Please use this identifier to cite or link to this item: http://hdl.handle.net/1942/23167
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dc.contributor.authorIONESCU, Vlad-
dc.date.accessioned2017-02-23T07:33:39Z-
dc.date.available2017-02-23T07:33:39Z-
dc.date.issued2015-
dc.identifier.citationImages, Imagini, Images. Journal of Visual and Cultural Studies, 2015(5), p. 63-86-
dc.identifier.issn2247-7950-
dc.identifier.urihttp://hdl.handle.net/1942/23167-
dc.description.abstractThe article is a systematic analysis of the art criticism of the contemporary French art historian Georges Didi-Huberman. It integrates his work into the broader modern art historiography.-
dc.language.isoen-
dc.subject.otherart historiography; art history; art criticism; aesthetics; Aby Warburg; Aloïs Rieg; Franz Wickhoff; Georges Didi-Huberman-
dc.titleOn Moths and other Butterflies, Or How to Orient Oneself Through Images-
dc.typeJournal Contribution-
dc.identifier.epage86-
dc.identifier.issue5-
dc.identifier.spage63-
dc.identifier.volume2015-
local.bibliographicCitation.jcatA1-
dc.relation.referencesAdorno, Theodor. "The Essay as Form," New German Critique 32 (Spring – Summer 1984), pp. 151-71. Print. Baert, Barbara. Wild is the Wind. Pathosformel and the Iconology of a Quintessence. In Antwerp Royal Museum Annual, 2010, pp. 9-47. Benjamin, Walter. Berlin Childhood around 1900. In Selected Writings 3: 1935-38. Ed. by Howard Eiland and Michael W. Jennings. Cambridge, Mass.: The Belknap Press of Harvard University Press, 2002. Print. Boehm, Gottfried. "Ce qui se montre. De la différence iconique." In Penser l’image. Ed. by Emmanuel Alloa. Paris: Les Presses du Réel, 2010. Print. Didi-Huberman, Georges. Atlas: How to Carry the World on One’s Back. Madrid: Museo Nacional Centro de Arte Reina Sofia, 2011. Print. ---. Ce que nous voyons, ce qui nous regarde. Paris: Minuit, 1992. Print. ---. L’image survivante. Histoire de l’art et temps des fantômes. Paris: Minuit, 2002. Print. ---. Phalènes. Essais sur l’apparition II. Paris: Minuit, 2013. Print. ---. Phasmes. Essais sur l’apparition I. Paris: Minuit, 1998. Print. Elkins, James. How to Use Your Eyes?. New York: Routledge, 2000. Print. Focillon, Henri. Vie des formes, suivie de l’Éloge de la main. Paris: Bibliothèque de philosophie contemporaine, 1939. Print. Frazer, James. The Golden Bough. A Study in Magic and Religion. Hertfordshire: Wordsworth Editions Limited, 1993. Print. Götz, Pochat. Der Symbolbegriff in der Ästhetik und Kunstwissenschaft. Köln: DuMont, 1983. Print. Hagelstein, Maud. "Art contemporain et phénoménologie. Réflexions sur le concept de lieu dans Georges Didi-Huberman," Études Phénomenologiques 40-42 (2005), pp. 139-64. Print. ---. "Georges Didi-Huberman: une esthétique du symptôme," Revista de Filosofia 34 (2005), pp. 81-95. Print. ---. "Georges Didi-Huberman: vers une intentionnalité inversée," La part de l’oeil: revue de pensées des arts plastiques 21-22 (2006-2007), pp. 34-41. Print. ---. "Ressemblances et Dissemblances dans Georges Didi-Huberman." In Mimèsis. Approches actuelles. Sous la direction de Thierry Lenain et Danielle Lories. Bruxelles: La Lettre Volée, 2007, pp. 103-128 Print. Lescourret, Marie Anne. Aby Warburg ou la tentation du regard. Paris: Hazan, 2014. Print. Lyotard, Jean-François. Discours, Figure. Paris: Klincksieck, 1971. Print. ---. Karel Appel. A Gesture of Colour. Trans. by Vlad Ionescu and Peter W. Milne. Leuven: Leuven University Press, 2009. Print. ---. Que Peindre? What to Paint? Adami, Arakawa, Buren. Trans. by Antony Hudek, Vlad Ionescu and Peter W. Milne. Leuven: Leuven University Press, 2012. Print. Michaud, Philippe-Alain. Aby Warburg and the Image in Motion. New York: Zone Books, 2004. Nabokov, Vladimir. The Annotated Lolita. Edited with a preface, introduction and notes by Alfred Appel. London: Penguin, 1995. Print. Riegl, Aloïs. Gesammelte Aufsätze. Klassische Texte der Wiener Schule der Kunstgeschichte. Herausgegeben von Artur Rosenauer. Wien: WUV-Universitätsverlag, 1996. Print. ---. Die Spätrömische Kunstindustrie. Wien: Österreichische Staatsdruckerei, 1927. Print. ---. "Spätrömisch oder Orientalisch?," Beilage zur Allgemeinen Zeitung, 23 April 1902, pp. 152-56; 24 April 1902, pp. 162-65. Print. ---. Stilfragen. Grundlegung zu einer Geschichte der Ornamentik. München: Mäander, 1977. ---. "Über Renaissance der Kunst," Mittheilungen des österreichischen Museum für Kunst und Industrie 5 (1895), pp. 342-93. Print. Vancheri, Luc. Les pensées figurales de l’image. Paris: Armand Colin, 2011. Print. Vischer, Fr. Th. "Das Symbol" (1887). In Kritische Gänge. Vierter Band. München: Mener & Jassen, 1922. Print. Warbug, Aby. Ausgewählte Schriften und Würdigungen. Herausgegeben von Dieter Wuttke in Verbindung mit Carl Georg Heise. Baden-Baden: Valentin Koerner, 1979. Print. Wickhoff, Franz. Römische Kunst: Der Wiener Genesis (1895). Berlin: Meyer & Jessen, 1912. Trans. by S. Arthur Strong as Roman Art. Some of Its Principles and Their Application to Early Christian Painting. New York: MacMillan, 1900.-
local.type.refereedRefereed-
local.type.specifiedArticle-
dc.identifier.urlhttp://www.euroinst.ro/titlu.php?id=1556-
item.accessRightsOpen Access-
item.contributorIONESCU, Vlad-
item.validationvabb 2020-
item.fullcitationIONESCU, Vlad (2015) On Moths and other Butterflies, Or How to Orient Oneself Through Images. In: Images, Imagini, Images. Journal of Visual and Cultural Studies, 2015(5), p. 63-86.-
item.fulltextWith Fulltext-
crisitem.journal.issn2247-7950-
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