jean-Claude Lebensztejn, Author at Antinomie","isPartOf":{"@id":"https:\/\/antinomie.it\/#website"},"breadcrumb":{"@id":"https:\/\/antinomie.it\/index.php\/author\/jean-claude-lebensztejn\/#breadcrumb"},"inLanguage":"it-IT","potentialAction":[{"@type":"ReadAction","target":["https:\/\/antinomie.it\/index.php\/author\/jean-claude-lebensztejn\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/antinomie.it\/index.php\/author\/jean-claude-lebensztejn\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/antinomie.it\/"},{"@type":"ListItem","position":2,"name":"Archives for Jean-Claude Lebensztejn"}]},{"@type":"WebSite","@id":"https:\/\/antinomie.it\/#website","url":"https:\/\/antinomie.it\/","name":"Antinomie","description":"scritture e immagini","publisher":{"@id":"https:\/\/antinomie.it\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/antinomie.it\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"it-IT"},{"@type":"Organization","@id":"https:\/\/antinomie.it\/#organization","name":"Antinomie","url":"https:\/\/antinomie.it\/","logo":{"@type":"ImageObject","inLanguage":"it-IT","@id":"https:\/\/antinomie.it\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/antinomie.it\/wp-content\/uploads\/2023\/05\/logo_antinomie_cerchio.png?fit=3543%2C3543&ssl=1","contentUrl":"https:\/\/i0.wp.com\/antinomie.it\/wp-content\/uploads\/2023\/05\/logo_antinomie_cerchio.png?fit=3543%2C3543&ssl=1","width":3543,"height":3543,"caption":"Antinomie"},"image":{"@id":"https:\/\/antinomie.it\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/antinomie.it\/","https:\/\/x.com\/antinomie_it"]},{"@type":"Person","@id":"https:\/\/antinomie.it\/#\/schema\/person\/db69b3a217d9796e0bda21d7cbbb3bcb","name":"Jean-Claude Lebensztejn","image":{"@type":"ImageObject","inLanguage":"it-IT","@id":"https:\/\/secure.gravatar.com\/avatar\/8a187fb7af2c115d490269cc04692d459ccf4585cb52afa2819087a2c248bf06?s=96&d=blank&r=g54e00e8ff74d54bf29859eafad04b051","url":"https:\/\/secure.gravatar.com\/avatar\/8a187fb7af2c115d490269cc04692d459ccf4585cb52afa2819087a2c248bf06?s=96&d=blank&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/8a187fb7af2c115d490269cc04692d459ccf4585cb52afa2819087a2c248bf06?s=96&d=blank&r=g","caption":"Jean-Claude Lebensztejn"},"description":"teorico, critico e storico dell'arte, \u00e8 professore emerito all'Universit\u00e0 di Parigi I Panth\u00e9on-Sorbonne. 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Nel 2019 UTET ha pubblicato il suo \"Figures pissantes. 1280-2014\" (2016) (cfr. \"Figure piscianti. 1280-2014\").","mainEntityOfPage":{"@id":"https:\/\/antinomie.it\/index.php\/author\/jean-claude-lebensztejn\/"}}]}},"elementor_introduction":"","_links":{"self":[{"href":"https:\/\/antinomie.it\/index.php\/wp-json\/wp\/v2\/users\/343","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/antinomie.it\/index.php\/wp-json\/wp\/v2\/users"}]}}