Engramma issue No. 182, Che cosa significa, allora, Ninfa?, curated by Vittoria Magnoler and Lucrezia Not, is dedicated to different questions concerning the figure of the Nymph. The essay by Ada Naval García sets out the revision that Georges Didi-Huberman presents in his Ninfa moderna. Essai sur le drapé tombé (2002). The author outlines those characters that make the reliquat (the fallen cloths) a Pathosformel, recognising in the Nymph the expression of Pathosformel par excellence. This investigation is echoed in the conversation with Didi-Huberman, curated by Lucrezia Not, in which Didi-Huberman freely responds to four suggestions arising from the reading of his four volumes on the Nymph. ‘Moderna’, ‘Fluida’, ‘Profunda’, ‘Dolorosa’. Une entrevue sur la Ninfa avec Georges Didi-Huberman remains within the framework of the research initiated by the Seminario Mnemosyne, which is the focus of the article: Il passo della Ninfa. Lettura interpretativa di Mnemosyne Atlas, Tavola 46. Filippo Perfetti’s contribution draws on the Mnemosyne Atlas as a hermeneutic device capable of enhancing research. In Venus Virgo/Venus Magistra. Lettura della figura femminile in trono negli affreschi di Botticelli di Villa Lemmi, alla luce del montaggio di Mnemosyne Atlas, Tavola 46 the author provides a historical-allegorical reading, and then addresses the question of the identities of the historical and allegorical characters depicted in the frescoes of Villa Lemmi by Sandro Botticelli. In addition, the issue features two presentations: Storia di Hester e Vita di Tubia (Roma 2020) by Lucrezia Tornabuoni (1427-1482), with a commentary by Luca Mazzoni; Ariadna abandonada. Nietzsche trabaja en el mito (Barcelona 2021) by Victoria Cirlot, a follow-up volume to Engramma 173 Arianna filosofica. Engramma No. 182 closes with Salvatore Settis’ review of Three Lectures on Leonardo. 1899 (The Warburg Institute, 2019), in which Settis highlights the intentions and nature of the Warburgian text, then tracing the affinities that would animate the panels of the Mnemosyne Atlas.
Che cosa significa, allora, Ninfa?
lucrezia not;
2021-01-01
Abstract
Engramma issue No. 182, Che cosa significa, allora, Ninfa?, curated by Vittoria Magnoler and Lucrezia Not, is dedicated to different questions concerning the figure of the Nymph. The essay by Ada Naval García sets out the revision that Georges Didi-Huberman presents in his Ninfa moderna. Essai sur le drapé tombé (2002). The author outlines those characters that make the reliquat (the fallen cloths) a Pathosformel, recognising in the Nymph the expression of Pathosformel par excellence. This investigation is echoed in the conversation with Didi-Huberman, curated by Lucrezia Not, in which Didi-Huberman freely responds to four suggestions arising from the reading of his four volumes on the Nymph. ‘Moderna’, ‘Fluida’, ‘Profunda’, ‘Dolorosa’. Une entrevue sur la Ninfa avec Georges Didi-Huberman remains within the framework of the research initiated by the Seminario Mnemosyne, which is the focus of the article: Il passo della Ninfa. Lettura interpretativa di Mnemosyne Atlas, Tavola 46. Filippo Perfetti’s contribution draws on the Mnemosyne Atlas as a hermeneutic device capable of enhancing research. In Venus Virgo/Venus Magistra. Lettura della figura femminile in trono negli affreschi di Botticelli di Villa Lemmi, alla luce del montaggio di Mnemosyne Atlas, Tavola 46 the author provides a historical-allegorical reading, and then addresses the question of the identities of the historical and allegorical characters depicted in the frescoes of Villa Lemmi by Sandro Botticelli. In addition, the issue features two presentations: Storia di Hester e Vita di Tubia (Roma 2020) by Lucrezia Tornabuoni (1427-1482), with a commentary by Luca Mazzoni; Ariadna abandonada. Nietzsche trabaja en el mito (Barcelona 2021) by Victoria Cirlot, a follow-up volume to Engramma 173 Arianna filosofica. Engramma No. 182 closes with Salvatore Settis’ review of Three Lectures on Leonardo. 1899 (The Warburg Institute, 2019), in which Settis highlights the intentions and nature of the Warburgian text, then tracing the affinities that would animate the panels of the Mnemosyne Atlas.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
