1,721,142 research outputs found
Collateral effects of the “visibile parlare” (Dante, Pg. X, v. 95) : Aby Warburg’s insight about the visual matrix of the Legend of Trajan’s Justice
No full textThe paper proposes and argues the hypothesis of a visual matrix for the Legend of Trajan’s Justice, recounted also by Dante in Purgatory, X. In particular, the author focuses on Warburg's insight—borrowed from excerpts of his papers, lectures and, in particular, the notes on Panel 7 and Panel 52 of his Bilderatlas—that the visual matrix of the Legend is a relief from the Arch of Constantine: not the figure of the kneeling Province and the merciful Emperor, but that of the Leader who “overwhelms by riding” his enemy. According to Warburg’s hypothesis, Trajan’s representation was reversed from a figure of violence into a figure of mercy: from the image of the Victor who overwhelms his enemies, into that of the just and merciful Emperor who gives justice to the widow for her murdered son. So, in Mnemosyne Atlas the reinterpretation of Trajan’s relief from the Arch of Constantine is considered as a paradigmatic case of “energetic inversion”
Sogno e visione, secondo David Lynch : presentazione di: Nicola Settis, Chi è il sognatore? Guida alla visione di Twin Peaks 3, Pisa 2022
No full textThis review presents the new book by Nicola Settis, Chi è il sognatore? Guida alla visione di Twin Peaks 3 [Who is the Dreamer? A Guide to Watching Twin Peaks 3]. The young author, a scholar of cinema and media studies, offers a brilliant reading of director David Lynch's latest season of Twin Peaks, an enigmatic television series watched all around the world. Through a narrative and visual approach adapted to the contemporary, Twin Peaks 3, The Return constitutes a new device, a still unexplored object that produces endless questions and that never stops involving the spectator in reflective and sensorial mechanisms. “Who is the Dreamer?” investigates the symbols and internal connections within this open work which expresses both the director's personal vision and sensibilities, and the human boundary between dream and reality
Del buon uso delle incursioni : presentazione della lettura corale del volume di Salvatore Settis
No full textSalvatore Settis's recent book, Incursioni. Contemporary art and tradition (Feltrinelli 2020) intercrosses the boundaries of the history of art, contemporary and beyond, of philology and antiquity, of philology and of the history of the classical tradition, of philology and anthropology. Therefore, Monica Centanni and Giuseppe Pucci invited archaeologists, art historians, philologists, anthropologists and philosophers to compose a choral reading about Settis' work, corresponding to the various solicitations that the book provokes. All scholars who have participated to the collective reading – Anna Anguissola, Maurizio Bettini, Marilena Caciorgna, Maria Luisa Catoni, Monica Centanni, Maria Grazia Ciani, Claudia Cieri Via, Gabriella De Marco, Giuseppe Di Giacomo, Elisabetta Di Stefano, Eva Di Stefano, Roberto Diodato, Dario Evola, Claudio Franzoni, Maurizio Harari, Franco La Cecla e Anna Castelli, Alessandro Poggio, Valentina Porcheddu, Daniela Sacco, Antonella Sbrilli, Salvatore Tedesco – have responded, in the style of each author, with a plurality of form, such as short essay, with bibliography and images, general analysis of Settis’s volume, in-depth studies on one of the themes, reflections on tradition and contemporaneity
Aby Warburg : his Aims and Methods : Engramma 191, Editorial
No full textIn this issue of Engramma: Giulia Zanon’s "Zooming Mnemosyne" deals with the use of details in Warburg’s Bilderatlas, Monica Centanni’s "Collateral effects of the “visibile parlare” (Dante, Pg. X, v. 95)" reconstructs the hypothesis of a visual model for the legend of Trajan’s Justice, according to Warburg intuition about it; this contribution is connected of the paper by Filippo Perfetti’s "Dante, Botticelli, and Trajan. An Open Note" where the author investigates how Botticelli could have come to know that the bas-relief of the Arch of Constantine liberatori urbis was related to an episode in Trajan's life”. The focus of this issue is then extended to Warburg's cultural environment. Matilde Sergio’s "Aby Warburg, Walter Benjaming, and the Memory of Images" investigates the influence of Warburg's essay about Luther, on Benjamin's thought, while Dorothee Gelhard’s "Gertrud Bing’s Scientific Beginnings" reconstructs the intellectual history of Bing's doctoral thesis and its influences on Warburgian work. The theme of Warburg’s Denkraum is the focal point of Salvatore Settis’ "Anselm Kiefer's Logic of Inversion": a fundamental overview of Kiefer's Questi scritti, quando verranno bruciati, daranno finalmente un po’ di luce (Andrea Emo) on display at Sala dello Scrutinio in Palazzo Ducale, Venezia from March to October 2022. The third section of the issue is dedicated to new publications and exhibitions. Echoing Settis’ reflection on Denkraum, we present Clio Nicastro’s "La Dialettica del Denkraum in Aby Warburg", published this year for Palermo University Press; an introduction to "Cultural Memories": a series published by Peter Lang and edited by Katia Pizzi. Giacomo Calandra di Roccolino with "Mary Hertz Warburg: Free and Unconventional" reviews the exhibition of the artist Mary Hertz Warburg. The issue closes with the important "Choral Reading of "Il metodo di Aby Warburg" by Kurt W. Forster. L’antico dei gesti. Il futuro della memoria", where Barbara Baert, Victoria Cirlot, Georges Didi-Huberman, Michael Diers, Andrea Pinotti and Ianick Takaes offer us their personal reading of Warburg’s life and thought as they are presented by Forster’s newly translated book, edited by Ronzani editore
Figura con testo : nota su una possibile assonanza tra il "Capitolo dell’Ingratitudine" di Niccolò Machiavelli e la "Calunnia di Apelle" di Sandro Botticelli
No full textThe article highlights the possible relationship between the iconography of the ‘characters’ used by Botticelli in his Calumny – where he transposes Luciano’s ekphrasis – and the personae from Machiavelli’s Capitolo dell'Ingratitudine [Chapter of Ingratitude], where allegorical figures related to Envy and Suspicion seem to be very close to those in the painting. Both works were realised in the first decade of the sixteenth century in Florence, whose political and intellectual tensions could have had a strong influence on both written and painted works of art
La democrazia = δημοκρατία
No full textIn questo volume andremo alle origini del concetto di democrazia, nato ad Atene nel V secolo a.C. e legato alla scoperta della dimensione politica della vita umana e alla partecipazione attiva dei cittadini: uno tra i beni più preziosi che la cultura greca ci abbia lasciato in eredità. Inizieremo poi a conoscere la terza declinazione, la più articolata e complessa, il predicato nominale e il complemento predicativo
The Gauntlet of Mars, the Glove of Venus: A Reading of William Shakespeare’s Troilus and Cressida
No full textAt the heart of this reading is an analysis of the ways in which Shakespeare structures the plot of Troilus and Cressida, and of how he treats the source material at his disposal. The omissions and additions that Shakespeare makes to the generic and confusing myths must be examined carefully: the essay newly considers the choices that the playwright made in order to select from the stories known to his time the material that would be useful for the composition of his plot
Figli di Marte 2022 : immagini in guerra : editoriale di Engramma 190
No full textSince its first issues, Engramma has come to terms with images in war. In 2001, after the attack on the Twin Towers; in 2015, an issue dedicated to the abecedaries of Aby Warburg, Bertolt Brecht, and Ernst Jünger; at the end of 2015, an issue on the martyrdom of Palmyra, dedicated to the archaeologist Khaled Al Asaad. But already since 2008 Engramma has hosted various contributions and devoted several monographic issues to the protection of cultural heritage, wartime destruction and post-war reconstruction. March 2022 – and it is war time again. The first section of this special issue is dedicated to James Hillman and his reflections on Ares and the "terrible love of war". The third section collects interviews and interventions by Italian intellectuals who speak with voices that are dissonant with the stadium choirs that pollute the senses and dull critical intelligence: Nadia Fusini, Luciano Canfora, Lorenzo Braccesi, Moni Ovadia, Massimo Cacciari, and Salvatore Settis. At the heart of this issue of Engramma, you can find an Image Gallery, edited by Seminario Mnemosyne in six chapters: I. Enlisting Icons; II. Pornographic Romanticism; III. The Crusade of the Children; IV. "Still Dead"; V. In hoc signo; VI. Despite everything, Images
A Note on the Criteria for the Selection of the Essays
No full textAby Warburg, the founder of a new Science of Culture, the scholar who gave back word to the image; a “militant” intellectual (so wrote Gertrud Bing), for whom no distinction exists between life and thought; pioneer of new research methods, inventing ‘machines’ of knowledge; architect of spaces designed as arenas of thought. The Library for the Science of Culture (transferred from Hamburg to London in 1933) and the Mnemosyne Atlas are the achievements to which the most substantial part of his heritage is linked.
The illeven essays here collected for the first time, all stemming from the Italian cultural milieu, trace with clarity Warburg’s “living thought”. Giorgio Pasquali, Mario Praz, Gertrud Bing, Arsenio Frugoni, Giorgio Agamben, Guglielmo Bilancioni, Alessandro Dal Lago, Gianni Carchia, Salvatore Settis, Kurt W. Forster, Maurizio Ghelardi: the polyphonic dialogue, whether from close up or at a distance, between scholars of diverse backgrounds casts a new beacon of light that illuminates with clarity and precision Warburg’s personality and intellectual legacy
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