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Memory, Metaphor, and Aby Warburg's Atlas of Images

McGonagill, Doris

German Studies Review, 2014, Vol.37 (1), p.202-205 [Periódico revisado por pares]

Baltimore: German Studies Association

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  • Título:
    Memory, Metaphor, and Aby Warburg's Atlas of Images
  • Autor: McGonagill, Doris
  • Assuntos: Antiquity ; Bibliographic literature ; Borges, Jorge Luis (1899-1986) ; Bruno, Giordano (1548-1600) ; Context ; Cultural anthropology ; Cultural heritage ; Curtius, Ernst Robert (1886-1956) ; DeLillo, Don ; Epistemology ; Imagery ; Literary translation ; Logic ; Memory ; Metaphor ; Philosophy ; Reviews ; Richter, Gerhard ; Sontag, Susan (1933-2004) ; Warburg, Aby
  • É parte de: German Studies Review, 2014, Vol.37 (1), p.202-205
  • Notas: content type line 1
    SourceType-Scholarly Journals-1
    ObjectType-Review-1
  • Descrição: Deftly and competently [Christopher D. Johnson] weaves these threads together, following his intuition rather than the precharted paths of Warburg scholarship, and creating a fabric of dense texture and rich colors, in order to unfold (at the heart of the first chapter) in greater depth and detail Warburg's 1923 Lecture on Snake Ritual. In chapter 2, "Ad oculos: Ways of Seeing, Reading, and Collecting," Johnson analyzes the iconology of Warburg's early essays in the context of Italian humanism and quattrocento painting (drawing on [Ernst Gombrich] and Baxandall), examines Warburg's key concept of the "pathos formulas" and their analogies to Ernst Robert Curtius's literary topoi, and compares the arrangement of panels in the Bilderatlas to the organization of Warburg's famous Kulturwissenschaftliche Bibliothek in Hamburg. Chapter 3, "Metaphor Lost and Found in Mnemosyne" more closely examines the ten panels that make up the central sequence of Warburg's Atlas, contextualizing them in light of Warburg's Hertziana lecture of 1929 and selective writings about Mnemosyne by both Warburg and Fritz Saxl. The focal point is the quattrocento art- ists' (in particular Ghirlandaio and Mantegna's) revival of antiquity. Johnson's main thesis inscribed into this segment is geared at the central psychodrama of Warburg's attempt to maintain metaphoric distance, which is simultaneously the means and object of his critical project. Johnson demonstrates this by showing how images such as the "fruit-bearing maiden" illustrate for Warburg, on the one hand, the spatial and historical translation and migration of images, but are, on the other hand, charged with a highly subjective relevance, reflecting Warburg's struggle for "Entängstigung" (calming of his anxieties) and "sophrosyne" (clear mindedness). Chapter 4 reflects on affinities and differences between Warburg's thinking and the approaches of Erwin Panofsky, Hermann Usener, and Ernst Cassirer's Philosophy of Symbolic Forms, heightening the modern traits of Warburg's "Ikonologie des Zwischenraums," in which the tensions between numerous polarities undergo a complex process of sublation rather than simple synthesis. Tracing the strong epistemological dignity with which Warburg imbues metaphor, chapter 5 brings into dialog Warburg's understanding/ notion of metaphor with Hegel, Nietzsche, and Blumenberg's, adding yet another layer of context and complexity. By contrast, chapter 6 presents a close reading of Warburg's 1926 Rembrandt lecture, shedding light on the development of Warburg's understanding of the Baroque in order to chart more accurately the metaphoric logic and diagrammatic thought of Mnemosyne's final sequence of panels. In this transitional segment, Johnson also sets the stage for his concluding chapter, which culminates in an insightful and thought-provoking analysis of Warburg's encounter with the work, life, and imagery of Giordano Bruno.
  • Editor: Baltimore: German Studies Association
  • Idioma: Inglês
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