O tempo anacrônico nos Atlas de Warburg e Richter
The study of incidences of anachronisms on Atlas Mnemosyne of Aby Warburg, is the main object of our reflection and, from there, we also propose to discuss the Atlas of Gerhard Richter. The writings of Walter Benjamins dialectical image underlies the analysis in this dissertation. For him it is the...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2013 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Repositório Institucional da UFMG |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/EBAC-9Q3NZ8 |
| Acceso en línea: | http://hdl.handle.net/1843/EBAC-9Q3NZ8 |
| Access Level: | acceso abierto |
| Palabra clave: | Atlas Pathosformel Anacronismo Imagem Warburg, Aby , 1866-1929 Atlas Mnemosyne Arte Historiografia Fotografia Arte Filosofia Richter, Gerhard , 1932- Atlas Percepção visual |
| Sumario: | The study of incidences of anachronisms on Atlas Mnemosyne of Aby Warburg, is the main object of our reflection and, from there, we also propose to discuss the Atlas of Gerhard Richter. The writings of Walter Benjamins dialectical image underlies the analysis in this dissertation. For him it is the dialectic of "crystals of historical memory" in which beauty shines the sublime violence of truth which manifests itself as a symptom not allowing oblivion to accure. Thus, it is latency of the former that overlaps the Now is understood, causing a fracture in historical continuity. This theory was put into practice by Warburg on Mnemosyne Atlas, which gathered photographs in black panels revealing the power of Pathosformel.This formula reflects the pathos of the imbricated existence of emotional drives and iconographic form that traverse the history of art from antiquity as a means of survival or a post-life (Nachleben). Some actions are indicative of an imbrication that covers the history, which introduces the notion of open time and discontinuities that translate into a two-sided temporal model. This paradigm presents a latent past that survives and that manifests itself in the present by of images. Richter takes photographs of a German historical incident known as 18 Oktober 1977 to produce his paintings ten years after the occurred fact. From this procedure, the author causes a linear displacement of the time just as Warburgs Atlas Mnemosyne. |
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