Academia.eduAcademia.edu

Figure 41 – uploaded by Charles Forceville

See full PDFdownloadDownload figure
cases, the vectors encourage a perception of rightward movement into a future moment of combat.

Figure 41 cases, the vectors encourage a perception of rightward movement into a future moment of combat.

Related Figures (54)

Figure 4: The town of Eger. Www ssts seta tw aad aaa oo YUtwiv aaa) rai tiiwvow a a co aa £4ivVvriw OM a J? At this point the advertisement continues with a couple of im- ages depicting Hungarian landscapes. The initial scene depicts the Buda Castle and the Danube (located in Budapest), followed by an image of the first abbey constructed in Hungary, that of Tihany, and Lake Balaton (in the background). These landscapes are relatively easily recognizable by a vast majority of Hungarians and conjure up the HUNGARY frame, whereby SALIENT MEMBERS OF THE CATEGORY (LOCATIONS IN HUNGARY) STAND FOR THE CATEGORY (HUNGARY). The last image in the succession of Hungarian landscapes, is, how- ever, not as easily identifiable, and is definitely not a major tourist hotspot in the country (at least not for foreigners). The image shows a
Figure 4: The town of Eger. Www ssts seta tw aad aaa oo YUtwiv aaa) rai tiiwvow a a co aa £4ivVvriw OM a J? At this point the advertisement continues with a couple of im- ages depicting Hungarian landscapes. The initial scene depicts the Buda Castle and the Danube (located in Budapest), followed by an image of the first abbey constructed in Hungary, that of Tihany, and Lake Balaton (in the background). These landscapes are relatively easily recognizable by a vast majority of Hungarians and conjure up the HUNGARY frame, whereby SALIENT MEMBERS OF THE CATEGORY (LOCATIONS IN HUNGARY) STAND FOR THE CATEGORY (HUNGARY). The last image in the succession of Hungarian landscapes, is, how- ever, not as easily identifiable, and is definitely not a major tourist hotspot in the country (at least not for foreigners). The image shows a
Figure 1: A bunned chair from Homorédalmas, 1863.'*
Figure 1: A bunned chair from Homorédalmas, 1863.'*
Figure 3: The statue of a gun in the front of United Nations Headquarters.
Figure 3: The statue of a gun in the front of United Nations Headquarters.
For centuries, artists have used visual metaphors to subtly commu- nicate the subject of their works. For example, rather than paint Jesus Christ walking through Renaissance Florence, many 16th-century Ital- ian artists would use symbols that represented Christ, like a lamb or dove. These symbols were metaphors of Christ’s presence that audi- ences of the time would have understood. Other examples of visual metaphors can be even more subtle. Check out the 1765 painting A Philosopher Lecturing at the Orrery by Joseph Wright of Derby (Fig- ure 6). An orrery was an 18th-century interactive model of the solar system.
For centuries, artists have used visual metaphors to subtly commu- nicate the subject of their works. For example, rather than paint Jesus Christ walking through Renaissance Florence, many 16th-century Ital- ian artists would use symbols that represented Christ, like a lamb or dove. These symbols were metaphors of Christ’s presence that audi- ences of the time would have understood. Other examples of visual metaphors can be even more subtle. Check out the 1765 painting A Philosopher Lecturing at the Orrery by Joseph Wright of Derby (Fig- ure 6). An orrery was an 18th-century interactive model of the solar system.
Figure 11: Advertisement for Bergedorfer Beer.
Figure 11: Advertisement for Bergedorfer Beer.
gance of the sport gesture is like a brushstroke on a canvas, while the second metaphor probably encourages us to imagine an artist as rich and famous as a football player. The two interpretations are totally different, because the metaphors are totally different.
gance of the sport gesture is like a brushstroke on a canvas, while the second metaphor probably encourages us to imagine an artist as rich and famous as a football player. The two interpretations are totally different, because the metaphors are totally different.
So, if mental imagery is so pervasive, then it is also funda- mental in perceiving, appreciating and interpreting pictures, as well
So, if mental imagery is so pervasive, then it is also funda- mental in perceiving, appreciating and interpreting pictures, as well
'© Erwin Panofsky, Studies in Iconology (1939), Boulder: Westview Press, 19 pp. 86-91. '’ Nanay, Aesthetics as Philosophy of Perception, p. 87.
'© Erwin Panofsky, Studies in Iconology (1939), Boulder: Westview Press, 19 pp. 86-91. '’ Nanay, Aesthetics as Philosophy of Perception, p. 87.
Because of the highly coded “speech act’ the traffic sign tem- plates present, it is possible to deploy them for humorous purposes, or even to persuade viewers to adopt ideas, or undertake actions, that are not related to behaviour in traffic. In Forceville and Kjeldsen (op. cit.) we discussed some examples of both. An example of a “traffic sign” in which a rhetorical point is made is Figure 3. We are all familiar with Figure 2, an “instructive” sign indicating a footpath. Figure 3, by varying on Figure 2, makes the point that it is odd that that the adult and child on the official sign by default seem to be male, exposing this gender bias by depicting the two humans as fe- male. Even though this traffic sign probably was an embellished ac- tual sign in the real world (rather than a photoshopped version of a picture of such a sign), from a rhetorical perspective its precise loca- tion does not matter much anymore: unlike in Figure 2a, one can re- locate the sign to make a more general point: “it is wrong to (stand- ardly) use the male variety of the species as the default to depict 999 ‘people’.
Because of the highly coded “speech act’ the traffic sign tem- plates present, it is possible to deploy them for humorous purposes, or even to persuade viewers to adopt ideas, or undertake actions, that are not related to behaviour in traffic. In Forceville and Kjeldsen (op. cit.) we discussed some examples of both. An example of a “traffic sign” in which a rhetorical point is made is Figure 3. We are all familiar with Figure 2, an “instructive” sign indicating a footpath. Figure 3, by varying on Figure 2, makes the point that it is odd that that the adult and child on the official sign by default seem to be male, exposing this gender bias by depicting the two humans as fe- male. Even though this traffic sign probably was an embellished ac- tual sign in the real world (rather than a photoshopped version of a picture of such a sign), from a rhetorical perspective its precise loca- tion does not matter much anymore: unlike in Figure 2a, one can re- locate the sign to make a more general point: “it is wrong to (stand- ardly) use the male variety of the species as the default to depict 999 ‘people’.
Figure Ila: Street art by Clet Abraham."°
Figure Ila: Street art by Clet Abraham."°
Figure 1: Raising the Flag on Iwo Jima is a photograph taken by Joe Rosenthal on February 23, 1945, which depicts United States Marines raising a U.S. flag during the Battle of Iwo Jima.
Figure 1: Raising the Flag on Iwo Jima is a photograph taken by Joe Rosenthal on February 23, 1945, which depicts United States Marines raising a U.S. flag during the Battle of Iwo Jima.
wonderfully suggestive.* It points to an important connection that is either missing or passed over quickly in discussions of vectors: directionality and the viewer’s conceptualization of depicted time. Simply put, because narratives typically feature a beginning, middle, and end, a narrative image encourages the viewer to contextualize the depicted moment by imagining the events that have lead up to it and those that will follow it. A horizontal vector, in turn, can function as a temporal locus within the image, inviting the viewer to plot those imagined narrative moments along its axis. Consider, for example, the narrative image in Figure 3. One of four pendentives on Michelangelo’s Sistine Chapel, it portrays a singular moment from the biblical story of David and Goliath. Even those unfamiliar with the plot can quickly intuit the ongoing action: momentarily, David will use the sword to sever Goliath’s head. Note that Michelangelo has placed the sword at the left side of the image,
wonderfully suggestive.* It points to an important connection that is either missing or passed over quickly in discussions of vectors: directionality and the viewer’s conceptualization of depicted time. Simply put, because narratives typically feature a beginning, middle, and end, a narrative image encourages the viewer to contextualize the depicted moment by imagining the events that have lead up to it and those that will follow it. A horizontal vector, in turn, can function as a temporal locus within the image, inviting the viewer to plot those imagined narrative moments along its axis. Consider, for example, the narrative image in Figure 3. One of four pendentives on Michelangelo’s Sistine Chapel, it portrays a singular moment from the biblical story of David and Goliath. Even those unfamiliar with the plot can quickly intuit the ongoing action: momentarily, David will use the sword to sever Goliath’s head. Note that Michelangelo has placed the sword at the left side of the image,
workers’ leisure time. I found a photography of Kiraly’s which may have been taken on the occasion of such a trip to a holiday resort building in Agard near the Lake Velence (Figure 5).
workers’ leisure time. I found a photography of Kiraly’s which may have been taken on the occasion of such a trip to a holiday resort building in Agard near the Lake Velence (Figure 5).
Figure 1: City council of Madrid © Juanjo Martin, El Mundo.
Figure 1: City council of Madrid © Juanjo Martin, El Mundo.
Related topics:
Visual RhetoricSpeech Act TheoryVisual Communication Design ExpertiseVisual Argumentation
580 California St., Suite 400
San Francisco, CA, 94104
© 2025 Academia. All rights reserved