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2020, La Rivista di Engramma
Warburg e il pensiero vivente
ABY WARBURG AND MNEMOSYNE ATLAS | Warburg e il pensiero vivente [2022]2022 •
Aby Warburg, fondatore di una nuova scienza della cultura, che restituisce parola all’immagine; figura di “intellettuale militante” (così Gertrud Bing), per il quale non si dà distinzione tra vita e pensiero; pioniere di nuovi metodi di ricerca che inventa macchine, nuovi ‘organi’ per attivare ed esercitare il sapere; architetto di spazi disegnati per essere arene del pensiero: la Biblioteca di Scienza della cultura (migrata da Amburgo a Londra nel 1933) e l’Atlante Mnemosyne, le imprese che costituiscono la parte più consistente della sua eredità. Gli undici contributi raccolti per la prima volta in questo volume, tutti fioriti in ambito italiano, tracciano in modo chiaro la linea del “pensiero vivente” di Warburg. Giorgio Pasquali, Mario Praz, Gertrud Bing, Arsenio Frugoni, Giorgio Agamben, Guglielmo Bilancioni, Alessandro Dal Lago, Gianni Carchia, Salvatore Settis, Kurt W. Forster, Maurizio Ghelardi: il dialogo polifonico, ravvicinato o a distanza, fra studiosi di formazione diversa, attiva un fascio di luce che illumina in modo inedito la personalità di Warburg e mette in risalto il profilo del suo lascito intellettuale. Sommario Prefazione Monica Centanni, "Nota sui criteri di scelta e contestualizzazione dei saggi"; Giorgio Pasquali, "Ricordo di Aby Warburg [1930]"; Mario Praz, "Recensione a Gesammelte Schriften [1934]"; Gertrud Bing, "Aby A. Warburg [1960]"; Arsenio Frugoni, "La Rinascita di Warburg [1967]"; Giorgio Agamben, "Aby Warburg e la scienza senza nome [1975, 19842]"; Guglielmo Bilancioni, Aby Warburg, il gran signore del labirinto [1984]; Alessandro Dal Lago, "L’arcaico e il suo doppio: Aby Warburg e l’antropologia [1984]"; Gianni Carchia, "Aby Warburg, simbolo e tragedia [1984]"; Salvatore Settis, "Warburg continuatus [1985, 19952]"; Kurt W. Forster, "Aby Warburg cartografo delle passioni [1999]"; Maurizio Ghelardi, "L’ultimo Warburg [2004]". Postfazione Monica Centanni, "Aby Warburg e il pensiero vivente". __________________________________________________________________ L'intero volume è disponibile su / The full book is available on: https://bit.ly/Ronzani_WPV The book is also published in English version with the title: "Aby Warburg and Living Thought". For further information see: https://www.academia.edu/82494171/ABY_WARBURG_AND_MNEMOSYNE_ATLAS_Aby_Warburg_and_Living_Thought_2022_ The full English version is available on: https://bit.ly/Ronzani_WLT
La Rivista di Engramma
ABY WARBURG AND MNEMOSYNE ATLAS | Nota di commento ai Frammenti di Aby Warburg. Tra Manet e Mnemosyne [2019]2019 •
In order to complement the text by Aby Warburg on Manet (published in this issue of Engramma, German edition and Italian version by Maurizio Ghelardi), we present a series of fragments pinned in 11 unnumbered sheets, dating back to the last months of Warburg’s life [WIA 102.1 .2]. Fragments are published in German version and Italian translation by Maurizio Ghelardi. In the Commentary by Monica Centanni, the main themes of these adnotations are put in evidence: The ancient sarcophagi as energy catalysts;” Sphaera barbarica” and katasterismos; Liberation of the demons and emancipation (Olympic) of the chthonic gods; Images of the Nymph: the handmaid, the Victory, Hecate; Dinamogrammi; Denkraum / Zwischenraum; Notes for the Bilderatlas Mnemosyne; Manet as a guide through the paths of Mnemosyne.
"Schifanoia" a cura dell’Istituto di studi rinascimentali di Ferrara, 42-43 · 2012
ABY WARBURG AND MNEMOSYNE ATLAS | Per una cronologia (warburghiana) del Rinascimento [2013]2013 •
The first occurrence of the term «Renaissance» («Early Renaissance», to be more precise) is in the title of the essay on mythological subjects of the works of Botticelli that Aby Warburg draws from his thesis, published in 1893. In order to investigate the meaning of «Renaissance» in Warburg’s thinking, I have studied all his essays, particularly the ones he had conceived as scientific publications, hence more thoroughly studied than the comments of his notebooks and the drafts of his articles. From the corpus of edited works, I focused on the most significant occurrences of «Renaissance», «Early Renaissance», «Middle Age», «Baroque» and derivative adjectives, but also on the context they appear in with respect to one another. All passages from Warburg’s works (confronted with the original texts collected in the two volumes of Gesammelte Schriften, edited by Fritz Saxl in 1932), are quoted according to the Italian edition, published in 1966, with the translation by Emma Cantimori and under the supervision of Gertrud Bing. My survey also has a second purpose: I will try and understand whether, from the implicit suggestions in Warburg’s dissertations, a cultural and ideological (as well as chronological) definition of «Renaissance» (which could be useful to us) can be achieved.
La Rivista di Engramma
ABY WARBURG & MNEMOSYNE ATLAS | “Le orride convulsioni di una rana decapitata”. Sulla redazione degli esemplari B e A della conferenza di Aby Warburg a Kreuzlingen (21 aprile 1923) [2023]2023 •
The text of the lecture Warburg gave in Kreuzlingen on 21 April 1923 is no doubt his most famous and widely circulated work. To date, however, no precise philological analysis has been made of the typescripts preserved at the Warburg Institute Archive in London which transmitted the text. We owe to Piermario Vescovo and to his great philological accurancy, the tracing of the complex genesis and transmission of the Kreuzlingen Lecture text. Warburg, as known, forbade the text to be published, and described it as the convulsions “of a decapitated frog”. The source of the image Warburg adopts is first identified in this contribution in a passage from Charles Darwin’s The expression of the emotions in man and animals. On the basis of Vescovo’s research which precisely delineates the relationship between the different versions of the text, the paper focuses on the materiality of the typescripts, and on their material making. The text B [WIA III.93.1] is the troubled fruit of Warburg’s own repeated revision of the text with the collaboration of Fritz Saxl; the text A [WIA III.93.1] had hitherto been regarded as the later, cleaned-up version of the text and had thus offered the basis of its translations in different languages. According to Vescovo’s reconstruction, however it is a version of an earlier text than B. Vescovo assumes that the person who physically typed the text preserved in A-A1 was the typist-girl who, according to Saxl’s testimony, Binswanger sent to Warburg from September 1922.
Aisthesis. Pratiche, linguaggi e saperi dell’estetico
Walter Benjamin: un melanconico allievo di Aby Warburg2010 •
L'altra metà dell'editoria. Le professioniste del libro e della lettura nel Novecento, a cura di R. Cesana, I. Piazzoni
“Una ricchezza umana fatta non di bei sogni, ma di lavoro quotidiano”. Gertrud Bing, preziosa custode del Warburg Institute2022 •
"A human treasure made not of beautiful dreams, but of daily work." Gertrud Bing, precious custodian of the Warburg Institute, published in "L'altra metà dell'editoria. Le professioniste del libro e della lettura nel Novecento", R. Cesana – I. Piazzoni eds., Ronzanieditore, 2022.
"Hillman erede infedele di Jung, by Daniela Sacco, published by Moretti&Vitali in January 2013 is a monograph dedicated to the American philosopher and psychoanalyst, who passed away in October 2011. The book analyzes James Hillman’s thinking in the light of the comparison with the predecessor Carl Gustav Jung, and in relation to the classical tradition. In particular, it describes the way in which James Hillman acquires the influence of NeoPlatonic school of thought, brought to new life during the Renaissance, and uses it to understand the contemporary psyche, and how this defines the novelty of his position in philosophy and depth psychology. Hillman heralded an epochal transformation of the boundary between consciousness and the unconscious, and the transformation of the human way of life. Distancing himself from Jung, he adopts the theory of collective unconscious archetypes, releasing it from the last stronghold of a monotheism of consciousness; he adopts Jung’s ‘pagan’ legacy, going beyond heresy with respect to Christianity, claiming back the classical tradition and the mythical discourse as logos of the psyche. The difference between the two thinkers is focused on the analysis of the archetypal idea of Anima, introduced by Hillman. This, unlike the Junghian archetypal idea of Self, reflects in the experience of the contemporary man the shift from a Christian faith inclusive of what was historically removed, to a paganism that contains what was removed, inevitably transformed. This shift is apparent in the subversion of the relation between the particular and the universal, the single and the manifold, caused by the crumbling of the metaphysical thought marked by the transcendental ideas of identity and unity dominant in the Western culture. The whole of psychoanalysis is understood starting from the discovery of the unconscious, as a symptom of the crisis of Modernity, up to its interpretation as myth and imaginal by Hillman during the second half of the Twenty Century. The rescue of the mythical thinking, to cure the Western ‘illness’, takes place in the history of psychoanalysis that, ushered in by Freud with the discovery of disturbed mental images, finds with Hillman the announcement of its possible ending, when the images are given back to the aisthesis, to the phenomenal perception of the world, by means of the notion of Anima mundi. Hillman’s ideas are also considered in regard to the elective affinity with the life and thinking of Aby Warburg, and in regard to the concept of Mnemosyne, the old meaning of memory. "
Patografie del Moderno. Per una mappa astrale delle costellazioni warburghiane | Costellazione 2: Antico / Moderno
LECTURES | “[…] to bury Warburg, not to praise him”. Il ruolo di Ernst Gombrich nella tradizione del metodo warburghiano [Roma, 10 November 2022, h. 9.15]2022 •
Convegno Internazionale a cura di Daniela Padularosa (Roma 9-10 Novembre 2022). Patografie del Moderno. Per una mappa astrale delle costellazioni warburghiane. INTERVENGONO Georges Didi-Huberman, Claudia Wedepohl , Claudia Cieri Via, Andrea Pinotti, Karine Winkelvoss, Daniela Padularosa, Monica Centanni, Barbara Picht, Gabriele Guerra, Camilla Miglio, Chiara Adorisio, Sigrid Weigel, Maurizio Ghelardi, Massimo Palma, Giulia Fanara, Stefania De Lucia, Philippe-Alain Michaud, Davide Stimilli, Aleksandra Jovicevic, Daniela Sacco, Giulia Iannucci.
Fabio Tolledi, Limes and Sublime. The step of Aby Warburg and the theater of images There is a thin line that marks, defines, tries to mark the space in which the images happen. The women and men of theater for more than a century are stirring in the awareness that the space of the theater, the theatrical place, is a border, a fold, a border territory between the limes and the sublime. The work of the actor lives in the changing field of transformation. Transition from one state to another in which the body experiences the self and, at the same time, becomes an image. In modern times theater has often been used as a conceptual field, moving away from the profound allegorical material that constitutes it. The mask and the double, the actor and the social action, the illusion, the fiction, the character constituted a tool to describe social and cognitive dynamics of the most disparate spheres. Aby Warburg has taken on a dynamic point of view that leads to an extraordinary closeness to theatrical functioning or, rather, to a cognitive process of transformation of the body that is one and multiple at the same time. The limes of the social field and the sublime of the aesthetic experience proceed by fragments, shattering and recomposing - rubble after rubble, material after material - the image of oneself and the image of the world. The Atlas Mnemosyne of Warburg, an extraordinary and endless montage, has marked in an undisputable way, the practice of theater montage that characterizes the scene of the last fifty years. Limes and sublime rediscover another, unrestrainable, path of knowledge and disturbance. The theater of images remains suspended in the flesh of the days, in the infinite multiplicity of intertwining beings.
Baranja kroz povijest: Zbornik radova znanstvenog skupa (Hrvatski institut za povijest, Podružnica za povijest Slavonije, Srijema i Baranje
Baranja u memoarima vojvode Villarsa i lady Mary Wortley Montagu2024 •
Journal of Investment and Management
Do Financial Market Lead to Economic Growth? A Causality Test in Jordan2013 •
Jurnal Andalas: Rekayasa dan Penerapan Teknologi
Pelatihan Digital Marketing Sebagai Usaha Meningkatkan Penjualan dan Pemasaran pada UMKM Uberrr Kota SolokObesity Surgery
Band Erosion: Incidence, Etiology, Management and Outcome after Banded Vertical Gastric Bypass2001 •
Vincenzo Guarracino (ed.), Interminati spazi, sovrumani silenzi. “Un infinito commento”, critici, filosofi e scrittori alla ricerca dell’Infinito di Leopardi, Grottammare, Stamperia dell’Arancio, pp. 401-404
Brama e paura d’infinito2001 •
Forum on Public Policy a Journal of the Oxford Round Table
Embracing the Stranger: Hispanics, American Christianity, and Immigration2008 •