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The text of the lecture Warburg gave in Kreuzlingen on 21 April 1923 is no doubt his most famous and widely circulated work. To date, however, no precise philological analysis has been made of the typescripts preserved at the Warburg Institute Archive in London which transmitted the text. We owe to Piermario Vescovo and to his great philological accurancy, the tracing of the complex genesis and transmission of the Kreuzlingen Lecture text. Warburg, as known, forbade the text to be published, and described it as the convulsions “of a decapitated frog”. The source of the image Warburg adopts is first identified in this contribution in a passage from Charles Darwin’s The expression of the emotions in man and animals. On the basis of Vescovo’s research which precisely delineates the relationship between the different versions of the text, the paper focuses on the materiality of the typescripts, and on their material making. The text B [WIA III.93.1] is the troubled fruit of Warburg’s own repeated revision of the text with the collaboration of Fritz Saxl; the text A [WIA III.93.1] had hitherto been regarded as the later, cleaned-up version of the text and had thus offered the basis of its translations in different languages. According to Vescovo’s reconstruction, however it is a version of an earlier text than B. Vescovo assumes that the person who physically typed the text preserved in A-A1 was the typist-girl who, according to Saxl’s testimony, Binswanger sent to Warburg from September 1922.

The Engramma issue “Text and Image” is a collection of case studies where a clear, univocal relationship between a text and an image emerges in a complex relation. Images here are not mere illustrations – just as texts are not mere captions. In this framework, we publish the following contributions: Piermario Vescovo, re astrologi e la luna; Francesca Bortolanza, Un nuovo documento su Altadona, madre di Giorgione; Monica Centanni, Figura con testo. Nota su una assonanza tra il Capitolo dell’Ingratitudine di Machiavelli e la Calunnia di Botticelli; Chiara Italiano, Un dragonesco Giorgio nella cattedrale della Recherche. San Giorgio di Mantegna nel Cahier 46 di Sodome et Gomorrhe; Davide Susanetti, Jung, Polifilo e la Ninfa; Nicola Giaccone, Ade e Barbablù. Una genealogia?; Orazio Licandro, Dictator o tyrannus? Propaganda in figura, in un denario di Bruto; Silvia Ronchey, Caterina / Ipazia. La Santa fantasma, and Francesco Monticini, Παῖδας ἐγὼ λόγους ἐγεννησάμην. Libri come figli. Fra testo e figura: Teodoro Metochita e Sinesio di Cirene. We also publish three reviews: Maria Grazia Ciani reviews Lorenzo Braccesi’s Un poeta per Cassandra, Filippo Perfetti presents Giovanni Careri’s Ebrei e cristiani nella Cappella Sistina, and Daniela Sacco presents James Hillman, Silvia Ronchey, L’ultima immagine, Rizzoli Milano 2021.

Das investigações historiográficas de Aby Warburg emergem modos de ver e escrever as artes, operando com o textual e o visual, palavra e imagem, logos e pathos. Suas coordenadas metodológicas voltavam-se ao problema da criação e transmigração das imagens, e seus esforços ambicionavam unir heranças de diversas formas expressivas, diante da busca obsessiva por aquilo que compõe o tecido da memória cultural ocidental(lizada). A partir dos anos 1970, seus estudos tomam nova vitalidade no âmbito teórico-crítico contemporâneo, sendo na Itália a recepção do pensamento de Warburg composta pela concretização de cátedras, centros de estudo e de uma grande produção de publicações por estudiosos de diferentes áreas. Para introduzir brevemente como se dá essa recepção, apresenta-se a seguir a tradução de uma entrevista em italiano com Monica Centanni, expoente pensadora italiana e diretora da Engramma, revista internacional com foco em Aby Warburg e debates correlatos.

Salvatore Settis's recent book, Incursioni. Contemporary art and tradition (Feltrinelli 2020) intercrosses the boundaries of the history of art, contemporary and beyond, of philology and antiquity, of philology and of the history of the classical tradition, of philology and anthropology. Therefore, Monica Centanni and Giuseppe Pucci invited archaeologists, art historians, philologists, anthropologists and philosophers to compose a choral reading about Settis' work, corresponding to the various solicitations that the book provokes. All scholars who have participated to the collective reading ��� Anna Anguissola, Maurizio Bettini, Marilena Caciorgna, Maria Luisa Catoni, Monica Centanni, Maria Grazia Ciani, Claudia Cieri Via, Gabriella De Marco, Giuseppe Di Giacomo, Elisabetta Di Stefano, Eva Di Stefano, Roberto Diodato, Dario Evola, Claudio Franzoni, Maurizio Harari, Franco La Cecla e Anna Castelli, Alessandro Poggio, Valentina Porcheddu, Daniela Sacco, Antonella Sbrilli, Salvatore Tedesco ��� have responded, in the style of each author, with a plurality of form, such as short essay, with bibliography and images, general analysis of Settis���s volume, in-depth studies on one of the themes, reflections on tradition and contemporaneity.

The proposed work is the result of the Seminario Mnemosyne���s work on panel 46, "Nymph", of Aby Warburg���s Atlas. The essay consists of an interpretative reading of the Panel, where the focus has been shifted to the relationship between two of the figurative manifestations of the Florentine Nymph. The carrying servant and the lady, their connection with panel 47 and an analysis of their movement, questioning if their dynamism should be considered a Pathosformel, are the object of the study. As a result, we present here the re-edition of a technical sheet on the captions and a reference bibliography, edited by Ada Naval. Some methodological readings connected with the panel have been included: Appendix I by Sara Agnoletto analyses Donatello's lost ���Dovizia��� and its legacy on Florentine visual culture and Appendix II by Filippo Rizzonelli reflects on photography and editing and their semantic values within the panel.

The figure of the Queen is the protagonist of two Aeschylean tragedies: Persians and Oresteia. The staging of Persians, which took place in 472 BCE in Athens, probably caused shock among the Greek spectators of the tragedy at the Theatre of Dionysus, on the slopes of the Acropolis, and in particular among Athenians. In particular, the main character that stands out at the centre of the dramatic composition is the Queen: a mother that is anguished for the fate of her son Xerxes, justifying his errors and presenting him as a disturbed and neurotic being, striving to emulate his father, and moreover misled by bad companies that – the Mother says – have instigated him to perform the insane military campaign against Greece. The dramatic emphasis is on the royal figure of the Queen mother, on her care for the image of power, for the dignity of the king’s body, up to her concern for the integrity of the garment of her son Xerxes, torn after the defeat of Salamis. On the set of the early theatre, the second, superb, figure of royalty is Clytaemnestra. Before Aeschylus, the saga of Orestes, as we can reconstruct from literary and iconographic sources, was a traditional story, an epic saga in which the main characters were all male: Agamemnon, the king; Aegisthus, the tyrant; Orestes, the young hero who avenges the murder of the legitimate king – the king-father – and regains the throne. The tradition of this story is interrupted by Aeschylus’ dramaturgical invention. His new Oresteia does not focus on Orestes’ glorious enterprises. Its protagonist is now Clytaemnestra. She is the main character of the plot and is at the centre of the representation: alongside her, there is the usurper, her lover, Aegisthus. Echoing Ernst Kantorowicz’s seminal study The King’s Two Bodies, under the guise of the King, Clytaemnestra unveils her body: yet, hers is not the king’s double body – the natural king’s corpse doubled in a symbolic regal body – but a female one, the body of a mother, the body of the Queen. The male gendered epic – the saga – ends precisely at this turning point and incipit tragoedia. Keywords: Aeschylus’ Persians; Aeschylus’ Oresteia; Clytaemnestra; actors’ character, Skenè. Journal of Theatre and Drama Studies, Vol 6 No 1 (2020): Awry Crowns: Queenship and Its Discontents

Depuis sa première réapparition, dans les années 30 du xve siècle, l’impresa est un signe par excellence de la Renaissance, représentatif et communicatif des vertus spécifiques et individuelles du propriétaire. L’étude vise ici à souligner l’importance conceptuelle, philosophique, historique, culturelle et iconographique de l’impresa, aux xve et xvie siècles. Les écrits des humanistes Paolo Giovio et Girolamo Ruscelli, proposant des réflexions théoriques sur le sujet, sont particulièrement pertinents., Since its first reappearance in the ’30 of Quattrocento, the impresa is a Renaissance sign par excellence, representative and communicative of the specific individual virtues of the owner. The essay aims at highlighting how impresa is important by different points of view – conceptual, philosophical, historical-cultural, iconographic. Mainly interesting are the considerations of the first humanists who propose theoretical reflections on the issue: Paolo Giovio and Girolamo Ruscelli.

In recent times, a trend of rediscovery and enhancement of Gertrud Bing is under way, to which Engramma contributes with this issue dedicated to her. After the recent monographs by Philippe Despoix and Martin Treml (Paris 2019), and by Laura Tack (Leuwen 2020), with this issue we are providing new pieces to the reconstruction of the intellectual and human personality of Gertrud Bing. In the issue we publish: a Bibliography of works and critical literature (with a biographical note) by Monica Centanni and Elisa Del Prete, which is accompanied by the updating of the general Bibliography. Works by Aby Warburg and secondary Literature, edited by Lucrezia Not; Notes on the Warburg Library, a paper by Bing in 1934 following the transfer of the Library from Hamburg to London; Il Warburg Institute e gli studi umanistici (The Warburg Institute and the Humanities), a lecture given by Gertrud Bing at a conference held in Italy in 1956; a selection of the unpublished letters Gertrud Bing-Eugenio Garin (1949-1963), edited by Vittoria Magnoler; In memoriam Gertrud Bing by Donald James Gordon, edited and translated by Chiara Velicogna, and the anastatic edition of the Booklet published in 1965 by the Warburg Institute as a tribute to Gertrud Bing; The Unforgettable Gertrud Bing a personal memory by Kurt W. Forster of his 1959 meeting with her at the Warburg Institute; an extract from the new monograph on Warburg by Kurt Forster himself, Il metodo di Aby Warburg. L���antico dei gesti, il futuro della memoria, published in 2018 in Germany and now translated into Italian by Giulia Bordignon and published by Edizioni Engramma. Finally, an excerpt of the first monograph dedicated to the other woman who shared her days with Aby Warburg, the artist Mary Hertz (1866-1934): Mary Warburg, geb. Hertz. Ein kurzes Portr��t der vergessenen K��nstlerin, by B��rbel Hedinger and Michael Diers (M��nchen 2020).

A complete bibliography of the writings of Gertrud Bing and of the curatorships, publications, and translations edited by herself. In addition, a review of the critical literature dedicated to her, as a scholar and intellectual (updated in November 2020). In the Appendix, a schematic biographical note.

All the Aeschylean editors agree that in vv. 144-146 of the Persians where the codes have transmitted the text ������� ������� �������������� ������������ ����������������� / ����������������������, ����� ���������������������� ���������� �����������������, a single or a double corruption has intervened. The solution generally adopted is to clean up the corrupt text area and, in fact, consider it a locus desperatus (such is the case up to the last important edition of Garvie 2009). However, Martin West, in his 1990 Teubner edition, proposed an intervention as bold as it was brilliant: assuming the hypothesis of a double corruption, he restored the mention of the ���lineage from Dana����� in the indicted text along with the idea of the paronymia Perseus-Perses-Persae: ������� ������� �������������� ������������ ����������������� / ������������ ���� ���������� / ����� �������������������� ���������� �����������������; The essay reconstructs the genesis of the proposal by West, which could constitute a further tile in the mosaic of the Aeschylean drama, and particularly in the topic of the genealogical relationship between Greece and Persia. Dana��, the Greek princess Dana��, was the first receptacle of the ���golden seed��� from which Perseus was born and from him his son Perses, ancestor of Xerxes. Therefore, the chorus of the old Persians would confirm that Dana�� herself is the matrix of ���our lineage, which takes its name from her���. The text reconstructed by West would also be a confirmation of the importance of the theme of ���eponymy��� in the Aeschilean dramaturgical composition: the Appendix provides a review of the occurrences of eponymy / paronymy in the text of all seven preserved Aeschylean tragedies.