Un'entrata a "balzello" nel perorante e non privo di stupore "assemblage" immaginale del prigioni... more Un'entrata a "balzello" nel perorante e non privo di stupore "assemblage" immaginale del prigioniero di Kreutzlingen. Un piccolo contributo al Seminario Mnemosyne. Grazie ai mentor e colleghi.
This is a reading of Panel A of Warburg's Mnemosine Bileratlas. This first panel offers a general... more This is a reading of Panel A of Warburg's Mnemosine Bileratlas. This first panel offers a general overview of the historical, geographical, and gnoseological co-ordinates of the Atlas.The panel is divided in three parts: a geographical map, representing the peregrination of images and subjects; a constellation map, representing the magico-religiuos extreme (macrocosm), and a genealogical tree of Medici-Tornabuoni family, representing human relations (microcosm).The graphic images on Panel A use models for mapping the earth and sky, and delineating genealogy. These methods do not reduce or trivialise complex thought. Rather, they serve to demonstrate that the abstract language of science lends itself perfectly to describing the interconnections of historical and cultural phenomena. All three images re-establish the potent and complex notion of the syncretic and conflictual nature of western culture derived from the peregrinations and hybridisations of the roots of classical antiquity. The images are also scattered with autobiographical signs, thus reminding us that the Atlas-machine does not aim to reconstruct an irretrievable truth from the past.
Edited by Seminario Mnemosyne, coordinated by Giulia Bordignon, Monica Centanni, Silvia De Laude, Daniela Sacco, with Maria Bergamo, Emily V. Bovino, Nicole Cappellari, Lucia Coco, Flavia Culcasi, Simone Culotta, Enkli Doja, Bianca Fasiolo, Alberto Giacomin, G. Olmo Stuppia, Silvia Urbini.
Translation by Elizabeth Thomson.
a cura del Seminario Mnemosyne, coordinato da Monica Centanni, Maria Bergamo, Giulia Bordignon, D... more a cura del Seminario Mnemosyne, coordinato da Monica Centanni, Maria Bergamo, Giulia Bordignon, Daniela Sacco, con Mirco Bimbi, Annalisa Cescon, Lucia Coco, Silvia De Laude, Anna Fressola, Sofia Magnaguagno, Yasmin Mhdawi, Valentina Olivetti, Francesca Petazzini, Tania Piacquadio, Alessia Prati, G. Olmo Stuppia, Silvia Urbini, Maria Aime Villano
A "reasoned gallery of images from the Bilderatlas" in the first part of the essay that traces a route throughout Aby Warburg’s whole Atlas. This track follows a postural formula that qualifies various figures that are displayed in the Atlas panels, as a specific expressive brand: a head, a face leaning on the hand. This is the posture that characterizes the enigmatic central figure of one of the better known engravings of the Renaissance: the Melencolia I by Albrecht Dürer.
The gallery proposed here, and that crisscrosses through all the Atlas panels, shows a gestural and postural link that connects different figures, male and female, according to precise tangent lines and marked by a well-defined position: the hand to the face, committed to support the weight of the head, as if the point where the face finds support is the precise place where the gravity of the body posture in an act of contrition or neglect is channeled most insistently, almost free-falling, be it leaning against a support, or slumped, semi-lying or all-lying. In assembling the gallery, the figures are not set in chronological order according to the date of composition, but rather in a thematic-formal articulation that starts off from the posture of pondering and reflecting (SERIES I. From the pondering Muse to the posture of the humanist-intellectual), or of anguish or mourning (SERIES II. Melancholy on the stage of commiseration), accidie (SERIES III. Figures of idleness (and old-age), and abandonment (SERIES IV. Ariadne or the figures of abandonment). Each of these presents a prototypical image in ancient repertoire: the thinking Muse (I); the mourning accompanying the deceased (II), Accidie (III), Arianna (IV).
Un'entrata a "balzello" nel perorante e non privo di stupore "assemblage" immaginale del prigioni... more Un'entrata a "balzello" nel perorante e non privo di stupore "assemblage" immaginale del prigioniero di Kreutzlingen. Un piccolo contributo al Seminario Mnemosyne. Grazie ai mentor e colleghi.
This is a reading of Panel A of Warburg's Mnemosine Bileratlas. This first panel offers a general... more This is a reading of Panel A of Warburg's Mnemosine Bileratlas. This first panel offers a general overview of the historical, geographical, and gnoseological co-ordinates of the Atlas.The panel is divided in three parts: a geographical map, representing the peregrination of images and subjects; a constellation map, representing the magico-religiuos extreme (macrocosm), and a genealogical tree of Medici-Tornabuoni family, representing human relations (microcosm).The graphic images on Panel A use models for mapping the earth and sky, and delineating genealogy. These methods do not reduce or trivialise complex thought. Rather, they serve to demonstrate that the abstract language of science lends itself perfectly to describing the interconnections of historical and cultural phenomena. All three images re-establish the potent and complex notion of the syncretic and conflictual nature of western culture derived from the peregrinations and hybridisations of the roots of classical antiquity. The images are also scattered with autobiographical signs, thus reminding us that the Atlas-machine does not aim to reconstruct an irretrievable truth from the past.
Edited by Seminario Mnemosyne, coordinated by Giulia Bordignon, Monica Centanni, Silvia De Laude, Daniela Sacco, with Maria Bergamo, Emily V. Bovino, Nicole Cappellari, Lucia Coco, Flavia Culcasi, Simone Culotta, Enkli Doja, Bianca Fasiolo, Alberto Giacomin, G. Olmo Stuppia, Silvia Urbini.
Translation by Elizabeth Thomson.
a cura del Seminario Mnemosyne, coordinato da Monica Centanni, Maria Bergamo, Giulia Bordignon, D... more a cura del Seminario Mnemosyne, coordinato da Monica Centanni, Maria Bergamo, Giulia Bordignon, Daniela Sacco, con Mirco Bimbi, Annalisa Cescon, Lucia Coco, Silvia De Laude, Anna Fressola, Sofia Magnaguagno, Yasmin Mhdawi, Valentina Olivetti, Francesca Petazzini, Tania Piacquadio, Alessia Prati, G. Olmo Stuppia, Silvia Urbini, Maria Aime Villano
A "reasoned gallery of images from the Bilderatlas" in the first part of the essay that traces a route throughout Aby Warburg’s whole Atlas. This track follows a postural formula that qualifies various figures that are displayed in the Atlas panels, as a specific expressive brand: a head, a face leaning on the hand. This is the posture that characterizes the enigmatic central figure of one of the better known engravings of the Renaissance: the Melencolia I by Albrecht Dürer.
The gallery proposed here, and that crisscrosses through all the Atlas panels, shows a gestural and postural link that connects different figures, male and female, according to precise tangent lines and marked by a well-defined position: the hand to the face, committed to support the weight of the head, as if the point where the face finds support is the precise place where the gravity of the body posture in an act of contrition or neglect is channeled most insistently, almost free-falling, be it leaning against a support, or slumped, semi-lying or all-lying. In assembling the gallery, the figures are not set in chronological order according to the date of composition, but rather in a thematic-formal articulation that starts off from the posture of pondering and reflecting (SERIES I. From the pondering Muse to the posture of the humanist-intellectual), or of anguish or mourning (SERIES II. Melancholy on the stage of commiseration), accidie (SERIES III. Figures of idleness (and old-age), and abandonment (SERIES IV. Ariadne or the figures of abandonment). Each of these presents a prototypical image in ancient repertoire: the thinking Muse (I); the mourning accompanying the deceased (II), Accidie (III), Arianna (IV).
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Papers by Lucia Coco
Un piccolo contributo al Seminario Mnemosyne.
Grazie ai mentor e colleghi.
Books & papers by Lucia Coco
Edited by Seminario Mnemosyne, coordinated by Giulia Bordignon, Monica Centanni, Silvia De Laude, Daniela Sacco, with Maria Bergamo, Emily V. Bovino, Nicole Cappellari, Lucia Coco, Flavia Culcasi, Simone Culotta, Enkli Doja, Bianca Fasiolo, Alberto Giacomin, G. Olmo Stuppia, Silvia Urbini.
Translation by Elizabeth Thomson.
A "reasoned gallery of images from the Bilderatlas" in the first part of the essay that traces a route throughout Aby Warburg’s whole Atlas. This track follows a postural formula that qualifies various figures that are displayed in the Atlas panels, as a specific expressive brand: a head, a face leaning on the hand. This is the posture that characterizes the enigmatic central figure of one of the better known engravings of the Renaissance: the Melencolia I by Albrecht Dürer.
The gallery proposed here, and that crisscrosses through all the Atlas panels, shows a gestural and postural link that connects different figures, male and female, according to precise tangent lines and marked by a well-defined position: the hand to the face, committed to support the weight of the head, as if the point where the face finds support is the precise place where the gravity of the body posture in an act of contrition or neglect is channeled most insistently, almost free-falling, be it leaning against a support, or slumped, semi-lying or all-lying. In assembling the gallery, the figures are not set in chronological order according to the date of composition, but rather in a thematic-formal articulation that starts off from the posture of pondering and reflecting (SERIES I. From the pondering Muse to the posture of the humanist-intellectual), or of anguish or mourning (SERIES II. Melancholy on the stage of commiseration), accidie (SERIES III. Figures of idleness (and old-age), and abandonment (SERIES IV. Ariadne or the figures of abandonment). Each of these presents a prototypical image in ancient repertoire: the thinking Muse (I); the mourning accompanying the deceased (II), Accidie (III), Arianna (IV).
Un piccolo contributo al Seminario Mnemosyne.
Grazie ai mentor e colleghi.
Edited by Seminario Mnemosyne, coordinated by Giulia Bordignon, Monica Centanni, Silvia De Laude, Daniela Sacco, with Maria Bergamo, Emily V. Bovino, Nicole Cappellari, Lucia Coco, Flavia Culcasi, Simone Culotta, Enkli Doja, Bianca Fasiolo, Alberto Giacomin, G. Olmo Stuppia, Silvia Urbini.
Translation by Elizabeth Thomson.
A "reasoned gallery of images from the Bilderatlas" in the first part of the essay that traces a route throughout Aby Warburg’s whole Atlas. This track follows a postural formula that qualifies various figures that are displayed in the Atlas panels, as a specific expressive brand: a head, a face leaning on the hand. This is the posture that characterizes the enigmatic central figure of one of the better known engravings of the Renaissance: the Melencolia I by Albrecht Dürer.
The gallery proposed here, and that crisscrosses through all the Atlas panels, shows a gestural and postural link that connects different figures, male and female, according to precise tangent lines and marked by a well-defined position: the hand to the face, committed to support the weight of the head, as if the point where the face finds support is the precise place where the gravity of the body posture in an act of contrition or neglect is channeled most insistently, almost free-falling, be it leaning against a support, or slumped, semi-lying or all-lying. In assembling the gallery, the figures are not set in chronological order according to the date of composition, but rather in a thematic-formal articulation that starts off from the posture of pondering and reflecting (SERIES I. From the pondering Muse to the posture of the humanist-intellectual), or of anguish or mourning (SERIES II. Melancholy on the stage of commiseration), accidie (SERIES III. Figures of idleness (and old-age), and abandonment (SERIES IV. Ariadne or the figures of abandonment). Each of these presents a prototypical image in ancient repertoire: the thinking Muse (I); the mourning accompanying the deceased (II), Accidie (III), Arianna (IV).