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