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
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