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Notes 27512. Aby Warburg, Der Bilderatlas Mnemosyne, ed. Martin Warnke and Claudia Brink(Berlin: Akademie Verlag, 2000).13. Aby Warburg, Mnemosyne: Grundbegriffe, 2 vols. (1928–29). London: Warburg InstituteArchive, vol. iii, 102.3–4.14. Heckscher, ‘‘Erwin Panofsky: A Curriculum Vitae’’ (1969), in Art and Literature, 341.15. Warburg, ‘‘Seminarübungen über Jacob Burckhardt’’ (1927), Idea: Jahrbuch der HamburgerKunsthalle, ed. B. Roeck, 10 (1991): 86–89 [‘‘Texte de cloture du séminaire sur Burckhardt,’’trans. D. Meur, Les Cahiers du Musée national d’Art moderne, no. 68 (1999): 21–23,and my introduction, ibid., 5–20].16. Deuteronomy 11:22.17. Scholem, ‘‘Devekut, or Communion with God’’ (1949–50), in The Messianic Idea inJudaism, 203–26. In Jewish philosophy of the medieval period, dybbuk and devekut designatedthe ‘‘conjunction with the agent intellect.’’ See M.-R. Hayoun, ‘‘Dibbuq ou devéqut(conjonction avec l’intellect agent),’’ in Encyclopédie philosophique uanverselle, ii: Les Notionsphilosophiques, ed. S. Auroux (Paris: PUF, 1990), 643–44.18. Warburg, Mnemosyne: Grundbegriffe, 2:3 (note dated July 2, 1929).19. See Didi-Huberman, L’Image survivante.20. Georges Didi-Huberman, ‘‘Pour une anthropologie des singularités formelles: Remarquesur l’invention warburgienne,’’ Genèses: Sciences sociales et histoire, no. 24 (1996):145–63.21. Victor Klemperer, The Language of the Third Reich: LTI, Lingua Tertii Imperii: APhilologist’s Notebook, trans. Martin Brady (1946; London and New Brunswick, N.J.; AthlonePress and Transaction, 2000).22. E. Panofsky, ‘‘Zum Problem der Beschreibung und Inhaltsdeutung von Werkender bildenden Kunst’’ (1932), in Aufsätze zu Grundfragen der Kunstwissenschaft (Berlin: WissenschaftsverlagVolker Spiess, 1998), 85–97.23. Jan Bialostocki, ‘‘Erwin Panofsky (1892–1968): Thinker, Historian, Human Being,’’Semiolus 4, no. 2 (1970): 70.24. Heckscher, ‘‘Erwin Panofsky: A Curriculum Vitae,’’ in Heckscher, 350 n. 11.25. Panofsky, ‘‘Three Decades of Art History in the United States: Impressions of aTransplanted European’’ (1953), in Meaning, 329–30. On Panofsky’s first years in the UnitedStates, see Colin Eisler, ‘‘Kunstgeschichte American Style: A Study in Migration,’’ in TheIntellectual Migration: Europe and America, 1930–1960, ed. D. Fleming and B. Bailyn (Cambridge,Mass.: Harvard University Press, 1969), 544–629; K. Michels, in The Art Historian:National Traditions and Institutional Practices, ed. M. F. Zimmermann (Williamstown,Mass.: Clark Art Institute, 2003).26. Warburg, Mnemosyne: Grundbegriffe, 2:8 (note dated June 8, 1929).Question Posed1. See Georges Didi-Huberman, ‘‘La Couleur de chair ou le paradoxe de Tertullien,’’Nouvelle Revue de Psychanalyse 35 (1987): 9–49.2. Georges Didi-Huberman, Fra Angelico: Dissemblance and Figuration, trans. Jane MarieTodd (French ed. 1990; Chicago: University of Chicago Press, 1995). Didi-Huberman, L’Imageouverte: Motifs de l’incarnation dans les art visuels, forthcoming.3. Two parts of the book have been published previously: one in Mort de Dieu: Fin de