A Driving Force
On the Rhetoric of Images and Power
open access | peer reviewed
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a cura di
- 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 New Media Installation Art • Latin faith • Socially engaged art • Feminist art • Venice • Speculative Design • Jan Fryderyk Sapieha • Sixteenth-century Italian art • Painted facade • Scuole Grandi • Kustar • Rhetoric • Aby Warburg • Decoloniality • Design • Image and power • Wearable technologies • Occupational realism • Metaphor • Authority • Coronation of Miraculous Images • Salon d'Automne • Portrait de la jeune fille en feu • Post-representation • Speculative design • Historiographical bias • Dissidence • Warfare • Postcolonialism • Gaze • Saint George • Surveillance • Arts • Portrait de la jeune fille en few • Crossmapping • John V Palaiologos • Second Post War Period • General intellect • Geographical personifications • Beirut • Semiology • Palaiologan Renaissance • Un’Ambigua Utopia • Byzantine sculpture • Power representation • Power • Alternative press • French Revolution • Iconography • Gendered bodies • Byzantine empire • Byzantine Empire • Post-Representation • Religious submission • Countersurveillance Fashion • Contemporary art • Lucerne • Venice Biennale • Politics • Polish-Lithuanian Commonwealth • Vittorio Viale • Distorted portrait • Italy • Arts and crafts • A/traverso • Visual culture • Technology • Holbein • Nicolas Ibrahim Sursock • Drone • Materialism • Political iconology • Allegory • Image • Cittadini originari • Macedonia • Political iconography • Palazzo Madama, Torino • Directory • Sursock Museum • Autotheory • Poor power images • The Peggy Guggenheim Collection • Propaganda • Exhibition • Our Lady of Kodeń • Sex • Visual identity • Optic Nerve • Symbols • Paraesthetics • Renaissance • National image • Visual Culture • Kodeń • Modern art history • Revolutionary festival • Russian Empire • Neoliberal imaginary • Wood • Folklore • Salon dʼAutomne • Countersurveillance fashion • Poor power Images • Sapieha family • Image theory • Fascism • New media installation art • Power of the images • Russian style • New Formalism • Lebanon • The Bureau of Melodramatic Research • Labour of love • Pietro Aretino • Public sphere • Modern Art History • Melodrama
Permalink http://doi.org/10.30687/978-88-6969-771-5 | e-ISBN 978-88-6969-771-5 | Pubblicato 22 Dicembre 2023 | Lingua 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.