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

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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