LEADER 04544nam 2200733Ia 450 001 9910808406603321 005 20211209011739.0 010 $a0-8014-6453-6 010 $a0-8014-6406-4 024 7 $a10.7591/9780801464065 035 $a(CKB)2670000000234009 035 $a(SSID)ssj0000713945 035 $a(PQKBManifestationID)11455926 035 $a(PQKBTitleCode)TC0000713945 035 $a(PQKBWorkID)10664164 035 $a(PQKB)10251714 035 $a(StDuBDS)EDZ0001517305 035 $a(MiAaPQ)EBC3138359 035 $a(OCoLC)808771983 035 $a(MdBmJHUP)muse28823 035 $a(DE-B1597)478307 035 $a(OCoLC)961546704 035 $a(OCoLC)979630553 035 $a(DE-B1597)9780801464065 035 $a(Au-PeEL)EBL3138359 035 $a(CaPaEBR)ebr10589863 035 $a(CaONFJC)MIL681711 035 $a(EXLCZ)992670000000234009 100 $a20111219d2012 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMemory, metaphor, and Aby Warburg's Atlas of images$b[electronic resource] /$fChristopher D. Johnson 210 $aIthaca, N.Y. $cCornell University Press $cCornell University Library$d2012 215 $a1 online resource $cillustrations 225 1 $aSignale : modern German letters, cultures, and thought 300 $aBibliographic Level Mode of Issuance: Monograph 311 0 $a1-322-50429-6 311 0 $a0-8014-7742-5 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface --$tAcknowledgments --$t1. Atlas Gazed: Mnemosyne-Its Origins, Motives, and Scope --$t2. Ad oculos : Ways of Seeing, Reading, and Collecting --$t3. Metaphor Lost and Found in Mnemosyne --$t4. Translating the Symbol: Warburg and Cassirer --$t5. Metaphorologies: Nietzsche, Blumenberg, and Hegel --$t6. Exemplary Figures and Diagrammatic Thought --$t7. Synderesis : The "Bruno-Reise" --$tIllustrations --$tBibliography --$tIndex 330 $aThe work of German cultural theorist and art historian Aby Warburg (1866-1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg's death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity's afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought.While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg's published and unpublished writings and by attending to Warburg's cardinal idea that "pathos formulas" structure the West's cultural memory, Johnson maps numerous tensions between word and image in the Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Atlas. As Johnson demonstrates, the Atlas is not simply the culmination of Warburg's lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture. 410 0$aSignale (Ithaca, N.Y.) 606 $aArt criticism$zGermany$xHistory$y20th century 606 $aArt, Classical$xInfluence 606 $aArt, Renaissance$xInfluence 606 $aMetaphor in art 606 $aMemory in art 615 0$aArt criticism$xHistory 615 0$aArt, Classical$xInfluence. 615 0$aArt, Renaissance$xInfluence. 615 0$aMetaphor in art. 615 0$aMemory in art. 676 $a709.2 700 $aJohnson$b Christopher D.$f1964-$0324496 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910808406603321 996 $aMemory, metaphor, and Aby Warburgs atlas of images$91070584 997 $aUNINA