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This is a landmark study on Aby Warburg's life and work, translated
into English.In ""Aby Warburg and Anti-Semitism"", Charlotte
Schoell-Glass provides an unprecedented look at the life and
writings of cultural critic Aby Warburg through the prism of
Warburg's little-known political views. Schoell-Glass argues
provocatively based on archival research that Warburg's work and
teachings developed as a reaction to the growing anti-Semitism in
Germany, which he saw as a threat to classical education and
university scholarship. Translated into English for the first time,
""Aby Warburg and Anti-Semitism"" sheds much needed light on
Warburg's views on Judaism and the politics of his time.Aby
Warburg, scion of a well-known Jewish banking family in Hamburg,
sacrificed his birthright to pursue a career as a private scholar.
As an independent art historian, he devoted himself almost
exclusively to reinterpreting the revival of antiquity within the
Renaissance, urging other art historians to approach their work as
a brand of the larger study of image making and philosophy. In this
study, Schoell-Glass examines Warburg's most influential essays on
Durer, Rembrandt, and the Sassetti Chapel and his most innovative
concepts - the accessories of motion, the pathos formula, and the
afterlife of antiquity - to illustrate how Warburg persistently
showed a deep concern over a disappointing and unstable outside
world within his own work. Schoell-Glass shows how Warburg attempts
to make a response to anti-Semitism the only way he knew how,
despite his awareness of the diminishing societal relevance of that
response.From this study of Warburg, Schoell-Glass produces a
multilayered case study of the encounter between twentieth-century
politics and scholarship. Art historians, German historians, and
scholars of Jewish studies and cultural studies will be grateful
for this volume.
Von August 1926 bis Oktober 1929 fuhrten Warburg, Gertrud Bing und
Fritz Saxl gemeinsam ein institutionelles Tagebuch. Dieses Journal
dokumentiert in 9 Banden ausfuhrlich die ersten Jahre der
Bibliothek Warburg im neuen Gebaude in der Heilwigstrasse 116 sowie
Warburgs letzte Reise nach Rom. Die Dokumentation halt kleinste
Details des Alltagslebens der neuen Institution ebenso fest, wie
weit in die Zukunft weisende Forschungsplane. Sie gibt vor allem
Einblick in Warburgs Arbeitsweise, die in hohem Masse auf den
intellektuellen Austausch mit gleichgesinnten Kollegen ausgerichtet
war. Das Tagebuch der K.B.W. stellt eine fundamentale Quelle zur
Erforschung der Geistes- und Kulturgeschichte der 20er Jahre dar
und gibt einen Einblick in die vielfaltigen Bemuhungen um die
Intitutionalisierung der Kulturwissenschaft. Dabei tritt auch die
politische Dimension des Unternehmens Kulturwissenschaftliche
Bibliothek Warburg erstmals und in uberraschender Deutlichkeit zu
Tage. Zu den wertvollen Eintragen der Erschliessung des Tagebuchs
gehort auch das Sichtbarwerden eines dichtgewebten Netzes
personlicher Beziehungen. Namen aus dem Hamburger Umfeld, aus
deutschen und internationalen Zusammenhangen belegen nicht nur
individuelle Interessenskonvergenzen, sondern spiegeln auch die
Dynamik der Prozesse wissenschaftlicher Formierung und
Auseinandersetzung in den mittleren Jahren der Weimarer Republik."
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