Aby Warburg (1866-1929) is best known as the originator of the discipline of iconology and as the founder of the institute that bears his name. His followers included such celebrated art historians of the twentieth century as Erwin Panofsky, Edgar Wind, and Fritz Saxl. But his heirs developed, for the most part, a domesticated iconology based on the interpretation of symbolic material. As Phillippe-Alain Michaud shows in this important book, Warburg's own project was remote from any positivist or neo-Kantian ambitions. Nourished on the work of Nietzsche and Burckhardt, Warburg fashioned a "critical iconology" to reveal the irrationality of the image in Western culture. Opposing the grand teleological narratives of art inaugurated by Vasari, Warburg's method operated through historical anachronisms and discontinuities. Using "montage-collision" to create textless collections of images, he brought together pagan artifacts and masterpieces of Florentine Renaissance art, ancient Near East astrology and the Lutheran Reformation, Mannerist festivals and the sacred dances of Native Americans. Michaud insists that for Warburg, the practice of art history was the discovery within the art work itself of fracture, contradictions, tensions, and the energies of magic, empathy, totemism, and animism. Challenging normative accounts of Western European classicism, Warburg located the real sources of the Renaissance in the Dionysian spirit, in the expression of movement and dance, in the experience of trance personified in the frenzied nymph or ecstatic maenad.
Aby Warburg and the Image in Motion is not only a book about Warburg but a book written with him; Michaud uses Warburg's intuitions and discoveries to analyze other categories of imagery, including the daguerreotype, the chronophotography of Etienne-Jules Marey, early cinema, and the dances of Loie Fuller. It will be essential reading for anyone concerned with the origins of modern art history and the visual culture of modernity.
The Memoirs of Lieut. Henry Timberlake
Dr. Williams discusses his own work and that of such contemporaries as Pound and Eliot and reveals his thoughts on a wide variety of twentieth-century concerns
巴菲特畢生唯一授權傳記 全球首富與世人分享最慷慨的資產 除了股票,巴菲特更教你投資自己 |最新增訂版|新增第63章危機、第64章雪球 ...
本書內容分三部分:一為葉君健所寫評論安徒生其人其文的文章;二為安徒生所寫小故事;三為安徒生繪圖作品
276-9 , 403-3 ) ; William Richard Cutter , Genealogical and Personal Memoirs relating to the Families of Boston and Eastern Massachusetts ( N.Y. , 1908 ) , II , pp . 867-69 ; William Bentley , The Diary of William Bentley ...
Twelve Years a Slave: Narrative of a Citizen of New-york, Kidnapped in Washington City in 1841, and Rescued in 1853,...
Behind the Scenes. by Elizabeth Keckley. Or, Thirty Years a Slave, and Four Years in the White House.
Personal Memoir of Daniel Drayton: For Four Years and Four Months a Prisoner (For Charity's Sake) in Washington Jail
When the Press folded after eighteen months , Cooper went to the Indianapolis Sun , as a police reporter . In 1901 he became Scripps - McRae's Indianapolis correspondent and then manager of the Indianapolis bureau , supplying news to a ...
Give Us Each Day: The Diary