Midsummer in Fairyland: A Study in Visual Rhetoric
DOI:
https://doi.org/10.52610/rhs.v22i78.47Keywords:
visual rhetoric, memory, enargeia, ambiguity, gazeAbstract
When watching the world around us we are not neutral, but co-creating. Seeing a photograph in an everyday context is not just a matter of taking in sensory data, but of making meaning based on what we think we know about the world. The insight that the gaze is not neutral has political implications because it implies that the meaning of what is watched is not given. In the power game about the gaze, the question of whose gaze gets to be primary becomes central. The gaze is embodied and dependent on memory to become rhetorically effective. These dynamics and their subversive implications are illustrated in this article by a reading of a fashion photography from a German women’s magazine. In the context of a special issue on holidaying in Sweden, a small party of people is posing in a presumably Swedish scenery dressed in traditional German clothes. By highlighting the polysemy of this immediately inconspicuous photo, attention is drawn to factors that tend to be overlooked in a rational and argumentative approach to visual rhetoric.
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