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

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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