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The image of a horse bizarrely suspended above the sea has the involuntary splendor of a shot by Eisenstein. Consequently, it was necessary to obtain the means — historical, philological, archaeological, philosophical — to interpret the Urkatastrophe in the apparent dissemination of its appearances.

This was the level that Warburg characterized with the term Kulturwissenschaft. Acting on weak and emotive brains, they provoke hallucinations, even prophetic images. Finally, multiplying the occasions for dangers, they are favorable to waking and to development of ancestral superstitions.


Despite the advanced state of our civilization, the global conflict could not escape this law. To the curious observer it has offered an abundant and picturesque pick of the most varied facts, of which we would not have suspected, five years ago, the possible — and fast as well as multiple — appearance around us.

This is why it is essential to recall the coexistence of this Kriegskartothek with the research by Warburg in the same years on the religious and political imagery of the Reformation — another period of schism and cultural crisis — haunted by chimerical beings, pope-donkeys, monk-calves and other monstrous sows of Lutheran propaganda.

Like the first plate of Mnemosyne on divination, the last devoted to contemporary history appears like an exercise in political divination — or, at least, anxiety, or presentiment.

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We could say, then, that Warburg conceived his atlas or his own existence as a modern Atlas only to join dangerously all the meanings of the Latin word that he understood well, the word superstes. It is a word for survivor, for testimony, but also, for superstition.

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Does it not characterize all the poetics of the great historians? Columbia University Press, , Penguin, , Gesammelte Schriften, II-1, ed. Akademie Verlag, [2nd ed. Macula, , — Warburg , Der Bilderatlas Mnemosyne note 4 , 15 pl. Gallimard, , — Warburg , Der Bilderatlas Mnemosyne note 4 , — Kulturwissenschaft als Geistespolitik Frankfurt: Richard Woodfield , — Amsterdam: Autour des travaux de Georges Didi-Huberman , ed. Laurent Zimmermann , 24—38 Nantes: Gallimard, , Neuer Deutscher Verlag, [Hambourg: Didi-Huberman , Quand les images prennent position.

Warburg , Der Bilderatlas Mnemosyne note 4 , 11 pl.

B , 17—23 pl. Akten des internationalen Symposions Hamburg , ed. Horst Bredekamp , Michael Diers , and C. Schoell-Glass , —67 Weinheim: Detail und Sinnhorizont, —14 Berlin: Feltrinelli, , 95— Benjamin , Origine du drame baroque allemand, trans. Flammarion, , Willem van Reijen , 64—89 Francfort-sur-le-Main: Alex Coles , 94— London: Black Dog, ; M.

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Rampley , The Remembrance of Things Past. Warburg and Walter Benjamin Wiesbaden: Akademie Verlag, , 31— and — Messianisme, romantisme, utopie Paris: Zwischen Kunst und Wissenschaft , ed. Silvia Baumgart et al. Le Cerf, , 55— Cassirer , Logique des sciences de la culture Paris: Le Cerf, , — Warburg, , 42— Nef , La Route de la Guerre totale.

Armand Colin, , 93—; George L. Mosse , De la Grande Guerre au totalitarisme. Tallandier, ; Alan Kramer , Dynamic of Destruction: Oxford University Press, , 31— Stock, , 9—21 and 35— Fayard, , 33, , —27, —76, —44; Ron Chernow , The Warburgs. German Modernities, Imperialism, and the Meaning of Reform, — , ed.

Le Seuil, , 42—50; Jean-Jacques Becker , ed. Becker note 31 ; and by the same author, — Tallandier, , 51— Stromberg , Redemption by War. The Intellectuals and , Lawrence, KS: On the French side: Philippe Soulez , ed. Tallandier, , — On the German side: PUF, , 5— Gallimard, , —43; Theodor W. Adorno and Max Horkheimer , Dialectique de la raison. Vrin, , 7— Bilder des Ersten Weltkrieges, ed.

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Deutsches Historisches Museum-Ars Nicolai, , 49— France, Allemagne, — Paris: Slatkine Reprints, , 11—; Leonard V. Histoire, sciences sociales 55, no. PUF, ; Klaus Vondong , ed.

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Studien zur Evolution eines literarischen Themas Bonn: Der Kriegsroman der Weimarer Republik Stuttgart: Journal de guerre Paris: Christian Bourgois, [] ; Le Boqueteau Paris: Gallimard, , 17; Das Antlitz des Weltkrieges Berlin: Eine Bilderfibel unserer Zeit Breslau: Gallimard, [] , PUF, [] , 70—86 on the nomos and —78 on the Great War. Gallimard, [corrected edition ] , La guerra del — Max Seidel, — 69 Venise: Aby Warburg und der Aberglaube im Ersten Weltkrieg , ed.

Les refus de la guerre. Une histoire des mutins Paris: See Jacques Bouveresse and Gerald Stieg , eds. Histoire, politique et sociologie, no. Les voix de Karl Kraus Marseille: Agone, , 39— Harvard University Press, , Gallimard, , —, quote from Harvard Press , Alexander Riley and Philippe Besnard Paris: Robert Laffont-Armand Colin, , I wish to thank Henri Febvre and Brigitte Mazon for giving me access to these documents. Robert Laffont-Armand Colin, , 21— I wish to thank Yves Bloch for giving me access to his notebooks. Gallimard-Le Seuil, , — Chernow , The Warburgs note 30 , —90; C.

Russell , Between Tradition and Modernity: Berghahn Books, , — Thilenius , and G. Panconcelli-Calzia , La Guerra del Rivista illustrata dei primi tre mesi, Agosto Settembre Ottobre Hambourg: La volante e vottoriosa idea.

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