DOCSLIB.ORG

Nikolaus Pevsner, 'Bringer of Riches': Cultural

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nikolaus Pevsner, 'Bringer of Riches': Cultural Nikolaus Pevsner, ‘Bringer of Riches’: Cultural Transfers in Art Historiography Émilie OLÉRON EVANS Queen Mary, University of London Université de la Sorbonne Nouvelle - Paris III Submitted in partial fulfillment of the requirements of the Degree of Doctor of Philosophy August 2014 2 I, Émilie Oléron Evans, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Émilie Oléron Evans Date: 16.07.2014 3 4 Transferts culturels dans l’historiographie de l’art : le cas de Nikolaus Pevsner RÉSUMÉ Cette thèse vise à démontrer que les travaux de l’historien d’art et d’architecture britannique d’origine allemande Nikolaus Pevsner (1902-1983) ont joué un rôle majeur dans l’accession de l’histoire de l’art et de l’architecture au statut de discipline universitaire au Royaume-Uni à partir des années 1930-1940. L’étude de ce cas particulier et des constellations et réseaux qui entrent en jeu durant son émigration vers l’Angleterre en 1933 apportent un éclairage différent sur le champ de l’histoire des migrants intellectuels en rappelant le conflit latent entre l’idéal d’universalisme de la science et les vecteurs socio- culturels nationaux qui président aux déplacements transnationaux. Notre recherche se concentre sur les transferts méthodologiques, institutionnels et historiographiques qui ont fait de la carrière de Pevsner un moment-clé de l’historiographie de l’art, de l’architecture et du design et aborde les domaines suivants : la question du Mouvement moderne, l’utilisation du concept d’espace dans le discours architectural d’après le principe de l’empathie (Einfühlung) ou encore dans l’exploration, à travers la méthodologie de la géographie de l’art, de la production artistique et du patrimoine architectural du pays d’accueil de Pevsner. Il s’agit de montrer que l’oeuvre de médiateur d’un historien d’art entre sa matière et la société se déploie aussi hors du seul cadre universitaire. Cette thèse expose comment Pevsner se fait une place dans la culture britannique en tant qu’éditeur, homme de radio, critique d’art, autant d’activités qui se basent sur des modèles allemands, mais qui font progressivement de l’historien déplacé, interprète de sa culture d’accueil, une véritable institution culturelle. Nikolaus Pevsner, ‘Bringer of Riches’ : Cultural Transfers and Art Historiography ABSTRACT This thesis demonstrates how the works of art and architectural historian Nikolaus Pevsner (1902-1983), a British scholar of German origin, played a major part in the accession of the history of art and architecture to the status of an academic discipline in the United Kingdom in the 1930s and 40s. This case study, along with the various networks that played a part in his displacement from Germany to Britain in 1933, sheds a different light on current research on the history of émigré intellectuals, as it seeks to show that there is a latent conflict between the ideal of universalism in science and the national socio-cultural vectors at play in transnational displacements. Our research focuses on methodological, institutional and historiographical transfers that made Pevsner’s career into a milestone in the historiography of art, architecture and design. It tackles the main aspects of his contribution, from the issue of the Modern movement, through the use of the concept of space in the architectural discourse based on the principle of empathy (Einfühlung), to the exploration of the artistic production and the architectural heritage of Pevsner’s country of adoption. Our contention is that the role of an art historian as a mediator between his subject and society goes beyond the realm of academia. This thesis shows how Pevsner found a place in British culture as editor, broadcaster and art critic, while basing these activities on German models, and how these activities gradually transformed an interpreter of culture into a cultural institution. 5 6 Remerciements Je remercie chaleureusement mes directeurs de thèse, Michel Espagne et Leonard Olschner, pour leurs conseils, pour leur lecture toujours attentive de mes travaux et pour le soutien permanent qu’ils m’ont apporté dans ce parcours intellectuel exigeant. Nos échanges constructifs ont nourri cette thèse et enrichi ma première incursion dans le monde de la recherche. J’en retiens avec reconnaissance un idéal de rigueur intellectuelle et d’enthousiasme qui sera une constante source d’inspiration. Je tiens à exprimer ma vive gratitude à Dieter Pevsner et Uta Hodgson, ainsi qu’à Florence Pevsner, pour leur disponibilité et pour la générosité dont ils ont fait preuve en me donnant accès à la correspondance personnelle de Nikolaus Pevsner et en me faisant part de leurs souvenirs et impressions. C’est un privilège rare, qui a donné un élan précieux à tout mon travail. Je suis également redevable à Susie Harries d’avoir si aimablement mis à ma disposition ses propres sources et partagé ses expériences de travail biographique. J’adresse mes sincères remerciements au personnel des archives et des bibliothèques qui m’ont accueillie et ont tout fait pour faciliter mes recherches, à la Bodleian Library à Oxford, aux archives des universités de Bristol et de Brighton, au Bauhaus-Archiv de Berlin, et surtout au Getty Research Intitute à Los Angeles. Un grand merci également aux collaborateurs de l’Institut Warburg à Londres pour leur accueil. Je suis reconnaissante aux organisateurs du séminaire de l’UMR 8547 « Pays Germaniques - Transferts Culturels », Michel Espagne et Pascale Rabault-Feuerhahn (ENS Ulm), à Rüdiger Görner, directeur du Centre for Anglo-German Cultural Relations (Queen Mary), ainsi qu’à Céline Trautmann-Waller, responsable du CEREG (Sorbonne Nouvelle Paris III), de m’avoir invitée à présenter mes travaux, autant de moments qui ont beaucoup compté dans l’élaboration et l’approfondissement de mon argumentaire. Je remercie le Getty Research Institute, l’UMR 8547, le CEREG et la School of Languages, Linguistics and Film à Queen Mary pour leur soutien financier dans le cadre de cette cotutelle de thèse. Je voudrais marquer ma reconnaissance à celles et ceux qui m’ont aidée, conseillée, stimulée d’une manière ou d’une autre dans ce travail de recherche. Je pense en particulier à Colleen Becker, Ute Engel, Mildred Galland-Szymkowiak, Stephen Games, Marlite Halbertsma, Anne Hultzsch, Béatrice Joyeux-Prunel, Matthew Rampley et Richard Woodfield. Dans ce projet souvent itinérant, je tiens à dire ma gratitude aux ami(e)s qui m’ont offert un toit à Paris, à Zurich et à Berlin. Merci enfin à Estelle Favrais, Cyrille Guitard, Daniel Makonnen et Amandine Malassis, relecteurs précis et bienveillants. 7 8 À B. B. et M. O., à A. et A. O., à T. 9 10 Abréviations Archives AP Archives de la famille Pevsner BA Bauhaus-Archiv, Museum für Gestaltung, Berlin BBC BBC Written Archive Centre, Reading DC Design Council Archive, Brighton GP Collection Pevsner, Getty Research Institute, Los Angeles PP Penguin Papers, Bristol SPSL Archives de la Society for the Protection of Science and Learning, Oxford Sigles AAC Academic Assistance Council BBC British Broadcasting Corporation BIOS British Intelligence Objectives Sub-Committee BoT Board of Trade CAI Council for Art and Industry CoID Council of Industrial Design DIA Design and Industry Associations LSE London School of Economics MoMa Museum of Modern Art RDS Reichsverband Deutscher Schriftsteller RIAS Rundfunk im Amerikanischen Sektor Berlins RIBA Royal Institute of British Architects RKK Reichskulturkammer SDS Schutzverband Deutscher Schriftsteller UCL University College London V & A Victoria and Albert Museum 11 12 Introduction générale Dans le documentaire Bunkers, Brutalism and Bloodymindedness diffusé en février 2014 sur la BBC, l’historien d’art et d’architecture britannique d’origine allemande Nikolaus Pevsner (1902-1983) figure en bonne place dans l’analyse menée par le journaliste Jonathan Meades, qui le présente comme un « saint laïc1 ». Cette expression hyperbolique renvoie à la fois à l’apogée de la carrière de Pevsner dans les années 1960 et à un effet de canonisation intellectuelle qui perdure longtemps après sa disparition survenue en 1983. Une personnalité à l’origine de courants culturels majeurs qui ont irrigué les milieux académiques et la société britannique en général est alors élevée elle-même au rang d’institution. On reconnaît et on célèbre ainsi le rôle de l’universitaire de langue allemande dans l’avénement de l’histoire de l’art en Grande- Bretagne et dans son développement en un domaine aujourd’hui en plein essor. Non seulement les pays anglo-saxons sont devenus après la Seconde Guerre mondiale le nouvel épicentre des études sur l’art, mais au sein de ces études, les branches de l’histoire de l’architecture et du design, que Pevsner a ardemment défendues, ont progressivement acquis leur légitimité conceptuelle et institutionnelle. Dans la sphère britannique, le mot-clé « patrimoine » (heritage) a acquis une résonance sociale de plus en plus profonde, signalée par l’effervescence d’institutions telles que le National Trust ou English Heritage, qui affichent dans leur nom l’élément de fierté culturelle qu’elles mettent quotidiennement en pratique dans la défense des biens architecturaux et artistiques de la nation.
Load more

Recommended publications
  • E. H. Gombrich, the Warburg Institute: a Personal Memoire, the Art Newspaper, 2 November, 1990, Pp.9 [Trapp No.1990P.1]
    E. H. Gombrich, The Warburg Institute: A Personal Memoire, The Art Newspaper, 2 November, 1990, pp.9 [Trapp no.1990P.1] In 1933 Nazism drove a band of original and profound scholars, then a great library, to settle in Britain. Out of these elements grew the world famous Institute, whose approach to the thinking of the past has incomparably enriched the understanding of art. Will the 1990s see this living intellectual force stifled by British government meanness and philistinism? LONDON. The Warburg Institute grew out of and around one man's own library, and although it is now larger by tens of thousands of volumes, it has retained the feeling of a private library , with open stacks, and the books arranged by topic in a way that invites the reader to start browsing in the subject next to his own. The Institute is world famous as a centre for cross-disciplinary cultural and intellectual history and its library is both its essence and its basis. That is why the financial crisis in scholarly libraries, which has affected European, and especially British, places of learning over the last decade, is a particularly dangerous threat to the Warburg, which depends for its funding on the University of London. One statistic will do: between 1981 and 1986 in the UK, library expenditure as a proportion of university expenditure fell by 9%, but the prices of books, periodicals and binding rose by 79%. Help is urgently required if the Warburg's library, and life, are not to shrivel. Its only hope is a generous response to the appeal which it has launched.
    [Show full text]
  • Katia Mazzucco
    The work of Ernst H. Gombrich on the Aby M. Warburg fragments Katia Mazzucco The file of documentary materials entitled Geburtstagsatlas (the Birthday Atlas) is preserved at the Warburg Institute Archive in London as a draft of the incomplete Warburg Mnemosyne project by Ernst H. Gombrich. This work, realized in collaboration with Fritz Saxl and Gertrud Bing, was given to Max Warburg for his seventieth birthday, on 5 June 1937. On 1 January 1936, Ernst Gombrich arrived in London from Austria.1 His task was to reorganize the last of Warburg’s fragments and, in particular, to revise what was left of the incomplete Mnemosyne Atlas. The goal of this study and inventory was to collate Warburg’s uncompleted studies with the purpose of putting together an English publication of his collected work. However, in 1970, the only result of this publishing endeavour was included in the pages of the famous Aby Warburg. An intellectual biography.2 This is how and when the story of the second hand readings of Warburg – by the fortune of Gombrich’s book – started out. The undertaking appeared to reach conclusion, in the Anglo-Saxon world, only much later, in the year 1999, with the published translation of Warburg’s Gesammelte Schriften, edited by the Getty Research Institute.3 The history of the intellectual, as well as critical, relationship between Gombrich and Warburg is, then, a posthumous one that was started on British soil. Further marking this distance are the different historical periods, as well as the cultural and intellectual divides that separate the two scholars.
    [Show full text]
  • Die Triumereien Einiger Kunstliebender Klosterbruder
    LUCAS BURKART >>Die Triumereien einiger kunstliebender Klosterbruder...<< Zur Situation der Kulturwissenschaftlichen Bibliothek Warburg zwischen 1929 und I933"- Die Bibliothek Warburg wurde unlangst von wissenschaftliche Bibliothek Warburg musste einem ihrer besten Kenner als der bedeutendste mit ihren acht jiidischen Mitarbeitern I933 nach deutsche Beitrag zur internationalen Kulturwis- London emigrieren, wo sie seit 1944 an die Uni- senschaft des zwanzigsten Jahrhunderts bezeich- versitat angeschlossen wurde. Die Vertriebenen net.' Dass sich dieser Beitrag bis heute erhalten fanden im Ausland eine bessere Wiirdigung: Ed- hat, verdankt sich dem Wegzug der Bibliothek gar Wind, den Warburg als geistigen Erben an- und ihrer Mitarbeiter im Dezember I933; von sah, wurde der erste Lehrstuhlinhaber fur Kunst- Hamburg nach London verlegt widmet sie sich geschichte in Oxford und Montreal, Raimund bis heute als The Warburg Institute der Frage Klibansky Professor in Oxford und Montreal, ihres Begriinders Aby Warburg nach dem Fortle- Erwin Panofsky Professor in Princeton.< Mit ben der heidnischen Antike in der Kultur der diesen Satzen schilderten die Herausgeber eines europaischen Vormoderne. Angesichts der gros- jiingst erschienen Sammelbandes iiber Warburg sen Bedeutung der Bibliothek ist es angebracht, das Schicksal der Bibliothek und ihrer Mitarbei- in wissenschaftshistorischer Perspektive nach ter.2 Vergleichbar schrieb Michael Diers in einem Motiven, Voraussetzungen, Bedingungen und Beitrag 1993, der an den Wegzug der Bibliothek Folgen des
    [Show full text]
  • Das Bibliothekskonzept Aby M. Warburgs Im Vergleich Mit Modernen Methoden Der Sacherschließung
    Das Bibliothekskonzept Aby M. Warburgs im Vergleich mit modernen Methoden der Sacherschließung * * * Arbeit zur Erlangung des Grades eines Diplom-Bibliothekars (FH) eingereicht von Daniel Schatz, Matrikel-Nr. 2239 im Oktober 2002 am Fachbereich Informationswissenschaften der Fachhochschule Potsdam * * * Erstkorrektor: Prof. Dr. Hans-Christoph Hobohm Zweitkorrektorin: Prof. Dr. Dagmar Jank 1 Inhaltsverzeichnis I. Einleitung 1 II. Die Person Aby Warburgs 3 II.1. Der familiäre Hintergrund 3 II.2. Warburgs Promotion und die daraus resultierenden Interessen 4 II.3. Warburgs Reise in die USA – Beginn der Kulturtheoretischen Arbeit 6 II.4. Die Theorie vom Menschen als zweipoligem Wesen 9 II.5. Die Ausdrucksformen des Menschen (Bild - Orientierung - Wort - 10 Handlung) II.6. Warburgs Persönlichkeit und sein Eindruck auf Mitarbeiter und Freunde 12 III. Die Kulturwissenschaftliche Bibliothek Warburg – Geschichte, 16 Aufbau, Organisation III.1. Der Beginn der Sammlung 16 III.2. Geschichte der Bibliothek bis zum Umzug ins eigene Haus 1926 16 III.3. Der Aufbau der neuen Bibliothek entsprechend Warburgs Theorien 21 III.4. Die Erwerbungspolitik 25 III.5. Aufstellung, Klassifizierung, Signierung der Bücher 28 III.6. Die Emigration nach London 1933 35 III.7. Die Wirkung der Bibliothek auf die jeweiligen Zeitgenossen 39 IV. Die bibliothekstheoretischen Methoden Warburgs – eine 45 Zusammenfassung V. Heutige Methoden der Sacherschließung – Anwendbarkeit im 50 Warburgschen Sinne V.1. Methoden der handwerklichen Sacherschließung 50 V.1.1. Die Schlagwortvergabe 50 V.1.2. Die Klassifikation 53 V.1.3. Die Facettenklassifikation 56 V.2. Methoden der automatischen Sacherschließung 60 V.2.1. Der historische Hintergrund 60 V.2.2. SMART – das Vektorraummodell 62 V.2.3. Suchstrategien für elektronische Datenbanken 71 V.3.
    [Show full text]
  • Here We Were Going [But] During 1938–39
    None of us had the faintest idea where we were going [but] during 1938–39 . the town [Christchurch] was made strangely interesting for anyone like myself, [with the] scattered arrival of ‘the refugees’. All at once there were people among us who were actually from Vienna, or Chemnitz, or Berlin . who knew the work of Schoenberg and Gropius. – Anthony Alpers, 1985 From the 1930s through the 1950s, a substantial number of forced migrants – refugees from Nazism, displaced people after World War II and escapees from Communist countries – arrived in New Zealand from Europe. Among them were an extraordinary group of artists and writers, photographers and architects whose European modernism radically reshaped the arts in this country. In words and pictures, Strangers Arrive tells their story. Ranging across the arts from photographer Irene Koppel to art dealer Kees Hos, architect Imric Porsolt to writer Antigone Kefala, Leonard Bell takes us inside New Zealand’s bookstores and coffeehouses, studios and galleries to introduce us to a remarkable body of artistic work and to ask key questions. How were migrants received by New Zealanders? How did displacement and settlement in New Zealand transform their work? How did the arrival of European modernists intersect with the burgeoning nationalist movement in the arts in New Zealand? Strangers Arrive introduces us to a talented group of ‘aliens’ who were critical catalysts for change in New Zealand culture. LEONARD BELL is associate professor of art history at the University of Auckland. His writings on cross-cultural interactions and representations and the work of travelling, migrant and refugee artists and photographers have been published in New Zealand, Britain, the United States, Australia, Germany and the Czech Republic.
    [Show full text]
  • The Technical Apparatus of the Warburg Haus
    Title The Technical Apparatus of the Warburg Haus Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/10306/ Dat e 2 0 1 7 Citation Finch, Mick (2017) The Technical Apparatus of the Warburg Haus. Journal of Visual Art Practice, 15 (2-3). ISSN 1470-2029 Cr e a to rs Finch, Mick Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Mick Finch The Technical Apparatus of the Warburg Haus This article is written in the context of a collaboration with the Bilderfahrzeuge research network1 in relation to which Martin Westwood and I were invited to visit the Warburg Haus in Hamburg with the aim of proposing a possible intervention there. The article discusses a particular line of thought that was taken away from that visit. A brief history of the Warburg-Haus is that it opened in 1926 as the Kulturwissenschaftliche Bibliothek Warburg (the KBW) and was built on a plot of land next to Warburg’s home. His house had evolved into an institute under Fritz Saxl and Gertrud Bing’s leadership during Warburg’s illness from 1921 to 1924. The KBW was thus the site where the Mnemosyne Atlas was produced from 1927, and linked to the material used for his Hertziana Library lecture of 1929 in Rome. 1929 was also the year of Warburg’s death. Saxl undertook the successful migration of the contents of the KBW to London in 1933 as he rightly perceived that the Nazi regime represented an increasing threat to the KBW’s existence.
    [Show full text]
  • Exhibition's Legacy: Fritz Saxl, Kenneth Clark and John Berger
    20,000 characters with spaces An Exhibition’s Legacy: Fritz Saxl, Kenneth Clark and John Berger Mick Finch Fritz Saxl and Rudolf Wittkower curated ‘English Art and the Mediterranean’ as a touring photographic exhibition that was staged by the Warburg Institute in 1941. It was renamed ‘British Art and the Mediterranean’1 (BAM) in 19482 as the title of a book published by the Oxford University Press that restaged the exhiBition’s documentation and photographic material. As both exhibition and publication the project simultaneously addressed the past and the present while it unwittingly was laying ground for a future, that even from 1941- 1948, would have Been impossiBle to foresee. In terms of the past this was a question of staging a temporally panoramic history of British culture in relationship to the wider European continent and the Mediterranean. 1941 was a crucial moment for the British to take stock of such relationships, at a time when most of main land Europe was under Fascist rule. It also faced the past as it was a direct product of the photographic apparatus set up and employed by Aby Warburg in Hamburg, at his Kulturwissenschaftliche Bibliothek Warburg (KBW)3 in 1926, and its subsequent migration to London in 1933 to escape the Nazi regime. Fritz Saxl was essential to WarBurg’s enterprise in the Hamburg period and, with Gertrude Bing, they oversaw the massive task of moving the entire contents of the KBW to London. The years between 1933 -1956 were when the transformation of the KBW into its identity as the Warburg Institute (WI) took place.
    [Show full text]
  • The Warburg Institute and a British Art History
    20,000 characters with spaces An Exhibition’s Legacy: Fritz Saxl, Kenneth Clark and John Berger Mick Finch Fritz Saxl and Rudolf Wittkower curated ‘English Art and the Mediterranean’ as a touring photographic exhibition that was staged by the Warburg Institute in 1941. It was renamed ‘British Art and the Mediterranean’1 (BAM) in 19482 as the title of a book published by the Oxford University Press that restaged the exhiBition’s documentation and photographic material. As both exhibition and publication the project simultaneously addressed the past and the present while it unwittingly was laying ground for a future, that even from 1941- 1948, would have Been impossiBle to foresee. In terms of the past this was a question of staging a temporally panoramic history of British culture in relationship to the wider European continent and the Mediterranean. 1941 was a crucial moment for the British to take stock of such relationships, at a time when most of main land Europe was under Fascist rule. It also faced the past as it was a direct product of the photographic apparatus set up and employed by Aby Warburg in Hamburg, at his Kulturwissenschaftliche Bibliothek Warburg (KBW)3 in 1926, and its subsequent migration to London in 1933 to escape the Nazi regime. Fritz Saxl was essential to WarBurg’s enterprise in the Hamburg period and, with Gertrude Bing, they oversaw the massive task of moving the entire contents of the KBW to London. The years between 1933 -1956 were when the transformation of the KBW into its identity as the Warburg Institute (WI) took place.
    [Show full text]
  • Iconography: a Checklist of Some Useful Sources for Scholars and Students of Medieval Art and Drama Clifford Davidson
    Western Michigan University ScholarWorks at WMU Early Drama, Art, and Music Medieval Institute 2002 Iconography: A Checklist of Some Useful Sources for Scholars and Students of Medieval Art and Drama Clifford Davidson Follow this and additional works at: http://scholarworks.wmich.edu/early_drama Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Medieval Studies Commons, Musicology Commons, and the Theatre History Commons WMU ScholarWorks Citation Davidson, Clifford, "Iconography: A Checklist of Some Useful Sources for Scholars and Students of Medieval Art and Drama" (2002). Early Drama, Art, and Music. Paper 3. http://scholarworks.wmich.edu/early_drama/3 This Bibliography is brought to you for free and open access by the Medieval Institute at ScholarWorks at WMU. It has been accepted for inclusion in Early Drama, Art, and Music by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Iconography: A Checklist of Some Useful Sources for Scholars and Students of Medieval Art and Drama Compiled by Clifford Davidson Early Drama, Art, and Music Checklists Contents Preface 5-6 PART I: ICONOGAPHY 6-163 Iconography: Various Topics 6 Ages of Man 6 Allegory 7 Animals and Birds 8 Arbor Bonae and Arbor Mala; Trees of Life; Garden 11 Astrology/Signs 12 Castle of Virtue/Siege 12 Church-Synagogue 12 Cokaigne 13 Colors and Color Symbolism 13 Creed and Pater Noster 13 Daughters of God 14 Deadly Sins and Corresponding Virtues 15 Death 19 Fool 24 Davidson, Iconography: A Checklist 1 Fortune 25 Fountain of Life 25 Green Man 26 Grotesque 26 Husband-Wife/Erotic Women 26 Mirrors 27 Months and Seasons 27 Music 28 Nature 37 Pilgrimage 37 Plants 38 Romance 38 Royal 39 Senses/Memory 39 Seven Sacraments 40 Sponsus/Sponsa 41 Time 41 Wild Men/Satyrs 42 Miscellaneous Topics 42 Biblical Iconography 45 Fall of Lucifer 45 Hell 46 Old Testament Topics 48 Fall/Adam and Eve 50 Cain and Abel 52 Flood 54 Patriarchs and Prophets 55 Song of Songs 59 Blessed Virgin Mary 59 St.
    [Show full text]
  • A Moment in Time: from the Digital Record of a Migrating Library
    Whitaker, G. (2005) A moment in time: from the digital record of a migrating library. In, Kilton, T.D. and Birkhead, C., Eds. Migrations in Society, Culture, and the Library: WESS European Conference, 22-26 March 2004, pages pp. 216-232, Paris, France. http://eprints.gla.ac.uk/2949/ Glasgow ePrints Service http://eprints.gla.ac.uk A Moment in Time: From the Digital Record of a Migrating Library Graham Whitaker (University of Glasgow) [216] In May 2002 the Centre for Intercultural Studies at the University of Glasgow was successful in obtaining a major research award from the Arts & Humanities Research Board for a project centred on the German philosopher Ernst Cassirer (1874-1945). Cassirer has two links with Glasgow: he was awarded the honorary degree of Doctor of Laws by the University in 1936, and his son Heinrich (1903-1979) took his Ph.D. there in 1938 with his Commentary on Kant’s Critique of Judgment and was subsequently a lecturer in the Philosophy Department. The Glasgow Cassirer Project has two particular aims: first, to investigate the concept of Kulturwissenschaft or ‘cultural science’; second, to produce a digital edition of correspondence relating to Cassirer in the Archive of the Warburg Institute, which is now part of the School of Advanced Study in the University of London. This paper draws on the Glasgow Cassirer Project digital edition to illustrate the transfer at the end of 1933 of what is now the Warburg Institute from its original home in Hamburg to London. The story of this transfer - or cultural migration - has been frequently told.
    [Show full text]