From Symbol to Allegory: Aby Warburg's Theory of Art Author(s): Matthew Rampley Reviewed work(s): Source: The Art Bulletin, Vol. 79, No. 1 (Mar., 1997), pp. 41-55 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3046229 . Accessed: 14/05/2012 07:54 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]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org From Symbol to Allegory: Aby Warburg's Theory of Art MatthewRampley Recent years have seen a remarkable reawakening of critical Kunstindustrie, the latter having already been translated once interest among Anglophone art historians in the German (though poorly) little more than ten years ago.6 roots of their discipline. In particular, Michael Podro's book Within this context one person remains notable by his The Critical Historians of Art has seemingly acted as a catalyst absence. I am referring to Aby Warburg, and it is all the more for renewed attention to a subject that has more usually been curious that he should have suffered relative neglect, given restricted in its appeal, for obvious reasons, to German the continued existence of the institute bearing his name.