Aby Warburg (1866-1929) is best known as the originator of the discipline of iconology and as the founder of the institute that bears his name. His followers included such celebrated art historians of the twentieth century as Erwin Panofsky, Edgar Wind, and Fritz Saxl. But his heirs developed, for the most part, a domesticated iconology based on the interpretation of symbolic material. As Phillippe-Alain Michaud shows in this important book, Warburg's own project was remote from any positivist or neo-Kantian ambitions. Nourished on the work of Nietzsche and Burckhardt, Warburg fashioned a "critical iconology" to reveal the irrationality of the image in Western culture. Opposing the grand teleological narratives of art inaugurated by Vasari, Warburg's method operated through historical anachronisms and discontinuities. Using "montage-collision" to create textless collections of images, he brought together pagan artifacts and masterpieces of Florentine Renaissance art, ancient Near East astrology and the Lutheran Reformation, Mannerist festivals and the sacred dances of Native Americans. Michaud insists that for Warburg, the practice of art history was the discovery within the art work itself of fracture, contradictions, tensions, and the energies of magic, empathy, totemism, and animism. Challenging normative accounts of Western European classicism, Warburg located the real sources of the Renaissance in the Dionysian spirit, in the expression of movement and dance, in the experience of trance personified in the frenzied nymph or ecstatic maenad.<br /> <br /> Aby Warburg and the Image in Motion is not only a book about Warburg but a book written with him; Michaud uses Warburg's intuitions and discoveries to analyze other categories of imagery, including the daguerreotype, the chronophotography of Etienne-Jules Marey, early cinema, and the dances of Loie Fuller. It will be essential reading for anyone concerned with the origins of modern art history and the visual culture of modernity.
2 有用 Eco 2024-01-18 10:48:55 山东
《瓦尔堡与活动影像》菲利普-阿兰·米肖(Pgilippe-Alain Michaud)是蓬皮杜艺术中心的电影部门主管。他致力于将人类学的田野调查与泛灵论之向度带入艺术史中而凸显一种具有跨领域,以及蒙太奇作为思想形式的特质。米肖透过瓦氏思想在每一个时期与地点的成形来链接各种影像范式(绘画、摄影、电影等)的发展脉络,构置出一幅连结中世纪绘画与早期摄影术、艺术史与电影史、乃至文化人类学与视觉文化之间极具... 《瓦尔堡与活动影像》菲利普-阿兰·米肖(Pgilippe-Alain Michaud)是蓬皮杜艺术中心的电影部门主管。他致力于将人类学的田野调查与泛灵论之向度带入艺术史中而凸显一种具有跨领域,以及蒙太奇作为思想形式的特质。米肖透过瓦氏思想在每一个时期与地点的成形来链接各种影像范式(绘画、摄影、电影等)的发展脉络,构置出一幅连结中世纪绘画与早期摄影术、艺术史与电影史、乃至文化人类学与视觉文化之间极具蒙太奇表征的书写图谱。 (展开)
0 有用 𝑾𝒂𝒍𝒅𝒆𝒊𝒏𝒔𝒂𝒎𝒌𝒆𝒊𝒕 2022-05-29 00:20:00
附录比正文好看系列。总的来说没啥惊喜,甚至看到标题就差不多猜到Michaud会说啥了……Whataver,将瓦尔堡的图集同爱森斯坦的蒙太奇相提并论是非常有趣的——当然,也是稍显可疑的。
0 有用 一颗糖 2020-11-24 05:57:40
虽然到目前还没有度过warbug亲自写的,但是读引文就会让人感觉到为什么,为什么他如此精确的抓住了一个东西的本质,比如 encounter of the body and its image,就胜过无数谈Italian renaissance技艺的art historian,只有他提供了哲学深度 3.21补充 文笔非常非常优美 阿尔堡捉蝴蝶那一段
2 有用 Eco 2024-01-18 10:48:55 山东
《瓦尔堡与活动影像》菲利普-阿兰·米肖(Pgilippe-Alain Michaud)是蓬皮杜艺术中心的电影部门主管。他致力于将人类学的田野调查与泛灵论之向度带入艺术史中而凸显一种具有跨领域,以及蒙太奇作为思想形式的特质。米肖透过瓦氏思想在每一个时期与地点的成形来链接各种影像范式(绘画、摄影、电影等)的发展脉络,构置出一幅连结中世纪绘画与早期摄影术、艺术史与电影史、乃至文化人类学与视觉文化之间极具... 《瓦尔堡与活动影像》菲利普-阿兰·米肖(Pgilippe-Alain Michaud)是蓬皮杜艺术中心的电影部门主管。他致力于将人类学的田野调查与泛灵论之向度带入艺术史中而凸显一种具有跨领域,以及蒙太奇作为思想形式的特质。米肖透过瓦氏思想在每一个时期与地点的成形来链接各种影像范式(绘画、摄影、电影等)的发展脉络,构置出一幅连结中世纪绘画与早期摄影术、艺术史与电影史、乃至文化人类学与视觉文化之间极具蒙太奇表征的书写图谱。 (展开)
0 有用 𝑾𝒂𝒍𝒅𝒆𝒊𝒏𝒔𝒂𝒎𝒌𝒆𝒊𝒕 2022-05-29 00:20:00
附录比正文好看系列。总的来说没啥惊喜,甚至看到标题就差不多猜到Michaud会说啥了……Whataver,将瓦尔堡的图集同爱森斯坦的蒙太奇相提并论是非常有趣的——当然,也是稍显可疑的。
0 有用 一颗糖 2020-11-24 05:57:40
虽然到目前还没有度过warbug亲自写的,但是读引文就会让人感觉到为什么,为什么他如此精确的抓住了一个东西的本质,比如 encounter of the body and its image,就胜过无数谈Italian renaissance技艺的art historian,只有他提供了哲学深度 3.21补充 文笔非常非常优美 阿尔堡捉蝴蝶那一段