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English to Spanish: Aby Warburg General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - English Ebreo di sangue, Amburghese di cuore, d’anima Fiorentino.
Jewish by blood, Hamburgerian at heart, of Florentine soul.
John Prag:
My grandfather was born in Hamburg in 1866 and he was the eldest of 7 children 2 girls and 5 boys, and grew up in Hamburg. It was a liberal Jewish family.
The early photos show him as probably a rather smug little boy with a great high hair style, dark skinned compared to his colleagues at school, obviously they were proper Germans, as it were.
The Warburg family had established itself in Altona, adjacent to Hamburg, in the late 17th century. Their bank rose to national and international prominence.
Aby was the oldest, so Aby should have inherited the bank, MM Warburg, because that was his birthright. He wasn’t a particularly well child. He was always more interested in books, not money. The story goes that when Aby was 13 and Max was 12, they made a pact, that Max could have the bank, if Aby was allowed to have as much money as he wanted for his books. And allegedly Max thought hard, books yes, Goethe, Schiller, Lessing, Heine. He probably wants some thrillers and so on as well but we should be able to afford that out of the bank. And they agreed this at age 13 and 12 and stuck to it all of their lives.
And apparently, long afterward, Max said this the most expensive blank check that he had ever written.
In 1886, Warburg enrolls as a student at the University of Bonn, studying philology, art history, philosophy. He expresses concern about his identity as a Jew and decides to no longer keep kosher, to the consternation of his parents.
Letter to his mother. 26 January 1887
Dear Mama,
I am not at all ashamed to be a Jew, on the contrary, I am trying to show others that representatives of my kind are well suited, in accordance with their talents, to insert themselves as useful links in the chain of present-day developments of culture and the state. But precisely because I want to do that, I must arrive to shake off whatever will not fit organically into my activity. I want to act as I am; I want to be regarded by people as I am.
He continues his studies in art history, at the University of Strasbourg:
25 November 1889
Dear Mama,
The people here are absolutely ghastly. I can’t leave the house during the day without someone saying behind me “look-- that’s a Jew.” …
Warburg goes on to spend several months in Florence working on his dissertation on Botticelli. There he meets Mary Hertz, an artist, with whom he falls in love. She was from a distinguished gentile family from Hamburg. Both their parents object to their relationship.
MILITARY. Photos of AW on horseback.
A German patriot, Warburg serves one-year military service in the horse artillery, which he rather likes. It helps keep his anxieties at bay.
At 27 he is released from the army.
Ambivalent about his scholarly pursuits and with no career plans, he goes back to Florence. In his diaries, Warburg speaks of depression and lost time.
3. ITALIAN RENAISSANCE:
He returns to his study of the Italian Renaissance and explores the after life of antiquity.
Primavera—To show how Sandro Botticelli dealt with contemporary views of antiquity, as a force that demanded resistance or submission, has formed the purpose of this inquiry.
Joseph Koerner.
Warburg was interested in how antiquity survives. Whereas most of the antique that people looked at as surviving was the world of beauty and the world of composure and order, Warburg was interested in the survival not only of that, but also of …an antiquity that was characterized by passion, by losing oneself, by falling into the Pathos of the moment, the movement of the moment.
Botticelli. Birth of Venus:
Exuberant vitality, the awareness of a germinating, creative will-to-life, and an unspoken, maybe an unconscious opposition to the strict discipline of the Church…demand an outlet for their accumulated pent up energy in the form of expressive movement.
________
And thus a diligent search begins in the permitted sacred story for a pretext; after which the classical past must lend its protective, indisputable authority as a precedent to allow the search for freedom of expression, if not in words then at least in pictorial form.
It is possible to trace, step by step, how the artists and their advisers recognized “the antique” as a model that demanded an intensification of outward movement, and how they turned to antique sources whenever accessory forms—those of garments and of hair—were to be represented in motion.
Botticelli. Judith and Holophernes.
“The entire range of emotional stirrings, aggression, defense, sacrifice, mourning, melancholia, ecstasy, triumph etc.is expressed through the revival of movements, gestures and postures, that is Pathosformel—the expressive formulas of emotion either taken from ancient modes or reappearing as mnemonic traces in successive works.”
It may be added that this evidence has its value for psychological aesthetics in that it enables us to observe, within a milieu of working artists, an emerging sense of the aesthetic act of “empathy” as a determinant of style.
Ghirlandaio’s Nymph. Life of St. Jean Baptiste, (Florence Sta Maria Novella)
Koerner. He finds the beautiful painting and then he finds something that just doesn’t fit…the staid static representation of the real human beings at the time is suddenly interrupted by this amazing figure he calls nympha racing through, not only from another style but from another era, from classical antiquity.
Claudia Wedepohl This is certainly part of the idea of the revival of antiquity, survival, revival, afterlife, whatever you want to use as an English term to translate nachleben. It is perhaps the nucleus of this idea to devote all of his studies to the afterlife of antiquity.
Andreas Beyer So the nympha is of course one of these figurations that appears throughout decades and centuries. Always in a way that we recognize this figure. But it’s always transformed. It’s never identical. But it’s impulse and its impact is the same.
4. KULTURWISSENSCHAFT
Warburg’s interest in movement and gesture leads him to also write about a broad range of subjects-- including pageants, theatrical costume, and even stamps.
Michael Diers. From his early youth, he loved to collect stamps. And he said if all the images of the world would have been lost, an album of stamps would have helped us understand the world. We learn from these global graphics a lot about civilization, different cultures and so on.
Koerner. He is very interested in culture in all of its manifestations in different parts of the world. So he is the first, in a way, global kultur interpreter.
Beyer. Kulturwissenschaft, What is that? Cultural science, bringing together different disciplines, mostly based on the use of images, but also in words and texts and other practices.
JK: the crucial influences for W’s undertaking…would be… Jacob Burkhardt’s way of writing history of the whole culture of Renaissance, not just paintings and literature, but it was about festive culture, cultures of jokes, about letter writings, about dandies, elegance. …
Freedberg. He began his work on his dissertation for Botticelli after his studies with the philologist Usner who took philology in the direction of anthropology and folklore
CW. He included in his study of images, the study of religion, philology. He really widened the field…. He was reading the current publications of the anthropologists, psychologists, also biologists of his time.
Freedberg. Warburg was indeed a very avid reader of Darwin’s “The Expression of the Emotions in Man and Animals.” We see these expressions of emotions across cultures, similar things, throwing out the hands…
Melencholia 1 by Durer. This expression of thoughtful reflection, we find it through history, and its not because one is copying another but because they have a biological basis.
CW.To use the methods which the sciences are using. That is what he thought rationalizes the study of art in a way of distancing it from aesthetics.
Diers. Art is not only something that is aesthetically relevant, but it’s relevant in so many other dimensions too; and intellectually and there’s a lot of knowledge enclosed within the art works.
D. Seymour photo of BB
I had developed a downright disgust with aestheticizing art history. The formal contemplation of images not conceived as a biologically necessary product situated between the practices of religion and art seemed to me to give rise to such a sterile trafficking in words.
5. Trip to US Archival film of NY. siblings
In 1895, Warburg takes a trip to the US for the marriage of his brother Paul with Nina Loeb. Paul would become a founder of the US Federal Reserve Bank. Nina came from an influential German Jewish family of financiers.
Warburg notes his horror at urban America:
Telegram and telephone destroy the cosmos. Mythical and symbolic thinking strives to form spiritual bonds between humanity and the surrounding world. Shaping distance into the space required for devotion and reflection: the distance undone by the instantaneous electrical connection.
The emptiness of civilization on the East coast of America repelled me so much that I simply chanced a flight to real objects and to scientific pursuits by going to Washington to visit the Smithsonian institution where I met Cyrus Adler, James Mooney, and Franz Boas in NY, pioneers of native research who opened my eyes to the world-wide importance of prehistoric and “wild” America. Hence I decided to visit Western America both as a modern creation and in its lower Hispano-Indian strata.
An urge towards the Romantic must be added; a desire for a somewhat more manly activity than had been granted me so far.
Archival film of train in West. PUEBLOS.
Warburg takes a trip to the Pueblo country. He takes many photographs with his newly acquired Kodak camera and draws pictures and diagrams in his notebook.
PHOTOS OF AB IN AZ with Hopi Dancer in Oraibi. 1896.
Warburg visits Zuni villages in New Mexico and travels to the Walpi and Oraibi villages in the Black Mesa.
He observes Hopi culture, visits a kiva-- a sacred space-- and witnesses the Hemis kachina ancestral spirit dance.
Warburg is particularly interested in the Hopi Snake Dance, a ritual in which priests place snakes in their mouths before casting them out into the desert, with the hope that they deliver their prayers for rain to the underworld, the land of their ancestors. Warburg never gets to see the ceremony but studies it through photographs.
The link between pagan religious ideas and artistic activity is nowhere better to be seen than with the Pueblo Indians and one could find in their culture rich material for an inquiry into the origins of symbolic art.
Freedberg. When he gets to America and he goes to the Pueblo dances, he can’t stop himself from going on about how wonderful these ritual practices are. He had a kind of admiration for orchestrated and organized festivities and practices, and so on.
In his slightly romanticized view, sometimes I think that Warburg saw too much that was significant for his studies in the Pueblo tribe, and overlooked their own, sort of, political and religious contexts.
6. RETURN TO HAMBURG. Music.
Warburg returns to Germany and early in 1897, he gives three lectures on his trip to the South West,
Warburg later writes to James Mooney of the Smithsonian Institution.
I always feel myself very much indebted to your Indians. Without the study of their primitive civilization, I never would have been able to find a larger basis for the psychology of the Renaissance.
JK And he found that key, about what cultures do as cultures, when he visited the Hopi Indians in America.
It was not only a vision of culture that he learned among the Hopi; where culture is always in an embattled state against forces of nature and forces inside the person and outside the person that are dangerous, but also that these fights, these struggles out of which culture emerges are universal ones.
Photo Aby and Mary.
Aby Warburg and Mary Hertz marry, In October 1897, 10 years after they met,
Prag. Great opposition from his family who really didn’t like the idea of his marrying a Gentile but he was a pretty cussed determined person, and they did get married.
They lived in Italy for several years in Florence. And she very much supported his work there, to some extent she became almost his amanuensis. She would take notes for him and she could obviously make sketches for him in the galleries and museums. It seems to have been a very happy time on the whole. They were visited by friends and some of he family. I have read they already suffered depressions even at that stage.
They have three children Marietta, Max Adolph, and Frede.
They were not brought up Jewish, although I think he took them to Passover ….He didn’t go to his father’s Jewish funeral, and refused to say the kaddish, the Jewish prayer for the dead.
7.WARBURG’S LIBRARY.
In 1902 Warburg and his family move to Hamburg. He continues to collect books with an idea of forming a private library.
The city of Hamburg, large, prosperous, and progressive, had an old established tradition of learning. Wealthy Jews were actively engaged in education, culture and civics.
Prag. Where the other brothers in the bank were giving money, he was providing something else for the city and for Germany.
Aby then came to regard himself as a cultural banker.
And that in itself, I suppose, fitted into the Jewish idea of philanthropy in which the Warburgs were very much involved in Hamburg.
He very much expected for them to go on funding him,…there are some quite cross letters where he’s demanding more. They seemed to have tolerated this, and I think they appreciated actually what he was trying to do. He did once say that I’m quite certain that my library will survive MM Warburg, the bank.
Warburg notes in his diary:
“I discussed with Max the idea of a Warburg Library for the Science of Culture; he was not against it.”
Aby writes to Max:
30 June 1900. I am really a fool for not insisting even more that we should demonstrate by our example that capitalism is also capable of intellectual achievements of a scope which would not be possible otherwise.
14 July 1900. The knowledge of having a free hand with respect to book purchases invigorates me and my research, because it enables me freely to explore the three directions of literature, art and political history.
28 Oct. 1900. Again and again I stupidly cease to believe in the profitability of my gifts and thus occasionally act the little clerk and modest professor instead of moving with that boldness in economic matters that befits the financially independent private scholar. From time to time my physical ailments enhance this moral weakness. You, as practically minded and far-sighted merchants, should really encourage me to be ruthless in my purchases. I need encouragement, then the rest also works. Hence I should like as soon as possible to find a form for the transfer of library expenses. Have you thought about it any more?
Other rich families have a horse stable, you have my library—and that is more; because those who accumulate material goods must also do something for the development of the mind. Beyond the aggrandizement of the family name, it a rational investment.
8. PORTRAITURE AND PATRONAGE
Aby Warburg associates his own rich banking family in Hamburg with the wealthy Florentine patrons of the Renaissance. He intended them to play a similar role in cultural patronage to that which had been played by the Medici, Sassetti,
and Tornabuoni fortunes.
Sassetti chapel. Ghirlandaio.
Warburg traces the shift from representing patrons as pious figures to more powerful worldly individuals, as seen in Ghirlandaio’s frescoes.
He examines documents, letters and testaments of the Florentine bankers to better understand the contexts and conditions surrounding their commissioned art works.
He never seriously considers the role of the artist as an individual
or the formal properties of their work.
9. ASTROLOGY: Palazzo Schifanoia, frescoes.
The Olympic gods lived on from antiquity through to the middle ages and early Renaissance, but in new guises. They were given planetary roles as astral divinities, mythology projected into the sky.
Ever since the passing of antiquity, the ancient gods had lived on in Christian Europe as cosmic spirits, religious forces with a strong influence in practical affairs: indeed the cosmology of the ancient world—notably in the form of astrology—undeniably survived as a parallel system –tacitly tolerated by the Christian church. (598)
The astral dieties were faithfully transmitted thru a long migration from the Hellenistic world by way of Arabia, Spain, and Italy to Germany….
They lived on as time gods, mathematically defining and mythically ruling every chronological unit it the annual round. They were beings of sinister, ambivalent, and indeed contradictory powers. (599)
In attempting to elucidate the frescoes in the Palazzo Schifanoia in Ferrara, I hope to have shown how an iconological analysis that can range freely, with no fear of border guards, and can treat the ancient, medieval, and modern worlds as a coherent historical unity—an analysis that can scrutinize the purest and the most utilitarian of arts as equivalent documents of expression…
how such a method…can cast light on great and universal evolutionary processes in all their interconnectedness. (585)
Freedberg. So he was looking at all of these astronomical and astrological treatises… but he traces it back 6th century India, Egypt, Islam, Persia, Medieval Latin, Renaissance….It is an extraordinary feat of, you know, an approach that sees a cultural artifact in its complete, in its global origins in its apparent entirety. The relevance of this work couldn’t be greater.
10. DURER: DEATH OF ORPHEUS and MELENCHOLIA 1 Glueck. Orpheus.
Albrecht Dürer was the most important artist of the Northern Renaissance. He introduced classical antiquity both in its theories of proportion and in adopting its themes.
In his study, Warburg focuses on the artist’s drawing the Death of Orpheus, 1494, whose form, as well as its “emotive force of gesture” derived from ancient Greece. It depicts the story of Orpheus being attacked and killed by the maenads, the followers of Dionysus.
Warburg is fascinated by philosopher Friedrich Nietzsche’s idea of two great strains in Greek culture, the Apollonian and the Dionysian, the rational and the irrational, the measured and the excessive.
Antiquity came to Dürer by way of Italian art, not merely as a Dionysian stimulant but as a source of Apollonian clarity.
Every age can see only those Olympic symbols that it can recognize and bear through the development of its own inner visual organs. We, for instance, were taught by Nietzsche a vision of Dionysos.
Every age has the renaissance of antiquity it deserves.
The true voice of antiquity, which the Renaissance knew well, chimes with the image. For the death of Orpheus was more than a studio motif of purely formal interest: it stood for the dark mystery play of Dionysian legend, passionately and knowingly experienced in the spirit and through the words of the ancients. 555
MELENCHOLIA. Glueck, Orpheus
Warburg writes about Durer’s engraving Melencholia I.
Koerner. So it had something to do with his cultural identity This is an icon of German art. He was inspired by scholars before him who had begun to unearth Durer’s sources, which lay in this esoteric realm of pseudo-hieroglyphics … he sometimes equated scholarship with a certain kind of interest in hidden, lost, occult, arcane traditions.
Then there must have been some sense that through the figure of the angel, holding her cheek, inactive, with all the tool of her trade lying abandoned around her, that this was also a portrait of a melancholic, and maybe the portrait of a melancholic and maybe Warburg himself as manic depressive.
That there was a side of melancholy influenced by the planet Saturn which gave rise to flights of genius had leaps of inspiration and leaps of depression and that was the characteristic of the great artist.
The truly creative act- that which gives Dürer’s Melencholia I its consoling, humanistic message of liberation from the fear of Saturn—can be understood only if we recognized that the artist has taken a magical and mythical logic and made it spiritual and intellectual. The malignant, child-devouring planetary god, …humanized and metamorphosed by Durer into the image of the thinking, working human being.
11. 1909-1919
Warburg buys a villa at 114 Heilwigstrasse in 1909. His learning is now widely respected and his library increasingly consulted. He had become a Hamburg institution, taking a lively part in the city’s cultural life.
With the outbreak of World War 1 in 1914, Warburg becomes deeply distressed by Italy’s break with the Axis powers and then by the realization of the War’s destructiveness and futility.
CW. He was sort of fighting the war at home. And he did it by collecting materials, ….the whole family was involved in excerpting news papers.
For Warburg, this collection of materials relating to WWI had a huge, let’s say, emotional value…which, in the end, triggered his psychosis….
So this is Warburg’s collection of Zettlekasten, …. He started as a student to have these boxes …This collection reflects the whole spectrum of Warburg’s interests …which have become the title of each box.
This box is called Juden. And then comes ‘Juden und Krieg’ ‘Jews and War’,
Again a very important topic that he was working on also with his brother Max on an essay about the role of the Jewish part of the German population during WWI.
So this is the box called Kunst und Krieg, 1915-1916, we come to this section, ‘Kunst und Hindenburg’’--Art relating to Hindenburg-- this is a label of a can of sardines. A typical example of Warburg’s ongoing interest in how art really was traceable throughout all genres, from the highest to the lowest, the every day objects but also, kind of, propaganda.
______________
Diers Warburg started during the First World War to develop his ideas on political iconography, interest in the propaganda, in political posters and images. He is, in a way, a grandfather of this idea And he did it very well for he tried to understand why, in a world of civilization in 1914, the first WW began and people did hate each other in a way it was like they would be new barbarians.
Stimilii progressively as the war came to an end he started to somehow have paranoid fantasies about how his family may become again the target of reprisals. He thought it would be better somehow to commit suicide rather than have his family be murdered. And so he actually took out a revolver and threatened to kill his wife, children and himself.
That was the precipitating event that led to his first hospitalization in Hamburg.
12. Bellevue clinic in Kreuzlingen.
Aby Warburg is confined to various psychiatric clinics before coming under the care of Dr. Ludwig Binswanger, spending 1921-1924 at Bellevue Clinic, in Kreuzlingen Switzerland.
Stimilii. It was one of the facilities at the forefront of care in Europe atthe time.
Nijinsky and Kirchner maybe are the most famous other patients, besides Warburg who spent time in Kreuzlingen.
The diagnosis is schizophrenia. They all agree that this is a case that presents very limited potential for recovery.
We have a daily record of basically whatever happened, all the outbursts, the treatments, how much he was administered of a certain pharmaceutical and so on.
Warburg is a patient who has potential again to do harm to himself and to others. He attacks the nurses, he is quite aggressive, he has to be restrained, because again he starts shouting, he does, uncontrollably at times. Warburg clearly does some pretty crazy things. He has fantasies, he has hallucinations. For instance he believes that the Binswangers have chopped his wife and children and parts of their bodies are scattered around the clinic park. He makes up words, you can’t really tell what he is trying to say.
Warburg keeps his journal, writes letters, but always in pencil.
I think it was in part due to some representation that ink may be blood…the pencil was perhaps also…a less potentially dangerous tool to carry around.
Warburg is shaken by Jewish Foreign minister Walter Rathenau’s murder in 1922. He worries about the use of anti-Semitic images.
Koerner.His fantasies are clearly informed by a wave of violent anti-Semitism that is ongoing in Germany, that has direct relationships to his family. We know that there was an assassination attempt against his brother. And therefore he is capable, out of the life world in which he’s living, to transform real dangers which are specifically about him in his Jewish identity, into a set of persecution fantasies. Which, when you look at it in retrospect, are eerily like prophecies.
______
Stimilii At the beginning of 1923 is when Kraepelin is brought in. This happens at the bequest of the family. Kraepelin is at the time, really, the foremost authority in the field of psychiatry. He introduces this category of manic-depressive, now what we would call bipolar. It opened up the possibility of recovery. It was no longer a matter of if he was going to be released but when.
Kraepelin advises again the use of opium for a period and this is something that actually excites Warburg. He notes “written under opium.”
Warburg writes fragments of his autobiography …. his journey to the SW so now bringing to the fore again his real scholarly interest.
At the suggestion of Dr. Binswanger, to provide proof of his capacity to think clearly, Warburg prepares a lecture on his earlier work on the Hopi ritual of the serpent dance.
Koerner. Warburg understood his sickness to be also related to his scholarly studies, they were both the cause he had felt and the cure.
But now in March 1923, in Kreuzlingen, in a sealed institution where I find myself a seismograph made of pieces of wood stemming from a growth transplanted inoculated in Italy, I allow the signals that I have received to be released from me, because in this epoch of a chaotic defeat, even the weakest one is beholden to strengthen the will to cosmic order.
The confession of an incurable schizoid, deposited into the archives of the doctors of the soul.
13. SERPENT RITUAL LECTURE.
Before a select audience of patients, clinicians and invited guests, Aby Warburg delivers a masterful lecture on the Hopi serpent ritual, barely looking at his manuscript. The motto that preceded the lecture.
It is an old book to browse in Athens-Oraibi, all cousins.
They stand on middle ground between magic and logos and their instrument of orientation is the symbol. Between a culture of touch and a culture of thought, is the culture of symbolic connection. And for this stage of symbolic thought and content, the dances of the Pueblo Indians is exemplary.
In this snake dance, the serpent is therefore not sacrificed but rather through consecration and suggestive dance mimicry transformed into a messenger and dispatched, so that, returned to the soul of the dead, it may in the form of lightening produce storms from the heavens. … .
The elementary form of emotional release through Indian magical practice may strike the layman as a characteristic unique to primitive wildness, of which Europe knows nothing. And yet 2000 years ago in the very cradle of our European culture in Greece, cultic habits, were in vogue, which in crudeness and perversity far surpass what we have seen among the Indians.
The idea of the serpent as a destroying form from the underworld has found its most powerful and tragic symbol in the myth and in the sculpted group of Laocoon. The sooth saying priest who wanted to come to the aid of his people by warning them of the wiles of the Greeks, falls victim to the revenge of the partial gods. Thus the death of the father and his sons becomes a symbol of ancient suffering: death at the hands of vengeful demons, without justice and without hope of redemption. That is the hopeless tragic pessimism of antiquity.
The serpent as the demon in the pessimistic world -view of antiquity has a counterpart in a serpent diety, in which we can at last recognize the human, transfigured beauty of the Classical age.
Asclepius, the ancient of god of healing, carries serpent coiling around his healing staff as a symbol.
The snake also reveals …how a body can leaves its skin, and yet continue to live. The capacity for bodily renewal, makes the snake the most natural symbol of immortality.
These notes should not be taken as the pretended results of superior insights, let alone of science, but as the desperate confessions of a seeker after salvation….
Koerner. There’s a funny relationship between what he is talking about, namely the Hopi Indians, doing the dangerous dance and him giving a lecture about the dangerous dance, both able to keep composure under the greatest strain. And so whenever he is writing of the Serpent and the danger of holding it in the mouth is also speaking about the action of the lecture, about coming forth with these words and being able to keep composed with an audience around him.
Draft of a letter April 12, 1924,
I was able to speak freely for an hour and a half, without loosing my train of thought, and I was able to make a series of claims relating to the psychology of culture in close connection with my earlier research.
My doctors saw in this lecture a very encouraging sign that my faculties of communication had been restored….
After 3½ years, Warburg is released from the Kreuzlingen clinic on 12th August 1924.
14. KULTURWISSENSCHAFTLICHE BIBLIOTHEK WARBURG
Warburg returns to Hamburg. His library, under the direction of Fritz Saxl , is now also a research institute. Warburg works with an architect, Gerhard Langmaak, designing a new building for the library alongside his home. It contained some 46,000 volumes.
Fleckner. We are sitting here in the Kulturwissenschaftlichen Bibliothek Warburg and this was created as a symbolic architecture. You can see a façade, which is an Expressionist, very modern façade, this in a very well off neighborhood of neo classical Homes. You have to bow your head before inscription Mnemosyne, the mother of muses, goddess of memory.
Circular chart of the library.
And then you come into a building which has four storage floors for the book collection. Starting with image- art and architecture.
On the second form you have Orientation- philosophy and religion.
On the 3rd floor you have Word—language and philology and on the
Last, you have Action—the social and cultural history which was the
climax of the architectural symbolism of this building.
Gertrud Bing, Warburg’s research assistant and later director of the library, described its underlying principle, “the law of good neighborliness.”
CW.“The classification is anything but indifferent. The manner of shelving the books is meant to impart certain suggestions to the reader, who looking on the shelves for one book is attracted to the kindred ones next to it. Glances at the sections above and below and finds himself in a new trend of thought which may lend to additional interest to the one he was pursuing.”
Fleckner The room where we are sitting here right now, its the famous reading room with a skylight which is of elliptical form,
So the ellipse of the skylight of the reading room was a kind of symbol for his own personal life and for cultural history because of the polarity of the two centers of an ellipse is a perfect metaphor for combining contradictions.
In his manic-depression which he developed because of the first World War, when he had to focus on the fact that history is not linear development toward Enlightenment he could develop this idea of an ellipse in order to understand that there is a possibility to keep contradictions in a historical model for his life and cultural history in general.
Koerner. The fascination of Warburg had to do with his own unfinished unresolved but extremely suggestive work on memory and that in the 20th c, with the catastrophic events, the ruptures that it brought, people who worked in the humanities found it very hard to figure out how talk about history, about memory
About the long continuation of culture leading up to themselves. …
He is also a person who In his own bio and the way it relates to the traumas related to WW1 and prophetically of the holocaust, he embodies the problems of memory and continuity.
There were two series of publications in Warburg’ absence, Lectures and Studies with essays by scholars whose fields were promoted by the Warburg library.
Drawing on the resources of the Library, art historian Erwin Panofsky advanced the approach of iconology, which Warburg was pioneering. Both he and philosopher Ernst Cassirer, traced symbolic forms in their respective fields to learn how people made sense of the world.
15. FINAL PEROD
Warburg is productive in his last years though his work is/was often fragmentary and unfinished. Though he published almost nothing he gave lectures and planned, with Fritz Saxl, an exhibition on the relationship between man and the cosmos.
He writes to his brother Max 13 June 1928:
I shall never forget—as I have often said—that when I asked you for support in my struggle against state-sponsored German triumphalist exhibitionism, you and Father gave me unlimited moral support and splendid financial credit, although I was an unofficial, isolated and unproven intellectual.” (104)
Prag. There is a photo …of the brothers, prosperous gentlemen, with their waistcoats, Max and Aby at the table,.At the very last minute, , when it was too late to say no, Aby who was aware of the significance of every gesture, he puts out his hands like a beggar.
16. Mnemosyne Project.
Starting in 1924, Warburg works on a project that later became his “picture atlas” the title of which would be Mnemosyne, subtitled, “Image Sequence for the Cultural Study of Expressive Material Reminiscent of Antiquity in the Representation of Cosmic and Human Movements during the European Renaissance.”
In his introduction, Warburg discusses the cosmology of images and signs, the difference between the religious and mathematical worldview and between fantasy and rationality, among other subjects.
He constantly rearranges the images on the panels.
Everything we live through is metamorphosis.
CW. Warburg gets this idea that Mnemosyne, the mother of the muses, also, at the same time, meaning ‘memory’, is a good title for the project,
An Atlas with images, certainly with a geographical connotation cross cultures, cross history, was a working tool. It was a laboratory demonstrating his ideas, all the projects Warburg had been working on throughout his life.
In the end he wanted a printed book, but what it was, it was a sequence of panels he pinned photographs on, which would explain …
But also the history of civilization in terms of expression.
We have got 63 photographs of panels.We don’t really know what would have been the number of panels and plates in the atlas he would have reached.
Panel 46 has, is dedicated to the nympha or, let’s say, to the female figure, with a chest on her head …a motif that is common in antiquity.
Lucretia Tornabuoni, has also written some sort of memory of the 15th century Florentine woman, which Warburg wanted to include in his atlas as a document of the mentality of the time….it’s also the role the woman takes on in allegories .And then of course, there’s the element of the figure in motion.
Diers He wanted to understand the world and for him the idea of Atlas carrying the globe on his shoulders, it was his idea of the work he had to do.
Not until art history can show…that it sees the work of art in a few more dimensions than it has done so far will our activity again attract the interest of scholars and of the general public.
Every serious scholar who has to venture on a problem of cultural history reads over the entrance to his workshop Goethe’s lines: “What you call the spirit of the age is really no more than the spirit of the worthy historian in which the age is reflected.”
Sometimes it looks to me as if, in my role as psycho-historian, I tried to diagnose the schizophrenia of Western civilization from its images in an autobiographical reflex. The ecstatic “Nympha” (manic) on the one side and the mourning river-god (depressive) on the other…
May the history of art and the study of religion—between which lies nothing at present but wasteland overgrown with verbiage—meet together one day in learned and lucid minds…and may they share a workbench in the laboratory of the iconological science of civilization.
Glueck Orpheus. Photo. sculpture bust.
Aby Warburg died of heart attack on 26 October 1929 at the age of 63.
At the time of his death, Warburg had not yet written the captions and commentaries he had intended for the Atlas. The work remains unfinished.
18. MOVE OF THE LIBRARY to LONDON
Charles Hope: Apart from Warburg’s death, there was the very momentous event in 1929—which was the great crash. The Warburg bank in Hamburg was effectively made bankrupt wiped out and so it couldn’t continue to fund the institute. So it was just drifting on when the Nazi’s took power in 1933.
…..As a Jewish institution it almost immediately had to close its door to non Jewish students and professors. Saxl, the director, lost his job at the University of Hamburg, Panofsky lost his job as well. And it then became obvious that there was nothing to do except than to get it away somehow from Hamburg.
While Wind and Saxl were in London they got in touch with lord Lea of Fareham and through him to Samuel Courtauld, who had just established an art history institute in University of London. Courtauld, who was extremely wealth, and he decided basically to fund the Institute in London.
60,000 books and equipment were shipped to London in December 1933 via barges that went down the Elbe River and up the Thames.
In 1944, after extensive negotiations with the Warburg family, who were intent above all on the Institute retaining its independence, it was handed over to University of London and it has remained here ever since.
Sequence on Warburg Institute today.
19. ABY WARBURG’S NACHLEBEN/Legacy
Wedepohl: Warburg’s library is unique. And we know from the first generation of users, a person like Frances Yates, who has writing about and speaking about later on, how much the structure of the library has helped them in defining their topics. And basically in their research and how inspirational it was.
And that, we still find in lots of people who are using this library today and are supporters of this institution.
Freedberg.
While the aura of Warburg has grown enormously in the last 30 years, last 30-40 years, so that now he’s a totemic figure in the modern humanist culture,
Stimilii. I would put Warburg along with Kafka, Freud, Wittgenstein, Benjamin, I mean, that’s the group of people Warburg belongs to.
Diers. Warburg is as successful in the reception, in his afterlife, he perhaps would say, because he looked over the borders of art history, an art history which longer was only focused on Meisterwerke, on ‘master works.’ And so it helped us to understand our daily life, to pop history, music and everything.
Freedberg. The Warburg has to now deal with all these aspects-- the anthropological, the biological, and the potential for genuinely cross-cultural studies…
Beyer. In a time when we use images everywhere, we need to understand them, we need to handle it. And here Warburg has an important impact. His way of taking seriously any form of images, any communication in and through images is a legacy that has become more important today than maybe at its time when he was developing it.
Freedberg. To see images in these global contexts couldn’t be more critical. I mean, when we think of the ways in which ISIS is not only using images for propaganda, to see a statue, both of historic worth and of aesthetic value being so destroyed, gives you a kind of visceral shock …because you feel, not only the assault on our cultural heritage, but you feel the assault on the body.
Those studies initiated by Warburg, that kind of philological and historical rigor actually provides us with tools, provides the humanities, not just the sciences, with tools to understanding how people behave with images and with bodies in our society.
19. Coda: Gluck.
When I look back on my life’s journey, it seems that my function has been to serve as a seismograph of the soul, to be placed along the dividing lines between different cultural atmospheres and systems.
Translation - Spanish “Ebreo di sangue,
Amburghese di cuore,
d’anima Fiorentino.”
“Judío de sangre,
hamburgués de corazón,
de espíritu florentino…”
ABY WARBURG
METAMORFOSIS
Y MEMORIA
Mi abuelo nació en Hamburgo en 1866
y fue el mayor de siete niños.
Dos niñas y cinco varones,
que crecieron en Hamburgo.
Era una familia liberal judía.
Viendo sus primeras fotografías,
uno se lo puede imaginar
como un niñito presumido;
con ese corte de pelo.
Piel oscura, en comparación
a sus compañeros de clase.
Claro que eran alemanes,
de pies a cabeza.
La familia Warburg se estableció
en Altona, adyacente a Hamburgo,
a fines del siglo XVII.
Su banco creció hasta alcanzar
prominencia nacional
y luego internacional.
Aby era el más grande,
así que él hubiera heredado el banco,
MM Warburg, ese era su derecho
de nacimiento.
No era particularmente un niño común.
Siempre se interesó más por los libros,
no por el dinero.
La historia cuenta que,
cuando tenía 13 y Max 12 años,
hicieron un pacto,
donde Max se quedaría con el banco
si Aby podía tener suficiente dinero
como quisiera para sus libros.
Según dicen, Max lo pensó bien.
“Libros, sí, Goethe,
Schiller, Lessing, Heine.
Probablemente quiera
unos de suspenso y algo más,
pero podremos costearlo
con el banco.”
Acordaron esto a los 13 y 12 años,
lo mantuvieron toda la vida
y, aparentemente, tiempo después,
Max dijo que este fue
el mayor cheque en blanco
que tuvo que llenar en su vida.
En 1886, Warburg ingresa
a la Universidad de Bonn.
Estudia filología, historia del arte,
arqueología y filosofía.
Expresa gran preocupación
sobre su identidad como judío,
y decide dejar de comer kosher,
para la angustia de sus padres.
“26 de enero 1887.
Querida Mamá,
no me avergüenza ser judío.
Por el contrario,
intento mostrarle a los otros,
que representantes de mi clase
son más que aptos,
en concordancia con sus talentos,
de insertarse como eslabones útiles
en la cadena de desarrollo actual
de la cultura y el estado.
Pero precisamente,
porque eso quiero,
debo librarme de todo
lo que orgánicamente
no corresponda a mi actividad.
Quiero actuar como lo que soy.
Deseo que los otros me estimen
por lo que soy.”
Continúa estudiando historia del arte
en la Universidad de Strasbourg.
“25 de noviembre de 1889.
Querida Mamá,
la gente aquí es tan abominable.
No puedo dejar la casa tranquilo
sin que alguien esté por detrás,
diciendo “mirá, es un judío”.”
Warburg pasa varios meses en Florencia
trabajando en su tesis sobre Botticelli.
Allí conoce a Mary Hertz,
una artista de la que se enamora.
Ella pertenecía a una distinguida
familia gentil de Hamburgo.
Ambas parejas de padres
se oponen a la relación.
Patriota alemán,
Warburg pasa un año
sirviendo en la artillería montada
del ejército,
lo cual disfruta bastante.
Lo ayuda a calmar sus ansiedades.
A los 27 años
es liberado del ejército.
Ambivalente
por sus ambiciones académicas
y sin planes de carrera,
vuelve a Florencia.
En sus diarios,
Warburg habla de depresión
y pérdida de tiempo.
Retoma sus estudios
sobre el renacimiento italiano
y explora “la vuelta a la vida
de la antigüedad”…
“Para mostrar cómo Sandro Botticelli
lidió con las visiones contemporáneas
de la antigüedad, como una fuerza
que demandaba resistencia o sumisión,
se dio forma
al propósito de la indagación.”
Warburg estaba interesado
en cómo sobrevive la antigüedad.
Mientras que la mayor parte
de lo considerado antiguo por la gente
es observado como sobreviviente
del mundo de la belleza,
el mundo de la compostura y el orden,
Warburg estaba interesado,
no solo en esa supervivencia,
sino en una antigüedad
caracterizada por la pasión,
por la pérdida de uno mismo,
de caer en el pathos del momento,
el movimiento del momento.
“La exuberante vitalidad,
la conciencia del germen creativo
de pulsión de vida y de una silenciosa,
quizá inconsciente oposición,
a la estricta disciplina de la Iglesia,
demanda una válvula de escape
a su acumulada y recluida energía,
en forma de movimiento expresivo.
Y así,
comienza una búsqueda diligente
en la permitida historia sacra
por un pretexto, tras la cual,
el pasado clásico, deba prestar
su protectora e indisputable autoridad
como un precedente
que permita la búsqueda
de una libertad de expresión
que, de no ser en palabras,
al menos pueda tener
forma pictórica.
Es posible rastrear, paso a paso,
cómo los artistas y sus consejeros,
reconocieron “lo antiguo”
como un modelo
que demandaba la intensificación
del movimiento excéntrico,
y cómo volvieron
a las fuentes antiguas
cuando las formas accesorias,
aquellas de vestiduras y cabello,
querían representarse en movimiento.”
“El completo rango de emocionalidad,
agresión, defensa, sacrificio,
duelo, melancolía,
éxtasis, triunfo, etc,
es expresado a través
del resurgimiento de los movimientos,
gestos y posturas,
que son el Pathosformel,
las fórmulas expresivas
de la emoción,
ya sean tomadas de modos antiguos
o reapareciendo
como rastros memotécnicos
en obras sucesivas.
Cabe agregar
que esta evidencia
tiene su valor,
como estética psicológica,
por como nos permite observar
dentro de un entorno de artistas,
un sentido emergente
del acto estético de la empatía
como una determinancia del estilo.”
Él encuentra una pintura hermosa
y luego reconoce algo que no cuadra…
La estática y formal representación
de los seres humanos
es interrumpida abruptamente
por esta increíble figura,
que él llama ninfa, atravesando,
no solo desde otro estilo,
sino desde otra era,
desde una antiguedad clásica.
Esto es claramente parte de su idea
de la revisión de la antigüedad,
supervivencia, resurgimiento,
“el más allá”, como quieras llamarlo
que sirva para traducir nachleben.
Quizá sea el núcleo de la idea,
dedicar todos sus estudios
a la vuelta a la vida
de la antigüedad.
La ninfa es una de estas figuraciones
que aparecen a lo largo
de las décadas y los siglos,
siempre de un modo
en que reconocemos la figura.
Pero siempre está transformada.
Nunca es idéntica.
Pero su impulso y su impacto
es siempre el mismo.
El interés de Warburg
por el movimiento y el gesto,
lo llevan también a escribir
sobre una amplia gama de asuntos,
incluyendo procesiones,
vestuario teatral y hasta estampillas.
Desde su juventud,
le encantaba coleccionar estampillas.
Y decía que, si se perdieran
todas las imágenes del mundo,
un álbum de estampillas
alcanzaría para entender el mundo.
De estos diseños globales
aprendemos mucho de la civilización,
las diferentes culturas y más…
Estaba muy interesado
en la cultura,
en toda su manifestación,
por todo el mundo.
De algun modo,
es el primer intérprete cultural global.
¿”Kulturwissenschaft”, qué es eso?
Ciencia cultural.
Juntar diferentes disciplinas,
mayormente basadas
en el uso de la imagen,
pero tambien palabras,
textos y otras prácticas.
La influencia crucial
para el proyecto de Warburg
sería la forma de escribir la historia
de Jabob Burkhardt,
que fue la forma de escribir
sobre toda la cultura renacentista.
No solo pintura y literatura,
sino sobre la cultura festiva,
la cultura de las bromas,
acerca de escribir cartas,
de los dandy’s, la elegancia...
Comenzó su obra
con su tesis sobre Botticelli
luego de sus estudios
con el filólogo Usner,
que llevó la filología en dirección
a la antropología y el folclor.
Incluyó en su estudio de las imágenes,
el estudio de la religión, filología...
Realmente amplió el campo.
Leía las publicaciones recientes
de los antropólogos, psicólogos,
también de los biólogos,
de su tiempo.
Warburg era un ávido lector
del libro de Darwin:
“La expresión de las emociones
en el hombre y los animales”.
Vemos estas expresiones emocionales
a través de las culturas,
elementos comunes,
las formas de retratar las manos.
Melancolía 1, de Durer.
Esta expresión de pensante reflexión,
se encuentra a través de la historia
y no es que uno le copie al otro,
sino porque así somos.
Usar los métodos
que están usando las ciencias.
Eso es lo que él pensó
que racionalizaría el estudio del arte
de un modo que lo distanciaría
de la estética.
El arte no es algo
solo relevante por su estética,
sino que es relevante
en tantas otras dimensiones.
Parcial e intelectualmente…
Hay mucha sabiduría encerrada
dentro de las obras de arte.
“Desarrollé una repulsión absoluta
hacia la estetización
de la historia del arte.
La contemplación formal de imágenes
no concebida como un producto
necesariamente biologico,
situado entre las prácticas
de la religión y el arte,
me parece a mí, que da origen
a un tráfico de palabras tan estéril.”
En 1895, Warburg viaje a los EEUU,
por el matrimonio
de su hermano Paul con Nina Loeb.
Paul se volvería uno de los fundadores
del Banco de la Reserva Federal.
Nina venía de una familia influyente
judío alemana de financieros.
Warburg toma nota de su horror
frente a la América urbana:
“Los telegramas y teléfonos
destruyen el cosmos.
El pensamiento mítico y simbólico
lucha para formar lazos espirituales
con la humanidad
y el mundo circundante.
Dar forma a la distancia
en el espacio
es requerido para la devoción
y la reflexión:
la distancia se deshace
por la instantánea conexión eléctrica.”
Denkraum, espacio para el pensamiento,
un ideal de Warburg.
“El vacío de la civilización
de la costa este americana
me repele tanto
que solo me arrojo a lo tangible
y a la búsqueda científico,
yendo a Washington a visitar
el Instituto Smithsoniano.
Allí conocí a Cyrus Adler
y a James Mooney,
y a Franz Boas en Nueva York,
pioneros de la investigación nativa,
que abrieron mis ojos
a la universal importancia
de la prehistórica y salvaje América.
Por lo que he decidido
visitar el oeste norteamericano,
tanto por creación moderna
como por estrato Hispano-Indio.
La ansia hacia lo romántico
debe ser considerada;
el deseo por una actividad más humana
que me ha sido concedida.”
Warburg hace un viaje
a la nación Pueblo.
Toma muchas fotografías
con su recién adquirida cámara Kodak,
y hace dibujos
y diagramas en su cuaderno.
Warburg visita aldeas Zuni
en Nuevo Méjico
y viaja a las aldeas Walpu y Oraibi
en Black Mesa.
Observa la cultura Hopi,
visita una kiva, un espacio sagrado,
y presencia la danza ancestral
y espiritual Hemis Kachina.
Warburg está especialmente interesado
in la danza Hopi de la serpiente,
un ritual en donde sacerdotes
ponen serpientes en sus bocas
antes de lanzarlas hacia el desierto,
con la esperanza que lleven
sus plegarias de lluvia al inframundo,
la tierra de sus ancestros.
Warburg no llega a ver la ceremonia
pero la estudia por fotografías.
“No hay donde observar mejor
la conexión entre las ideas paganas
y la actividad artística,
que con los indios Pueblo,
y uno podría encontrar,
en su cultura,
material rico para una investigación
sobre los orígenes del arte simbólico.”
Cuando llega a Norteamérica
y ve las danzas de los Pueblo,
no puede consigo mismo
de lo maravillosas que le parecen
estas prácticas rituales.
Tiene un tipo de admiración
por las festividades orquestadas
y este tipo de prácticas.
En su levemente romántica visión,
a veces creo que Warburg
llegó a ver demasiado
que le fue significante
para sus estudios
sobre la tribu Pueblo
que perdió de vista, digamos,
su propio contexto político
y religioso.
Warburg retorna a Alemania
y, a principios de 1897,
da tres conferencias
sobre su viaje al sudoeste.
Warburg le escribe a James Mooney
del Instituto Smithsoniano:
“Siempre me siento endeudado
con sus indios.
Sin el estudio
de su primitiva civilización,
jamás hubiera podido encontrar
una base mayor
para la psicología del Renacimiento”.
Encontró esa llave,
lo que una cultura hace como cultura,
cuando visitó a los indios Hopi
en Norteamérica.
No fue solo la visión de cultura
que aprendió entre los Hopi,
donde la cultura
es siempre un estado asediado
por las fuerzas naturales,
y las internas de una persona,
o fuerzas externas de una persona,
que lo ponen en peligro,
sino que estas luchas y conflictos,
de las cuales emerge la cultura,
son universales.
Aby Warburg y Mary Hertz
se casan en octubre de 1897,
tras diez años de haberse conocido.
Gran oposición de su familia,
a quienes realmente no agradaba
la idea que se case con una gentil,
pero él era terco, determinado,
y se terminaron casando.
Vivieron en Italia, en Florencia,
por varios años.
Ella apoyó tanto su trabajo allí,
que terminó casi convirtiéndose
en su amanuense.
Parece que fue una época muy feliz,
en general, pero también he leído
que, para ese entonces,
ya sufría de depresión.
Tuvieron tres hijos; Marietta,
Max Adolph y Frede.
No fueron criados como judíos,
aunque creo que los llevaba
para las pascuas…
No fue al funeral judío de su padre
y se negó a rezar el kaddish,
la plegaria judía a los fallecidos.
En 1902 Warburg y su familia
se mudan a Hamburgo.
Continúa coleccionando libros
con la idea de armar
una biblioteca privada.
La ciudad de Hamburgo,
amplia, prospera y progresiva,
contaba con una larga y establecida
tradición de enseñanza.
Había judíos ricos
dedicándose activamente
a la educación,
la cultura y la cívica.
Mientras sus hermanos,
en el banco daban dinero,
él se estaba ofreciendo algo más
para la ciudad y Alemania.
Aby empezó a considerarse
como un banquero cultural.
Y que ello entraba
en la idea judía de filantropía,
con la cual los Warburg en Hamburgo
estaban realmente involucrados.
Él directamente esperaba
que ellos lo proveyeran de fondos.
Hay algunas cartas tensas
en las que él está demandando más.
Parece que la familia lo toleraba,
y creo que hasta podían apreciar
lo que estaba tratando de hacer.
Una vez hasta dijo,
estoy bastante seguro,
que su biblioteca sobreviviría
al propio banco, MM Warburg.
Warburg escribe en su diario:
“Discutí con Max la idea
de la Biblioteca Waburg
para la Ciencia de la Cultura.
Él no se opuso.”
Le escribe a Max:
“30 de junio 1900.
Soy realmente necio
por no insistir aún más
que deberíamos demostrar,
con nuestro ejemplo,
que el capitalismo también es capaz
de logros intelectuales
de un alcance tal
que no podría alcanzarse de otro modo.”
“14 de julio 1900.
El conocimiento de tener
una mano libre con respeto
hacia la compra de libros,
incitan mi investigación y persona,
porque me permite libremente explorar
las tres direcciones de la literatura,
arte e historia política.”
“28 de octubre 1900.
Una y otra vez,
dejo estúpidamente de creer
en la rentabilidad de mis dones
y termino ocasionalmente actuando
como el pequeño y modesto profesor,
en vez de moverme con audacia
en materias económicas
que benefician financieramente
al académico independiente.
De vez en cuando,
mis malestares físicos
realzan esta debilidad moral.
Ustedes, de mentes prácticas
y visión comerciante,
deberían alentarme realmente
a ser despiadado en mis adquisiciones.
Necesito que me estimulen,
luego funciona lo demás.
Así es que debería cuanto antes
encontrar la forma de transferir
los gastos de la biblioteca.
¿Han seguido pensando en ello?
Otras familias ricas tienen establos,
ustedes tienen mi biblioteca.
¡Y eso es más! Porque aquellos
que acumulan bienes materiales,
también deben hacer algo
por el desarrollo de la mente.
Más allá del deseo de agrandar
el nombre de la familia,
es una inversión racional.”
Aby Warburg asocia su propia
y rica familia banquera en Hamburgo,
con los adinerados patrones
florentinos del renacimiento.
Su intención era que jugaran
un papel similar en el mecenazgo,
como habían sido las fortunas
de los Medici, Sassetti y Tornabuoni.
Warburg rastrea el cambio de patrones
de representación de figuras devotas,
a poderosas, más individuales
y sofisticadas,
como pueden verse
en los frescos de Ghirlandaio.
Examina documentos, cartas
y testamentos de banqueros florentinos
para entender mejor
el contexto y la condiciones
alrededor
las obras de arte encargadas.
Nunca considera seriamente
el rol del artista como individuo
o la propiedad formal de su obra.
Los dioses olímpicos
sobrevivieron desde la antigüedad,
a través de la edad media
y comienzos del renacimiento,
pero con aspectos renovados.
Se les asignaron roles planetarios
como divinidades astrales;
mitología proyectada al cielo...
“Desde lo que continuó
a la antigüedad,
los dioses han vivido
en la Europa cristiana
como espíritus cósmicos,
fuerzas religiosas
con fuerte influencia
en asuntos prácticos.
De hecho,
la cosmología del mundo antiguo,
notable en la forma de astrología,
sobrevivió, sin lugar a duda,
como un sistema paralelo,
tácitamente tolerado por la Iglesia.”
“Las deidades astrales
fueron fielmente transmitidas
a través de largas migraciones
desde el mundo helénico,
por Arabia, España,
y de Italia a Alemania.
Sobrevivieron como dioses del tiempo,
definiendo por matemáticas
y gobernando míticamente
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Young and proactive professional, willing to grow and to increase my experience in the field. More than 10 years translating, transcribing, editing/proofreading, live subtitling, interpreting. Wide experience in films, TV and audiovisual content, performing arts, photography, music, literature and arts. Also in environment, ecology, agriculture, travel and cooking.
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