30 found
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  1. Glimpses. Between Appearance and Disappearance.Georges Didi-Huberman - 2016 - Zeitschrift Fuer Medien Und Kulturforschung 2016 (7):109-124.
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  2.  13
    IMAGE, LANGUAGE: The Other Dialectic.Laura Katherine Smith, Stijn De Cauwer, Jorge Rodriguez Solorzano, Elise Woodard & Georges Didi-Huberman - 2018 - Angelaki 23 (4):19-24.
    In this text, Georges Didi-Huberman responds, in letter-form, to the critical reflections about his work formulated by Jacques Rancière in “Images Re-read: Georges Didi-Huberman’s Method.” Didi-Huberman disagrees with Rancière’s analysis that images are “passive” and that the words which accompany them are “active.” Instead, he agrees with Merleau-Ponty’s view, which postulates that any analysis of images that seeks to disentangle its elements will render the image unintelligible. In opposition to Rancière’s presentation of his work, Didi-Huberman argues that his method is (...)
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  3.  31
    Images in Spite of All: Four Photographs From Auschwitz.Georges Didi-Huberman - 2008 - University of Chicago Press.
    Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance.
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  4. Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière.Georges Didi-Huberman - 2003 - MIT Press.
     
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  5. Confronting Images: Questioning the Ends of a Certain History of Art.Georges Didi-Huberman - 2009 - Pennsylvania State University Press.
    When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, (...)
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  6. The Art of Not Describing: Vermeer - the Detail and the Patch.Georges Didi-Huberman - 1989 - History of the Human Sciences 2 (2):135-169.
  7. Confronting Images: Questioning the Ends of a Certain History of Art.Georges Didi-Huberman - 2005 - Pennsylvania State University Press.
    When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, (...)
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  8.  12
    Conflicts of Gestures, Conflicts of Images.Georges Didi-Huberman - 2018 - Nordic Journal of Aesthetics 27 (55-56):8-22.
    The article presents some notes for an anthropology of the gestures of uprising [soulèvement]. It argues that, just as sounds always come out of the mouth of the demonstra- tors, images of all kinds are also brandished at the end of their arms. Based on this the article raises the question of the very notion of a desire for uprising.
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  9.  12
    La Dama Duende [the Phantom Lady].Georges Didi-Huberman & Christopher Woodall - 2018 - Angelaki 23 (4):25-41.
    From his very earliest writings, art was always important for Georges Bataille. Rather than something static, art, for Bataille, always involves an experience and an exigency towards freedom and even the impossible. It was apparent from the very form of Bataille’s art review Documents, which juxtaposed heterogeneous images, texts and topics, that art was intended as an experience. Bataille found in Andalusia the kind of art that triggers an exigency, an excess or a form of ecstasy in the viewer or (...)
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  10.  30
    Artistic Survival: Panofsky Vs. Warburg and the Exorcism of Impure Time.Georges Didi-Huberman, Vivian Rehberg & Boris Belay - 2003 - Common Knowledge 9 (2):273-285.
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  11.  53
    And the Patch.Georges Didi-Huberman - 1989 - History of the Human Sciences 2 (2).
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  12.  27
    Image, Matière : Immanence.Georges Didi-Huberman - 2002 - Rue Descartes 38 (4):86.
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  13.  14
    Invention de L'Hysterie.Dana Polan & Georges Didi-Huberman - 1988 - Substance 17 (1):84.
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  14. La exposición como dispositivo. La exposición como máquina de guerra.Georges Didi-Huberman - 2011 - Minerva: Evidence-Based Medicine pour la première ligne 4 (16):24-28.
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  15.  18
    Of Images and Ills.Georges Didi-Huberman & Carolyn Shread - 2016 - Critical Inquiry 42 (3):439-472.
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  16.  28
    Introduction: Warburg's Library and Its Legacy.Anthony Grafton, Jeffrey F. Hamburger, Peter Mack, Michael Baxandall, Elizabeth Sears, Georges Didi-Huberman, Carlo Ginzburg, Joseph Leo Koerner, Christopher S. Wood & Jill Kraye - 2012 - Common Knowledge 18 (1):1-16.
    In this introduction to a Common Knowledge special issue on the Warburg Institute, the authors argue that the Institute remains today — as it has been, in different forms, for almost a century — one of Europe's central institutions for the study of cultural history. At once a rich and uniquely organized library, a center for doctoral and postdoctoral research, and a teaching faculty, the Institute was first envisioned by Aby Warburg, a pioneering historian of art and culture from a (...)
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  17.  2
    Abgioia. Tanz der Angst und des Konflikts.Georges Didi-Huberman - 2009 - Zeitschrift für Medien- Und Kulturforschung 1:119-132.
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  18.  2
    Glimpses. Between Appearance and Disappearance.Georges Didi-Huberman - 2016 - Zeitschrift für Medien- Und Kulturforschung 7 (1):109-1224.
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  19.  11
    La somiglianza per nebbia, o il risonatore psichico dell’«immagine-Milieu».Georges Didi-Huberman - 2016 - Rivista di Estetica 62:69-80.
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  20.  18
    Experimentieren, um zu sehen.Georges Didi-Huberman - 2012 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 57 (2):197-213.
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  21.  16
    Die Ordnung des Materials Plastizität, Unbehagen, Nachleben.Georges Didi-Huberman - 1999 - In Vorträge Aus Dem Warburg-Haus, Band 3. Akademie Verlag. pp. 1-30.
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  22.  19
    Warburg's Haunted House.Georges Didi-Huberman - 2012 - Common Knowledge 18 (1):50-78.
    This article deals with the genesis of the Bilderatlas Mnemosyne, composed by Aby Warburg between 1927 and 1929 as a response to the Great War. His reaction to the war was both pathetic (even pathological) and epistemic (which is to say, methodological). If the history of culture amounted to a great psychomachia of the astra (concepts) and the monstra (chaos), as Warburg said, the war was for him a direct test of his theory (or Kulturwissenschaft). It should be no surprise, (...)
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  23.  12
    The Eye Opens, the Lamp Goes Out: Remarks on Bergson and Cinematography.Georges Didi-Huberman - 2008 - In Jan Lazardzig, Ludger Schwarte & Helmar Schramm (eds.), Theatrum Scientiarum - English Edition, Volume 2, Instruments in Art and Science: On the Architectonics of Cultural Boundaries in the 17th Century. De Gruyter. pp. 421-436.
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  24.  10
    Das Nachlebende Bild. Aby Warburg Und Tylors Anthropologie.Georges Didi-Huberman - 2001 - In StephanHG Hauser (ed.), Homo Pictor. De Gruyter. pp. 205-224.
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  25.  6
    Das Öffnen der Lager und das Schließen der Augen.Georges Didi-Huberman - 2007 - In Ludger Schwarte (ed.), Auszug Aus Dem Lager: Zur Überwindung des Modernen Raumparadigmas in der Politischen Philosophie. Transcript Verlag. pp. 11-45.
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  26. L'album de l'Art à l'Époque du "Musée Imaginaire".Georges Didi-Huberman - 2013 - Musée du Louvre.
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  27. People Exposed, People as Extras.Georges Didi-Huberman - 2009 - Radical Philosophy 156:16.
     
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  28. The Matter-Image: Dust, Garbage, Dirt, and Sculpture in the Sixteenth Century.Georges Didi-Huberman - 1997 - Common Knowledge 6:79-96.
     
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  29. Vorträge Aus Dem Warburg-Haus, Band 3.Georges Didi-Huberman - 1999 - Akademie Verlag.
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  30. Gestes à L'Œuvre.Barbara Formis & Georges Didi-Huberman (eds.) - 2008 - Esbaco.
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