<p>Krzysztof Pijarski, <em>Sergei & Charlot (The Pathos of New Beginnings)</em>, 1991</p>
<p>Krzysztof Pijarski, <em>Sergei & Charlot (The Pathos of New Beginnings)</em>, 1991</p>

No. 6: Pathos-Image

Managing editor: Paweł Mościcki

Krzysztof Pijarski, Sergei & Charlot (The Pathos of New Beginnings), 1991

The issue is a result of the research project “Affective Turn after 1989. Strategies and Styles of Representation in an Interdisciplinary Research Perspective” funded by the National Science Centre (DEC-2011/03/B/HS2/05729).

The issue was co-financed by the Rector of the University of Warsaw and the Dean of the Faculty of Polish Studies at the University of Warsaw and the Digital Humanities Centre at the Institute of Literary Research of the Polish Academy of Sciences.

Table of Contents


  1. Pathos-Image

    ”Pathos-Image”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/en/archive/2014/6-pathos-image/pathos-image

    An introduction to the issue devoted to pathos-image


  1. Making sensible

    Georges Didi-Huberman , ”Making sensible”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/pl/archiwum/2014/6-obraz-patos/uzmyslowienie

    A chapter from the anthology Qu’est'ce qu’un peuple? (La Fabrique éditions, 2013).

  2. Pathos and Antipathos. Formulas of Pathos in the Work of Sergei Eisenstein and Aby Warburg

    Sylvia Sasse, ”Pathos and Antipathos. Formulas of Pathos in the Work of”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/pl/archiwum/2014/6-obraz-patos/patos-i-antypatos

    The article is devoted to a comparison of Aby Warburg's pathos-formulas with the theoretical reflections on the pathos of cinematic composition of Sergei Eisenstein. The possibility of such a comparative undertaking results from two factors. Firstly, from the practice of montage; secondly, from the interest both Warburg and Eisenstein expressed towards the ways, in which pathos-formulas (Warburg) and methods of constructing pathos (Eisenstein) were passed through the ages - from artists to artists, but also in direct contact with the audience.

  3. Caterpillars and Butterflies: on the Simultaneity of Aby Warburg’s Notion of Pathosformel and Richard Semon’s Theory of Engram

    Agata Pietrasik, ”Caterpillars and Butterflies”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/pl/archiwum/2014/6-obraz-patos/gasienice-i-motyle

    The essay analyses affinities between Richard Semon’s and Aby Warburg’s concepts of memory and problematizes the relationship between two simultaneously emerging fields of study: art history and psychology.

  4. Striking Factory and Strike of Consciousness in the Work of S. M. Eisenstein

    Elena Vogman, ”do zrobienia - Striking Factory and Strike of Consciousne”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/en/archive/2014/6-pathos-image/striking-factory-and-strike-of-consciousness-in-the-work-of

    The Soviet Union of the 1920s produces and supports multiple connections between the policy of work in factories and the research in medical, neurological and collective physiology. Theatrical and cinematic work of S. M. Eisenstein forms a specific prism where these interconnections appear in a spectrum of concrete attempts to engage the factory as aesthetic and political model. The factory as a concrete topos which Eisenstein exploits in Gas Masks and Strike questions the interrelations between the human body and machine in a new iconology of a striking factory. For the duration of Strike, the factory is represented beyond any functionality: the workers’ body movements and gestures are all the more expressive the less they have to do with their everyday work. This modulated status of production appears in Capital, Eisenstein’s unfulfilled project to realize Marx’s political economy with methods of inner monologue invented by Joyce. This last project transfigures the factory strike into the structure of cinematographic thinking where the neuro-sensorial stimuli constantly strike the logic of the every day consciousness in the non-personal, polyphonic and intimate monologue.

  5. Playful Pain. Chaplin and Pathos

    Paweł Mościcki, ”Playful Pain. Chaplin and Pathos”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/en/archive/2014/6-pathos-image/playful-pain.-chaplin-and-pathos

    The essay concentrates on the specific role of pathos in Charles Chaplin's comedies. The author juxtaposes Chaplin's work with Warburg's, Eisenstein's and Lukacs's theories of pathos.

  6. Mickey's Pathos: A ‘Single Obscurity’ in Aby Warburg’s Thought

    Isabel de Sena Cortabitarte, ”Mickey's Pathos: A ‘Single Obscurity’ in Aby Warburg’s Thought”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/en/archive/2014/6-pathos-image/mickeys-pathos-a-single-obscurity-in-aby-warburgs-thought

    In 1929, Walt Disney created a series of animated shorts, featuring mechanised and malleable figures manoeuvring alongside neurotically animated objects and landscapes. Released in the year of Aby Warburg's death, he never did dedicate any thought to animation. However, in their extreme externalization of emotions and animation of the inorganic, these films are compelling cultural objects in thinking through Warburg's notions of Nachleben, Pathosformeln and accessory forms in motion. This paper addresses the implications of this relationship and how they may be significant in understainding the crisis of modernity, as well as the broader psycho-anthropological ramifications of Warburg's thought.

  7. The Smolensk Crowd

    Agata Sierbińska, ”The Smolensk Crowd”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/pl/archiwum/2014/6-obraz-patos/tlum-smolenski

    The article is an attempt to interpret the meaning of the crowd which gathered on Krakowskie Przedmieście in the aftermath of the crash of Polish presidential plane on April 10th 2010. The image of this manifestation became a universal sign of both the national unity in mourning and social conflict. Here, it is confronted with archival pictures of collective gestures and with Aby Warburg’s ideas of Pathosoformel and Nachleben.


  1. Bad Theatre and the Affects

    Grzegorz Niziołek, ”Bad Theatre and the Affects”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/pl/archiwum/2014/6-obraz-patos/zly-teatr-i-afekty

    The point of departure for the article is Adolf Rudnicki's review of Play Strindberg, a play by Friedrich Dürrenmatt which is a contemporary travesty of August Strindberg's The Dance of Death, directed by Andrzej Wajda.

  2. Every Ache Seeks Expression

    Iga Gańczarczyk, ”Every Ache Seeks Expression”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/pl/archiwum/2014/6-obraz-patos/kazda-bolesc-chce-wyrazu

    Essay about theatrical and performative motifs in Anna Baumgart's artistic work, which are based on antinomies between "pathos" and "formula". The author starts with "The Constant Prince" of Juliusz Słowacki and it's famous interpretation from 1965 by Jerzy Grotowski to show the variety of feminine/theatrical figures that appear in Baumgart's work.


  1. Hurleurs

    Mathieu Pernot, ”Hurleurs”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/en/archive/2014/6-pathos-image/hurleurs

    Presentation of the project Hurleurs (2001-2004)

  2. Shouts and Frames

    Paweł Mościcki, ”Shouts and Frames”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/en/archive/2014/6-pathos-image/shouts-and-frames

    A commentary to Mathieu Pernot's photographic series Hurleurs [The Shouters], 2001-2004.


  1. Acting Objects

    Agata Zborowska, ”Acting Objects”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/pl/archiwum/2014/6-obraz-patos/przedmioty-w-dzialaniu

    Discussion of the studies on things based on three books recently published in Polish: Graham Harman's Treatise on Objects, Marek Krajewski's Są w życiu rzeczy… Szkice z socjologii przedmiotów, and Bjørnar Olsen's In Defense of Things.

  2. Lucky Jews

    Roma Sendyka, ”Lucky Jews”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/pl/archiwum/2014/6-obraz-patos/zyd-w-sieni-pieniadz-w-kieszeni

    Critical analysis of Erica Lehrer's curatorial and research project: the exhibition "Souvenir, Talisman, Toy. Jews for Hearth and Home", which took place in the Ethnographic Museum in Kraków and the book Lucky Jews published by korporacja ha!art (2014).

  3. Shattering Stereotypes: New Plays from Poland in English Translation

    Kathleen Cioffi, ”Shattering Stereotypes: New Plays from Poland in English Translation”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/en/archive/2014/6-pathos-image/shattering-stereotypes-new-plays-from-poland-in-english-translation

    A review of the anthology Apollonia: Twenty-First-Century Polish Drama and Texts for the Stage edited by Krystyna Duniec, Joanna Klass, and Joanna Krakowska.

  4. Do wglądu

    ”Do wglądu”, View. Theories and Practices of Visual Culture 6 (2014), https://www.pismowidok.org/pl/archiwum/2014/6-obraz-patos/do-wgladu

    Propozycje lektur