Fear, Reverence, Terror

We are surrounded by images, fairly drowning in them. From our cell phones to our computers, from our televisions at home to the screens that light up while we wait in the grocery store checkout line, images of all kinds are seducing us, commanding us to buy!, scaring us, dazzling us.

Fear, Reverence, Terror invites us to look at images slowly, with the help of a few examples: Picasso’s Guernica, the “Lord Kitchener Wants You” World War I recruitment poster, Jacques-Louis David’s Marat, the frontispiece of Thomas Hobbes’s Leviathan, a cup of gilded silver with scenes from the conquest of the New World. Are these political images, Carlo Ginzburg asks? Yes, because every image is, in a sense, political—an instrument of power. Tacitus once wrote, unforgettably, that we are enslaved by lies of which we ourselves are the authors. Is it possible to break this bond? Fear, Reverence, Terror will answer this question.

Praise for Ginzburg
 
“Ginzburg has many claims to be considered the outstanding European historian of the generation which came of age in the late Sixties. Certainly few have equalled him in originality, variety, and audacity.”—London Review of Books 
 
“Ginzburg’s scholarship is dazzling and profound.”—Publisher’s Weekly 
 

Suntem inconjurati de imagini, destul de inecate in ele. De la telefoanele noastre mobile la computerele noastre, de la televizoarele noastre de acasa la ecranele care se aprind in timp ce asteptam in linia de cumparaturi a magazinelor alimentare, imagini de tot felul ne seduc, comandandu-ne sa cumparam!, Ne sperie, ne orbesc. , Reverenta, teroare ne invita sa privim imaginile incet, cu ajutorul catorva exemple: Guernica lui Picasso, posterul de recrutare „Lord Kitchener Wants You” din primul razboi mondial, Maratul lui Jacques-Louis David, frontispiciul Leviatanului lui Thomas Hobbes, un cana de argint aurit cu scene din cucerirea Lumii Noi.