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Memory, Metaphor, and Aby Warburg's Atlas of Images
Author: Christopher D. Johnson
Publisher: Cornell University Press
ISBN: 0801464536
Pages: 288
Year: 2012-07-26
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The work of German cultural theorist and art historian Aby Warburg (1866-1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg's death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity's afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought. While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg's published and unpublished writings and by attending to Warburg's cardinal idea that "pathos formulas" structure the West's cultural memory, Johnson maps numerous tensions between word and image in the Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Atlas. As Johnson demonstrates, the Atlas is not simply the culmination of Warburg's lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture.
Memory, Metaphor, and Aby Warburg's Atlas of Images
Author: Ernest Duffy
Publisher: Createspace Independent Publishing Platform
ISBN: 1548999997
Pages: 288
Year: 2017-05-10
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The work of German cultural theorist and art historian Aby Warburg (1866-1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg's death in 1929, the Mnemosyne-Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully,.
Images from the Region of the Pueblo Indians of North America
Author: Aby M. Warburg
Publisher: Cornell University Press
ISBN: 1501707698
Pages: 128
Year: 2016-08-15
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Aby M. Warburg (1866–1929) is recognized not only as one of the century’s preeminent art and Renaissance historians but also as a founder of twentieth-century methods in iconology and cultural studies in general. Warburg’s 1923 lecture, first published in German in 1988 and now available for the first time in English translation, Michael Steinberg offers offers at once a window on his career, a formative statement of his cultural history of modernity, and a document in the ethnography of the American Southwest. This edition includes thirty-nine photographs, many of them originally presented as slides with the speech, and a rich interpretive essay by the translator. Images from the Region of the Pueblo Indians of North America translates Warburg’s seminal study of the “serpent ritual” of the Hopi people, which grew out of a trip to the American Southwest undertaken by Warburg in 1895–1896.
Aby Warburg and the Image in Motion
Author: Philippe-Alain Michaud
Publisher: Zone Books (NY)
ISBN:
Pages: 402
Year: 2004
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The purposeful discontinuities and juxtapositions of Aby Warburg's iconography and how they can be used to analyze other imagery.
Erneuerung Der Heidnischen Antike
Author: Aby Warburg
Publisher: Getty Publications
ISBN: 0892365374
Pages: 859
Year: 1999
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Bibliophile, scholar, founder of what would become the Warburg Institute, Aby Warburg (1866-1929) ranks as one of the most original and brilliant art historians of this century. Warburg looked beyond iconography to more psychological aspects of artistic creation, and in particular he contemplated the meaning of the re-use of ancient motifs. His scholarship--published in German in 1932 in two volumes encompassing all of his published essays along with manuscript notes in his working copies--has had a crucial influence on the work of twentieth-century art historians. Now, with the publication of this new translation of The Renewal of Pagan Antiquity, these seminal volumes are available in their entirety in English for the first time.
The Surviving Image
Author: Georges Didi-Huberman
Publisher: Penn State University Press
ISBN: 0271072083
Pages: 432
Year: 2016-11-28
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Originally published in French in 2002, examines the life and work of art historian Aby Warburg. Demonstrates the complexity and importance of Warburg s ideas, addressing broader questions regarding art historians conceptions of time, memory, symbols, and the relationship between art and the rational and irrational forces of the psyche. "
Confronting Images
Author: Georges Didi-Huberman
Publisher: Penn State Press
ISBN: 0271024712
Pages: 310
Year: 2005
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According to Didi-Huberman, visual representation has an "underside" in which intelligible forms lose clarity and defy rational understanding. Art historians, he contends, fail to engage this underside, and he suggests that art historians look to Freud's concept of the "dreamwork", a mobile process that often involves substitution and contradiction.
Blood in the City
Author: Richard D. E. Burton
Publisher: Cornell University Press
ISBN: 0801438683
Pages: 395
Year: 2001
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"Instead of adhering to conventional chronological lines, Blood in the City is structured topologically around a number of major Parisian "sites of memory," including Place de la Concorde, Sacre-Coeur, and the Eiffel Tower. For thirty years Burton has visited and revisited Paris, criss-crossing the streets on foot, and lived with great nineteenth- and twentieth-century literary depictions of the city. Drawing on historical, literary, visual, anthropological, and psychological sources, he develops a wide-ranging account of violence in modern French politics. In so doing, he provides powerful insights into political violence, scapegoating, the idea of sacrifice, and the widespread French obsession with conspiracy."--BOOK JACKET.
The Pathos of Distance
Author: Jean-Michel Rabaté
Publisher: Bloomsbury Publishing USA
ISBN: 1501307975
Pages: 224
Year: 2016-04-21
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Jean-Michel Rabaté uses Nietzsche's image of a "pathos of distance,?? the notion that values are created by a few gifted and lofty individuals, as the basis for a wide-ranging investigation into the ethics of the moderns. Revealing overlooked connections between Nietzsche's and Benjamin's ideas of history and ethics, Rabaté provides an original genealogy for modernist thought, moving through figures and moments as varied as Yeats and the birth of Irish Modernism, the ethics of courage in Virginia Woolf, Rilke, Apollinaire, and others in 1910, T. S. Eliot's post-war despair, Jean Cocteau's formidable selfmythology in his first film The Blood of a Poet, Siri Hustvedt's novel of American trauma, and J. M. Coetzee's dystopia portraying an affectless future haunted by a messianic promise.
The Remembrance of Things Past
Author: Matthew Rampley
Publisher: Otto Harrassowitz Verlag
ISBN: 3447042990
Pages: 138
Year: 2000-01
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The art historian Aby M. Warburg and the philosopher Walter Benjamin are widely respected as two of the most significant cultural theorists of the twentieth century. Their common interests in historiography, the function of collective memory, and the relation of modern society to earlier stages of human social existence, were important examples of the attempt to articulate, analyse and represent the experience of modernity. Drawing on a variety of discourses from aesthetics, art history, anthropology and psychology, they presented an account of modernity and human development that represented an important counter to the optimistic belief in progress prevalent amongst their contemporaries. Rarely, however, have the connections between these two thinkers been explored in depth. This volume consists of an exploration of the intellectual relation between them, considering their varying responses to the question of the meaning of modernity, and above all their common legacy for the present.
Depicting Dante in Anglo-Italian Literary and Visual Arts
Author: Christoph Lehner
Publisher: Cambridge Scholars Publishing
ISBN: 1443891819
Pages: 220
Year: 2017-05-11
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In the course of 750 years, Dante Alighieri has been made into a universally important icon deeply engrained in the world’s cultural memory. This book examines key stages of Dante’s appropriation in Western cultural history by exploring the intermedial relationship between Dante’s Divina Commedia, the tradition of his iconography, and selected historical, literary and artistic responses from British artists in the 19th and 20th centuries. The images and iconographies created out of Dantean appropriations almost always centre around the triad of allegory, authority and authenticity. These three important aspects of revisiting Dante are found in the Dantean image fostered in Florence in the 14th and 15th centuries and feature prominently in the works of Dante Gabriel Rossetti, T. S. Eliot and Tom Phillips. Their appropriation of Dante represents landmarks in the productive reception of the Florentine, and is invariably linked to a tradition of Dante studies established in Britain during the middle of the 19th century. For Dante Gabriel Rossetti the Florentine provides a model for Victorian Dantean self-fashioning and becomes an allegory of authenticity and morality. For T. S. Eliot, Dante represents the voice of literary authority in Modernist poetry and serves as the allegory of a visionary European author. For Tom Phillips, the engagement with Dante and his text represents an intertextual and intermedial endeavour, which provides him with a rich cultural tapestry of art, thought and ideas on the Western world. The main focus of this study, therefore, is on how Dante’s image was fixed in the first 200 years of his appropriation in Florence, how fruitfully the Dantean images and his text have been taken up and used for creative and intellectual production in Britain over the course of the past centuries, and what moral, literary, or political messages they continue to convey.
Art History after Deleuze and Guattari
Author: Sjoerd van Tuinen , Stephen Zepke
Publisher: Leuven University Press
ISBN: 9462701156
Pages: 280
Year: 2017-11-14
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At the crossroads of philosophy, artistic practice, and art history Though Gilles Deleuze and Felix Guattari were not strictly art historians, they reinvigorated ontological and formal approaches to art, and simultaneously borrowed art historical concepts for their own philosophical work. They were dedicated modernists, inspired by the German school of expressionist art historians such as Riegl, Wölfflin, and Worringer and the great modernist art critics such as Rosenberg, Steinberg, Greenberg, and Fried. The work of Deleuze and Guattari on mannerism and Baroque art has led to new approaches to these artistic periods, and their radical transdisciplinarity has influenced contemporary art like no other philosophy before it. Their work therefore raises important methodological questions on the differences and relations among philosophy, artistic practice, and art history. In Art History after Deleuze and Guattari international scholars from all three fields explore what a ‘Deleuzo-Guattarian art history’ could be today. ContributorsÉric Alliez (Kingston University, Université Paris VIII), Claudia Blümle (Humboldt Universität zu Berlin), Jean-Claude Bonne (École des Hautes Études en Sciences Sociales), Ann-Cathrin Drews (Humboldt Universität zu Berlin), James Elkins (School of the Art Institute of Chicago), Sascha Freyberg (Max Planck Institute for the History of Science), Antoine l’Heureux (independent researcher), Vlad Ionescu (Hasselt University), Juan Fernando Mejía Mosquera (Pontificia Universidad Javeriana), Gustavo Chirolla Ospina (Pontificia Universidad Javeriana), Bertrand Prévost (Université Bordeaux Montaigne), Elisabeth von Samsonow (Akademie für bildende Künste Wien), Sjoerd van Tuinen (Erasmus University Rotterdam), Kamini Vellodi (Edinburgh College of Art), Stephen Zepke (independent researcher)
The Theatre of Death – The Uncanny in Mimesis
Author: Mischa Twitchin
Publisher: Springer
ISBN: 1137478721
Pages: 336
Year: 2016-10-20
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This book is concerned with such questions as the following: What is the life of the past in the present? How might “the theatre of death” and “the uncanny in mimesis” allow us to conceive of the afterlife of a supposedly ephemeral art practice? How might a theatrical iconology engage with such fundamental social relations as those between the living and the dead? Distinct from the dominant expectation that actors should appear life-like onstage, why is it that some theatre artists – from Craig to Castellucci – have conceived of the actor in the image of the dead? Furthermore, how might an iconology of the actor allow us to imagine the afterlife of an apparently ephemeral art practice? This book explores such questions through the implications of the twofold analogy proposed in its very title: as theatre is to the uncanny, so death is to mimesis; and as theatre is to mimesis, so death is to the uncanny. Walter Benjamin once observed that: “The point at issue in the theatre today can be more accurately defined in relation to the stage than to the play. It concerns the filling-in of the orchestra pit. The abyss which separates the actors from the audience like the dead from the living...” If the relation between the living and the dead can be thought of in terms of an analogy with ancient theatre, how might avant-garde theatre be thought of in terms of this same relation “today”?
Walter Benjamin's Archive
Author: Walter Benjamin
Publisher: Verso Books
ISBN: 178478205X
Pages: 320
Year: 2015-09-15
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An absorbing selection of Walter Benjamin’s personal manuscripts, images, and documents The work of the great literary and cultural critic Walter Benjamin is an audacious plotting of history, art, and thought; a reservoir of texts, commentaries, scraps, and fragments of everyday life, art, and dreams. Throughout his life, Benjamin gathered together all kinds of artifacts, assortments of images, texts, and signs, themselves representing experiences, ideas, and hopes, each of which was enthusiastically logged, systematized, and analyzed by their author. In this way, Benjamin laid the groundwork for the salvaging of his own legacy. Intricate and intimate, Walter Benjamin’s Archive leads readers to the heart of his intellectual world, yielding a rich and detailed portrait of its author. From the Trade Paperback edition.
Austria as Theater and Ideology
Author: Michael P. Steinberg
Publisher: Cornell University Press
ISBN: 0801486920
Pages: 253
Year: 2000
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Austria's renowned Salzburg Festival has from the outset engaged issues of cultural identity in a country that has difficulty coming to terms with its twentieth-century history. That this is the case was especially apparent in 1999, when the Austrian president opened the festival with a speech attacking its profile under the direction of Gerard Mortier and calling for a return to the ideals of its spiritual founder, Hugo von Hofmannsthal. This proved the opening shot in a renewed debate about the direction of the Festival, which is in fact a debate about the identity of Austria itself. The issues posed foreshadowed the uproar that erupted several months later when Joerg Haider's right-wing Freedom Party joined a coalition with the conservative People's Party, wresting control of the government from the Socialists and provoking the wrath of Austria's partners within the European Union. What accounts for the profound intellectual and cultural ambivalences that have characterized Austrian history in the twentieth century?In this highly regarded book, Michael P. Steinberg investigates the goals and meanings of the Salzburg Festival from its origins in the wake of defeat in World War I and the collapse of the Habsburg Empire. He focuses on those aspects that reveal with special clarity the interplay between the Festival's history and the larger problems of Austrian and German ideology and identity. At the heart of his analysis is the problem of "nationalist cosmopolitanism," which he sees as a central element of German and Austrian culture from the period of the German enlightenment on. He shows how the Festival sought to embody and extend this paradoxical tradition and, in the Preface to the Cornell Paperbacks edition, explores the latest chapter in the Austrian culture wars. Steinberg's book is at once a brilliant history of an important cultural institution and a work that deepens our understanding of the unstable relationship between culture and politics in Europe at the beginning of the twenty-first century.