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Memory, Metaphor, and Aby Warburg's Atlas of Images

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Memory, Metaphor, and Aby Warburg's Atlas of Images Memory, Metaphor, and Aby Warburg’s Atlas of Images Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. Memory, Metaphor, and Aby Warburg’s Atlas of Images Christopher D. Johnson A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2012 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2012 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Johnson, Christopher D., 1964– Memory, metaphor, and Aby Warburg’s Atlas of images / Christopher D. Johnson. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-7742-3 (pbk. : alk. paper) 1. Warburg, Aby, 1866–1929. Mnemosyne. 2. Art criticism—Germany— History—20th century. 3. Art, Classical—Infl uence. 4. Art, Renaissance— Infl uence. 5. Metaphor in art. 6. Memory in art. I. Title. II. Series: Signale (Ithaca, N.Y.) N7483.W36J64 2012 709.2—dc23 2011052436 Paperback printing 10 9 8 7 6 5 4 3 2 1 For Jess, with her heliotropic heart Mnemosyne (Memory) bore them on Pieria, mingling in love with the father, Cronus’ son—Mnemosyne, the protectress of the hills of Eleuther—as forgetfulness of evils and relief from anxieties. For the counselor Zeus slept with her for nine nights, apart from the immortals, going up into the sacred bed; and when a year had passed, and the seasons had revolved as the months waned, and many days had been completed, she bore nine maidens—like-minded ones who in their breasts care for song and have a spirit that knows no sorrow—not far from snowy Olympus’ highest peak. —Hesiod, Theogony 1.53–62 Beside this thoroughfare The sale of half-hose has Long since superseded the cultivation Of Pierian roses. —Ezra Pound, from “H. S. Mauberley (Life and Contacts)” Contents Preface ix Acknowledgments xv 1. Atlas Gazed: Mnemosyne— Its Origins, Motives, and Scope 1 2. Ad oculos : Ways of Seeing, Reading, and Collecting 43 3. Metaphor Lost and Found in Mnemosyne 7 0 4. Translating the Symbol: Warburg and Cassirer 110 5. Metaphorologies: Nietzsche, Blumenberg, and Hegel 141 6. Exemplary Figures and Diagrammatic Thought 170 7. Synderesis : The “Bruno-Reise” 194 Illustrations 231 Bibliography 261 Index 273 Preface Before us lies a black and white photograph of twenty-four photographic repro- ductions (see fi g. 5). Varying in size, the images are arranged in fi ve uneven rows, provisionally mounted on mats, and fastened more provisionally still to a black background. Although they lack captions, and their styles vary considerably, the images can be easily distinguished as belonging to the European Renaissance. Many will also discern in this second-order tableau of paintings, drawings, sculptures, artifacts, manuscript and book pages, a more or less common theme: the death of Laocoön. Less easily deciphered, however, is the rhyme or reason for this photo- graph of photographic reproductions. Opaque is why some images are privileged by their relative largeness or central position, and why others appear devalued by their smallness or marginal position. Confusion is further heightened when we turn to the second photograph (fi g. 21), whose seventeen images include one of a woman’s head on an ancient coin, another of an advertisement for toilet paper, and another of a female golfer. Indeed, if the fi rst photograph suggests temporal and thematic cohesion, this one, eschew- ing ordered rows and replete with several empty black spaces, presents, it seems, merely history’s fl otsam and jetsam. The conundrum posed by these photographs grows greater still when we learn that they are just two of a sequence of sixty-three photographs, the surviving ar- tifacts of a never-completed, encyclopedic effort to represent the West’s cultural legacy, and especially how antiquity’s art-historical and cosmological currents fl owed through the Renaissance. Undertaken between 1926 and 1929, the atlas of images titled Mnemosyne is Aby M. Warburg’s nearly wordless account of how and why symbolic images of great pathos persist in Western cultural memory from antiquity to the early twentieth century. Metonymically arranging and rearranging some thousand symbolic, symptomatic images on sixty-three large wooden panels covered with black cloth, which were then placed in loose historical and thematic sequences, Warburg (1866–1929) and his collaborators sought both to express and to comprehend this persistence, its causes and its effects. At once a deeply personal testament, the culmination of decades of research and methodological innovation, as well as a theoretically complex effort to compass the importance of Renaissance art and cosmography for twentieth-century eyes, Mnemosyne maps the dynamics of historical memory even as it idealizes what Warburg calls “metaphoric distance.” And if his juxtaposition of images and panels self-consciously fl irts with anach- ronism, then this is because Warburg believed that humanity in fact was forever x Preface oscillating between extremes of emotion and reason. The task of his Kulturwissen- schaft (science of culture) was to graph these oscillations. The aim of this book, in turn, is not only to adduce texts and contexts to help explicate Mnemosyne , but also to show how, by remembering das Nachleben der An- tike (the afterlife of antiquity), it lends metaphor new historical and epistemological powers. Warburg wanted to make visible a genealogy of expression and gesture together with the Prozeß (process) of metaphoric transformation that makes such a genealogy possible. As Warburg fi gures it , Mnemosyne (or as he informally calls it the Bilderatlas [atlas of images] or the Atlas ) is a “savings bank” of classical and Renaissance imagery, a “treasure chest of woe” needing all the hermeneut’s tools to be unlocked. Aiming to placing ad oculos the ever-recurring “pathos formulas” shaping humanity’s attempts to reconcile polar forces, Mnemosyne treats these in ways that anticipate the “historical metaphorics” of E. R. Curtius, who dedicates his European Literature and the Latin Middle Ages to Warburg. It likewise spurs us to refl ect on the modes and limits of historical consciousness and aesthetic judgment. It invites us to revisit, too, the tensions Erwin Panofsky fi nds between documents and monuments, to chart anew the tensions between word and image, and to con- template a road not taken in intellectual history. If Warburg invents what Giorgio Agamben dubs “the nameless science,” the Mnemosyne-Atlas fi nds a concrete ana- logue in Walter Benjamin’s unfi nished Passagen-Werk —for it, too, collects history’s artifacts to furnish a now material, now metaphoric archaeology of modernity. Instead of allegorical ruins, though, this book fi nds in Mnemosyne a novel meta- phorology, one that parallels but crucially diverges from Ernst Cassirer’s philosophy of symbolic forms, a philosophy to which Warburg has often been strongly yoked. Warburg’s metaphoric thinking differs signifi cantly from Cassirer’s philosophy of symbolic forms, which would transcend metaphor for more transparent, logical forms of mediation. For Warburg, metaphor is both the means (vehicle) and the aim (tenor) of his “dialectic of the monster,” the name he gives to the cognitive and historical process by which the artist, cosmographer, and critical spectator mediate between numerous polarities—world and self, fear and serenity, past and present, religion and science, magic and reason, the vita activa and the vita contemplativa , ecstasy and melancholy, and, above all, word and image—that they may yield phe- nomenological knowledge, psychological balance, and, however tenuously, histori- cal understanding. In brief, Mnemosyne ’s panels show when and how metaphor (or “pathos formula” or “dynamogram”) wins and loses a connection with what Edmund Husserl and Hans Blumenberg term the “lifeworld.” Borrowing the “atlas” from contemporary scientifi c and pedagogic practices, and drawing on his earlier studies of Renaissance astrology and humanity’s efforts at Orientierung (orientation) in a hostile cosmos, Warburg exploits the cartographic conceit to join cosmography and art history. He presents his Bilderatlas as a way of mapping the “Wanderstraßen der Kultur” (roaming streets of culture), thereby self-consciously reproducing the very errancies he fi nds shaping the spatial and Preface xi temporal dynamics of cultural mobility. As cartography, the Atlas maps the trans- latio of themes and styles between east and west,
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