Quaderni di Venezia Arti

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Volume 7 | Miscellanea | A Driving Force

A Driving Force

On the Rhetoric of Images and Power

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

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.

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