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Conflicting Messages: The Visual Rhetoric of Slow Food

100%
Garner B.
Communication Today
|
2015
|
vol. 6
|
issue 2
112–119
EN
This research provides a rhetorical analysis of the visual communication of the Slow Food International website to consider how Slow Food communicates messages to its audience via photographs on its website. Using a visual communication perspective combined with Perelman’s notion of “rhetorical presence” as a theoretical framework, I argue that Slow Food’s visual communication (photographs and website content) conflict with their creed stating that good food should be available to people of all incomes and backgrounds. I explore how the visual messages of two representative photographs evoke compelling imagery of travel, gourmet food, cooking, and fine dining. However, I contend that these images fail to overcome rhetorical barriers of time, money, and skill that would be needed to get more lower- and middle-class people and home cooks to implement Slow Food objectives. Thus, the Slow Food photographs alienate those with less income, leisure time, or cooking skill and reinforce the view of Slow Food as an elitist social movement.
2

NA MARGO VZŤAHOV A SÚVISLOSTÍ MEDZI REČNÍCKYMI OZDOBAMI A FORMULAMI PÁTOSU V RANONOVOVEKEJ PORTRÉTNEJ TEÓRII A PRAXI

100%
Halászová I.
ARS
|
2024
|
vol. 57
|
issue 1
21 - 34
EN
The theme of eternal returns in art and culture focuses on certain historically returning principles that survive in cultural society, even under new conditions, in a modified form. As one of them, the survival of ancient rhetoric through the centuries to the present day is one of them. The presented text shows the trajectories of how classical rhetoric was reactivated in the early modern period in theoretical writing on art and functionally applied to contemporary visual (especially portrait) practice. It also points to the internal parallels between the effort of German and Netherlandish painters and theorists of art to emphasize the persuasive necessity of certain forms of dynamic movement in the picture to Aby Warburg’s much the same ambition to identify such movement, energizing and spiritual patterns (pathos formulas) in his paintings. Last but not least, the contribution opens a new field of research into the experience of Warburgian pathos formulas in early modern portraiture.
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