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1. Theoretical Conceptions of Iconology What have Philosophy and Iconology to do with one another? This question can be regarded historically or theoretically. Taken historically, the question is: In what ways have philosophers worked in conjunction with those who sought to develop and apply iconology? Here “iconology” refers to an existing discipline: a method employed by art historians for the purpose of explicating the general mean- ings of pictorial art. Iconology treats pictures as visual symbols whose general his- torical significance can be “read” or

Natacha Lubtchansky 6 Iconography and iconology, N ineteenth to Twenty-first centuries Abstract: The different approaches to the figure-decorated material of the last fifty years, such as Erwin Panofsky's opposition between iconography and iconology, or the anthropological study of the "cite des images" developed in the "Ecole de Paris" around Jean-Pierre Vemant and Pierre Vidal­ Naquet, have not superseded some of the positions that were taken in the early nineteenth century. From that time through the most recent publications, we can observe three

c h a p t e r 8 c r a i g h a r b i s o n Iconography and Iconology introduction Admiration has always been accorded to early Netherlandish painting due to its visual realism, the way it seemed to reproduce, on a two-dimensional surface, aspects of the world we see around us. Writing in 1456, the Italian historian Barto- lomeo Fazio marveled at a now lost work by Jan van Eyck where: there is a lantern in the bath chamber, just like one lit, and an old woman seemingly sweating, a puppy lapping up water, and also horses, minute fig- ures of men, mountains

148 S I X God lies in the details. A B Y W A R B U R G One thing became clear to me while I myself was alternating my residence between Germany and Italy. This phenomenon of exchange between North and South, which had become so strikingly evident to me, could only be stud- ied at an institute that really brought together the northern and southern threads. A B Y W A R B U R G Iconology and the Hamburg School Despite the fi nancial insecurity that pervaded the early 1920s and the challenges it posed for academic life, Panof- sky began to see himself as a

126 Chiara Battisti Chiara Battisti (Università degli Studi di Verona) Iconology of Law and Dis-Order in the Television Series Law & Order Special Victims Unit Lawyers are popular storytellers who operate in an aural and visual storytelling culture. Lawyers tell imagistic narratives constructed upon aesthetic principles that are closely akin to the structural principles that control the formulation of plot-structure in commercial cinema. We tell stories with hard driving plot- lines and clear themes that are readily distilled. We shoot our films from the fixed

Invasion, Infection, Invisibility: An Iconology of Illegalized Immigration Francesca Falk What is perceived as familiar or unfamiliar, as being part of the communi- ty or not, is very often the result of mental and material images: Commu- nities are imagined and thus constituted among others by certain kinds of visualizations. Figure 1 FRANCESCA FALK84 “A carabiniere with a mask, seen today in the harbour of Brindisi at the arrival of a fi shing cutter fi lled with illegal immigrants from Albania”1, says the caption of a photograph from Associated Press. With

Iconology and Iconicity Towards an Iconic History of Figures, Between Erwin Panofsky and Jean-Luc Marion Adi Efal I The Image: Ends and Beginnings In 1992, when William J. Thomas Mitchell announced the “pictorial turn”1, a fundamental controversy regarding the status and the legitimacy of the visual image was in full sway.2 In this controversy, it was primarily the status of paint- ing and its possible demise that was at issue. The writers who coined the central terms of this debate were Douglas Crimp with the notion of the “end of paint- ing”3, and Arthur Danto

PART ONE Figures 1.1 Anonymous, Book of Hours, Rouen, France (ca. 1500– 1510). Parchment (detail). MS 343, ff. 89v– 90r. Photo- graph: Special Collec- tions Research Center, University of Chicago Library. 1 : ART HISTORY ON THE EDGE Iconology, Media, and Visual Culture It has been a long time since I could claim to be an outsider to art his- tory. Despite my lack of academic credentials in this field, I have been ploughing it for so long that, as Karl Marx would have put it, my brains and muscle have long since been mixed with the soil of the visual

Bernhard Jussen Toward an Iconology of Medieval Studies: Approaches to Visual Narratives in Modern Scholarship Beyond Methodological Control: Pictorial Narratives in Historical Scholarship Picturing History It goes without saying that historical scholarship delineates its objects of study not only through the medium of the text, but also through that of the image.1 Since the beginnings of the discipline, historians have used images as well as words in their works. This very simple observation, however, if taken only a little further, leads to an

7 The Iconology of the Sexy Nazi Woman: Marlene Dietrich as Political Palimpsest I Women occupy a special place in the history of American demonology. Manifestly they have been made into victims whose persecution justifies revenge and into the guardians of civilized virtue who stand against aggression and anarchy. But women have also been cast, explicitly or implicitly, as the monsters. Countersubver- sion connects political to sexual anxiety by raising the specter of female power. —Michael Rogin, Ronald Reagan, the Movie (1987)∞ . . . one of the girls in the