Quaderni di Venezia Arti

Series | Quaderni di Venezia Arti
Volume 7 | Edited book | A Driving Force

A Driving Force

On the Rhetoric of Images and Power

open access | peer reviewed
    edited by
  • Angelica Bertoli - Università Ca’ Foscari Venezia, Italia - email
  • Giulia Gelmi - Università Ca’ Foscari Venezia, Italia - email
  • Andrea Missagia - Università Ca’ Foscari Venezia, Italia - email orcid profile
  • Maria Novella Tavano - Università Ca’ Foscari Venezia, Italia - email

Abstract

The volume comprises a selection of papers presented at the 5th Postgraduate International Conference organized by the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice (Venice, 4-6 October 2023): A Driving Force. On the Rhetoric of Images and Power. In the introduction to his well-known The Power of Images (1989), David Freedberg claims not only that images hold power over us, but they are also, inevitably, related to ‘power’ itself. Art is therefore a powerful and non-neutral tool. Its forms and expressions influence and manipulate the realm of the real. Throughout human history, the artist’s creative power gave form, substance, and meaning to otherwise inert matter. This process turned the artist into a demiurge. Furthermore, once images are given their final form, they circulate and live a life of their own. The 5th Postgraduate International Conference was aimed at investigating the rhetorical nature of the intersection between image and power. In 1979 Yuri Lotman claimed that “rhetoric” is the displacement of the structural principles of a given semiotic sphere into another semiotic sphere. The Tartu semiologist’s approach implies that the “correlation with different semiotic systems gives rise to a rhetorical situation in which a powerful source of elaboration of new meanings is contained”. In exploring these meanings from a multidisciplinary perspective, this volume investigates two main themes: the power of the image, as an autonomous device, endowed with a pervasive and persuasive character; the image as a form for representing power which addresses questions concerning the sense of authority, and its negation, namely a sense of dissidence and counter-narrations.

Keywords Allegory • Painted facade • Political iconology • Visual identity • Postcolonialism • John V Palaiologos • Visual Culture • Venice • Gendered bodies • Religious submission • Arts and crafts • Rhetoric • Aby Warburg • Wearable technologies • Venice Biennale • Renaissance • Kustar • Design • Paraesthetics • The Bureau of Melodramatic Research • French Revolution • Russian Empire • Symbols • Un’Ambigua Utopia • Image theory • Pietro Aretino • Lucerne • Modern art history • Sixteenth-century Italian art • Poor power images • Propaganda • Post-representation • The Peggy Guggenheim Collection • Portrait de la jeune fille en few • Wood • Coronation of Miraculous Images • Autotheory • Byzantine sculpture • Materialism • Fascism • Geographical personifications • Public sphere • Distorted portrait • Feminist art • Revolutionary festival • New Media Installation Art • Alternative press • Power of the images • Crossmapping • Historiographical bias • Countersurveillance Fashion • Occupational realism • Lebanon • Post-Representation • Jan Fryderyk Sapieha • Technology • Contemporary art • Folklore • Modern Art History • Holbein • Latin faith • Exhibition • Macedonia • Vittorio Viale • Our Lady of Kodeń • Iconography • Sursock Museum • Nicolas Ibrahim Sursock • Poor power Images • Power representation • Byzantine Empire • Drone • Polish-Lithuanian Commonwealth • Beirut • Palazzo Madama, Torino • Arts • Portrait de la jeune fille en feu • Directory • Cittadini originari • Salon d'Automne • Gaze • Melodrama • Image • Second Post War Period • Politics • New Formalism • Authority • Socially engaged art • Surveillance • Labour of love • General intellect • A/traverso • Russian style • Sex • Power • Byzantine empire • Political iconography • National image • New media installation art • Salon dʼAutomne • Dissidence • Sapieha family • Palaiologan Renaissance • Image and power • Metaphor • Neoliberal imaginary • Semiology • Saint George • Speculative design • Italy • Kodeń • Scuole Grandi • Optic Nerve • Warfare • Decoloniality • Visual culture • Speculative Design • Countersurveillance fashion

Permalink http://doi.org/10.30687/978-88-6969-771-5 | e-ISBN 978-88-6969-771-5 | Published Dec. 22, 2023 | Language en

Copyright © 2023 Angelica Bertoli, Giulia Gelmi, Andrea Missagia, Maria Novella Tavano. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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