The article proposes an examination of the relations Georges Didi-Huberman’s work establishes between the discipline of philology and the knowledge he applies to images as cultural objects. More precisely, it identifies what are the use values that Georges Didi-Huberman assigns to philology. The argument is constructed semantically, looking at his usage of the word (including derived nouns or adjectives), and also practically, focusing on his writing practice. The analysis is grounded in a distinction between iconologic and imaginative approaches to the study of images.
