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In approaching F. M . Dostoevskij's novels with the express purpose of identifying and determining the function of literary portraiture, one is faced with an unexpected enormous gallery of literary portraits. These are verbal accounts or drawings in words, in which physical appearance and facial expression are described not only to evoke a visual image, but more specifically to discern the inner man. The vast amount of material that came to light in the pursuit of this study has necessitated a selection and omission of equally valid specimens, which would further substantiate that Dostoevskij was a close observer of the physical properties of his characters and that he employed them to delineate psychological and moral disposition.

19th Century novel --- characterization in Dostoyevsky --- Dostoevskij --- Dostoyevsky's concept of man --- Heier --- Literary --- literary portraiture --- Novels --- Portraits --- russian literature

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Defined as a self-image made with a hand-held mobile device and shared via social media platforms, the selfie has facilitated self-imaging becoming a ubiquitous part of globally networked contemporary life. Beyond this selfies have facilitated a diversity of image making practices and enabled otherwise representationally marginalized constituencies to insert self-representations into visual culture. In the Western European and North American art-historical context, self-portraiture has been somewhat rigidly albeit obliquely defined, and selfies have facilitated a shift regarding who literally holds the power to self-image. Like self-portraits, not all selfies are inherently aesthetically or conceptually rigorous or avant-guard. But, –as this project aims to do address via a variety of interdisciplinary approaches– selfies have irreversibly impacted visual culture, contemporary art, and portraiture in particular. Selfies propose new modes of self-imaging, forward emerging aesthetics and challenge established methods, they prove that as scholars and image-makers it is necessary to adapt and innovate in order to contend with the most current form of self-representation to date. The essays gathered herein will reveal that in our current moment it is necessary and advantageous to consider the merits and interventions of selfies and self-portraiture in an expanded field of self-representations. We invite authors to take interdisciplinary global perspectives, to investigate various sub-genres, aesthetic practices, and lineages in which selfies intervene to enrich the discourse on self-representation in the expanded field today. Ace LehnerEditor

Selfies --- self-portraiture --- social media --- art history --- representation --- photography --- contemporary art --- Intersectionality --- intersectional approaches --- identity --- aesthetics --- contemporary life --- consumer culture --- avant-guard

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"S'engageant sur des questions iconographiques d'ordre astrologique, hiéroglyphique, emblématique et allégorique, cet ensemble de textes aborde ensuite le portrait du prince selon son apparence vestimentaire et les fonctions qui lui sont accordées. Une seconde partie examine le reflet du prince en son double, qu'il soit divinité mythologique, empereur ou général romain, et dégage les messages politiques qui en résultent pour magnifier les vertus du souverain et l'image de son gouvernement. La dialectique de l'exploit guerrier et du souci topographique s'impose ensuite pour célébrer le territoire, induire l'idée d'un pouvoir central ou métamorphoser l'histoire en mythe, tandis que la fin de l'ouvrage montre comment la représentation de l'espace urbain peut répondre de diverses manières aux enjeux de la mémoire et du pouvoir. Centré sur les notions de miroir et d'espace appliquées à la figure du prince dans le contexte italien de la Renaissance, cet ouvrage est traversé par deux axes de réflexion. Le premier est hérité de la tradition des Miroirs du prince où celui-ci doit se construire une image et se conformer à un idéal, généralement exprimé par un jeu de symboles, d'allégories et d'analogies. Le second tend à montrer que l'image du prince est bien moins élaborée en termes d'intériorité que tournée vers un réseau d'apparences et un système de rapports de force dont l'espace de la cour, de la cité et du territoire constitue le véritable enjeu et le terrain d'exercice."--Page 4 of cover.

Art, Renaissance --- Symbolism in art. --- Portraits --- Portrait painting, Renaissance --- Portrait sculpture, Renaissance --- History. --- Renaissance portrait sculpture --- Renaissance portrait painting --- Portraiture --- Art --- Biography --- Pictures --- Allegory (Art) --- Signs and symbols in art --- mécénat --- miroir du Prince --- Antiquité --- vertu --- mythologie --- portrait --- Renaissance --- Italie --- iconographie --- pouvoir --- éthique --- symbolisme --- prince

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Photography is clearly not a mirror of daily life: that images are constructions is especially obvious in 19th-century studio portrait photography. This book explores how indigenous Iranian photographers constructed their own realities in contrast to how foreign photographers constructed Iranians' realities. Through an in-depth comparative visual analysis of 19th-century Iranian portrait photography and Persian painting, the author arrives at the insight that aesthetic preferences correlate with socio-cultural habits and practices in writing, reading and looking. Subsequently, she advocates for a place in a global history of photography for those unknown, local photo histories (such as the Iranian one) and for the indigenous photographers who produced them.

Portrait photography -- Iran -- History -- 19th century. --- Portrait photography --- History --- Iran --- Photography --- Portraiture --- Portraits --- República Islâmica do Irã --- Irã --- Persia --- Northern Tier --- Islamic Republic of Iran --- Jumhūrī-i Islāmī-i Īrān --- I-lang --- Paras-Iran --- Paras --- Persia-Iran --- I.R.A. --- Islamische Republik Iran --- Islamskai︠a︡ Respublika Iran --- I.R.I. --- IRI --- ايران --- جمهورى اسلامى ايران --- Êran --- Komarî Îslamî Êran --- Albumen print --- Persian language --- Qajar dynasty --- Western culture

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Automated facial recognition algorithms are increasingly intervening in society. This book offers a unique analysis of these algorithms from a critical visual culture studies perspective. The first part of this study examines the example of an early facial recognition algorithm called »eigenface« and traces a history of the merging of statistics and vision. The second part addresses contemporary artistic engagements with facial recognition technology in the work of Thomas Ruff, Zach Blas, and Trevor Paglen. This book argues that we must take a closer look at the technology of automated facial recognition and claims that its forms of representation are embedded with visual politics. Even more significantly, this technology is redefining what it means to see and be seen in the contemporary world. »Durch die produktive Verschränkung von sozial-, medien- und kunstwissenschaftlichen Diskursen gelingt es der Autorin die Problematik der automatischen Gesichtserkennung in seiner vollen Breite, wie in seiner sozio-historischen Genese deutlich werden zu lassen.« Florian Flömer, www.surveillance-studies.org, 29.01.2020

Media studies --- Communication. Mass media. --- SOCIAL SCIENCE / Media Studies. --- Image. --- Media Aesthetics. --- Media Art. --- Media Studies. --- Photography. --- Technology. --- Visual Studies. --- Visual Culture; Machine Vision; Facial Recognition Technology; Biometrics; Art; Technology; Image; Media Aesthetics; Visual Studies; Media Art; Photography; Media Studies --- Face perception. --- Human face recognition (Computer science) --- Portraits. --- Portraiture --- Art --- Biography --- Pictures --- Face recognition, Human (Computer science) --- Facial pattern recognition (Computer science) --- Optical pattern recognition --- Face recognition (Psychology) --- Facial perception --- Facial recognition (Psychology) --- Recognition, Facial (Psychology) --- Visual perception --- Visual Culture --- Machine Vision --- Facial Recognition Technology --- Biometrics --- Technology --- Image --- Media Aesthetics --- Visual Studies --- Media Art --- Photography --- Media Studies