Engrams: Dynamic Polarities in Arlindo Daibert's "Diadorim II" Woodcut
The notions of engram and Pathosformel, as understood by Aby Warburg (1866-1929), can be applied to the analysis of the woodcut Diadorim II (1984) forged by the Brazilian plastic artist Arlindo Daibert (1952-1993). The image arose from Daibert´s reading o...
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| Principais autores: | , |
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| Formato: | Online |
| Idioma: | por |
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| Endereço do item: | https://periodicos.ufrn.br/artresearchjournal/article/view/29704 |
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| Resumo: | The notions of engram and Pathosformel, as understood by Aby Warburg (1866-1929), can be applied to the analysis of the woodcut Diadorim II (1984) forged by the Brazilian plastic artist Arlindo Daibert (1952-1993). The image arose from Daibert´s reading of João Guimarães Rosa’s novel (1908-1969), Grande sertão: veredas (1956), in which contrasting dynamic forces are debated –logic and magic, reason and foulness, visibility and concealment–, emulating the narrative flow of Rosa´s prose. So, using Warburg's methodological tools and procedures (approximation, analogy, reminiscence and philology), the image and the pathos’ dimension in the Diadorim’s character are here explored, evoking in turn cosmological dimensions. |
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