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                <term xml:lang="fr">Friedrich Theodor Vischer</term>
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                <term xml:lang="fr">symbole</term>
                <term xml:lang="fr">Einfühlung</term>
                <term xml:lang="fr">empathie</term>
                <term xml:lang="fr">esthétique</term>
                <term xml:lang="fr">histoire de l'art</term>
                <term xml:lang="fr">mimique</term>
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              <p>The article analyses – as part of a long-term history of “symbol” in german aesthetics – how Aby Warburg, in his Fragments on Expression, reconfigures the content of Friedrich Theodor Vischer’s article Das Symbol (1887). The aim is to clarify the resemantisation at work in this transfer from philosophical aesthetics to the construction of a science of culture. The article thus contributes to the study of the meaning that Warburg gives to the central concepts of symbol, mimicry, and Einfühlung. First, I analyse the change in meaning that Warburg brings to Vischer's typology of symbols. Next, I examine how he integrates the aesthetic concept of Einfühlung (empathy), which Friedrich Theodor Vischer had developed based on the work of his son, Robert Vischer (1873). A final section shows, in contrast to existing research, that with regard to the concept of Einfühlung, Warburg not only took up what F. T. Vischer had taken from Robert Vischer, but also the criticism levelled by Vischer senior at Vischer junior.</p>
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              <p>L’article analyse, dans le contexte de l’histoire longue du symbole en esthétique, la manière dont Aby Warburg dans les Fragments sur l’expression s’approprie le contenu de l’essai de Friedrich Theodor Vischer intitulé Das Symbol (1887). Le but est de préciser la teneur de la resémantisation à l’oeuvre dans ce transfert de l’esthétique philosophique vers la construction d’une science de la culture. L’article contribue ainsi à l’étude du sens que prennent chez Warburg les concepts centraux de symbole, de mimique et d’Einfühlung. Nous analysons d’abord le changement de sens que Warburg fait subir à la typologie des symboles de F.T. Vischer. Puis nous étudions la réélaboration warburgienne du concept esthétique d’Einfühlung (empathie), que F. T. Vischer avait développé en s’appuyant sur la thèse de son fils, Robert Vischer (1873). Une dernière partie montre, à la différence des études déjà existantes, que concernant le concept d’Einfühlung, Warburg ne reprend pas seulement, de l’article de F. T. Vischer, ce que ce dernier tenait de Robert Vischer, mais aussi la critique adressée par Vischer père à Vischer fils.</p>
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