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Perseus and Medusa: between Warburg and Benjamin

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Alice Barale

^5',"#-5-/,5&5),55&5',65$5-/#0#-5/(5*&!5-(-5ŀ(5D888E85 ]#,65ï&#7 cieusement rude et pur, pesant sur mon visage et sur mes membres, m’oppo7 sait un héros impalpable qu’il fallait vaincre pour avancer. Et cette résistance

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1#."5() -%3]-5ŀ&'5--35BStyle and Medium in the Motion Pictures651")-5ŀ,-.5 0,-#)(51-5*/&#-"5#(5goimC85#."5"#-5 ,#(-"#*51#."5() -%35 ,/,5 1-5./&&35-/-- /&51",5($'#(5 #&65#(5."5..'*.5.)5-.55)((7 .#)(5.1(5."5^,(% /,.,5"/&_5(5."5Warburg-Kreis85)5!.5%5.)5 /-6515,5#(5 ,/,]-5Theory of Film5.".5^,"*-5,-/-]5!,.-.5 "#0'(.51-5().5.)5/.5)Ŀ5 /-]-5"5/.5.)5)0,)'5"#-5 ,-5(5 &))%5.5#.-5,ł.#)(5#(5."5-"#&_5B ,/,5golf65iflC85Ļ.5#-5.)5^,'5 "),,),5 ,)'5#.-5#(0#-##&#.3_5B##'C85(.&365),!-5##7/,'(5,./,7 (5.)5."#-5*)#(.65.)5&#'5."5(--#.35(5."5/.35) 5#'!5^#(5-*#.5) 5&&_5 B##7/,'(5hffi65hhf5--8:5-5)(5.".5^(!,''_65njC8 /.5#(5,/,!]-5#(.,*,..#)(5) 5."5'3."5 of Perseus this is maybe not exactly – or ra7 ther not only – the point. A signal of that is the unexpected sympathy for Medusa, that comes out from the consideration of Per7 seus’ violence. Perseus beheading Medusa ),,-*)(-5 ./&&365 #(5 ."5 1),%-5 ) 5 ."#-5 period, to the brutality of another hero, the 1,,#),51")5!,-5),./(535."5"#,5)(5 this Renaissance medal.

#%5 1#."5 ."5 (#(.5 -#)65 ."5 ,%5 ')(5.".65-515"05-(5!#(51#."5."5 #.),#&5 -.Ŀ5 ) 5 ^(!,''_5 B-5 !#(5 ^(!,''_5ohC65'/-.55!,535."5 ),&)%85".5."#-51,,#),5)-5 @5,/,!51,#.-5#(5."5*)-.-,#*.5.)5& ,5),(]-5&./,5@5#-5()."#(!5&-5 ."(5^-/,5(5,/.&5 )&&3_5B,/,!5gohiC85/-5),./(65&#%515(5 -5 ,)'5#.-5)((.#)(51#."5."51),5^ ),./(&_5B1#(-.),'C65(5().55/7 !".:52*.535/( /,&#(!5."5-#&-65(5%*#(!5."5"(5)(5."51"&8 /-51-5./&&355-5')(-.,85(5#(55&..,5) 5."5-'5*,#)5B 65 65ho5(/,35gohjC5,-/-5#-5)'*,5.)5/-.651")5.,#-5.5."5(5) 5 ."5 *)'5 .)5 ")&5 %5 ."5 -85 5 /-.5 1")5 #-5 3.5 &--5 -& 7)(ŀ(.5 (5 .,#/'*"(.5."(5."5),#!#(&5)(65(51")65#(5().",5&..,5 ,)'5 ,/4&#(!(5 Bivi65go5,/,35gohiC65#-5)'*,5#(5"#-5#!!#(!5B.)5")&5%5."5-C5.)5 Hamlet’s gravedigger. .5(55#(.,-.#(!5.".5,/,!5)*#-5-0,&5.#'-65#(-#550,35#(.,-.#(!5 !,)/*5) 5+/).-5) 5."5-'5 ,/4&#(!(5*,#)5B 65 8oi8gj8hC655&..,5 ,)'5)."5.".5.-5%5.)55'/"5,&#,5*,#)651"(53)/(!5)."51-5 &)-5.)5."5./,'5/(5,(!5')0'(.85Ļ5&..,5!#(-51#."5."50#15) 55 (!,)/-5-50)3!95^.#&&5.)--5)(5."510-5#(5'35&#..&5).65(51"(5."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/(*,#.&5!,)/(5*&(5) 5"#-5"& 7'&(")&#65"& 7")&,#5(./,85 D888E5 (5#.-5)1(51365"/'),5#-5#.-& 55%#(5) 5$/##&5-3-.'85 .5#-5."5/(#0,-5 ) 5( ),'(.51#.")/.50,#.655/(#0,-5#(51"#"5)."50,#.5(5*,)(5 2*,--5."'-&0-5.",)/!"5&/!".,_B($'#(5gohm65kjC8 #."5."5#'!5) 5."5,."5.,'),-5.".5 &&,]-5-/.,,((5"/'),5/--65 ."5(,!.#5.)*#5.".5,/,!5,&.-5.)5,-/-5)'-5",5-51&&5.)5."5 ),85Ļ-5.,'),-5,5@5($'#(51,#.-5@5^( ),'(.51#.")/.50,#._85)5 #.5#-5",5."5ŀ(#.#05(./,5) 50,#.5.".5#-5&&5)Ŀ85/-5."-5.,'),-5 ,5.5."5-'5.#'651#."5($'#(]-51),-65^0,#.5(5*,)(_85)15/7 delaire’s poem La destruction5(5,/*.&351#."5."5#'!5) 5(5/()'*&.5 -.,/.#)(651"#"5($'#(5,!/-5.)55."5#'!5) 5."5^*.,#ŀ5/(,-._95 ^.5$..5(-5'-53/25*&#(-55)( /-#)(5I5-50ð.'(.-5-)/#&&ï-65-5&-7 -/,-5)/0,.-6I5.5&]**,#&5-(!&(.55&5-.,/.#)(<_85-5($'#(51,#.-5 in another note of the Arcades Project9

Ļ5&))35#'*&'(.-5) 5-.,/.#)(5B&]**,#&5-(!&(.55&5-.,/.#)(C65 ."5#-*&35) 51"#"5#-5.",/-.5/*)(5."5*).535."50#&_5,5."5#'*&'(.-5) 5 &&!),395,651#."5($'#(]-51),-5!#(65^&&!),3]-5)/,.3,95."5-.,1(5#'7 *&'(.-51#."51"#"5&&!),35"-5-)5#-ŀ!/,5(5'/&5."5'.,#&51),&5 .".5)(&35 ,!'(.-5,'#(5-5."5)$.5) 5#.-5)(.'*&.#)(5B$5ln65hC8 Ļ5*)'5#.-& 65($'#(5)(.#(/-65^,%-5)Ŀ5,/*.&365,.#(!5."5#'*,-7 -#)(5@5)/&35-/,*,#-#(!5 ),55-)((.5@5) 5#.-& 5#(!5-)'."#(!5 ,!'(.,3_5 BibidemC85)165."#-5/()'*&.5-.,/.#)(5/&#,]-5*)'5(-51#."5#-5 ,*&5#(5 &&,]-55-/.,,((5')0'(.-51#."55%#(5) 5-.,/.#)(5.".5#-5 "5.#'65-515"05-(65)."5)'*&#-"5(5/,85(.#&5."5(2.5,."5 tremor. 5!.5&)-,5."#-5135.)5($'#(]-5-)(5 /-5#'!85 (5"#-5ŀ,-.50,-#)(5 of the Berliner Kindheit5BBerliner Childhood65goiiC651"#"51-5.#.&5Berliner Chronik5BBerliner Chronicle65goihC65($'#(51,#.-5)/.55,#(!5.".5*),.,35 5 /-]-5"85).5."5 /-5-"#&5(3'),5."(65/.5."5 /-5#.-& 85 ,5B),5#.-C5"8

(5",5))%5The Severed Head: Capital Visions65/&#5 ,#-.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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!&5#(.,*,..#)(65."5.",65."5),#!#(&5-*5B."5choraC65) 51"#"5#'!5 and Aufhebung are only the rest.

/.5."5,#(!5($'#(51,#.-5)/.5#(5."5Berliner Chronicle has not so much to )51#."55.,5),55,-.65&#%5."5 /-]-5-0,5"65/.5,.",51#."550#,(.5 *,-(65.".5#-51#."5."5 /-]-5^*5!&)1#(!53-_9

.51-5."5')-.5 -#(.#(!5,#(!5 5"05(0,5 -(85/.5#(55,%65-)&#5!,(.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

,0!!#)65Medusa6585gkom65&),(65Ń4#8

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)5 !.5 %5 .)5 #&&)#-65 #.5 #-5 '35 ()5 #(.65.".5)(&355 153,-5 ),5Les démons du midi an italian scholar, Mario ,465#.5.)5."5^ /-(5/.3_5 ."5ŀ,-.5"*.,5) 5"#-5))%65 5,(65&5 morte e il diavolo nella letteratura roman7 .#5 B&-"65 ."5 (5 ."5 0#&5 #(5 )7 '(.#5 #.,./,C65 (5 .".5 ."#-5 "*.,5 (-5./&&351#."5/&#,8

./&&35 ($'#(5 *)#(.-5 )/.5 .".5 ."5 eyes in Baudelaire’s poetry have the same -.#&&(--5-5.".5) 5."5'3."#&5,./,-5#&&)#-5#-51,#.#(!5)/.95^&)(!5 .-53/25(-5&-53/25ŀ2-I5-5.3,---5)/5-5#2-_5B^&/(!53)/,53-5 #(.)5."5ŀ25!4I5 5.3,---5),5#2#-_C65($'#(5+/).-5#(5."5Arcades Project from Baudelaire’s poem L’advertisseur5BThe WarnerC5B 5jm565 C85(5 &-)5#(5."5-)(52*)-ï5"51,#.-5 ),5."5Arcades Project5BgoioC65($'#(5 1,#.-5.".5#(5/&#,]-5*).,35^."5 5) 5 ),(#.35#.-& 5&-.-5/-51#."5 (5#'''),#&5!485/"51-5."5!45) 5 /-5 ),5."5,%-_5B($7 '#(5goio65hiC85/.5!#(-.5."5 ),5) 5'3."5().",5)**)-#.5 ),5)/,-5#(5 /&#,]-5*).,365.".5#-5."5 ),5) 5&&!),395^ .51-5)1#(!5.)5."5!(#/-5 ) 5&&!),35@5($'#(51,#.-5#(5."5Arcades project – that Baudelaire did not -//'5.)5."53--5) 5'3."5.".5!*5(."5"#-5 .5.50,35-.*_5B 5hh65 kC85Ļ5^*.,#ŀ5/(,-._5'(-5./&&35."5#'*)--##&#.365 ),5."5&&!),#&5 image, of being the image. The image of death, of the abyss. Because for the !(#/-5) 5&&!),35."53--5"-5()5#'!65(5#'!5#-5-515"05-(5$/-.55 ,!'(.5)(5."5,#(%5) 5#.8

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(5,/()]-5Spaccio della bestia trionfante5BThe Expulsion of the Triumphant Beas.C65 .".5,/,!5,-55 15')(."-5 ),5."#-5().65/,#(!5"#-5&-.5.,#*5.)5 .&365 ,-/-5#-5')(!5."5-.,)&)!#&5!)-51")5'/-.5&05."#,5*&5#(5"0(65-5 5)(-+/(5) 5."5'),&5, ),'5) 5"0(5."5&3'*#5!)-5"05/(,.7 %(85/.5,-/-5.)!.",51#."55 15).",-5%*-5"#-5)''#--#)(5.)5*, ),'5 #.5)(5,."85 .5#-5!#(65,/,!51,#.-65"#-5(,!35.".5."51),&5(-8 /.5!#(51".5#-5."#-5(,!3>5(,!35 ),5)#(!51".>

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(9)

(5().",5().5) 5."5-'5*,#)65,/,!51,#.-5.".5^1)5#5."#%5 ),.5 #-.5/(5()"5%#(5"#&)-)*"#655%((5#5-.".#%5 Ŀ5%)"(5B"(5 ."#5#-5)0,5(5.",]-5-.#&&5()5*"#&)-)*"365."(5-.".#-5(5'%5)ĿC_5 B,/,!5gohl7goho65ghlC85)1515(5/(,-.(5."(5."50&/5) 5."#-5*,)7 *)-&85 (55"#-.),#&5*,#)51",5&)!#5(5."#-5-'5.)510,655 153,-5  ),5#&&)#-5())(.#50,.#!)5(5,45),,/*.5/.365,/,!5#(#.-5 ."5)(..51#."5."5-.#&&5 ),'&--51),&5) 5(./,5(53&5-5."5-)/,51",5 5(15&)!#5(5."#5),#(..#)(5(5(5'/-.5,#-5&13-5!#(85./,5#-5 released then from its demonic appearance, from its evil eye. Demonic is not ."51),&5/.5&13-65-5($'#(51,#.-5.5."5(5) 5."5Origin of the German Tragic Drama65."5%()1&!5) 5#.5B($'#(5gohn65hkkC85Ļ5,15'--5B^#5 ,)"5 --_95 5.%5."52*,--#)(5 ,)'5,/,!]-5().-5)(5/,%",.65 65 ggi8g8gC5%()1&!5./,(-5.)5#-5().5')(#5#(5#.-& 652.&35/-5#.5#-5-.#&&5 ,)165 ),'&--85Umbra profunda65#(5."51),-5) 5,/()85,/#. /&65-.#&&5#(.,7 '#(.5 ),85",.)515'/-.5&13-5,./,(65.)5,%5."5-"&&-65-5,/,!5 1,#.-5#(5."5,/()5().-65.".5&)%5/-8

Ļ5)(!,--5) 5-.".#-5,/,!51-5!)#(!5.)5.%5*,.5#(51-5*)-.*)(65-5 ),)."5 1(5,)(-.,/.-5#(5",5Wanderstrassen der Kultur5Bgfi5--8C85(31365 ,/,!51)/&5().5"05(5&5.)55.",65/-5"5#5-515"05-(55 15')(."-5 ),5."5#5.85/.55 153,-5&.,65.5."5-)(5#(.,(.#)7 (&5)(!,--5) 5-.".#-5.".51-5"&5#(5,#-5#(5goim65/&5&ï,35&-)5*,)*)--5 (5(,!.#5#5) 5-.".#-85,#4#)5-#,#5BhffoC5"-5)(-#,5."#-5-*.5 of the Discours sur l’éstetique5BDiscourse on AestheticsC65.".5&ï,35*,)()/(5.5."5 )(!,--85(-.#)(5#-5-,#5",5-5."5)-#)(5) 55'/./&5.,(- ),'.#)(5 .1(5*"3-#&5(5'(.&85(-.#)(5#-5./&&365&ï,35-3-65^.#(&&5.5&/7 '#î,5@50#&65**&65#(0-#)(8885B*,%5(5&#!".5@51%(#(!65&&65#(0-#)(C_8 *,%5(51%(#(!85Ļ.5,#(!-5.)5'#(5) 5)/,-5($'#(]-5.")/!".5#(5Ļ5 Arcades Projec.5 )/.5 1%(#(!65 (5 )/.5 ."5 #&.#&5 #'!5 -5^(5 #'!5 ł-"#(!5/*5#(5."5()15) 5#.-5,)!(#4#&#.3_5 B5o65mC85Ļ5"#-.),35)(.#(//'5."(5!)-5.)5 *#-65(5*-.5(5*,-(.5^)'5.)!.",5 #(55ł-"_5B5h65iC85 .5#-5./&&35."5-'5 (,!35.".5-'-"-5#(5,/()5."5^-"&&-_5) 5 ."5(#(.5)-')-65."5^-.-_5ŀ25#(5."5 -%385/.5."#-5(,!35#-5().5@5."#-5#-5#'*),.(.65 (515/(,-.(5#.51&&5 ,)'5($'#(]-5 idea of dialectical image – a mere immediacy, an ecstatic rush that leaves the past behind. ($'#(51,#.-5#(5."5Arcades Project that ^#(5 ."5 #&.#&5 #'!5 1".5 "-5 (5 1#."#(5 5 *,.#/&,5 *)"5 #-5 &13-65 -#'/&7

&.,5($'#(65Ex Libris for Valéry, recon7 structed.

(10)

ō5ŕŢຊō5Őŕ5ŚœŞōřřō5R5ȘȗȜ5R5ōŜŞŕŘő5șȗȘȚ5R5 5Șȟșȝ5ȠȗȘŤ55555‘5555598 .()/-&365 1".5 "-5 (5 ,)'5 .#'5 #''7 '),#&_5B5j65gC85(5 ),5."#-5,-)(65.".5"5 ,0&-5."5(1-.5-5."5)&-.65),()51,#7 .-5)/.5($'#(5.".5"#-5!45#-55 /7 -5!45B),()5golmC85.5($'#(51,#.-5 -)'."#(!5&-651"#"5#-5&-)50,35#'*),.(.95 .".5^)(&35#&.#&5#'!-5,8885().5,"#5 #'!-_5B($'#(5goho7gojf955i65gC85Ļ5 antiquity the dialectical image discovers in7 side modernity is maybe then something #Ŀ,(.5 ,)'5."5ŀ25**,(5) 5'3."5 ),()51,#.-5)/.5#(5"#-5($'#(5--385 .5 #-5,.",5.".5B1#."5($'#(]-51),-C5^%#(5 ) 5/."(.#5(5-",#0&5(.#+/#.3_5^ &&,]-5 1,#.#(!-5 ,_65 1#."5 ($'#(]-5 1),-65 ^ŀ&7 &51#."_5B($'#(5gohm65kkC85(5#.5#-5."5 Antiquity that, in one of the most beautiful *--!-5&ï,351,).5),#(!5.)5($'#(65 in the Eupalinos5BgohiC65.%-5."5 ),'5) 5."5 -.,(!5)$.5),.-5ŀ(-5)(5."5-"),655^*/44&#(!_5)$.651#."5($'#(]-5 1),-65^#0),365),5',&65),5(#'&5)(_5B($'#(5goig65igC85^(5 ),'5à5)7 /.-_65&ï,351,#.-85 .5#-5/&.#'.&365."#-5(.#+/#.365."5-,.5),5) 5*"()'(85 Ļ.651"#"5#(5."5()/(.,51#."5*"()'(5*,-5(52-50,35#'!5 (50,35#'!#(.#)(5) 5."'85^)5-05."5*"()'(_65),#(!5.)5($'#(65 '(-5."(5.)5!)5%5.)5."#,5-,.5),65.)5."#,5^ ),'5à5)/.-_65.)5."#,5#(!5 ,.#&85^".5#-.#(!/#-"-55.,/&35!(,&5*"()'()(5#-5#.-5 ,.#&#.3_65($'#(5 +/).-5 ,)'5&ï,35B($'#(5goho7gojf655k565lC85),5."#-5,-)(5'35."5 ^!#(.5)'*--_5($'#(5#'!#(-5-525 #,#-5 ),5&ï,365#(5."5.,#/.5--35"5 )'*)--5 ),5&ï,3]-5-#2.#."5#,."365"-5)(5,'5^-.,."5)/.51#5.)1,5."5 "),#4)(_5(5."5).",5^ŀ,'&35("),5#(5."5-_5B($'#(5goig65kigC8 Ļ,651",5 &&,]-5&)-.5-.,5-"#(-85(51",5."-5-.,(!5,./,-5&#05 .".5&ï,35&&-5^#(!-5) 5'..,53)(5)'*,65.,(-&/(.5(5-(-#.#7 065ł-"5) 5!&--65-/,&35/(-.&8885&)(!5&#0#(!5-.,#(!-5Bð.,-5]/(5-/-.(5 #()'*,&65.,(-&/#5.5-(-#&65"#,-550,,5 )&&'(.5#,,#.&-5D888E65 &)(!5&(#ï,-50#0-C_5B&ï,35goinC85 #%5,/,!]-5-(%-85(5&#%5 /-]-5 "#,5.".65&0#()5."-65)(5'/-.5"(&51#."5,8 English abstract #à5&5(.,)65)'5î5().)65&5-!!#)51,/,!"#()5-/5&44)5"# ()#65&5ŀ!/,5#5,-)5 sembra diventare sempre più importante nel periodo del ricovero a Kreuzlingen. E ancora l’ultima

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(11)

(().4#)(5"5,/,!5&-#5*)"5),5*,#'5#5'),#,5,#.95^,-)5)5-..#5(,!.#5 )'5),#(.'(.)5&)!#)5#(5#),()5,/()_85 5)-5,**,-(.5-..'(.5,-)65)00,)65 )-]î5&]-..#5(,!.#>

Riferimenti bibliografici ),()5golm

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

(12)

ō5ŕŢຊō5Őŕ5ŚœŞōřřō5R5ȘȗȜ5R5ōŜŞŕŘő5șȗȘȚ5R5 5Șȟșȝ5ȠȗȘŤ55555‘55555gff

&0#()5gonk

85&0#()65Lezioni americane. Sei proposte per il prossimo millennio65 #&()5DgonkE5gonn:5(85.,85Six Memos for the Next Millennium65',#!5B C5gonn8

,,#5gomj

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

1(5hffj

85 1(65‘Wanderstrassen der Kultur’. Die Aby Warburg - Fritz Saxl Korrespondenz von 1920 bis 192965 /(#"5hffj8

() -%35gojm

85() -%365Style and Medium in the Motion Pictures65^,#.#+/_5g8i5B(/,37,/,35gojmC65 k7hn8

,45goif

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

(13)

,((.5gonk

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

,/,!5 

85,/,!65Warburg Institute Archive, London. ,/,!5gofm

85,/,!65Francesco Sassettis letzwillige Verfügung65.,85#.85 85"&,#65#(585,/,!65Opere, 0)&85 65/,#(5hffj65jhk7jnj8

,/,!5gohh

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

,/,!5gohi

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.#'#&&#5(585*)"&65 /(#"5DgohiE5hffn8

,/,!5gohj

85,/,!65Schicksalmächte im Spiegel antikisierender Symbolik65#(585.#'#&&#6585*)"&5B5 /,5#C65“Per monstra ad sphaeram”. Vortrag in Gedenken an Franz Boll und andere Schriften 1923 bis 192565-8585.#'#&&#5(585*)"&65 /(#"5DgohjE5hffn8

,/,!5gohl7goho

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

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