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Books on the topic 'Didi-Huberman'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

interviewer, Criqui Jean-Pierre, Convert Pascal 1957 interviewer, and Millet Catherine interviewer, eds. Georges Didi-Huberman. Paris: IMEC éditeur, 2012.

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2

Letture dell'informe: Rosalind Krauss e Georges Didi-Huberman. Roma: Lithos, 2014.

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3

Sintomi, strappi, anacronismi: Il potere delle immagini secondo Georges Didi-Huberman. Milano: Et al., 2012.

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4

Musée d'art contemporain de Bordeaux, ed. Devant les images: Penser l'art et l'histoire avec Georges Didi-Huberman. Dijon]: Les Presses du réel, 2011.

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5

Didi-Huberman and the Image. Manchester University Press, 2020.

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6

Larsson, Chari. Didi-Huberman and the Image. Manchester University Press, 2020.

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7

Larsson, Chari. Didi-Huberman and the Image. Manchester University Press, 2020.

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8

Smith, Laura Katherine, and Stijn De Cauwer. Critical Image Configurations : the Work of Georges Didi-Huberman: The Work of Georges Didi-Huberman. Taylor & Francis Group, 2020.

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9

Smith, Laura Katherine, and Stijn De Cauwer. Critical Image Configurations : the Work of Georges Didi-Huberman: The Work of Georges Didi-Huberman. Taylor & Francis Group, 2020.

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10

Smith, Laura Katherine, and Stijn De Cauwer. Critical Image Configurations : the Work of Georges Didi-Huberman: The Work of Georges Didi-Huberman. Taylor & Francis Group, 2020.

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11

Smith, Laura Katherine, and Stijn De Cauwer. Critical Image Configurations : the Work of Georges Didi-Huberman: The Work of Georges Didi-Huberman. Taylor & Francis Group, 2020.

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12

Cauwer, Stijn De, and Laura Katherine Smith, eds. Critical Image Configurations: The Work of Georges Didi-Huberman. Routledge, 2020. http://dx.doi.org/10.1201/9780429244483.

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13

De Cauwer, Stijn, and Laura Katherine Smith, eds. Critical Image Configurations: The Work of Georges Didi-Huberman. Routledge, 2020. http://dx.doi.org/10.4324/9780429244483.

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14

Pontel, Evandro, and Isis Hochmann de Freitas. Imagens em transformação: Jacques Derrida, Walter Benjamin, Georges Didi-Huberman. Edited by Ricardo Timm de Souza. Editora Fundação Fênix, 2019. http://dx.doi.org/10.36592/978-65-81110-07-9.

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15

Laurent, Zimmermann, ed. Penser par les images: Autour des travaux de Georges Didi-Huberman. Nantes: C. Defaut, 2006.

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16

Goldchluk, Graciela, and Juan Antonio Ennis, eds. Las lenguas del archivo. Facultad de Humanidades y Ciencias de la Educación (UNLP), 2021. http://dx.doi.org/10.35537/10915/122894.

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Las lenguas del archivo pretende articular el quehacer del archivo como exploración en el campo y trabajo documental con la reflexión teórico-crítica en torno a la relación entre los términos propuestos en el título. La filología, en sus avatares contemporáneos, se ofrece aquí como el hilo conductor para interrogar un objeto tan amplio y vigente como elusivo. El archivo cuya lengua se interroga aquí es un espacio plural y diverso: a partir de una selección de contribuciones damos a conocer el resultado de un largo y constante diálogo teórico y crítico entre disciplinas que atraviesan y transitan los bordes de la crítica, la teoría literaria y las ciencias del lenguaje, que en la interrogación de las formas de su base empírica y los rasgos de su armazón teórica procuran hacer visible y legible un objeto que han contribuido a conformar. Un punto que intersecta esos recorridos está dado en el texto de Didi-Huberman que abre el volumen, publicado por primera vez en español.

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17

Efal-Lautenschläger, Adi. Aby Warburg. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423632.003.0023.

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One preliminary point which must be stated regarding Agamben’s relation to the art historian Abraham (‘Aby’) Moritz Warburg (1866–1929) is that this line of questioning is not reducible to problems regarding imagery or ‘visual’ art. Agamben says explicitly that ‘only the myopia of a psychologizing history of Art could have defined [Warburg’s art history] as a “science of the image”’ (ME 53). Although most scholarship on Warburg has indeed viewed the latter’s work as laying the foundations for image and visual studies, in Agamben’s account Warburg ushers the humanities towards another kind of inquiry, one having more to do with the concept of time than with any sort of imagery or visual phenomena. In this, Agamben’s reading of Warburg differs substantially from those of major art historians influenced by Warburg, such as Horst Bredekamp (Bildakt)1 or Georges Didi-Huberman (images malgré tout).2 In fact, Agamben’s reading of Warburg’s art historical inquiries can be elaborated as a fruitful critique of the recent ‘imagist’ turn in the history of art, viewing visual artworks as being primary and essentially ‘images’.

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