A fama de Aby Warburg (1866-1929) sempre superou o conhecimento de sua obra. Mas, nas últimas duas décadas, alguns dos mais importantes pensadores da estética - como Georges Didi-Huberman e Giorgio Agamben - encontram neste obscuro historiador da arte alemão um precursor de suas próprias investigações. Partindo do debate sobre o legado de Warburg nas obras de Ernst Gombrich e Erwin Panofsky, este ensaio procura historiar a trajetória deste resgate e repertoriar os conceitos e procedimentos warburgianos que mais mobilizam os teóricos contemporâneos. Sugere-se, por fim, que é devido à crescente influência de Walter Benjamin e às inquietações suscitadas pelo estatuto da imagem na contemporaneidade que os estudos de Warburg voltam a servir de referência para historiadores e estudiosos da imagem.
A fotografia e seus duplos A fotografia e seus duplos: um quadro na parede Photography and its doubles: a picture on the wallLissovsky, Mauricio; Martins, Juliana. a fotografia e seus duplos: um quadro na parede. História, Ciências, Saúde − Manguinhos. rio de Janeiro, v.20, supl., nov. 2013de Janeiro, v.20, supl., nov. , p.1363de Janeiro, v.20, supl., nov. -1375 Hans Belting sugere que as 'imagens são os nômades dos meios', porque montam e desmontam acampamento a cada surgimento de uma nova mídia. sempre que a fotografia retrata outra imagem (pintura, tela de tevê) encena um capítulo dessa história. a fotografia foi guardiã dos paradoxos da distância e das tensões entre imagem e mundo na modernidade. Por isso ocupa hoje lugar crucial no debate acerca da visualidade contemporânea. nosso destino e o das imagens estão de algum modo entrelaçados. a última geração de artistas visuais do século XX procurou expressar a dor da virtualização; a fotografia do século XXi redescobre a promessa de corpo latente em cada imagem.Palavras-chave: teoria da fotografia; fotografia contemporânea; imagem; corpo; história visual. Abstract Hans Belting suggests that 'images are the nomads of media' because they set up and dismantle their camps every time new media appear. Whenever photography portrays another image (painting, TV screen) it plays out a chapter in this history. Photography has been the guardian of the paradoxes in the distance
In contrast to other South American countries, in Brazil, where a military dictatorship incarcerated, tortured and 'disappeared' countless opponents, there have been very few initiatives to construct a public memory in the form of memorials and museums. Only recently, when the National Truth Commission was set up in 2012, debates on the importance of memory re-emerged, including a significant increase in the number of proposals to construct memorials of national importance, taking as their point of reference the coup in which the military seized power 50 years ago. This text offers a study of news sections dealing with memories of the Brazilian dictatorship and the activities of the National Truth Commission as they were reported in the daily press between 2012 and 2014 as well as visits to some of the monuments and memorials erected or planned after the end of the dictatorship in various parts of the country. Cases studied are divided into two groups: first, monuments stemming from the transition to democracy and the political pact that underwrote it, and second, cases that reflect the fragility of this pact and the efforts to undertake a revision of its terms. Rather than one succeeding the other, these two versions of memory are interdependent and have contested the hegemony of public initiatives to shape our memory of the period.The year 2014 saw the conjunction of two major events in Brazil: the FIFA World Cup and the 50th anniversary of the military coup of 31 March 1964. The first required the construction or refurbishment of various venues, and the second, the construction of memorials and monuments in homage to the dictatorship's victims. The stadiums were delivered on time and functioned well, inspite of the pessimistic predictions and sporadic protests against the excessive costs. 1 By contrast, the planned memorials, museums and monuments have not yet been unveiled, and it is rather unlikely
The commemorative edition of the 80th anniversary of Casa Grande & Senzala, the founding book of Brazilian modern sociology written by Gilberto Freyre and published in 2013, shows on its cover a glamorous 'Casa Grande' (Big House, the Lord's house), lit like an architectural landmark, ready to serve as the set for a film or a TV soap opera. What happened to the 'Senzala' (the Slave Quarters) that appeared on the covers of the dozens of previous editions? This paper investigates, following some changes in Brazilian Visual Culture in the twentieth century, how such an astonishing disappearance could take place. The paper examines the image of the slave quarters as part of a racial trope: a foundational and colonial trope, one that is capable of institutionalizing subjects and producing a subaltern mode of subjectivity. It also explores connections between critical legal studies and visual and cultural studies to question how and why knowledge produced over the status, nature and function of images contributes to instituteand institutionalize subjectivity. In order to explain this disappearance we propose a legal-iconological experiment. We will enunciate, and attempt to enact, the Statute of Image-nation: the laws of the image that constitute subjectivity in Brazilian racial tropes. In doing so, we might be able to point out the ways in which law and image function together in institutionalizing subjectivityand subjection.
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