The grotesque at Panel 32 of Atlas Mnemosyne

Detalhes bibliográficos
Autor(a) principal: Makowiecky, Sandra
Data de Publicação: 2023
Outros Autores: Wedekin, Luana Maribele
Tipo de documento: Artigo
Idioma: por
Título da fonte: Palíndromo (Online)
Texto Completo: https://www.revistas.udesc.br/index.php/palindromo/article/view/23589
Resumo: The category of grotesque is addressed through the analysis of panel 32 of Atlas Mnemosyne by Aby Warburg. The panel contains mainly Renaissance images, approaching themes that span the ages since Antiquity, such as the dance of the moresca, the amorous courtship and the cult of the goddess Venus, the pictorial genre of Singeries (monkeys) and the battle for the trousers. A panel solely dedicate to the grotesque affirms the vigor of this aesthetic category. Together with the analysis of the images, we presente definitions and reflections on the grotesque as approached by André Chastel, Wolfgang Kayser, and, mainly in Victor Hugo. For the French wiriter, the grotesque form is opposed to the classic and exists in nature and not world around us, even if in a kaleidoscope of (in)definitions. Other aesthetic categories are approached in parallel, such as the beauty, for which the grotesque appears as a contrast; the comic; the ugly, with its contrasting diversity to the unity of beauty. The images selected by Warburg pervade such theoretical reflections and reveal fundamental polarities to understand the expression of human commotions: Dionysian-Apollinae, madness-reason, animal-human, liberation-domestication, chaos-order, pathos-logos, distancing-immersion, energetic expansion – energy containment. This article also tries to understand a method in Aby Warburg, whether in the selection and organization of images on the panel; it shows Warburg thematic interests, in this case, festivals and popular traditions; and also, his interest in the dissonant, beyond reductionist generalizations and art history's canonical objects.
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spelling The grotesque at Panel 32 of Atlas MnemosyneLo Grotesco en el Panel 32 del Atlas MnemosyneO grotesco na Prancha 32 do Atlas MnemosyneAtlas MnemosyneAby Warburggrotescoprancha 32 do Atlas MnemosyneAby WarburgAtlas MnemosyneAtlas MnemosyneAby WarburgPanel 32 of Atlas MnemosynegrotesqueAby WarburgAtlas MnemosyneAtlas MnemosyneAby WarburgPanel 32 del Atlas MnemosynegrotescoAby WarburgAtlas MnemosyneThe category of grotesque is addressed through the analysis of panel 32 of Atlas Mnemosyne by Aby Warburg. The panel contains mainly Renaissance images, approaching themes that span the ages since Antiquity, such as the dance of the moresca, the amorous courtship and the cult of the goddess Venus, the pictorial genre of Singeries (monkeys) and the battle for the trousers. A panel solely dedicate to the grotesque affirms the vigor of this aesthetic category. Together with the analysis of the images, we presente definitions and reflections on the grotesque as approached by André Chastel, Wolfgang Kayser, and, mainly in Victor Hugo. For the French wiriter, the grotesque form is opposed to the classic and exists in nature and not world around us, even if in a kaleidoscope of (in)definitions. Other aesthetic categories are approached in parallel, such as the beauty, for which the grotesque appears as a contrast; the comic; the ugly, with its contrasting diversity to the unity of beauty. The images selected by Warburg pervade such theoretical reflections and reveal fundamental polarities to understand the expression of human commotions: Dionysian-Apollinae, madness-reason, animal-human, liberation-domestication, chaos-order, pathos-logos, distancing-immersion, energetic expansion – energy containment. This article also tries to understand a method in Aby Warburg, whether in the selection and organization of images on the panel; it shows Warburg thematic interests, in this case, festivals and popular traditions; and also, his interest in the dissonant, beyond reductionist generalizations and art history's canonical objects.La categoría de grotesco se aborda a través del análisis del panel 32 del Atlas Mnemosyne de Aby Warburg. El panel contiene principalmente imágenes renacentistas, abordando temas que abarcan épocas desde la Antigüedad, como la danza de la moresca, el cortejo amoroso y el culto a la diosa Venus, el género pictórico de las Singeries y la batalla por los pantalones. Un panel dedicado únicamente a lo grotesco afirma el vigor de esta categoría estética. Junto al análisis de las imágenes, presentamos definiciones y reflexiones sobre lo grotesco en la perspectiva de André Chastel, Wolfgang Kayser y, principalmente, de Victor Hugo. Para el escritor francés, la forma grotesca se opone a la clásica y existe en la naturaleza y no en el mundo que nos rodea, aunque sea en un caleidoscopio de (in)definiciones. En paralelo se abordan otras categorías estéticas, como la belleza, para la cual lo grotesco aparece como contraste; lo cómico; lo feo, con su diversidad contrastante a la unidad de la belleza. Las imágenes seleccionadas por Warburg impregnan tales reflexiones teóricas y revelan polaridades fundamentales para comprender la expresión de las conmociones humanas: Dionisíaco-Apollinae, locura-razón, animal-humano, liberación-domesticación, caos-orden, pathos-logos, distanciamiento-inmersión, energía expansión – contención de energía. Este artículo también trata de comprender un método en Aby Warburg, ya sea en la selección y organización de imágenes en el panel; muestra intereses temáticos de Warburg, en este caso, fiestas y tradiciones populares; y también, su interés por lo disonante, más allá de las generalizaciones reduccionistas y los objetos canónicos de la história del arte.A categoria do grotesco é abordada através da análise da prancha 32 do Atlas Mnemosyne de Aby Warburg. Nela encontram-se imagens relativas principalmente ao Renascimento, abordando temas que atravessam os tempos desde a Antiguidade, como a dança da moresca, a corte amorosa e o culto à deusa Vênus, o gênero pictórico das Singeries (macaquices) e a luta pelos calções. Constata-se o vigor da categoria estética do grotesco, quando Aby Warburg dedica uma prancha apenas para ela. Juntamente com a análise das imagens, percorre-se as definições e reflexões sobre o grotesco em André Chastel, Wolfgang Kayser, e, principalmente em Victor Hugo, com seu postulado fundamental de que a forma grotesca se opõe ao clássico e existe na natureza e no mundo em nossa volta, mesmo que em um caleidoscópio de (in) definições. Outras categorias estéticas são abordadas em paralelo, como o belo, para o qual o grotesco surge como contraste; o cômico; o feio, com sua diversidade contrastante à unidade do belo. As imagens selecionadas por Warburg perpassam tais discussões teóricas e revelam polaridades fundamentais para compreender a expressão das comoções humanas: dionisíaco- apolíneo, loucura-razão, animal-humano, libertação-domesticação, caos-ordem, pathos-logos, distanciamento-imersão, expansão energética – contenção energética. Buscou-se igualmente compreender um método em Aby Warburg, seja na seleção e organização das imagens na prancha; seus interesses temáticos, nesse caso, as festas e tradições populares; o seu interesse pelo dissonante, para além das generalizações reducionistas e dos objetos canônicos da história da arte.Universidade do Estado de Santa Catarina2023-06-07info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.revistas.udesc.br/index.php/palindromo/article/view/2358910.5965/2175234615362023e0006Palíndromo; Vol. 15 No. 36 (2023): As artimanhas do grotesco no contemporâneo; 1-33Palíndromo; v. 15 n. 36 (2023): As artimanhas do grotesco no contemporâneo; 1-332175-23461984-953210.5965/2175234615362023reponame:Palíndromo (Online)instname:Universidade do Estado de Santa Catarina (UDESC)instacron:UDESCporhttps://www.revistas.udesc.br/index.php/palindromo/article/view/23589/15606Copyright (c) 2023 Sandra Makowiecky, Luana Maribele Wedekinhttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessMakowiecky, SandraWedekin, Luana Maribele2024-02-29T13:56:33Zoai::article/23589Revistahttps://www.revistas.udesc.br/index.php/palindromoPUBhttps://www.revistas.udesc.br/index.php/palindromo/oaipalindromorevista@gmail.com || revistapalindromo@udesc.br2175-23461984-9532opendoar:2024-02-29T13:56:33Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)false
dc.title.none.fl_str_mv The grotesque at Panel 32 of Atlas Mnemosyne
Lo Grotesco en el Panel 32 del Atlas Mnemosyne
O grotesco na Prancha 32 do Atlas Mnemosyne
title The grotesque at Panel 32 of Atlas Mnemosyne
spellingShingle The grotesque at Panel 32 of Atlas Mnemosyne
Makowiecky, Sandra
Atlas Mnemosyne
Aby Warburg
grotesco
prancha 32 do Atlas Mnemosyne
Aby Warburg
Atlas Mnemosyne
Atlas Mnemosyne
Aby Warburg
Panel 32 of Atlas Mnemosyne
grotesque
Aby Warburg
Atlas Mnemosyne
Atlas Mnemosyne
Aby Warburg
Panel 32 del Atlas Mnemosyne
grotesco
Aby Warburg
Atlas Mnemosyne
title_short The grotesque at Panel 32 of Atlas Mnemosyne
title_full The grotesque at Panel 32 of Atlas Mnemosyne
title_fullStr The grotesque at Panel 32 of Atlas Mnemosyne
title_full_unstemmed The grotesque at Panel 32 of Atlas Mnemosyne
title_sort The grotesque at Panel 32 of Atlas Mnemosyne
author Makowiecky, Sandra
author_facet Makowiecky, Sandra
Wedekin, Luana Maribele
author_role author
author2 Wedekin, Luana Maribele
author2_role author
dc.contributor.author.fl_str_mv Makowiecky, Sandra
Wedekin, Luana Maribele
dc.subject.por.fl_str_mv Atlas Mnemosyne
Aby Warburg
grotesco
prancha 32 do Atlas Mnemosyne
Aby Warburg
Atlas Mnemosyne
Atlas Mnemosyne
Aby Warburg
Panel 32 of Atlas Mnemosyne
grotesque
Aby Warburg
Atlas Mnemosyne
Atlas Mnemosyne
Aby Warburg
Panel 32 del Atlas Mnemosyne
grotesco
Aby Warburg
Atlas Mnemosyne
topic Atlas Mnemosyne
Aby Warburg
grotesco
prancha 32 do Atlas Mnemosyne
Aby Warburg
Atlas Mnemosyne
Atlas Mnemosyne
Aby Warburg
Panel 32 of Atlas Mnemosyne
grotesque
Aby Warburg
Atlas Mnemosyne
Atlas Mnemosyne
Aby Warburg
Panel 32 del Atlas Mnemosyne
grotesco
Aby Warburg
Atlas Mnemosyne
description The category of grotesque is addressed through the analysis of panel 32 of Atlas Mnemosyne by Aby Warburg. The panel contains mainly Renaissance images, approaching themes that span the ages since Antiquity, such as the dance of the moresca, the amorous courtship and the cult of the goddess Venus, the pictorial genre of Singeries (monkeys) and the battle for the trousers. A panel solely dedicate to the grotesque affirms the vigor of this aesthetic category. Together with the analysis of the images, we presente definitions and reflections on the grotesque as approached by André Chastel, Wolfgang Kayser, and, mainly in Victor Hugo. For the French wiriter, the grotesque form is opposed to the classic and exists in nature and not world around us, even if in a kaleidoscope of (in)definitions. Other aesthetic categories are approached in parallel, such as the beauty, for which the grotesque appears as a contrast; the comic; the ugly, with its contrasting diversity to the unity of beauty. The images selected by Warburg pervade such theoretical reflections and reveal fundamental polarities to understand the expression of human commotions: Dionysian-Apollinae, madness-reason, animal-human, liberation-domestication, chaos-order, pathos-logos, distancing-immersion, energetic expansion – energy containment. This article also tries to understand a method in Aby Warburg, whether in the selection and organization of images on the panel; it shows Warburg thematic interests, in this case, festivals and popular traditions; and also, his interest in the dissonant, beyond reductionist generalizations and art history's canonical objects.
publishDate 2023
dc.date.none.fl_str_mv 2023-06-07
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://www.revistas.udesc.br/index.php/palindromo/article/view/23589
10.5965/2175234615362023e0006
url https://www.revistas.udesc.br/index.php/palindromo/article/view/23589
identifier_str_mv 10.5965/2175234615362023e0006
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://www.revistas.udesc.br/index.php/palindromo/article/view/23589/15606
dc.rights.driver.fl_str_mv Copyright (c) 2023 Sandra Makowiecky, Luana Maribele Wedekin
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2023 Sandra Makowiecky, Luana Maribele Wedekin
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade do Estado de Santa Catarina
publisher.none.fl_str_mv Universidade do Estado de Santa Catarina
dc.source.none.fl_str_mv Palíndromo; Vol. 15 No. 36 (2023): As artimanhas do grotesco no contemporâneo; 1-33
Palíndromo; v. 15 n. 36 (2023): As artimanhas do grotesco no contemporâneo; 1-33
2175-2346
1984-9532
10.5965/2175234615362023
reponame:Palíndromo (Online)
instname:Universidade do Estado de Santa Catarina (UDESC)
instacron:UDESC
instname_str Universidade do Estado de Santa Catarina (UDESC)
instacron_str UDESC
institution UDESC
reponame_str Palíndromo (Online)
collection Palíndromo (Online)
repository.name.fl_str_mv Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)
repository.mail.fl_str_mv palindromorevista@gmail.com || revistapalindromo@udesc.br
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