___

Agamben, G.,(2013) Nymphs, trsl: Amanda Minervini, Seagulls Books: Utah

Agamben, G., (1994), “Aby Warburg and the Nameless Science”, Potentialities, trsl: Daniel Heller Roasen, Stanford University Press: Standford 89-166

Akay, A.,(2006) Sanat Tarihi Sıradışı Bir Disiplin, Yapı Kredi Yayınları: İstanbul

Buchloh, B.,(1999) “Gerhard Richter's "Atlas": The Anomic Archive” , October, Vol. 88 (Spring),The MIT Press, pp. 117-145

Campbell, J.,(1991). The Power of Myth (with Bill Moyers). Anchor Books edition (non-illustrated smaller-format edition). s. 111.

Cassirer, E.,(1925), Dedication letter to Aby Warburg, in Idem, The Individual and the Cosmos in Renaissance Philosophy transl. by M. Domandi, Oxford, Blackwell, 1963

DeMallie, R,J. ed. (1985). The Sixth Grandfather: Black Elk's Teachings Given to John G. Neihardt, University of Nebraska Press. s. 47.

Durantaye, L.L., (2008) “Ghost Stories for the Very Adult” The Believer, January, Volume 6, Number 1. 26-30Fernie, E. (1995) Art History and Its Methods: A Critical Anthology, Phaidon, London

Ginzburg, C., (2007) Efsaneler Amblemler İzler, Morfoloji ve Tarih, çev: Mehmet Moralı, Kırmızı Yayınları:İstanbul

Gombrich,E. H.,(1999) “Aby Warburg: His Aims and Methods: An Anniversary Lecture”

Journal of the Warburg and Courtauld Institutes, Vol. 62. pp. 268-282.

Hodapp, Christopher L.,(2010) Deciphering the Lost Symbol: Freemasons, Myths and the Mysteries of Washington, D.C. Ulysses Press: Berkeley.

Iversen, M., Melville, S., (2010) Writing Art History, Disciplinary Departures, Universtiy of Chicago Press: Chicago.

Johnson, C., (2012) Memory, Metaphor, and Aby Warburg’s Atlas of Images, Cornell University Press: New York.

Kaek, M.,(2016), “Of Marble Women and Sleeping Nymphs”, Translating Myth, ed: Ben Pestell, Pietra Palozzolo, Leon Burnet, Routledge: New York. s.131-144

Manguel, A.,(2008) Geceleyin Kütüphane, çev: Dilek Şendil, Yapı Kredi Yayınları: İstanbul

Markman, P., Markman, R., (1989) Mask of the Spirit: Image and the Metaphor in Mesoamerica, University of California Press: Berkeley

Mooney, J.,(1896) The Ghost Dance Religion and Wounded Knee, Dover Publications: New York

Papapetrosi S.,(2010), “World Ornament”, Anthropology and Aesthetics, Res 57/58 Spring Autumn, s. 309-330

Preziosi, D., der.(1998) The Art of Art History: A Crritical Anthology, Oxford University Press, Oxford, New York

Rampley, M.,(2001), “Mimesis and Alegory: On Aby Warburg and Walter Benjamin”,Art History as Cultural History, ed. Richard Woodfield, Overseas Publ: Amsterdam, s. 121-151.

Russel, Mark, A., (2007) Between Tradition and Modernity, Berghahn Books: New York

Steinberg, P.M., (1995) “Aby Warburg’s Kreuzlingen Lecture: A Reading”, Images From The Region of the Pueblo Indians of North America, Aby M Warburg, Cornell University Press:Ithaka pp: 59-110

Warburg, A., (2001) “The Entry of the Idealizing Classical Style in the Painting Of Early Renaissance”, Art History as Cultural History, ed. Richard Woodfield, Overseas Publ: Amsterdam. pp.7-33

Warburg, A.,(1999) “Dürer and Italian Antiquity, 1905”, The Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance, Translation by David Britt Getty Center for the History of Art and the Humanities: Los Angeles, pp.555-558

Warburg, A., (1999) “Pagan-Antique Prophecy in Words and Images in the Age of Luther,1920”, The Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance, Translation by David Britt Getty Center for the History of Art and the Humanities: Los Angeles, pp.597-667

Wind, E., (2009), “Warburg’s Concept of Kulturwissenschaft and its Meaning for Aesthetics”, The Art of Art History, Ed. D. Preziosi, New York: Oxford University Press, s. 189-194.

Wolf, G.,(2016), “Warburg’s Boticelli and Boticelli’s Nymph”, Boticelli Re-Imagined, ed. Mark Evans, Stefan Weppelmann, Victoria Alberts Publishing: Londra, s.102-106.

Zilberg, J., (2011) “A Note On Warburg”, Transtechnology Research, Plymouth University