Translatio and Remediation: Aby Warburg, Image Migration and Photographic Reproduction

Abstract

Aby Warburg’s research on the heritage of Antiquity can be seen as an investigation into the hybrid forms through which it has been transmitted to us. This inquiry into Western cultural memory is constructed by a unique oeuvre, at the heart of which is the Kulturwissenschaftliche Bibliothek Warburg, the physical library Warburg created in Hamburg, which he saw as a medium for new modes of research. The organization of the library aimed to orient scholars to the modalities of the “afterlife” of the representations and gestures associated with pathos that derive from ancient paganism. We also know that Warburg sought to situate his work in the context of a Kulturwissenschaft—a science of culture seen as a “third” position, above the schism between the natural sciences and the humanities—a position whose horizon intersects Ernst Cassirer’s philosophy of symbolic forms, Max Weber’s comparative sociology of religion, and the perspectives opened by American anthropology as practiced by Franz Boas. In what follows, my hypothesis is that in Warburg’s work, the concept of Nachleben—the afterlife of ancient modes of representation— arises from a translatio in multiple registers: simultaneously migrations in space, transpositions in media and technique, and textual and figurative translation from one culture to another. The mapping of these transfers presupposes a mechanism of remediation able to make visible the stability and variations of that which, like the “pathos formulae” (Pathosformeln), have been “translated” and thus transmitted. In order to understand the specific role that photographic reproduction plays in this complex, I propose here a case study of the iconography of Saturn as developed by Warburg in a 1913 slide-lecture on the migration of planetary images, and later, in 1926, after the opening of his new library, in his first exhibition of orientalized illustrations from astrology. 1. From Image to Image: transpositio We cannot fully grasp Warburg’s concept of a “posthumous life” of antique representations until we become familiar with the unique organization of his library, and the media mechanisms established therein.