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Contents
List of Illustrations
Acknowledgements
Translator’s Note
Chapter 1: The Image as Phantom: Survival of Forms and Impurities of Time
Chapter 2: The Image as Pathos: Lines of Fracture and Formulas of Intensity
Chapter 3: The Image as Symptom: Fossils in Motion and Montages of Memory
Notes
Bibliography
Index
“When Georges Didi-Huberman’s The Surviving Image was first published in French, it transformed the image of Warburg as the scholar immersed in the arcana of Renaissance magic, art, and philosophy, and he gained his place as a theorist, urgently questioning the nature of inquiry into art history and visual culture. Ostensibly about Warburg, the range and significance of this key work of art theory and historiography is far wider, for it deals with important philosophical questions to do with art, memory, time, and the construction of art-historical knowledge. Harvey Mendelsohn has created a lucid and elegant translation, an admirable accomplishment that will ensure that this book gains the wider readership it deserves.”
—Matthew Rampley, author of The Vienna School of Art History: Empire and the Politics of Scholarship, 1847–1918
