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| - Pathosformel ist ein von dem Kulturhistoriker Aby M. Warburg geprägter kunstgeschichtlicher Begriff. Man versteht darunter die Darstellung formelhafter Gestik und Mimik des Gefühlsausdrucks, denen eine universale Gültigkeit unterstellt wird. Historische Bilder werden daraufhin untersucht, ob in magischer Weise wirkende, wiederkehrende Formen und Gebärden tradiert wurden. (de)
- Pathosformel or "pathos formula" (German plural: Pathosformeln) is a term coined by the German art historian and cultural theorist Aby Warburg (1866–1929) in his research on the afterlife of antiquity (das Nachleben der Antike). It is described as "the primitive words of passionate gesture language" and the "emotionally charged visual trope[s] that recur throughout images in Western Europe. While the term is associated with formalism, Warburg restricts the concept to cultural-psychological themes, as he held "an honest disgust of aestheticizing art history". Despite its name, pathosformel does not provide a calculable formula to identify visual links among images. Instead, it calls on collective and individual imagination to find such links apart from those based on age, type, size, or ori (en)
- Con il termine Pathosformel (pl. Pathosformeln, in italiano formule patetiche o formule di pathos) coniato da Aby Warburg nei primi anni del '900, si intendono alcune immagini archetipiche che ritornano in contesti differenti attraverso i secoli della storia dell'arte. Warburg concepì la storia delle immagini come stratificazione di esperienze diverse. Le diverse epoche si sovrappongono come sedimenti di differenti fasi geologiche, pronti a far riemergere improvvisamente dal sottosuolo un'immagine assente da tempo. (it)
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| has abstract
| - Pathosformel ist ein von dem Kulturhistoriker Aby M. Warburg geprägter kunstgeschichtlicher Begriff. Man versteht darunter die Darstellung formelhafter Gestik und Mimik des Gefühlsausdrucks, denen eine universale Gültigkeit unterstellt wird. Historische Bilder werden daraufhin untersucht, ob in magischer Weise wirkende, wiederkehrende Formen und Gebärden tradiert wurden. In seinem bedeutenden Vortrag Dürer und die italienische Antike von 1905 entwickelte Warburg auf dem Hamburger Lehrerkongress ein erstes Mal die Pathosformel, indem er Spuren antiker Gebärdensprache in der Renaissance nachverfolgte: Unter dem Titel Der Tod des Orpheus stellte Warburg Bilder von Albrecht Dürer, Andrea Mantegna, Antonio Pollaiuolo und anderen unter dem Gesichtspunkt einer historischen Psychologie des menschlichen Ausdrucks vor. Von Affekten bis zu ihrer kulturellen Verarbeitung durch Tanz, Kampf oder Melancholie wurden in der Renaissance Gebärden aus der Antike verwendet. Hartmut Böhme sieht in der Pathosformel den körperlichen Ausdruck einer Sprache (eloquentia corporis). Kulturwissenschaftler wie Erwin Panofsky, Ernst Robert Curtius und Ulrich Port nahmen den Begriff Pathosformel auf und entwickelten ihn weiter. (de)
- Pathosformel or "pathos formula" (German plural: Pathosformeln) is a term coined by the German art historian and cultural theorist Aby Warburg (1866–1929) in his research on the afterlife of antiquity (das Nachleben der Antike). It is described as "the primitive words of passionate gesture language" and the "emotionally charged visual trope[s] that recur throughout images in Western Europe. While the term is associated with formalism, Warburg restricts the concept to cultural-psychological themes, as he held "an honest disgust of aestheticizing art history". Despite its name, pathosformel does not provide a calculable formula to identify visual links among images. Instead, it calls on collective and individual imagination to find such links apart from those based on age, type, size, or origin. In historian Kurt Forster's words, "it exerts its control over existing figurations in a way that endows them with new, 'sign-giving' qualities." The art historian Ernst Gombrich, described pathosformel as "the primeval reaction of man to the universal hardships of his existence [that] underlies all his attempts at mental orientation". Warburg's early work on paintings by Botticelli and Ghirlandaio as well as his later work on the reappearance of astrological symbols in artwork and popular ephemera employ the concept of pathosformel. His dissertation, completed in 1893, presents an early formulation of the concept in comparing Botticelli's Birth of Venus with Primavera by looking at the bewegtes Beiwerk or "animated incident" that appears among them. To Warburg, this incident is the depiction of wind that animates the paintings. In the former, it is seen in Venus's flowing hair, while in the latter, it is seen in the flowing dress of the nymph Flora on the far right. In 1905, Warburg presented a lecture on Dürer and Italian Antiquity, in which he used pathosformel to approach images by Dürer, Andrea Mantegna, Antonio Pollaiuolo and others from the point of view of a historical psychology of human expression. Warburg's unfinished montage, the Mnemosyne Atlas provides another example of the pathosformel. There, Warburg pairs a Dürer engraving from Apocalypse with Pictures (1498) with an image featured in a popular tarot illustrated by the same artist (1494/5). While the image of the chariot links these works compositionally, the chariot itself signifies for Warburg the need to control a potentially disastrous conflict, thus linking similar psychological dynamics in different works regardless of their high or low cultural origins. Warburg acknowledged, however, that the persistence of a motif does not necessarily carry with it the same meaning. Pathosformel is closely related to, albeit distinct from Robert Vischer's notion of empathy (Einfühlung), which Warburg refers to as the "force active in the generation of style". (en)
- Con il termine Pathosformel (pl. Pathosformeln, in italiano formule patetiche o formule di pathos) coniato da Aby Warburg nei primi anni del '900, si intendono alcune immagini archetipiche che ritornano in contesti differenti attraverso i secoli della storia dell'arte. Warburg concepì la storia delle immagini come stratificazione di esperienze diverse. Le diverse epoche si sovrappongono come sedimenti di differenti fasi geologiche, pronti a far riemergere improvvisamente dal sottosuolo un'immagine assente da tempo. Le Pathosformeln sono fermi-immagine che condensano la creazione originaria (pathos) con la ripetitività del canone a cui fanno involontariamente riferimento (Formeln, ovvero formule). Warburg si concentra maggiormente su alcune immagini dinamiche, esempi massimi di Pathosformeln: Orfeo, la centauromachia e soprattutto la Ninfa, ossessione rinascimentale di derivazione classica. Sono immagini la cui forma è inscindibile dal contenuto, che trasportano in eredità fisionomia e contenuto. (it)
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