For a history of these two fields and cultural products were the result of hu- and a comparison of their methodologies, see Musner. An English edition of his writings, ingly viewed as an evolutionary-biological The Renewal of Pagan Antiquity, appeared only in Culture is the quintessential 3. See n3, above.
Schmarsow was a German art historian who dissertation, see 13—14, 49, For other 7. Justi was an art historian who worked on Span- references to influence, see 25, 39, 48n When a single page number follows a bilingual decades later when Bachelard argues in Air and Dreams quotation, the number refers to the German edition, and that poetic images of flight and other aerial movement the translation is mine.
The German quotations from are symptomatic of imaginative mobility by the poet. Canguilhem Rabinow describes how the translation, while the second refers to the German edition. I am indebted to Peter Probst for this insight. For more on Warburg and Marey, see, e. I thank Joseph Vogl for the term historical winds. Papapetros writes that Warburg worked with maps, ta- Regard- zeit geist. The Durkheim, qtd. See, e. Johann Gottfried turity, and old age. Oxford UP, Edith R. Frederick Farrell. Dallas: Dallas Inst.
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Memory, Metaphor, and Aby and Courtauld Institutes 28 : — Kany, Roland. Mnemosyne als Programm: Geschichte, Canguilhem, Georges.
John Savage. Grey Room 3 : 6— Werk von Usener, Warburg und Benjamin. Victor Mali, Joseph. Stuttgart: E. Schweizerbart, Chicago: U of Chicago P, Michaud, Philippe-Alain.
Warburg’s Terminology | ZKM
Aby Warburg and the Image ———. Sophie Hawkes. New York: Zone, mals. London: John Murray, Darwin Online. Musner, Lutz. Paris: : — Minuit, Papapetros, Spyros. On the Animation of the Inorganic: ———. Chicago: Quattrocento. SAGE Journals. U of California, Berkeley. Piderit, Theodor. Gehirn und Geist. Leipzig: C. Google Books. Braun- che. Google schaften, n. Ekardt, Philipp. Corrected and rev. Good- Mimeses in Aby Warburg.
Ralph Waldo Emerson. Boston: Kulturwissenschaft 2 : — Little, Brown, Gombrich, E. Aby Warburg: An Intellectual Biography. Rabinow, Paul. Social Environment. Guillemin, Anna. Art History and Literature, — Prince- Rampley, Matthew. Aby M. Warburg and Walter Benjamin. Wiesbaden: ———. Aby Warburg. Paderborn: Fink, Ideas Gumbrecht, Hans Ulrich. Vom Leben und Sterben der Spengler, Oswald.
Der Untergang des Abendlandes. Spitzer, Leo. Philosophi- torical Semantics. Berlin: Research 3. Akademie, Stetler, Pepper. Wie aus der Kunstgeschichte eine Bild- History. Miami U, Oxford, wissenschaft wurde. Aby Warburgs Graphien.
Berlin: OH. Seizing the Light: A History of Photogra- teksty Boston: McGraw, Treml, Martin, et al. Warburg, Werke — Oxford UP, Verworn, Max. In this context he emphasises that the relationship between things is nothing which is just there, inherent in the nature of things, instead it is a result of the human perception — or rather the human eye and mind. In making use of these capacities, the concept of history is transformed into an image-structure. Published between and in 35 volumes, the project includes Whereas such an endeavour is only possible with the support of innumerous contributors, the post-encyclopaedic atlas is often engendered by the obsession of a single author and based on his own collection gathered together over decades.
In methodological terms it is a kind of echo to the fundamental and ultimately unsolvable problems of an encyclopaedic taxonomy based on the principles of comprehensive knowledge, systematic structure, classification, alphabetic order etc. Here, where they discuss especially the tension between deduction and distinction, between origin and classification of knowledge, the principle of kinship plays the role of an uneasy, outdated but indispensable part. That the initiator of this ambitious project thinks it necessary to apologise for the figure of the family tree signals its status as a kind of foreign body in the systematic and alphabetical ordering.
Thus a systematic cipher supplements the alphabetical ordering.
Paris They form the frame for the entire knowledge to be included. Leaving behind the alternative of an ascending or descending tree, derivation is here projected into the horizontal plane.
The tree as a schema originating from pre-modern kinship functions here as the graphic palimpsest of the whole project but it disappears in the alphabetic order of articles in the published volumes. Thus it may be read as a symptom for the ambivalent equivocal role of similitude and relationship in the taxonomic era.
The project of collecting narrations, legends, poems and songs from the people became most famous by the work of the Brothers Grimm in the early 19 th century. One of the masters of the literary art of collecting was Heinrich Heine, who used the title Salon for the composition of his own compound texts, thus offering his prose, poems and dreams, so to speak, to the wandering eyes of a museum visitor.
In his book on Elementargeister , Elementary Ghosts , i. At the most one may gather the similar together under certain rubrics. During these years all the efforts of Warburg and his colleagues were dedicated to two endeavours, the Mnemosyne and the establishment of the Kulturwissenschaftliche Bibliothek Warburg K.
In the first edition of his complete published writings, undertaken by Gertrud Bing in , they are running up to a volume of about pages. For the most part the subject matter of these texts remains in the field of cultural, religious and social phenomena and within the history of rational knowledge and its relation to magic or mystical traditions. There one can study his intensive, obsessive, and endless attempts to introduce scientific concepts and methods into the theory of symbol, art, and culture.
And there one comes across several diagrams and tableaux well known from the history of science. The graphic design starts with a tableau Fig.
Diagram 1—4 in: Aby Warburg, System als Umfangsbestimmung. In: Werke in einem Band. John Fig. Santa Maria Novella, Florence. In this context he drew several family trees both of the generations of painters and their patrons, and he constructed several tableaux to tame and order the escalating matter of his research. The most interesting table here is an attempt for a taxonomic order of different genres, artists, and practices with respect to different fields of cultural history. Table from Ninfa fiorentina. The Warburg Institute Archive, London. It is obvious that it was impossible to develop this kind of survey any further into a complete system because his subject matter did not fit the taxonomic order of things.
That he sought a proper title for his theory, i. This series of titles indicates both the experimental status of the project and the difficulties to develop an analysis of cultural phenomena by means of a terminology from the natural sciences. In some of the entries this endeavour reads like an epistemological shortcut between mythology and sciences, whereas other formulations render the epistemological tension and even compulsion for a scientific foundation distinguishable.
These kinds of maps and schemata from the history of science do not return on the other plates, instead they signal the underlying reading model for the configuration of images. The three schemata represent three figures of knowledge belonging to different eras of the history of science; they are like emblems of a mythological, a pre-modern and a modern mode of constructing the world and the order of things. Especially the family tree seems to form a kind of foreign body in the atlas project because the arrangement of images on the plates does not follow a genealogical direction or descent.
Therefore especially the family tree forms a kind of proxy of the theoretical model of interpretation that should have accompanied the visual part in the projected printed version of the Mnemosyne. In this anthropological interpretation of human expressions a different interspace [ Zwischenraum ] is at stake, i. Thus the iconology of interval that structures the configuration of the plates is accompanied by a different concept of interspace as part of a theory of acting.
Martin Warnke with the assistance of. Claudia Brink. Von der Praxis der Bildtheorie bei Aby Warburg. In: Klaus Sachs-Hombach ed.
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Anthropologische und kulturelle Grundlagen des Visualistic Turn. Introduction by Kurt W. Forster, translation by David Britt. The Getty Research Institute , p. Paris , p. In: Werke in einem Band , p. In: H. Scherke eds. Kulturelle Transfers um und in der Gegenwart. Studien zur Moderne Wien , p. In: The Renewal of Pagan Antiquity footno te 3 , p. Symbols, Pictures and Survey.