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The legacy of the art and cultural scientist Aby Warburg offers many subjects for reassessment. Almost unknown until now are the artifacts he collected on a journey through the southwest of the US in 1895/96 and donated to the Museum für Völkerkunde in Hamburg (today Museum am Rothenbaum). The results first unfolded in Warburg's famous lecture on the 'snake ritual' of the Hopi (1923). Following Warburg's transdisciplinary approach, this publication examines his guiding principles in assembling his collection as well as his reading of Pueblo art and culture. It pays tribute to the works and their artistic significance and sheds light on the circumstances of acquisition in the sociopolitical environment of the Pueblo communities of the time. The contemporary fascination with the snake ritual is also a topic. Set against this are the previously neglected perspectives and strategies of Pueblo leaders to regain interpretive sovereignty over culturally sensitive content and imagery. Avy Warburg (1866-1929) is considered as the founder of a modern art history oriented towards cultural studies. His research was mainly concerned with the investigation of the afterlife of antiquity in the Renaissance, which he recorded in his iconic Bilderatlas. Contributors: Bruce Bernstein, Christine Chávez, Adam Duran, Lindsey Drury, Uwe Fleckner, Rainer Hatoum, Kelley Hays-Gilpin, Lea McChesney, Nancy J. Parezo, Barbara Plankensteiner, Justin Richland, Erhard Schüttpelz, Sascha T. Scott, Bill Sherman, Matthew Vollgraff
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O livro é uma contribuição à história do pensamento urbanístico e suas tradições. A obra se constrói por meio da montagem, operação que permite criar oposições, fricções e incongruências, na qual a impureza é o grande libelo conceitual, ao lado da busca incessante da alteridade. Nesse labirinto, tensiona-se pensamento e argumento, instigando suas possibilidades e limites. Trata-se de um livro dedicado aos vários outros deserdados da história oficial do movimento moderno em arquitetura e urbanismo, evidenciando que uma herança, qualquer herança, é sempre uma montagem, uma construção, e que essa herança que a autora buscou montar é apenas uma entre várias outras possíveis.
History of architecture --- Geddes, Patrick, --- Warburg, Aby, --- Geddes, P. --- Warburg, Aby Moritz,
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Art historians --- Warburg, Aby, --- Florence (Italy) --- Florence (Italy) --- Civilization. --- History
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Aby Warburg is best known as the originator of the discipline of iconology and as the founder of the institute that bears his name. This text shows that Warburg's own project was remote from any positivist or neo-Kantian ambitions.
kunst --- kunsttheorie --- kunstfilosofie --- kunstgeschiedenis --- Warburg Aby --- iconologie --- beweging --- 7.01 --- 7.041 --- Iconologie --- Warburg, Aby --- Kunsttheorie ; methoden van de kunstgeschiedenis --- Iconografie ; vergelijkende afbeeldingen --- Iconografie ; de mens, portretten --- Kunst ; theorie, filosofie, esthetica
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Frank Reijnders --- kunstgeschiedenis --- kunsttheorie --- Nietzsche Friedrich --- Vasari Giorgio --- Winckelmann Heinrich --- Riegl Alois --- Warburg Aby --- Benjamin Walter --- 7.01 --- 7.072
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À quiconque s’interroge sur le rôle des images dans notre connaissance de l’histoire, l’atlas Mnémosyne apparaît comme une œuvre-phare, un véritable moment de rupture épistémologique. Composé - mais constamment démonté, remonté – par Aby Warburg entre 1924 et 1929, il ouvre un nouveau chapitre dans ce qu’on pourrait nommer, à la manière de Michel Foucault, une archéologie du savoir visuel. C’est une enquête « archéologique », en effet, qu’il aura fallu mener pour comprendre la richesse inépuisable de cet atlas d’images qui nous fait voyager de Babylone au XXe siècle, de l’Orient à l’Occident, des astra les plus lointains (constellations d’idées) aux monstra les plus proches (pulsions viscérales), des beautés de l’art aux horreurs de l’histoire. Ce livre raconte, par un montage de « gros plans » plutôt que par un récit continu, les métamorphoses d’Atlas – ce titan condamné par les dieux de l’Olympe à ployer indéfiniment sous le poids du monde – en atlas, cette forme visuelle et synoptique de connaissance dont nous comprenons mieux, aujourd’hui, depuis Gerhard Richter ou Jean-Luc Godard, l’irremplaçable fécondité. On a donc tenté de restituer la pensée visuelle propre à Mnémosyne : entre sa première planche, consacrée à l’antique divination dans les viscères, et sa dernière, hantée par la montée du fascisme et de l’antisémitisme dans l’Europe de 1929. Entre les deux, nous aurons croisé les Disparates selon Goya et les « affinités électives » selon Goethe, le « gai savoir » selon Nietzsche et l’inquiétude chantée dans les Lieder de Schubert, l’image selon Walter Benjamin et les images d’August Sander, la « crise des sciences européennes » selon Husserl et le « regard embrassant » selon Wittgenstein. Sans compter les paradoxes de l’érudition et de l’imagination chers à Jorge Luis Borges. Œuvre considérable de voir et de savoir, le projet de Mnémosyne trouve également sa source dans une réponse d’Aby Warburg aux destructions de la Grande Guerre. Non content de recueillir les Disparates du monde visible, il s’apparente donc à un recueil de Désastres où nous trouvons, aujourd’hui encore, matière à repenser – à remonter, poétiquement et politiquement – la folie de notre histoire.
Cognitive psychology --- Philosophie de l'art --- Iconographie païenne --- Mythologie --- Histoire de l'art --- Warburg, Aby --- Image (Philosophy) --- kunsttheorie --- filosofie --- cultuurfilosofie --- kunstgeschiedenis --- iconografie --- Warburg Aby --- montage --- atlassen --- cartografie --- Mnemosyne --- geschiedenis --- woord en beeld --- beelddatabanken --- 7.03 --- 7.01 --- Illustrations, images, etc. en historiographie --- Warburg, Aby Moritz (1866-1929). Bilderatlas Mnemosyne --- Illustrations, images, etc. --- Interprétation
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"The Surviving Image, originally published in French in 2002, is the result of Georges Didi-Huberman's extensive research into the life and work of foundational art historian Aby Warburg. Warburg envisioned an art history that engaged with anthropology, psychoanalysis, and philosophy in order to understand the "life" of images. Drawing on a wide range of Warburg's unpublished letters and diaries, Didi-Huberman demonstrates unequivocally the complexity and importance of Warburg's ideas and the ways in which his legacy was both distorted and diffused as art history became a "humanistic" discipline. The Surviving Image takes Warburg as its main subject but also addresses broader questions regarding art historians' conceptions of time, memory, and symbols and the relationship between art and the rational and irrational forces of the psyche."--Publisher's description. 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. --Provided by publisher.
Philosophy and psychology of culture --- art theory --- Aesthetics of art --- Warburg, Aby --- 20.01 history of the art sciences. --- Art --- Historiography. --- Philosophy. --- Warburg, Aby, --- 7.01 --- Kunstgeschiedenis; Aby Warburg (1877-1929) --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- Historiography --- Philosophy --- Kunst ; theorie, filosofie, esthetica --- Analysis, interpretation, appreciation --- Warburg, Aby Moritz,
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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 in art. --- Metaphor in art. --- Art, Renaissance --- Art, Classical --- Art criticism --- Renaissance art --- Classical art --- Classical antiquities --- Influence. --- History --- Warburg, Aby,
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In De goddelijke komedie van Dante verspreidt het grote licht zich in sublieme cirkels in het Paradijs en dwalen de kleine vuurvliegjes in de Hel. De jonge Pier Paolo Pasolini las dit werk secuur. Op een nachtelijke wandeling met vrienden ziet hij plotseling een zwerm vuurvliegjes. Het is 1941. In het duister van de nacht en tegen de achtergrond van het fascisme van Mussolini tekenen zij zich af als vluchtige lichtjes van onschuld en liefde. Ze staan in schril contrast met de schijnwerpers van de propaganda die de fascistische dictator in een verblindend licht hullen. Dantes universum in omgekeerde vorm. Pasolini heeft vaak herhaald dat de ‘dans van de vuurvliegjes’, dat moment van gratie dat weerstand biedt aan een wereld vol terreur, het meest broze is wat er bestaat. Aan het eind van zijn leven meende hij dat de vuurvliegjes waren verdwenen. Maar volgens Didi-Huberman leven ze ‘ondanks alles’ voort: tegenover macht staan nog altijd verzet en hoop. Didi-Huberman laat in zijn beeldende schrijfstijl de vuurvliegjes oplichten in actuele voorbeelden van verzet. En daarbij speelt het werk van de filosofen Walter Benjamin en Giorgio Agamben en de kunsthistoricus Aby Warburg een belangrijke rol.
Protest --- politiek --- filosofie --- kunstfilosofie --- cultuurfilosofie --- Tweede Wereldoorlog (WO II) --- fascisme --- oorlogen --- Agamben, Giorgio --- Benjamin, Walter --- Warburg Aby --- Pasolini, Pier Paolo --- protest --- 700.6 --- film --- filmtheorie --- filmgeschiedenis --- 798.3 --- klimaatverandering --- televisie --- kunsttheorie --- wereldoorlog II --- 7.01 --- 791.41 --- beeldende kunst, filosofie, esthetiek en kritiek der beeldende kunst --- film, esthetiek en kritiek --- Political philosophy. Social philosophy --- Warburg, Aby --- philosophy
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