Massimo Mariani

What Images Really Tell Us

Visual Rhetoric in Art, Graphic Design, and Advertising

• Broschiertes Buch

Produktbeschreibung

This book is a comprehensive discussion on the power and meaning of images. 

---

Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.

Produktdetails

• Verlag: HOAKI BOOKS S.L. / Hoaki Books
• Seitenzahl: 288
• Erscheinungstermin: 15. Oktober 2019
• Englisch
• Abmessung: 246mm x 172mm x 21mm
• Gewicht: 767g
• ISBN-13: 9788417656041
• ISBN-10: 8417656049
• Artikelnr.: 55382299

Autorenporträt

Massimo Mariani, a graduate in painting at the Accademia di Brera, has exhibited in numerous galleries in Italy and abroad. He has published books in Italian on such diverse topics as Freud and the subconscious, the representation of the feminine, detective stories and poetry.

Inhaltsangabe

INTRODUCTION: POETRY AND IMAGE
PART 1
THE TALE
THE IMAGES
A LOOK AT PARTS OF SPEECH.
Nouns. Adjectives. Verbs. Direct objects.
RHETORIC AS VERBO-VISUAL ARTICULATION
CATALOGUE OF THE MAIN RHETORICAL FIGURES OF SPEECH
Metaphor. Metonymy. Synecdoche. Anastrophe. Syndeton. Hyperbole.
Onomatopoeia. Pleonasm. Ekphrasis. Ellipsis. From collage to
post-production an aside on surrealism and computers. Antiphrasis. Irony.
An Election Entertainment. Canvassing for Votes. The Polling. Chairing the
Member.
RECOGNITION AND RESEMBLANCE FOR THREE VOICES
METALEPSIS: FROM THE VERBAL TO THE VISUAL
Verbal examples. Visual examples.
MOSES AND THE INSURANCE COMPANY.
THE CHARACTER GESTURE.
CHARAKTERANALYSE AND THE ICONOLOGY OF CESARE RIPA
PART II
RHETORICAL ARTICULATION APPLIED TO NARRATION
THE GIALLO AND THE NOIR: TWO MODELS OF RHETORICAL NARRATION
The plot of the giallo. The plot of the noir. Two points of view.
VERBO-VISUAL MODELS OF RHETORICAL FIGURES
Seeing the ending. Closed ending. Open ending. Circular ending. Finding
ideas and forms for a narrative plot. The visual, the verbal and the secret
explained by Ernest Hemingway. Examples of analogy.
THE EMPORIUM OF IDEAS
News, preferably about vicious crime. Conversations with friends or
girlfriends, preferably nasty. Television, preferably trash. Character,
preferably a bad one. The visible and hidden images of a plot.
THE RHETORIC OF THE CHARACTER
The character is introduced. The nature and the tone of the character.
Dramatis persona and character. Well-rounded character. Blurred character.
Linear character. Contrasted character. Static character. Dynamic
character.
THE RHETORIC OF CONFLICT
Contrast and conflict in noir. Three examples of noir (visual and verbal).
THE SETTING AS A COLLECTION OF ELEMENTS HOSTING THE ACTION.
The environment and the scene. A harmonic environment. A disharmonic
environment. A harmonic and disharmonic environment together. The typified
scene as opposed to the typical scene. The Cliffhanger. The Frame and the
Dramatis Persona. The sublime vision. The disturbing vision.
DEFECTIVENESS AS A DEROGATION FROM ICASTIC REPRESENTATION
Metonymy: beyond the name. Antonomasia: against the name. Similitude:
relative greatness. Antithesis: turning against. Reticence: omission,
passing over in silence. Asyndeton: no connection. Metaphor: moving beyond,
outside. Preterition: going beyond. Periphrasis: going around.
Prosopopoeia: personification in excess. Hypotyposis: under effigy.
Synecdoche: taking together. Exclamation: enunciating out loud. Hyperbole:
simply exaggerating. Apostrophe: an action and its reversal. Oxymoron: the
juxtaposition of opposites.
CONCLUSION.
BIBLIOGRAPHY.