41 found
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  1.  15
    Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière.Georges Didi-Huberman - 2003 - MIT Press.
    The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention (...)
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  2.  61
    Images in Spite of All: Four Photographs From Auschwitz.Georges Didi-Huberman - 2008 - University of Chicago Press.
    Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance.
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  3.  15
    Confronting Images: Questioning the Ends of a Certain History of Art.Georges Didi-Huberman - 2005 - Pennsylvania State University Press.
    When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, (...)
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  4.  50
    IMAGE, LANGUAGE: the other dialectic.Laura Katherine Smith, Stijn De Cauwer, Jorge Rodriguez Solorzano, Elise Woodard & Georges Didi-Huberman - 2018 - Angelaki 23 (4):19-24.
    In this text, Georges Didi-Huberman responds, in letter-form, to the critical reflections about his work formulated by Jacques Rancière in “Images Re-read: Georges Didi-Huberman’s Method.” Didi-Huberman disagrees with Rancière’s analysis that images are “passive” and that the words which accompany them are “active.” Instead, he agrees with Merleau-Ponty’s view, which postulates that any analysis of images that seeks to disentangle its elements will render the image unintelligible. In opposition to Rancière’s presentation of his work, Didi-Huberman argues that his method is (...)
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  5. (1 other version)Glimpses. Between Appearance and Disappearance.Georges Didi-Huberman - 2016 - Zeitschrift Fuer Medien Und Kulturforschung 2016 (7):109-124.
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  6.  58
    Artistic survival: Panofsky vs. warburg and the exorcism of impure time.Georges Didi-Huberman, Vivian Rehberg & Boris Belay - 2003 - Common Knowledge 9 (2):273-285.
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  7.  11
    Atlas, or the anxious gay science.Georges Didi-Huberman - 2018 - Chicago: University of Chicago Press. Edited by Shane B. Lillis.
    Aby Warburg’s Mnemosyne Atlas (1925–1929) is a prescient work of mixed media assemblage, made up of hundreds of images culled from antiquity to the Renaissance and arranged into startling juxtapositions. Warburg’s allusive atlas sought to illuminate the pains of his final years, after he had suffered a breakdown and been institutionalized. It continues to influence contemporary artists today, including Gerhard Richter and Mark Dion. In this illustrated exploration of Warburg and his great work, Georges Didi-Huberman leaps from Mnemosyne Atlas into (...)
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  8.  33
    Invention de l'hysterie.Dana Polan & Georges Didi-Huberman - 1988 - Substance 17 (1):84.
  9.  18
    What Is a People?Georges Didi-Huberman, Sadri Khiari, Jacques Rancière, Pierre Bourdieu, Alain Badiou & Judith Butler (eds.) - 2016 - New York: Columbia University Press.
    What Is a People? seeks to reclaim "people" as an effective political concept by revisiting its uses and abuses over time. Alain Badiou surveys the idea of a people as a productive force of solidarity and emancipation and as a negative tool of categorization and suppression. Pierre Bourdieu follows with a sociolinguistic analysis of "popular" and its transformation of democracy, beliefs, songs, and even soups into phenomena with outsized importance. Judith Butler calls out those who use freedom of assembly to (...)
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  10.  25
    Reading Anew.Georges Didi-Huberman & Translated by Shane B. Lillis - 2023 - Critical Inquiry 49 (2):274-282.
    “Reading Anew” was originally presented as a speech at the awards ceremony for the Warburg Prize in Hamburg, 26 October 2021.
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  11. (1 other version)The art of not describing: Vermeer - the detail and the patch.Georges Didi-Huberman - 1989 - History of the Human Sciences 2 (2):135-169.
  12.  14
    Foucault against himself.Leo Bersani, Arlette Farge, David Homel, Paul Rabinow, Georges Didi-Huberman, François Caillat & Geoffroy de Lagasnerie (eds.) - 2015 - Vancouver: Arsenal Pulp Press.
    In his private life, as well as in his work and political attitudes, Michel Foucault often stood in contradiction to himself, especially when his expansive ideas collided with the institutions in which he worked. In Francois Caillat's provocative collection of essays and interviews based on his French documentary of the same name, leading contemporary critics and philosophers reframe Foucault's legacy in an effort to build new ways of thinking about his struggle against society's mechanisms of domination, demonstrating how conflict within (...)
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  13.  7
    Aperçues.Georges Didi-Huberman - 2018 - [Paris]: Les Éditions de Minuit.
    Choses vues, non, pas même vues jusqu'au bout. Choses simplement entrevues, aperçues. Etres qui passent, souvent au féminin pluriel, comme la Béatrice de Dante, Laura de Pétrarque, la " nymphe " d'Aby Warburg, la Gradiva de Jensen et de Freud ou la " passante " anonyme des rues parisiennes selon Charles Baudelaire. Créatures ou simples formes qui surgissent ou qui tombent. Instants de surprise, ou d'admiration, ou de désir, ou de volupté, ou d'inquiétude, ou de rire. Impressions enfantines, deuils. Colères (...)
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  14.  15
    (1 other version)Abgioia. Tanz der Angst und des Konflikts.Georges Didi-Huberman - 2009 - Zeitschrift für Medien- Und Kulturforschung 1:119-132.
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  15.  37
    Conflicts of gestures, conflicts of images.Georges Didi-Huberman - 2018 - Nordic Journal of Aesthetics 27 (55-56):8-22.
    The article presents some notes for an anthropology of the gestures of uprising [soulèvement]. It argues that, just as sounds always come out of the mouth of the demonstra- tors, images of all kinds are also brandished at the end of their arms. Based on this the article raises the question of the very notion of a desire for uprising.
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  16.  8
    Désirer, désobéir.Georges Didi-Huberman - 2019 - [Paris]: Les Éditions de Minuit.
    "Nous avions beaucoup enduré et puis, un jour, nous nous sommes dit que cela ne pouvait plus durer. Nous avions trop longtemps baissé les bras. A nouveau cependant - comme nous avions pu le faire à l'occasion, comme d'autres si souvent l'avaient fait avant nous - nous élevons nos bras au-dessus de nos épaules encore fourbies par l'aliénation, courbées par la douleur, par l'injustice, par l'accablement qui régnaient jusque-là. C'est alors que nous nous relevons : nous projetons nos bras en (...)
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  17.  19
    Das Öffnen der Lager und das Schließen der Augen.Georges Didi-Huberman - 2007 - In Ludger Schwarte (ed.), Auszug aus dem Lager. Transcript Verlag. pp. 11-45.
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  18.  20
    Das nachlebende Bild. Aby Warburg und Tylors Anthropologie.Georges Didi-Huberman - 2001 - In StephanHG Hauser (ed.), Homo Pictor. De Gruyter. pp. 205-224.
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  19.  38
    Die Ordnung des Materials Plastizität, Unbehagen, Nachleben.Georges Didi-Huberman - 1999 - In Vorträge Aus Dem Warburg-Haus, Band 3. Akademie Verlag. pp. 1-30.
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  20.  31
    Experimentieren, um zu sehen.Georges Didi-Huberman - 2012 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 57 (2):26-43.
    Our paper deals with the work of André Malraux on the illustrations for his Musée imaginaire from the point of view of visual and cognitive experimentation. This work is explicitly inspired by the Benjamin of the »technical reproducibility« and the »author as producer.« We examine the opening of the imaginary field, as it is suggested by the praxis of the art book – an album of images that is supported by a certain kind of expressivity of framing, illumination and montage (...)
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  21.  4
    Faits d'affects.Georges Didi-Huberman - 2023 - Paris: Les Éditions de Minuit.
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  22. Guilty, capable, extravagant, dialectic.Georges Didi-Huberman - 2016 - In Will Stronge (ed.), Georges Bataille and Contemporary Thought. London: Bloomsbury Academic.
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  23.  45
    Image, matière : immanence.Georges Didi-Huberman - 2002 - Rue Descartes 38 (4):86-99.
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  24.  33
    La dama duende [the phantom lady].Georges Didi-Huberman & Christopher Woodall - 2018 - Angelaki 23 (4):25-41.
    From his very earliest writings, art was always important for Georges Bataille. Rather than something static, art, for Bataille, always involves an experience and an exigency towards freedom and even the impossible. It was apparent from the very form of Bataille’s art review Documents, which juxtaposed heterogeneous images, texts and topics, that art was intended as an experience. Bataille found in Andalusia the kind of art that triggers an exigency, an excess or a form of ecstasy in the viewer or (...)
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  25.  16
    L’Album de L’Art À L’Époque du "Musée Imaginaire".Georges Didi-Huberman - 2013 - Paris: Musée du Louvre.
    Sur quels critères Malraux a-t-il bâti ses associations d'oeuvre de cultures différentes dans son "Musée imaginaire"? Une question d'actualité à l'heure où les musées mêlent oeuvres occidentales et arts primitifs ou arts contemporains et arts anciens dans une même présentation. Georges Didi-Huberman, philosophe et historien de l'art, enseigne actuellement à l'École des hautes études en sciences sociales de Paris. 0Avec plus d'une trentaine de livres publiés depuis 1982, il est aujourd'hui l'un des théoriciens les plus actifs dans le paysage contemporain (...)
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  26. La exposición como dispositivo. La exposición como máquina de guerra.Georges Didi-Huberman - 2011 - Minerva: Evidence-Based Medicine pour la première ligne 4 (16):24-28.
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  27.  31
    La somiglianza per nebbia, o il risonatore psichico dell’«immagine-Milieu».Georges Didi-Huberman - 2016 - Rivista di Estetica 62:69-80.
    Un’analisi del film di Ejzenštejn La corazzata Potëmkin – e in particolare della scena della lamentazione funebre del popolo di Odessa attorno al corpo del marinaio Vakulinčuk – offre l’occasione di riflettere intorno a una dialettica fondamentale che si instaura nella teoria e nella pratica filmica del regista russo: la dialettica fra montaggio ritmico e montaggio tonale, fra immagine-taglio (obraz-obrez) e immagine-atmosfera (obraz-sreda). Sreda significa «milieu» in tutti i sensi del termine: ciò che costituisce l’elemento materiale, seppur diafano, del visibile (...)
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  28.  37
    Of Images and Ills.Georges Didi-Huberman & Carolyn Shread - 2016 - Critical Inquiry 42 (3):439-472.
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  29.  28
    Out of the Dark.Georges Didi-Huberman & Gila Walker - 2020 - Critical Inquiry 47 (1):149-171.
    This essay, in the form of a letter written to director László Nemes in the immediate aftermath of viewing Son of Saul, is at once a critical reading of the film within a larger theoretical framework and a subjective emotional response to seeing on the screen something of the author’s own “most harrowing nightmares.” While bringing Nemes’s film into conversation with Maurice Blanchot, Theodor Adorno, Walter Benjamin, the Hassidic tale and ancient myths, Georges Didi-Huberman returns to his reflections in Images (...)
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  30.  9
    Pour commencer encore.Georges Didi-Huberman - 2019 - Paris: Argol. Edited by Philippe Roux.
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  31. Peuples en larmes, peuples en armes.Georges Didi-Huberman - 2016 - [Paris]: Les Éditions de Minuit.
     
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  32. People Exposed, People as Extras.Georges Didi-Huberman - 2009 - Radical Philosophy 156:16.
     
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  33.  12
    Peuples exposés, peuples figurants.Georges Didi-Huberman - 2012 - [Paris]: Les Éditions de Minuit.
    On s’interroge, dans ce livre, sur la façon dont les peuples sont représentés : question indissolublement esthétique et politique. Les peuples aujourd’hui semblent exposés plus qu’ils ne l’ont jamais été. Ils sont, en réalité, sous-exposés dans l’ombre de leurs mises sous censure ou – pour un résultat d’invisibilité équivalent – sur-exposés dans la lumière artificielle de leurs mises en spectacle. Bref ils sont, comme trop souvent, exposés à disparaître. À partir des exigences formulées par Walter Benjamin (une histoire ne vaut (...)
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  34.  8
    Phalènes: essais sur l'apparition, 2.Georges Didi-Huberman - 2013 - [Paris]: Les Éditions de Minuit.
    Phalènes (le mot se dit au féminin comme au masculin) : ce sont des papillons nocturnes qui apparaissent depuis l’obscurité et, lorsqu’ils n’y retournent pas, viennent s’aventurer près d’une chandelle pour s’y consumer brusquement et ne laisser, sur la table, qu’un petit tas de cendres. Ils ou elles traversent ce recueil de textes comme une figure destinée à penser, à repenser l’image. À interroger, plus précisément, l’apparition comme réel de l’image. Les phalènes sont beauté faite de fragilité, forme faite d’informe, (...)
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  35. Savoir trancher.Georges Didi-Huberman - 2014 - In Leo Bersani (ed.), Foucault contre lui-même. Paris: Presses universitaires de France.
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  36.  29
    The Eye Opens, the Lamp Goes Out: Remarks on Bergson and Cinematography.Georges Didi-Huberman - 2008 - In Jan Lazardzig, Ludger Schwarte & Helmar Schramm (eds.), Theatrum Scientiarum - English Edition, Volume 2, Instruments in Art and Science: On the Architectonics of Cultural Boundaries in the 17th Century. De Gruyter. pp. 421-436.
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  37. The Matter-Image: Dust, Garbage, Dirt, and Sculpture in the Sixteenth Century.Georges Didi-Huberman - 1997 - Common Knowledge 6:79-96.
     
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  38. The potential not to": or the politics of inoperativity.Georges Didi-Huberman - 2019 - In Reinhold Görling, Barbara Gronau & Ludger Schwarte (eds.), Aesthetics of standstill. Berlin: Sternberg Press.
     
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  39. Vorträge Aus Dem Warburg-Haus, Band 3.Georges Didi-Huberman - 1999 - Akademie Verlag.
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  40.  56
    Warburg's haunted house.Georges Didi-Huberman - 2012 - Common Knowledge 18 (1):50-78.
    This article deals with the genesis of the Bilderatlas Mnemosyne, composed by Aby Warburg between 1927 and 1929 as a response to the Great War. His reaction to the war was both pathetic (even pathological) and epistemic (which is to say, methodological). If the history of culture amounted to a great psychomachia of the astra (concepts) and the monstra (chaos), as Warburg said, the war was for him a direct test of his theory (or Kulturwissenschaft). It should be no surprise, (...)
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  41.  7
    Gestes à l'œuvre.Barbara Formis & Georges Didi-Huberman (eds.) - 2008 - [Cherbourg-Octeville]: Esbaco.
    Que ce soit dans la vie quotidienne ou dans l'art, le geste se confronte toujours à l'œuvre dont il est la cause. Or que se passe-t-il quand le geste est œuvre? Quand œuvrer n'est plus réduit à un résultat objectif mais maintenu intact dans son état de faire? Une ouverture sur une complexité théorique du geste et de ses possibilités chorégraphiques s'affirme. Les textes réunis dans ce recueil défendent la pertinence de l'idée de geste et en décrivent la méthode: l'intempestif, (...)
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