A Moment in Time: from the Digital Record of a Migrating Library
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The Variants of Warburg's Manuscripts on His Indian
The Epistemic Advantage of Self-Analysis for Cultural-Historical Insights: The variants of Warburg’s manuscripts on his Indian Journey A vantagem epistêmica da autoanálise para insights histórico-culturais: as variantes dos manuscritos de Warburg em sua jornada indígena Dra. Sigrid Weigel Como citar: WEIGEL, S. The Epistemic Advantage of Self-Analysis for Cultural- Historical Insights: The variants of Warburg’s manuscripts on his Indian Journey. MODOS. Revista de História da Arte. Campinas, v. 4, n.3, p.386-404, set. 2020. Disponível em: ˂https://www.publionline.iar.unicamp.br/index.php/mod/article/view/4 794˃; DOI: https://doi.org/10.24978/mod.v4i3.4794. Imagem: The Diptych Oraibi (GUIDI; MANN, 1998). The Epistemic Advantage of Self-Analysis for Cultural-Historical Insights: The variants of Warburg’s manuscripts on his Indian Journey A vantagem epistêmica da autoanálise para insights histórico-culturais: as variantes dos manuscritos de Warburg em sua jornada indígena Dra. Sigrid Weigel* Abstract The article is devoted to analyze different versions and drafts of the 1923 Warburg’s Lecture, held in Kreuzlingen in 1923, on his travel to the United States in 1895/96, at the end of his long convalescence in the sanatorium of Ludwig Binswanger, as well as the respective lectures of 1897. This essay focuses on how the dispersion of these texts, their different dates and interferences in publications over decades had epistemological implications in the interpretation of his famous Conference. Thus, the contrast between fundamental points of these texts, both in their forms and contents – including deliberate terminological fluctuations –, raises theoretical questions that interfere with the understanding of Warburg’s work in its methodological specificity. -
Paleface and Redskin Wing Terrorists; the Policeman Guarding Him Round the Clock Was in Fact a Nazi Spy
make the most of what is left, in himself ever-changing caress of an early evening once declared to a gentile professor, "At and the world, ^ain, he addresses us: breeze. the bottom of my soul I am a Christian." After swearing Heise to secrecy about his What were we waiting for? The appearance Thus ends this play/film—on a lyri- confession, he screamed the sentence of the Messiah? Was all this nothing? I was cal note of revised values, of consol- again through the open windows. He quite fed up wjth the search for perfection. ing accommodation, with a civilization wanted the neighbors to hear it And rather amazed by all that I had—the Sometimes in his madness, though, lemonade stand with its lemonade, the cafe shrugged away. with its irritable customers and staff, the Warburg believed his pursuers to be squirrels, the birds, the trees I sat on Note. The Designated Mourner IS Y^uh\i%\ie A Germany's anti-Semites who, with the the bench for a very long time, lost—sunk by Farrar, Straus and Giroux (103 pp., demise of Wilhelm II, and of the rule of deep—in the experience of unbelievable $19). I suggest seeing the film first; then, tolerance that Warburg attributed to physical pleasure, maybe the greatest plea- when you read it, the actors' voices will him, were now plotting to eliminate sure we can know on this earth—the sweet, he in your ears. • influential Jews. Even as his doctors at Kreuzlingen worked to cure Warburg of these delusions, his younger brorfier Max, who had assumed leadership of the private bank M. -
Ira Sprague Bowen Papers, 1940-1973
http://oac.cdlib.org/findaid/ark:/13030/tf2p300278 No online items Inventory of the Ira Sprague Bowen Papers, 1940-1973 Processed by Ronald S. Brashear; machine-readable finding aid created by Gabriela A. Montoya Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2203 Fax: (626) 449-5720 Email: [email protected] URL: http://www.huntington.org/huntingtonlibrary.aspx?id=554 © 1998 The Huntington Library. All rights reserved. Observatories of the Carnegie Institution of Washington Collection Inventory of the Ira Sprague 1 Bowen Papers, 1940-1973 Observatories of the Carnegie Institution of Washington Collection Inventory of the Ira Sprague Bowen Paper, 1940-1973 The Huntington Library San Marino, California Contact Information Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2203 Fax: (626) 449-5720 Email: [email protected] URL: http://www.huntington.org/huntingtonlibrary.aspx?id=554 Processed by: Ronald S. Brashear Encoded by: Gabriela A. Montoya © 1998 The Huntington Library. All rights reserved. Descriptive Summary Title: Ira Sprague Bowen Papers, Date (inclusive): 1940-1973 Creator: Bowen, Ira Sprague Extent: Approximately 29,000 pieces in 88 boxes Repository: The Huntington Library San Marino, California 91108 Language: English. Provenance Placed on permanent deposit in the Huntington Library by the Observatories of the Carnegie Institution of Washington Collection. This was done in 1989 as part of a letter of agreement (dated November 5, 1987) between the Huntington and the Carnegie Observatories. The papers have yet to be officially accessioned. Cataloging of the papers was completed in 1989 prior to their transfer to the Huntington. -
Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
Newsletter of the Societas Magica/ No. 4
Newsletter of the Societas Magica/ No. 4 The current issue of the Newsletter is devoted mostly to the activities, collections, and publications of the Warburg Institute in London. Readers desiring further information are urged to communicate with the Institute at the following address, or to access its Website. È Warburg Institute University of London School of Advanced Study Woburn Square, London WC1H 0AB tel. (0171) 580-9663 fax (0171) 436-2852 http://www.sas.ac.uk/warburg/ È The Warburg Institute: History and Current Activities by Will F. Ryan Librarian of the Institute The Warburg Institute is part of the School of Advanced Study in the University of London, but its origins are in pre-World War II Hamburg. Its founder, Aby Warburg (1866-1929),1 was a wealthy historian of Renaissance art and civilization who developed a distinctive interdisciplinary approach to cultural history which included the history of science and religion, psychology, magic and astrology. He was the guiding spirit of a circle of distinguished scholars for whom his library and photographic collection provided a custom- built research center. In 1895 Warburg visited America and studied in particular Pueblo culture, which he regarded as still retaining a consciousness in which magic was a natural element. In his historical study of astrology he was influenced by Franz Boll (part of whose book collection is now in the Warburg library). In 1912 he delivered a now famous lecture on the symbolism of astrological imagery of the frescoes in the Palazzo Schifanoja in Ferrara; he wrote a particularly interesting article on Luther's horoscope; and he began the study of the grimoire called Picatrix, the various versions of which the Warburg Institute is gradually publishing. -
Between the Academy and the Avant-Garde: Carl Einstein and Fritz
Between the Academy and the Avant-Garde: Carl Einstein and Fritz Saxl Correspond Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/OCTO_a_00081/1753538/octo_a_00081.pdf by guest on 27 September 2021 SPYROS PAPAPETROS Can we rethink art-historical discourse by recasting one of its most “academic” (to use a term of Bataille’s) or even “conservative” (to use a term of Carl Einstein’s) media, that of editorial correspondence? Moreover, what if we attempt to expand such correspondence from an epistolary exchange between two editors to a tenta - tive conceptual agreement between the institutions that these two individuals repre - sent? And what if the expressed objective of this correspondence—that is, the prospect of collaboration—ultimately fails: what form of intellectual or methodolog - ical affinities between the two parties might their aborted communication ultimate - ly disclose? The following sequence of letters describes an interrupted exchange between the representatives of two well-known institutions, whose circles appeared momentarily to intersect only to become tangential shortly thereafter. This transito - ry connection and its textual vestiges—in letters, archival manuscripts, and printed articles—indicates that the original subject of this editorial correspondence was ulti - mately correspondence in and of itself: an epistemological system based on reflection and analogy—two terms that both correspondents exhaustively theorized in their writings yet failed to carry out in their institutional relations. Analogy , correspondence , similarity , likeness , resemblance , and similitude are terms that have been used to describe the survival of premodern mentalities within the heterotopias of mid-nineteenth and twentieth-century modernisms. But likeness produces more likeness, and a similar homology or uncritical automatism informs the literature that attempts to interpret these recurring analogies. -
2017 Fernald Caroline Dissert
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE VISUALIZATION OF THE AMERICAN SOUTHWEST: ETHNOGRAPHY, TOURISM, AND AMERICAN INDIAN SOUVENIR ARTS A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By CAROLINE JEAN FERNALD Norman, Oklahoma 2017 THE VISUALIZATION OF THE AMERICAN SOUTHWEST: ETHNOGRAPHY, TOURISM, AND AMERICAN INDIAN SOUVENIR ARTS A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ______________________________ Dr. W. Jackson Rushing, III, Chair ______________________________ Mr. B. Byron Price ______________________________ Dr. Alison Fields ______________________________ Dr. Kenneth Haltman ______________________________ Dr. David Wrobel © Copyright by CAROLINE JEAN FERNALD 2017 All Rights Reserved. For James Hagerty Acknowledgements I wish to extend my most sincere appreciation to my dissertation committee. Your influence on my work is, perhaps, apparent, but I am truly grateful for the guidance you have provided over the years. Your patience and support while I balanced the weight of a museum career and the completion of my dissertation meant the world! I would certainly be remiss to not thank the staff, trustees, and volunteers at the Millicent Rogers Museum for bearing with me while I finalized my degree. Your kind words, enthusiasm, and encouragement were greatly appreciated. I know I looked dreadfully tired in the weeks prior to the completion of my dissertation and I thank you for not mentioning it. The Couse Foundation, the University of Oklahoma’s Charles M. Russell Center, and the School of Visual Arts, likewise, deserve a heartfelt thank you for introducing me to the wonderful world of Taos and supporting my research. A very special thank you is needed for Ginnie and Ernie Leavitt, Carl Jones, and Byron Price. -
1 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: the Importance of Émigré Art Dealers As Reflecte
Working Paper--Draft 1 December 2009 DRAFT Jonathan Petropoulos Bridges from the Reich: The Importance of Émigré Art Dealers as Reflected in the Case Studies Of Curt Valentin and Otto Kallir-Nirenstein Please permit me to begin with some reflections on my own work on art plunderers in the Third Reich. Back in 1995, I wrote an article about Kajetan Mühlmann titled, “The Importance of the Second Rank.” 1 In this article, I argued that while earlier scholars had completed the pioneering work on the major Nazi leaders, it was now the particular task of our generation to examine the careers of the figures who implemented the regime’s criminal policies. I detailed how in the realm of art plundering, many of the Handlanger had evaded meaningful justice, and how Datenschutz and archival laws in Europe and the United States had prevented historians from reaching a true understanding of these second-rank figures: their roles in the looting bureaucracy, their precise operational strategies, and perhaps most interestingly, their complex motivations. While we have made significant progress with this project in the past decade (and the Austrians, in particular deserve great credit for the research and restitution work accomplished since the 1998 Austrian Restitution Law), there is still much that we do not know. Many American museums still keep their curatorial files closed—despite protestations from researchers (myself included)—and there are records in European archives that are still not accessible.2 In light of the recent international conference on Holocaust-era cultural property in Prague and the resulting Terezin Declaration, as well as the Obama Administration’s appointment of Stuart Eizenstat as the point person regarding these issues, I am cautiously optimistic. -
On the Problem of Describing and Interpreting Works of the Visual Arts
On the Problem of Describing and Interpreting Works of the Visual Arts Author(s): Erwin Panofsky, Jaś Elsner, and Katharina Lorenz Reviewed work(s): Source: Critical Inquiry, Vol. 38, No. 3 (Spring 2012), pp. 467-482 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/10.1086/664547 . Accessed: 24/05/2012 14:10 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org On the Problem of Describing and Interpreting Works of the Visual Arts Erwin Panofsky Translated by Jas´ Elsner and Katharina Lorenz In the eleventh of his Antiquarian Letters, Gotthold Ephraim Lessing discusses a phrase from Lucian’s description of the painting by Zeuxis called A Family of Centaurs: ‘at the top of the painting a centaur is leaning down as if from an observation point, smiling’ (ano de tes eikonos hoion apo tinos skopes Hippokentauros tis ...). ‘This as if from an observation point, Except for a few changes, that partly emerged from the discussion, this article presents the thread of a talk, that was given on 20 May 1931, to the Kiel section of the Kant Society. -
Felix Warburg's Magic and the Kirkland Case
Click here for Full Issue of EIR Volume 16, Number 32, August 11, 1989 of excusing him and his kind from changing their behavior. Balanchine's school in New York, and was promoted by the What is the basis of that behavior? The same as identified choreographer himself to the rank of ballerina. In 1986, Miss by the British intelligence profiling methods Wolfe utilizes Kirkland wrote an autobiography, Dancing on my Grave, in this novel. All characters' actions can be explained by which became a bestseller in the United States and was then Hobbesian-bestial-drives. Sex, money, family, power, republished in England, in Italy, and in Denmark, the har prestige, avoidance of pain, or the occasional death-wish shest attack on Georges Balanchine ever put into print. She motivates them all into every action, every public sortie or recalled that it was Balanchine himself who first introduced utterance, however silly or whatever the outcome. Each char her to drugs, pressing amphetamines into her hand before her acter's frame of reference for the sex, money, etc. is defined appearance in Leningrad, telling her they were just "head by his or her ethnic or racial background. It is a world of each ache pills." She stated that articles on Schiller's Aesthetics against all, only tempered by a tattered social contract and by Mrs. Helga Zepp-LaRouche, the wife of the controversial fast-fading traditions, and it is all coming undone at the American politician Lyndon LaRouche, had pushed her to seams. break with the drug world. Miss Kirkland, it now appears, No character is allowed to think of the future or base has been "blacklisted" by the music mafia. -
The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts
The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts Edited by Vivian Liska Editorial Board Robert Alter, Steven E. Aschheim, Richard I. Cohen, Mark H. Gelber, Moshe Halbertal, Geoffrey Hartman, Moshe Idel, Samuel Moyn, Ada Rapoport-Albert, Alvin Rosenfeld, David Ruderman, Bernd Witte Volume 3 The German-Jewish Experience Revisited Edited by Steven E. Aschheim Vivian Liska In cooperation with the Leo Baeck Institute Jerusalem In cooperation with the Leo Baeck Institute Jerusalem. An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-037293-9 e-ISBN (PDF) 978-3-11-036719-5 e-ISBN (EPUB) 978-3-11-039332-3 ISSN 2199-6962 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2015 Walter de Gruyter GmbH, Berlin/Boston Cover image: bpk / Staatsbibliothek zu Berlin Typesetting: PTP-Berlin, Protago-TEX-Production GmbH, Berlin Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Preface The essays in this volume derive partially from the Robert Liberles International Summer Research Workshop of the Leo Baeck Institute Jerusalem, 11–25 July 2013. -
Einstein, History, and Other Passions : the Rebellion Against Science at the End of the Twentieth Century
Einstein, history, and other passions : the rebellion against science at the end of the twentieth century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Holton, Gerald James. 2000. Einstein, history, and other passions : the rebellion against science at the end of the twentieth century. Cambridge, MA: Harvard University Press. Published Version http://www.hup.harvard.edu/catalog.php?isbn=9780674004337 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:23975375 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA EINSTEIN, HISTORY, ANDOTHER PASSIONS ;/S*6 ? ? / ? L EINSTEIN, HISTORY, ANDOTHER PASSIONS E?3^ 0/" Cf72fM?y GERALD HOLTON A HARVARD UNIVERSITY PRESS C%772^r?<%gf, AizziMc^zzyeZZy LozzJozz, E?zg/%??J Q AOOO Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book and Addison-Wesley was aware of a trademark claim, the designations have been printed in capital letters. PHYSICS RESEARCH LIBRARY NOV 0 4 1008 Copyright @ 1996 by Gerald Holton All rights reserved HARVARD UNIVERSITY Printed in the United States of America An earlier version of this book was published by the American Institute of Physics Press in 1995. First Harvard University Press paperback edition, 2000 o/ CoMgre.w C%t%/og;Hg-zM-PMMt'%tz'c7t Dzztzz Holton, Gerald James.