By Robert Mitchell
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Extra resources for Releasing the Image: From Literature to New Media
Three hence, for Domenichino dancing is basically an operation carried out on reminiscence, a composition of phantasms inside of a temporally and spatially ordered sequence. the real locus of the dancer isn't the physique and its move, yet really within the snapshot as a “Medusa’s head,” as a pause that's not motionless yet as an alternative at the same time charged with reminiscence and dynamic strength. this implies, even if, that the essence of dance is not any longer stream yet time. III it's not inconceivable that Aby Warburg knew the treatise via Domenico (and his scholar, Antonio da Cornazano) while he ready his learn Theater Costumes for the 1589 Intermedi in the course of his sojourn in Florence. definitely not anything resembles his imaginative and prescient of the picture as Pathosformel greater than the “phantasmata” that contracts inside itself in an abrupt cease the strength of flow and reminiscence. The resemblance additionally extends to the spectral, stereotypical fixity that turns out to accord as a lot with Domenico’s “phantasmatic shadow” (in the phrases of Antonio da Cornazano, who misunderstands his instructor) as with Warburg’s Pathosformel. the concept that of the Pathosformel looks for the 1st time within the 1905 essay Dürer and Italian Antiquity, which strains again the iconographic subject of 1 of Dürer’s etchings to the “pathetic gestural language” of old paintings. Warburg supplies proof for this sort of connection through retracing a Pathosformel in a Greek vase-painting, in an etching via Mantegna, and within the xylographs of a Venetian incunabulum. to start with, it is very important concentrate on the time period itself: Warburg doesn't write, gi o r g i o a g a m b e n as he may have, Pathosform, yet Pathosformel—pathos formula—thus emphasizing the stereotypical and repetitive point of the imaginal subject matter with which the artist needed to grapple so that it will supply expression to “life in flow” (bewegtes Leben). probably tips to comprehend its that means is to check it with the use of the time period “formula” in Milman Parry’s stories on Homer’s formulaic kind, released in Paris in the course of the similar years that Warburg used to be at paintings on his Mnemosyne Atlas. The younger American philologist had renewed the sphere of Homeric philology via exhibiting how the oral composition means of the Iliad and of the Odyssey was once in line with an enormous yet finite repertoire of verbal combos (the well-known Homeric epithets: “the swift-footed Achilles,” “Hector flashing helmet,” “Odysseus of many turns,” and so on. ). those formulae are rhythmically configured for you to be tailored to parts of the verse; they're themselves composed of interchangeable metrical parts that allowed the poet to alter syntax with out altering metrical constitution. Albert Lord and Gregory Nagy have proven that formulae should not simply semantic filler destined to occupy a metrical slot, yet that, on the contrary, the meter most likely derives from the formulation typically handed down. alongside an analogous strains, the formulaic composition includes the impossibility of distinguishing among construction and function, among unique and repetition.