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Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Research into organizational culture seems to have come to a stillstand. In its heyday in the 1980s and 90s two crucial problems were voiced: (i) Is organizational culture really manageable? and (ii) Is organizational culture something an organization has (i.e. is it an identifiable variable) or something it is (i.e. is it an ontological prerequisite to the organization's very 'being'?). This article proposes that Aby Warburg's 'science without a name' where 'culture' is identified with 'ontology' is a way out of what seems to be the current impasse in organizational culture research. Warburg conceptualized 'culture as ontology' as: M + P = N (Memory + Punctum = Notions that Abide). It will be argued that Viveiros de Castro's current 'turn-to-ontology' in anthropology affirms the basic insights from Warburg's 'science without a name' and is an inspiration for (re-)actualizing the M + P = N approach, with the understanding of 'culture' is informed by a Deleuzian ontology of repetition and difference. [ABSTRACT FROM AUTHOR]

Este artigo tem como objetivo investigar como o historiador da arte Aby Warburg leu e recepcionou a obra de Friedrich Nietzsche. Embora o nome do filósofo não seja mencionado uma única vez em seus escritos publicados, sua influência é claramente perceptível no quadro histórico que Warburg apresenta sobre o amplo fenômeno da pós-vida da Antiguidade no Renascimento europeu. Para explorar essa questão, o artigo se divide em duas partes. Primeiramente, analisa-se o desenvolvimento das pesquisas de Warburg sobre o Renascimento, destacando a formulação de conceitos que sugerem uma influência de Nietzsche, como a “psicologia da polaridade” e a “fórmula de páthos”. Em seguida, examina-se o acervo documental legado por Warburg na forma de manuscritos e cartas, os quais oferecem elementos fundamentais para a compreensão de sua interpretação da obra do filósofo.

Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study contributes to interpreting the depiction of Blessed Ludovica Albertoni, which has become an identifying feature of Veronika Rónaiová's work. The depiction of Ludovica has its formal and semantic antecedents in the work of the Baroque sculptor G. L. Bernini. Since 1988, she has appeared regularly in Rónaiová's paintings, drawings on paper, on the wall, and her body. This study looks at these depictions from the perspective of the concept of Nachleben and Pathosformeln developed by Aby Warburg and followed up by Georges Didi-Huberman with his theory of anachronism. The concept of Nachleben draws attention to those forms that survive and return in art as if in the eternal return, and in this way, survive, like Rónaiová's Ludovika. The formula of ecstatic pathos, which is emphasized in the text, draws attention to the emotive gestures or emotional experiences that leave an artistic trace in subsequent artistic epochs. Rónaiová's depictions of Ludovica are interpreted in terms of the formula of ecstatic pathos generated by Baroque sculpture and emerging in contemporary artistic discourse. [ABSTRACT FROM AUTHOR]

O Atlas Mnemosyne, um projeto inovador levado adiante por Aby Warburg (1866–1929) durante seus últimos anos de vida, emerge atualmente como um objeto de crescente interesse científico. Neste artigo, propomo-nos a contribuir com as atuais discussões sobre o atlas, oferecendo uma análise histórico-contextual abrangente de sua gênese, recepção e nuances metodológicas. Através da análise crítica da literatura, apresentamos duas hipóteses de leitura: i) a indissociabilidade do Atlas Mnemosyne com o contexto geral da obra de Warburg, isto é, sua estreita relação com um conjunto de textos que lhe são adjacentes; ii) o caráter enigmático e aparentemente arbitrário do atlas como reflexo direto de um estilo de produção textual que se baseia na formulação de aforismos e na interconexão do fragmentário como uma forma legítima de reflexão teórica.

This article studies identities not as modes of identification but as a relationship with the unknown. To investigate this possibility, two projects are analyzed, distant in time but comparable by the strategies to turn the artistic space into a research medium, Lucubrations about the possible whereabouts of the living book of Xocén (2018-2021), from the cultural platform Ojo Theater, and The Ritual of the Serpent (1923), by the German art historian Aby Warburg, which will be studied from a contextual, situated and relational perspective of the performative, applied to the uses of identity images of native communities.

The article aims at offering a new interpretation of some photographs of Luigi Ghirri’s Il profilo delle nuvole. Once separated from the linear sequence in which they are arranged in the book and recomposed in a panel inspired by Aby Warburg’s Bilderatlas Mnemosyne, these images reveal a hidden genealogy that, taking into account both Luigi Ghirri’s suggestions and readings of his work by Marco Belpoliti and Gianni Celati, traces the figure of the columns back to 15th- and 16th-century motifs, in particular to the columns of Hercules in the Age of Discovery. It is then possible to create a connection between Il profilo delle nuvole and a text which is apparently distant from it, namely Ludovico Ariosto’s Orlando Furioso, a poem that just like Ghirri’s photo-text feature two crucial elements of landscape in the Po Valley such as the columns and the embankment. By establishing what Carlo Ginzburg would call an intentionally anachronistic and asymmetric dialogue between these texts, a new hypothesis is made about Luigi Ghirri’s understanding of the relationship between the columns and the embankments, a relationship that is entrusted with the task of showing that it is possible to take care of reality by taking care of its representation.

Combining images, comparing and linking them in chains, clusters and texts is a cultural practice that was not invented with digitisation. It dates back to the nineteenth century, when the invention of photography facilitated the task of copying artworks and other cultural material, and putting them in different contexts. Later, with the invention of the moving image, the gesture of montage was developed as an entirely new device of narration and thinking. Alain Bergala refers to this cultural practice when he proposes, in The Cinema Hypothesis, the combination of film clips as a film-pedagogical praxis as well as a research method. This article investigates the theoretical, cultural and practical aspects of this method, in revisiting a wide range of writings by Jacques Rancière, Roland Barthes, André Malraux and Wsewolod Pudowkin, as well as materials from Aby Warburg’s Bilderatlas and the found footage film Why Don’t You Love Me? by Christoph Girardet and Matthias Müller (1999). Furthermore, by comparing an extract from Grigris by Mahamat-Saleh Haroun (2013) to Sandro Botticelli’s The Birth of Venus (1485/6), the didactic potential of this method is explored. The article thus considers the pedagogical, aesthetic, cultural and filmic aspects of the practice of ‘montage’ in its most basic sense: the combination of (audio)visual material.

Alois Riegl’s first and foremost task in his Historical Grammar of the Visual Arts, the foundational text of ‘art history as a scientific discipline’, was the definition of its proper subject. The preoccupation of the scientific art history was thus defined as dealing with elements, the developmental history of thereof, and the factors that determined that development. The elements in question are ‘form and surface’ (Form und Fläche), or, more precisely, the relation between them which is developed in the course of time and which constitutes different styles, all directed by specific worldviews, different for different time periods and peoples. In the definition of the subject of art history, precisely this conjunction of a style and its prescribing worldview (Weltanschauung) is most significant. It is also the starting point for Riegl’s fellow and following art historians, Heinrich Wölfflin, Aby Warburg, Erwin Panofsky and Frederick Antal, among others. Riegl, therefore, should be credited with establishing the paradigm for the subsequent art-historical investigation.

Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper investigates connections between queer studies and the contributions of Aby Warburg to image theories, specifically the notion of time as a fundamental conceptual operator in the work of Warburg and his main exegete, Georges Didi-Huberman, from whom we sought help in the endeavor of envisioning a queer pathos that would survive in visual culture. Time is also at the core of a certain criticism by some authors of queer studies to the notion of chrononormativity as biopolitical regulation. This paper attempts to understand how Warburgian notions of Nachleben and Pathosformel help to investigate how abject and anachronistic gestures which keep reappearing as a queer symptom in culture, disorganizing a “natural model” of history of art and breaking with the history of progress that organizes relations between gender, body and sexuality according to disciplinary temporal schema. [ABSTRACT FROM AUTHOR]

Combining images, comparing and linking them in chains, clusters and texts is a cultural practice that was not invented with digitisation. It dates back to the nineteenth century, when the invention of photography facilitated the task of copying artworks and other cultural material, and putting them in different contexts. Later, with the invention of the moving image, the gesture of montage was developed as an entirely new device of narration and thinking. Alain Bergala refers to this cultural practice when he proposes, in The Cinema Hypothesis, the combination of film clips as a film-pedagogical praxis as well as a research method. This article investigates the theoretical, cultural and practical aspects of this method, in revisiting a wide range of writings by Jacques Rancière, Roland Barthes, André Malraux and Wsewolod Pudowkin, as well as materials from Aby Warburg’s Bilderatlas and the found footage film Why Don’t You Love Me? by Christoph Girardet and Matthias Müller (1999). Furthermore, by comparing an extract from Grigris by Mahamat-Saleh Haroun (2013) to Sandro Botticelli’s The Birth of Venus (1485/6), the didactic potential of this method is explored. The article thus considers the pedagogical, aesthetic, cultural and filmic aspects of the practice of ‘montage’ in its most basic sense: the combination of (audio)visual material. [ABSTRACT FROM AUTHOR]

Copyright of Millars: Espai i Història is the property of Millars: Espai i Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Il saggio mette a confronto la teoria dell'immagine di Pasolini con quella di Benjamin e di Warburg, al fine di mettere in evidenza come in questo modo si contruisca un terreno di confronto tra tre autori molto differenti gli uni dagli altri; un confronto che porta ad evidenziare la presenza in tutti e tre di una determinata idea dell'immagine, che non rappresenta semplicemnte un dato elemento del mondo in un dato presente, ma che di fatto è costruita da una continua tensione con le immagini del passato, sotto forma di parodia o di citazione, o sotto forma di sopravvivenza (come emenrge dalle analisi di film come Accattone o La ricotta). Pasolini, la sua riflessione e la sua opera costituiscono allora il punto di partenza per una lettura dell'immagine che si inserisce con forza nel dibattito contemporaneo e che indicano ancora una volta come questo autore sia ancora nostro contemporaneo (proprio per essere sempre non aderente al suo e al nostro tempo).

In the context of a society saturated in images, convolutional neural networks (CNNs), pre-trained using from the visual information contained in many thousands of images, constitute a tool that is of great use in helping us to organize the visual heritage, thus offering a route of entry that would otherwise be impossible. One of the responsibilities of the contemporary artist is to adopt a position that will help to provide sense, to project meaning onto the accumulation of images that we are faced with. The artificial neuronal network ResNet-50 has been used in order to extract the visual characteristics of large sets of images from the internet. Textual searches have been carried out on social issues such as climate change, the COVID-19 pandemic, demonstrations around the world, and manifestations of popular culture, and the image descriptors obtained have been the input for the algorithm t-SNE. In this way, we produce large visual maps composed of thousands of images and arranged following the criteria of formal similitude, displaying the visual patterns of the archetypes of specific semantic categories. The method of filing and recovering our collective memory must have a correlation with the technological and scientific advances of our time, in order for us to progressively discover new horizons of knowledge. [ABSTRACT FROM AUTHOR]

En las notas preparatorias de las tesis Sobre el concepto de historia [1940] (2009), Walter Benjamin señala que el materialista histórico debe, al recorrer la “estructura de la historia”, realizar un “análisis espectral” [Spektralanalyse]. Más allá de la familiaridad que Benjamin haya tenido con el método físico del análisis espectral, partimos de aquí para desprender un tema central, que es el de la epistemología de la imagen para un modelo de historia ya dialectizado con la naturaleza, en este caso, el de Walter Benjamin y Aby Warburg. No solo es importante la noción de imagen e imagen dialéctica presente en los autores, sino también aquello que se contiene y transmite en la imagen, lo cual proviene de temporalidades pasadas. Por esto abordamos la idea de pervivencia [Nachleben] en ambos autores, y cómo esta se codifica, en el pensamiento de Waburg, en la idea de una vida energética y en las nociones de dinamograma, engrama y memoria. Lo que nos interesa de habilitar una mirada más amplia para con la historia, es exponer que la separación dicotómica entre historia y naturaleza -criticada tanto por Warburg como por Benjamin- inhabilita la posibilidad de captar un ámbito de lo objetual que es independiente del hombre, esto es, la energía o la fuerza que se contiene en el seno de una imagen, de allí lo interesante de tomar la mirada del físico para con la historia.

A categoria do grotesco é abordada através da análise da prancha 32 do Atlas Mnemosyne de Aby Warburg. Nela encontram-se imagens relativas principalmente ao Renascimento, abordando temas que atravessam os tempos desde a Antiguidade, como a dança da moresca, a corte amorosa e o culto à deusa Vênus, o gênero pictórico das Singeries (macaquices) e a luta pelos calções. Constata-se o vigor da categoria estética do grotesco, quando Aby Warburg dedica uma prancha apenas para ela. Juntamente com a análise das imagens, percorre-se as definições e reflexões sobre o grotesco em André Chastel, Wolfgang Kayser, e, principalmente em Victor Hugo, com seu postulado fundamental de que a forma grotesca se opõe ao clássico e existe na natureza e no mundo em nossa volta, mesmo que em um caleidoscópio de (in) definições. Outras categorias estéticas são abordadas em paralelo, como o belo, para o qual o grotesco surge como contraste; o cômico; o feio, com sua diversidade contrastante à unidade do belo. As imagens selecionadas por Warburg perpassam tais discussões teóricas e revelam polaridades fundamentais para compreender a expressão das comoções humanas: dionisíaco- apolíneo, loucura-razão, animal-humano, libertação-domesticação, caos-ordem, pathos-logos, distanciamento-imersão, expansão energética – contenção energética. Buscou-se igualmente compreender um método em Aby Warburg, seja na seleção e organização das imagens na prancha; seus interesses temáticos, nesse caso, as festas e tradições populares; o seu interesse pelo dissonante, para além das generalizações reducionistas e dos objetos canônicos da história da arte.

O artigo trata de símbolos teriomórficos – referidos a animais. A importância que exercem pode ser atestada pela permanência na arte (pinturas parietais até os grafites contemporâneos) e na psique. A perpetuação de símbolos e temas é tratada por estudos como os de Aby Warburg em história da arte, com as noções de Kulturgeschichte, Pathosformel e Mnemosyne: a recorrência de temas, emoções e comportamentos revela a perpetuação de símbolos interligados à cultura. Essa recorrência simbólica, em termos psíquicos é entendida por C.G. Jung mediante as noções de arquétipo e inconsciente coletivo. Autores contemporâneos a Warburg e a Jung e seus respectivos conceitos, bem como a apresentação de algumas obras de arte, ilustram a importância dos símbolos teriomórficos. Aventa-se a hipótese de que seja uma necessidade psíquica de reunir a natureza biológica, sua força desejante instintiva com a esfera da mente e do sentido de ser constantemente renovada.

In this article a specific kind of access to Aby Warburg’s work is intended through the idea of “technique”. Notions such as “Denkraum”, “image” and “magic” are read in a manner that links the artistic technique with the Warburg’s critique of technique in general. At last, a reading of his early text “Airship and submarine in medieval imagination ”develops a constellation of images related to the topics Warburg deploys in his Atlas Mnemosyne.

The present writing, introduction to the dossier "Images, texts and survivals: warburgian studies in expansion", seeks to trace the registration coordinates of the selected articles in the framework of the reception of Aby Warburg in Latin America and in Argentina, considering the influence that the thematic, methodological and problematic aspects that Warburg's investigations had and continue to have in the field of humanities in our region.

A print of Botticelli’s painting La Primavera in the dancer Isadora Duncan’s childhood home had a fundamental impact on her development of modern dance. This article explores Duncan’s dance and costume based on La Primavera in conjunction with other neo-Renaissance dancers (Sacharoff and Sachetti) and Aby Warburg’s interest in the Florentine nymph and moving draperies, arguing for the importance of studying the old masters, of looking like a woman, and embracing continued renascences.

Copyright of Quintana: Revista do Departamento de Historia da Arte USC is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Julius von Schlosser (1866-1938), Commemorative volume of the Wiener Jahrbuch für Kunstgeschichte (vol. 60, 2021) including 13 lectures devoted to the work of Julius Schlosser. The subjects are treated concretely, without academic ‘discourse’, illustrating the generational span and antithesis of a relatively prolific career spent between the museum and university during a period important in defining the goals of the discipline.

Il presente lavoro indaga sulle molteplici funzione del materiale d’archivio nelle opere intermediali del regista, musicista e artista visivo Roberto Paci Dalò (1962), basandosi su un’intervista inedita condotta recentemente. Materiale reperito in archivi internazionali, disegni, immagini e video catturati in viaggio, ritratti, campionamenti sono il perno attorno al quale Paci Dalò costruisce le proprie topografie sonore: dall’album Napoli (1993), che offre un ritratto sonoro della città partenopea a Ye Shanghai (2013), realizzato grazie ad un’intensa ricerca di archivio riguardante il cosiddetto “Settore ristretto per i rifugiati apolidi” della metropoli orientale nel periodo dell’occupazione giapponese, e alle installazioni site-specific De bello Gallico (2011) e Greuelmärchen. La conversazione, dedicata all’archivio sia come luogo fisico, che come modus operandi, mette in risalto i molteplici piani di realtà da cui attinge l’“archivio d’artista”, dal documento storico all’opera d’arte intermediale, che fa del proprio autore oggetto e fruitore allo stesso tempo.

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RESUMO O presente artigo propõe uma maneira alternativa de mapear a história da arte, uma maneira que acolhe as histórias adjacentes frequentemente consideradas exteriores à linha “apropriada” de pesquisa nesse campo. Para tal cartografia alternativa, me volto para uma figura fundadora da história da arte ocidental, Aby Warburg. Para isso, trato do caso clínico de Warburg e busco, com isso, pôr em relevo as interseções do crítico e do clínico no cerne de sua vida e de sua prática intelectual, bem como as sobrevivências de cada uma dessas atividades. Ao fazê-lo, proponho uma resposta possível para a pergunta: será que a prática da história da arte poderia ter efeitos terapêuticos?

For Aby Warburg, during the Renaissance, the resumption of the ancient gods - idealized classics - was one of the ways that "modern man" found to free himself from servility to medieval demons, as processes of sublimation - recurrent and reactive - in which the " artistic man” triggers “mnemonically” an ancient cultural heritage and, in a state of tension between opposite poles, processes its empathic formulation – Pathosformel – through the work. Struggling between the need for guidance and the need for liberation (cosmic-spiritual), "modern men" such as Sandro Botticelli, Albrecht Dürer, and Francesco Cossa, exemplified these conflicts, which from the micro to the macro, Warburg observed in the details of their individual formulations, comprising, at the same time, what they expressed about the entire humanity, tracked by the tracks of cultures and epochs. Conceiving art as a process of sublimating struggle, conflict in a polar tension zone, in the sense of historical psychology of human expressiveness, expanded the young History of Art in thematic and time-spatial terms.

The article aims to answer the call of the dossier The Classic and its Appropriations in the Christian Tradition through the notion of pathosformel of mourning, derived from the thought of Aby Warburg. In philological logic, the literary and visual sources of the pathosformel of mourning are articulated in Renaissance works reproduced in the Atlas Mnemosyne. The theatre of mourning appears here in a funerary urn and an ancient sarcophagus, which together with The Bacchae of Euripides, provide the link of the ancient with the themes of mourning under the cross, the deposition and burial of Christ in the Renaissance works of Donatello, Bertoldo di Giovanni and Giorgio Vasari, added to the bourgeois funeral lamentation in a relief of Andrea del Verrochio. As a conclusion, we see the spectrum of the expression of funeral lamentation in the art of the Renaissance, also noting the process of energetic inversion in which the maenads in orgiastic abandonment in pagan tragedy become Christian dolents. The study of the images reveals, finally, the power of the expressive formula to manifest the experiences of human commotion.

O artigo discute a questão da pujança do gesto pictórico no processo de criação de Carolee Schneemann e de como sua utilização do corpo permitiu a ela questionar se poderia, além de uma imagem, ser também uma image maker: a um só tempo uma justaposição poética e teórica, que causa deslocamentos específicos em sua obra performática. Objetiva-se cotejar conceitos operatórios em torno da ninfa como objeto teórico, com especial atenção a seus acessórios em movimento, no sentido warburguiano, a partir do exame de percursos iconológicos e abordagens teóricas inaugurados por Aby Warburg, tendo como escopo os atravessamentos entre a pintura e as artes do corpo.

This article discusses the issue of the pictorial gesture potency in Carolee Schneemann’s creating process and how her use of herself body allowed her to question whether she could, in addition to an image be also an image maker: a poetic and theoretical juxtaposition at the same time, which causes specific displacements in her performative work. This study aims to correlate operatory concepts around the nymph as a theoretical object, with special attention to its accessories in movement, in the Warburgian sense, from the examination of iconological paths and theoretical approaches inaugurated by Aby Warburg, having as focus the crossings between painting and the body arts

Aby Warburg based his revolutionary approach to Renaissance art in large part on his study of the motif of what he called "the nymph." The nymph's ecstatic movement and association with flying and floating drapery elements embodied a Dionysian side of classical art in tension with the harmonious and balanced -- i.e., Apollonian -- character attributed to it since Winckelmann. In this paper I explore figures privileged by Warburg, examining their relation to mainly literary ancient sources and to the role played by each figure in the pictorial economy in whicb they are set. In particular I focus on social implications, having to do with not only with characterization in terms of rank and role but also, in one key case, place within an argument, sketched out in imagery, about the very nature of civil society.

In recent art history, the “plastic” is a concept undervalued as a designation for sculpture, or, in perception, as a single sense associated with touch. “Plasticity,” as popularized by the neurosciences, is generally understood as an elastic adaptability that evades fixity for flexibility. Current continental philosophy has revisited plasticity for its explosive rather than regenerative capacity to receive and produce form; however, this rethinking has neglected the concept of the plastic in art. Using scholarly comedy to explore accidents of resemblance (pseudomorphisms) and acausal coincidences (synchronicities) among artist-writer Piet Mondrian’s “plasticism,” art historian Aby Warburg’s “plastic art,” and artist-humorist Gelett Burgess’ plastic figure called “goop,” this essay generates insights on the concept of the plastic in art history, artist writings and art practice.

CR/10 is a digital oral history platform that aims to collect and preserve cultural memories of China's Cultural Revolution (1966–76). With a rhetorical analysis of the design features and curation processes of the CR/10 website, this article discusses the functions of CR/10 as a Warburgian memory atlas that shape the nonlinear, multifaceted narratives of a historical incident. Alongside this rhetorical analysis, I also conducted three sets of user experience studies with over thirty participants both within and outside the academy, including an ethnographic conference observation, a virtual ethnography of an online book group, and several semi-structured interviews, to examine CR/10's usability and propose new design opportunities to empower the interface. This article offers a strong case for the datafication of cultural memories and contributes to digital archives and humanities interface design with an innovative theoretical lens. [ABSTRACT FROM AUTHOR]

The figure of Herakles is one of the guiding images of resistance in Peter Weiss's Die Ästhetik des Widerstands. Rather than embodying ideological concepts or utopian perspectives of resistance, Herakles is presented as a social myth that, echoing the ideas of Georges Sorel, should inspire resistance against Nazism through the pathos of struggle and defeat. By highlighting the pathos of Herakles, Weiss re-envisions this ambiguous myth in the context of antifascism and connects it with a political iconography of resistance. This essay analyzes the aesthetic and iconological implications of Weiss's use of the Herakles myth through readings of Georges Sorel's theory of social myth, Walter Benjamin's notion of redeeming violence, and Aby Warburg's concept of the pathos formula. By recuperating Herakles through his negative appearance in the Pergamon Altar, and by emphasizing the pathos of suffering, Weiss shows how the aesthetization of politics through fascism can be countered by a politicization of aesthetics that appropriates myth for the antifascist resistance. [ABSTRACT FROM AUTHOR]

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Copyright of Constelaciones (2340-177X) is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)