Alice Barale
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Battista Bonini, Medal for Camillo Agrippa, 5gknf65)()(65,#.#-"5 /-/'.
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-.,-5!)5)/.5 5$/-.5,# .5&)(!5#(5."5"(5) 5 .65(5)/,!5(5")*65 ,5 (5+/#-(65&.,(.5#(5'35,-._5B)."5.)5,,65/&35gmmh:5-5!#(5 ^(!,''_5ohC85)5."5*,).!)(#-.-5,5",5."5-65(5."510-85Ļ5).",5 pole of navigation, and of the myth of Perseus, the stars, appears in another text ,/,!5)*#-5#(5."5-'5,/4&#(!(5 )&,65.".5#-5).. ,#5&&,]-5Invo-cation to the Great Bear855%()15 ,)'5."5&..,-5) 5."5*,#)5.".5,/,!5 "-5(5&))%#(!5 ),5."#-5*)'5 ),55&)(!5.#'65(51"(5"5ŀ(&&35!.-5."5 *)'65"5)*#-5#.65&#%53)/(!5)."]-5&..,65'(35.#'-5#(-#5"#-5+/)..#)(-5 )&,85 (5."#-5*)'5&&,5#(0)%-5 ,)'5"#-5."5."5)(-.&&.#)(5) 5."5 ,.5,5@5^,1!(65'".#!5.,(5,5,'((888_5@5-%#(!5#.5.)5,7 ,35"#'51365&#%55"#&51")5"-5(#.",51#!".5(),5 /&.8 II. &&,5#-55)(-.(.5*,-(5#(5."5&..,-5,/,!51,#.-5 ,)'5,/4&#(!(85 He suggests him as a reading to his children, he recalls his novels in relation 1#."5"#-5)1(52*,#(-65(5"5-*,.&35&))%-65-515"05-(65 ),5"#-5 &-.5*)'85(5&&,5#-65-515%()165'/"5&)05&-)535&.,5($'#(85 ($'#(]-5')-.5#'*),.(.5'(.#)(5) 5 /-65#(5."5Arcades Project, comes from Keller. The end of Baudelaire’s poem La destruction5BDestructionC5@51]&&5 -5#.5&.,5@5#-5-,#5",651#."55+/)..#)(5 ,)'5&&,65-5^."5#'!5) 5."5 *.,#ŀ5/(,-._5B5kf6kC85Ļ5(.#,52*,--#)(65.".5($'#(5+/).-5-.,#!".5 .,65#-95^,51#5#(5 /-(-"#&I5,5,-.,,.(5(,/"5#&5B1-5&#%55 /-7-"#&I5#'!5) 5*.,#ŀ5/(,-.C_8
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A questionable system of grottoes and caverns that by imperceptible stages ten7 -5D888E5.)5)(-.,#(5(5/&.#'.&35.)5,*,--5."5,"3."'#5&5) 5)/,!)#-5 0)#-5 (5 )*#(#)(-5 #(5 0)/,5 ) 5 ."5 )-'#5 ,"3."'-5 #.5 *./,-5 1#."#(5 ."5 )1&-5) 5."5,."85 515-%55('5 ),5."#-5'#,&5) 5!,)..)-5(50-65 it can be none other than humor. Keller’s gentle and melodious laughter is as much at home in these subterranean vaults than Homer’s in the heavenly ones. D888E5&&,]-5"/'),5@5($'#(5)(.#(/-5@5#-5().55-/*,ŀ#&5!#&5*)&#-"65
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(5",5))%5The Severed Head: Capital Visions65/,#-.05"-51,#..(5)/.5 Medusa’s severed head. The severed head becomes here the symbol of the open 1)/(5.".5Ŀ.-5."50#-#&51),&85),#(!5.)5,#-.05."5 /&.35) 5,*,7 senting originates actually as a reaction to the mother’s loss, that the baby ex7 periences as a psychological state. And it is this loss that the severed head – the /-]-5"65/.5&-)5)&) ,(-]65#(.5)"(5."5*.#-.]-65(515(55 1#."5,/,!5,*"/-]5@5,*,-(.-85,#-.0]-5(&3-#-5#-5&)-5",65 ),5-0,&5 -*.-65.)5,,#]-85 (5,,#]-5&-5 /-5,*,-(.-5./&&365#(-#5."5
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.51-5."5')-.5 -#(.#(!5,#(!5 5"05(0,5 -(85/.5#(55,%65-)!,(.65#.5*),.,35 /-]-5"85D888E5),(5)(5."5ŀ(!,65."5 ring seemed merely the most perfect of signet ,#(!-85)/5(.,5#.-5-,.5)(&35.%#(!5#.5)Ŀ5 and contemplating the head against the light. -5 ."5 #Ŀ,(.5 -.,.5 ) 5 ."5 !,(.5 1,5 /(+/&&35.,(-&/(.5D888E5."5-)',5)#-5 ) 5."5-(%-5-'5.)5,#-5)05."5.1)5 *65 !&)1#(!5 3-65 1"#"5 &))%5 )/.5 ,)'5 5 5 .".65 #(5 ."5 */,*&7&%5 *),.#)(-5 ) 5 ."5"%-65,5)(5'),5#(.)5."5(#!".5 B($'#(5goih65lglC8 )165 /-]-5!45#-5)(5) 5."5'#(5.)*#-5) 55))%5355-")&,51")51#&&5 )'5+/#.5&)-5.)5($'#(5#(5"#-5&-.5,("5*,#)65)!,5#&&)#-855 %()15")15#(.,-.65(5,#.#&65($'#(51#&&55.)1,-5#&&)#-65.#&7 le and the Collège de sociologie5B-5)(5.".5)&&#,5gomoC85)15#(5 /-5.5 )'*!(#65*/&#-"5&.,65#(5golf65#&&)#-51,#.-5)/.55%#(5) 5'#'.#5 "0#)/,65.".5*,)/-55').#)(&--65!&)1#(!5#,&65-#'#&,5.)5(5(),')/-5 and hypnotic eye.
.5#-5./&&355%#(5) 50,.#!)5.".5."5').#)(&--5#,&5*,)/-8550,.#!)5 .".5#&&)#-5"5&,35(&345#(5Les démons de midi5BThe Noontide DemonsC65 goil65(51"#"5#-5-#&&35(5#(.#ŀ.#)(51#."5."5#((#'.51),&85^,7 ,à5&5'),.550,à5#5./)#5)"#_5B^."51#&&5)'5(51#&&5"053)/,53-_C65
1#&&51,#.55 153,-5&.,5-,50-85 And some more years later, in his essay )(5 /-5*/&#-"5#(5gonk65La mort dans les yeux5 BDeath in the EyesC65 (7 #,,5,((.5#(.,*,.-5 /-]-5')7 .#)(&--65'-%5!45-5."5!45) 51".5#-5 -)&/.&35^).",_65.".5#-5) 5."51#."5 its chaos and its loss of sense – the same &)--5) 5-(-5."5(#(.5",)#5."5B&5 &&5'),.C51-5.,3#(!5.)5,')08
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8585),()65A Portrait of Walter Benjamin, in Prisms65',#!5B C5DgolmE5goni65hhm7hjh8 ($'#(5gohm
85($'#(65Gottfried Keller, in Selected Writings650)&85 65*,.85 65',#!5B C5DgohmE5hffk65kg5--8 ($'#(5gohn
85($'#(65Ursprung des deutschen Trauerspiels65.,85#.8585#&#**#(#65/,#(5DgohnE5gomg8 ($'#(5goho7gojf
85($'#(65Das Passagen-Werk, en. tr. The Arcades Project65',#!5B C5Dgoho7gojfE5gooo8 ($'#(5goig
85($'#(65Paul Valéry, in Selected Writings650)&85 65*,.5 65',#!5B C5DgoigE5hffk65kig5--8 ($'#(5goih
85($'#(65Berliner Chronicle, in Selected Writings650)&85 65*,.5 65',#!5B C5DgoihE5 hffk655kok5--8
($'#(5goio
85($'#(65Second Exposé, in The Arcades Project65',#!5B C5DgoioE5gooo65gj5--8 ,.)44#5hffl
M. Bertozzi, Il detective melanconico e altri saggi filosofici65 #&()5DhfflE5hffn8 ,/()5gknj
G. Bruno, Spaccio della bestia trionfante6585 85#&#,.)65 #&(5DgknjE5hffn8 ,/()5gknk
G. Bruno, Gli eroici furori6585 85#&#,.)65)'7,#65DgknkE5hfff8 #&&)#-5goil
85&&)#-65Les Démons de midi, trad. it. I demoni meridiani658585--)&65/,#(5DgoilE5gonn8 #&&)#-5golf
ō5ŕŢຊō5Őŕ5ŚœŞōřřō5R5ȘȗȜ5R5ōŜŞŕŘő5șȗȘȚ5R5 5Șȟșȝ5ȠȗȘŤ5555555555gff
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85&0#()65Lezioni americane. Sei proposte per il prossimo millennio65 #&()5DgonkE5gonn:5(85.,85Six Memos for the Next Millennium65',#!5B C5gonn8
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J. Derrida, Glas65,#-5gomj8 -#,#5hffo
85-#,#65Sur la polarité entre “esthésique” et “poïétique”, Une analyse du Discours sur l’esthétique de Valéry65^","-50&ï,3((-_65hf5BhffoC65o7jh8
##7/,'(5hffi
85##7/,'(65Images malgré tout65,#-5hffi8 )&&#,5gomo
85)&&#,65Le collège de sociologie65,#-5gomo8 ,/,5golf
85,/,65Theory of Film. The Redemption of Physical Reality65,#(.)(5goom8 ,#-.05goon
J. Kristeva, Vision Capitales, en. tr. The Severed Head: Capital Visions6515),%5hfgh:5.,5#.85La testa senza il corpo65)'5hffo8
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85 1(65‘Wanderstrassen der Kultur’. Die Aby Warburg - Fritz Saxl Korrespondenz von 1920 bis 192965 /(#"5hffj8
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85() -%365Style and Medium in the Motion Pictures65^,#.#+/_5g8i5B(/,37,/,35gojmC65 k7hn8
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M. Pratz, La carne, la morte e il diavolo nella letteratura romantica65 #&()5hffn8 &ï,35gohg
85&ï,365Eupalinos, in Oeuvres650)&85 65,#-5golf65mo7gjm8 &ï,35goim
85&ï,365Discours sur l’esthétique, in Oeuvres650)&85 65,#-5golf65ghoj7gigj8 &ï,35goin
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8785,((.65La mort dans les yeux. Figures de l’autre en Grèce ancienne, trad. it. La morte negli occhi. Figure dell’altro nell’antica Grecia65)&)!(5gonm8
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85,/,!65Warburg Institute Archive, London. ,/,!5gofm
85,/,!65Francesco Sassettis letzwillige Verfügung65.,85#.85 85"&,#65#(585,/,!65Opere, 0)&85 65/,#(5hffj65jhk7jnj8
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85,/,!65Italienische Kunst und internationale Astrologie im Palazzo Schifanoia zu Ferrara, in L’Italia e l’Arte straniera. Atti del X Congresso Internazionale di Storia dell’Arte, 191265)'5gohh:5 trad. it. in Opere650)&85 65/,#(5hffj65kgk7kkk8
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85,/,!65Nachtrag zu Alfred Dorens Vortrag “Fortuna im Mittelalter und in der Renaissance”, in “Per monstra ad sphaeram”. Vortrag in Gedenken an Franz Boll und andere Schriften 1923 bis 1925, -585.#'#&(585*)"&65 /(#"5DgohiE5hffn8
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85,/,!65Schicksalmächte im Spiegel antikisierender Symbolik65#(585.#'#&ᦹ*)"&5B5 /,5#C65“Per monstra ad sphaeram”. Vortrag in Gedenken an Franz Boll und andere Schriften 1923 bis 192565-8585.#'#&(585*)"&65 /(#"5DgohjE5hffn8
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85,/,!65Tagebebuch der Kulturwissenschaftlichen Bibliothek Warburg65,&#(5Dgohl7gohoE5hffg8 ,/,!5goho
85,/,!65#),()5,/()65**/(.#65 5 65ghg8g8g:5.,85#.85 85"&,#65#(585,/,!65 Opere650)&85h65/,#(5DgohoE5hffn65ohf7ooi8