Aby Warburg's Bilderatlas Mnemosyne, left unfinished in 1929, has attracted significant interest in recent decades. This essay offers a new interpretation of Warburg's “picture atlas,” not in relation to modernist collage and photomontage, but as an heir to scientific pedagogical exhibitions of the late Wilhelmine period. It deals in particular with two “public enlightenment” shows curated by the Leipzig medical historian Karl Sudhoff, whose work Warburg admired and employed: the first on with the history of hygiene in Dresden in 1911, (...) the second in Leipzig, three years later, on the development of scientific images. Like Warburg, Sudhoff appreciated artworks and artifacts as sources for the history of science and medicine. His exhibitions consisted of assemblages of photographic reproductions—some of which were provided by Warburg himself—and uncannily anticipate Mnemosyne in both form and content. By examining the exchange of materials and display methods between the two scholars, the article explores how their respective visual projects reflected deeper disagreements over the public role of science, the epistemic power of images, and the persistence of the irrational in the human psyche. (shrink)

Archives are being digitised on an enormous scale worldwide, and the connections between Aby Warburg’s Mnemosyne Atlas and the contemporary digital accumulation of data have not been lost on contemporary scholars. By problematising what I suggest is a simplified relation between repetition and replication in the transmission of Warburg’s body of work into a digital era, I believe that an engagement with contemporary digital discourse provides the possibility of seeing his work in a new light while allowing for insights into (...) how Warburg might be instrumental in rendering visible possible discrepancies between individual entities and larger collective patterns, whether within his Mnemosyne Atlas or among datasets more broadly speaking. (shrink)

The human world is in a state in statu nascendi. Man is emocionaly suspended between history, past, memory and the future. His activity is always the result of the four pillars supporting his existence. He draws his energy from the social imaginarium of which he is a part. The foundations dynamic social space are religion and politics as well as the past and memory.

O texto propõe articular a interpretação heideggeriana da verdade à luz da concepção de memória/reminiscência elaborada por Martin Heidegger em sua leitura fenomenológico-hermenêutica de Platão. Para tanto, o trabalho aproxima as interpretações apresentadas pelo filósofo alemão em dois textos complementares, a saber, Platons Lehre von der Wahrheit e Parmenides , tendo como pano de fundo a hipótese de que a memória não se constitui sem ter por base uma perda originária, um ‘ao menos um’ que jamais comparece na totalidade do (...) que se desvela, mas que serve de reserva e fonte para todo o pensar e dizer dos pensadores. Normal 0 21 false false false PT-BR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabela normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-fareast-language:EN-US;}. (shrink)

In order to fully render the “ideal of female beauty”, Dante Gabriel Rossetti was planning a picture which he never executed as an individual canvass. Its aim was to show Venus as seen from various perspectives. It was to be achieved through the use of a number of mirrors surrounding Venus in a complete circle. This project implies that the idea standing behind Rossetti’s art was to reveal the woman as the creator both of herself, being a reflection of a (...) concept created beforehand in her mind, as well as a creator of her own image, being a reflection of this “enhanced” her, in the mirrors. At the same time an infinite number of reflections, raises the power of feminine creation to a universal level and becomes a metaphor of her being the patron goddess of art as well. Thus a “universal” space where all different ladies “meet” is created. In his early paintings, Rossetti employs a combination of different “moments of perspective” that make pictorial space “universal”. His late works become separate “mirror perspectives” of Venus. As a collection, they constitute this set of images unattainable in one picture and extend this “universal space” onto the physical space surrounding them. Also, the manner in which these paintings are executed creates an impression of a “reflection” of the eyesight of each heroine outside of the canvass, returning back into the picture. Thus a new quality is given to the connection of the pictorial space within the frames and that surrounding it. (shrink)

The article is devoted to the Russian Symbolist poet Vyacheslav Ivanov’s perception of Evgeny Boratynsky’s poetry. The specific focus is on Ivanov’s interest concerning the way Boratynsky’s lyrics relate to his philosophy of art. The article examines various types of lyrics in which Ivanov echoes Boratynsky’s poetry. One of these is a revival of the genre of “friendly epistles,” a genre that was popular in Russian poetry of the Golden Age. In poems of this type, Ivanov uses some of the (...) artistic principles typical of “Pushkin era” poems and refers to Boratynsky’s works. The article features Ivanov’s address to Boratynsky in the poem “Before Boratynsky’s portrait,” which serves Ivanov as a means to express his main aesthetic concepts. The article concludes with a suggestion that one of the reasons why these poets belong to the tradition of “the poetry of thought” is the influence of Goethe on both. (shrink)

This book offers a text and translation of Theophrastus' "Metaphysics," together with a full commentary, which may be used as an introduction to the terminology of Aristotle's school. The Introduction provides an assessment of Theophrastus' contribution to Peripatetic thought on the principles of being.

In June 1927, the Kulturwissenschaftliche Bibliothek Warburg celebrated "forty years of bibliophily". On the occasion of the sixtieth birthday of his brother Max, Aby Warburg organized a guided tour of his library and a photographic exhibition presented with original documents: one example of the practical side of the "Bild und Wort" method. These two terms were used by Aby Warburg to describe a theme of his research, namely the complex relation between iconographic and textual tradition and the theory of the (...) function of the human visual memory. At the same time, "image and word" were research tools, experimented by Warburg in structuring his lectures as reading plus slideshow plus guided visit of the panels and in creating a photographic collection in his Library. It was from this lecturing and exhibiting practice, and from the desire to collect and disseminate his research in a suitable manner, that Warburg’s project for an atlas-book, entitled Mnemosyne, took its origin and form. "The" Mnemosyne was intended to be a work dedicated to the investigation of the dynamics of the Western tradition and its cultural memory, focusing on the examples provided by the "posthumous life" of antiquity during the Renaissance. (shrink)

Peirce’s system may be identified as one of a family of “organic memory” theories which flourished during the period in which he developed it, especially in the Monist journals which published much of his late work. “Organic memory” theories were vigorously opposed in their own day and are remembered in our own, if at all, only in connection with discredited theories such as racial memory and Lamarckian inheritance. When read in the context of their own time, however, “organic memory” theories (...) stand revealed as among modernity’s first attempts at a still-unrealized, post-nominalist re-foundation of science. Being thus closely related to Peirce’s own project both in time and in spirit, they deserve to be understood on their own terms. The synthesis of these theories in the book Das Gesetz der Serie (1919) by the Austrian biologist Paul Kammerer (1880-1926), a prominent representative of organized Monism's European branch, provides insight into the systematic unity of the various aspects of Peirce's thought, especially the close relationship between pragmatism and what is now called “emergence.”. (shrink)