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Journal articles on the topic 'Self-portrait in a convex mirror'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Edelman, Lee. "The Pose of Imposture: Ashbery's "Self-Portrait in a Convex Mirror"." Twentieth Century Literature 32, no. 1 (1986): 95. http://dx.doi.org/10.2307/441308.

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Marinelli, Maurizio. "Self-portrait in a Convex Mirror: Colonial Italy Reflects on Tianjin." Transtext(e)s Transcultures 跨文本跨文化, no. 3 (September 1, 2007): 119–50. http://dx.doi.org/10.4000/transtexts.147.

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3

Taha,PhD, Dr Aseel Abdul-Lateef. "Abstract Expressionism Techniques in John Ashbery’s "Self-Portrait in a Convex Mirror"." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 218, no. 1 (2018): 129–46. http://dx.doi.org/10.36473/ujhss.v218i1.531.

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John Ashbery (1927-) is one of the most prominent postmodern poets in America who is known for his innovative techniques. He continues to be the most controversial poet, as he disregards the laws of logic in picturing reality. Ashbery’s style is deeply influenced by the experimental methods of modern painting. He has been mostly associated with Abstract Expressionism that signifies the great progress in the European avant-garde visual art. The Abstract expressionists often choose to present subjects in graceful distortion, rather than attempt to record life with absolute accuracy. Ashbery’s “S
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4

Kozyatincky, R. S. "BACKGROUND AND LINEAR PERSPECTIVE: SPACE IN SELFY." Aspirantskiy Vestnik Povolzhiya 19, no. 3-4 (2019): 67–73. http://dx.doi.org/10.17816/2072-2354.2019.19.2.67-73.

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The article is devoted to the changes in the space representing the background in the selfie through the historical experience of the self-portrait in the visual culture. The digital photographic self-portrait (selfie), which has become one of the most striking phenomena of the visual culture of our time in the context of historical experience of visual representation in the context of a rapidly changing cultural situation (transition from “linguistic” to “iconic turn”) in the context of historical experience of visual representation allows the author to focus on those changes which occur betw
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5

Miller, Stephen Paul. ""Self-Portrait in a Convex Mirror," the Watergate Affair, and Johns's Crosshatch Paintings: Surveillance and Reality-Testing in the Mid-Seventies." boundary 2 20, no. 2 (1993): 84. http://dx.doi.org/10.2307/303359.

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6

Cowie, J. "Portrait of the Working Class in a Convex Mirror: Toward a History of the Seventies." Labor: Studies in Working-Class History of the Americas 2, no. 3 (2005): 93–102. http://dx.doi.org/10.1215/15476715-2-3-93.

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7

Lei, Yunwen, and Ding-Xuan Zhou. "Analysis of Online Composite Mirror Descent Algorithm." Neural Computation 29, no. 3 (2017): 825–60. http://dx.doi.org/10.1162/neco_a_00930.

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We study the convergence of the online composite mirror descent algorithm, which involves a mirror map to reflect the geometry of the data and a convex objective function consisting of a loss and a regularizer possibly inducing sparsity. Our error analysis provides convergence rates in terms of properties of the strongly convex differentiable mirror map and the objective function. For a class of objective functions with Hölder continuous gradients, the convergence rates of the excess (regularized) risk under polynomially decaying step sizes have the order [Formula: see text] after [Formula: se
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Benedikter, Roland, and Judith Hilber. "The Post-Modern Mind. A Reconsideration of John Ashbery’s “Self-Portrait in a Convex Mirror” (1975) from the Viewpoint of an Interdisciplinary History of Ideas." Open Journal of Philosophy 02, no. 01 (2012): 64–73. http://dx.doi.org/10.4236/ojpp.2012.21010.

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9

Li, Yude, Zheng Li, Mei Chen, and Jinglun Liu. "A representative dataset of the self-reproducing light ray family between the multiple distributed Bragg reflectors of multiple VCSELs and the inner surface of plane-convex mirror." Data in Brief 37 (August 2021): 107257. http://dx.doi.org/10.1016/j.dib.2021.107257.

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10

Shepherd, Reginald. "Self-Portrait as Shards of Mirror." Callaloo 17, no. 2 (1994): 500. http://dx.doi.org/10.2307/2931770.

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11

Wang, Haihang, He Xu, Yonghui Zhang, Siqing Chen, Zitong Zhao, and Junlong Chen. "Design of a Bio-Inspired Anti-Erosion Structure for a Water Hydraulic Valve Core: An Experimental Study." Biomimetics 4, no. 3 (2019): 63. http://dx.doi.org/10.3390/biomimetics4030063.

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Animals and plants have numerous active protections for adapting to the complex and severe living environments, providing endless inspiration for extending the service life of materials and machines. Conch, a marine animal living near the coast and chronically suffering from the erosion of sand in water, has adapted to the condition through its anti-erosion conch shell. Romanesco broccoli, a plant whose inflorescence is self-similar in character, has a natural fractal bud’s form. Coupling the convex domes on the conch shell and the fractal structure of Romanesco broccoli, a novel valve core st
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12

Kim, Byoungsun. "Mirror, Self-portrait, Selfie: Genealogy of self-awareness through self-image production." Communication Theories 17, no. 2 (2021): 48–92. http://dx.doi.org/10.20879/ct.2021.17.2.048.

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13

Kim, Byoungsun. "Mirror, Self-portrait, Selfie: Genealogy of self-awareness through self-image production." Communication Theories 17, no. 2 (2021): 48–92. http://dx.doi.org/10.20879/10.20879/ct.2021.17.2.048.

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14

Tobach, Ethel, Alexander J. Skolnick, Isobel Klein, and Gary Greenberg. "Viewing of Self and Nonself Images in a Group of Captive Orangutans (Pongo Pygmaeus Abellii)." Perceptual and Motor Skills 84, no. 2 (1997): 355–70. http://dx.doi.org/10.2466/pms.1997.84.2.355.

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Reports on self-recognition in great apes have been mostly derived from experimental studies of mirror behavior (mark test) requiring anesthetization of the animals. We investigated a relatively noninvasive technique to study this behavior. In two experiments with a group of captive orangutans (1 adult male, 3 adult females, 1 juvenile male, and 1 juvenile female), we presented combinations of blank posters, life-size portraits of each individual in the group, a mirror, and videos. Durations of viewing and patterns of viewing were recorded. The prominent features of the viewing were the differ
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15

Weber, Katharine. "George Gershwin’s Self-Portrait in the Mirror with My Mother." American Imago 72, no. 4 (2015): 335–53. http://dx.doi.org/10.1353/aim.2015.0024.

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16

Knafo, Danielle. "Egon Schiele and Frida Kahlo: The Self-Portrait as Mirror." Journal of the American Academy of Psychoanalysis 19, no. 4 (1991): 630–47. http://dx.doi.org/10.1521/jaap.1.1991.19.4.630.

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17

Hawk, Matthew. "Self-Portrait in a Dirty Mirror With the Lights Off." Appalachian Review 49, no. 1 (2021): 121. http://dx.doi.org/10.1353/aph.2021.0023.

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18

Sakhno, Irina. "Strategy of Female Biographical Writing (The Italics are Mine by Nina Berberova and A Girl Rolling a Hoop by Olga Gildebrandt-Arbenina)." Scientific and analytical journal Burganov House. The space of culture 15, no. 4 (2019): 43–62. http://dx.doi.org/10.36340/doi:2071-6818-2019-15-4-43-62.

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The article focuses on the problem of the morphology of the self-portrait in the structure of female autobiographies of the Silver Age. Nina Berberova’s autobiography and Olga Gildebrandt-Arbenina’s diaries, viewed as self-portraits unfolding in time, are the objects of analysis. On the one hand, the architectonics of self-portrait is related to the development of female subjectivity in the situation when a woman, being in male culture, has to express her identity through ‘italics’ and ‘diaries’. On the other hand, it is related to intermediality as a typical feature of early 20th-century cult
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19

Keshavmurthy, Prashant. "Bīdil’s Portrait." Philological Encounters 1, no. 1-4 (2016): 313–46. http://dx.doi.org/10.1163/24519197-00000009.

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In 1704 the Indo-Persian Sufi and poet Mirzā ʿAbdul Qādir ʿBīdil’ completed an autobiography entitled The Four Elements (Chahār ʿunṣur). Into the fourth “Element” of this text he set an account of a portrait of himself painted around 1677 by Anūp Chhatr, a painter famous for his portraits in the imperial Mughal ateliers of the time. Initially refusing his painter-acquaintance permission to paint him, Bīdil finally yields and is astonished at how the resulting portrait duplicates him like a mirror. After marveling at it for a decade, he falls ill. His friends visit him in his sickbed and one of
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20

Peraica, Ana. "Self-Portrait Hanging between Personal and Social Grimace." Grimace, Vol. 2, no. 1 (2017): 86–89. http://dx.doi.org/10.47659/m2.086.art.

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The article argues that contemporary selfie culture is fully organized around grimaces, one type of face succeeding the other. After being recorded plenty of times, the “duck face” and “fish face” have become almost natural and socially acceptable. Article questions this assumption asking if these types of faces have not in fact already existed before. Grimace can be a result of an inner input, such as pain or madness, distorting our natural face, which then covers up the natural grimace as clothes do our intimate body parts. Thus, there are funny and less funny, socially communicative and mir
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21

Yekti, Bharoto. "Blind Artist Self Portrait and Materiality in Stop-motion Animation." IMOVICCON Conference Proceeding 2, no. 1 (2021): 161–65. http://dx.doi.org/10.37312/imoviccon.v2i1.74.

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This essay analyses touch as an essential element in blind artist artworks which strongly related to stop-motion animation technique. In their practice, some blind artist incorporate touch as the essential part in the process of making and viewing their art or self-portrait. In cinema, incorporating touch also has been applied by filmmakers in order to heightened other senses than visual and audio to bring viewer and film closer. In this essay author discussing how the element of touch in the artworks related to the touch in stop-motion animation technique.the work of Tactile Dialogues (2006),
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22

Ramos, José Artur. "No Traço dos Traços do Nosso Rosto." Philosophica: International Journal for the History of Philosophy 10, no. 19 (2002): 241–50. http://dx.doi.org/10.5840/philosophica20021019/2015.

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The essay Tracing the Traces of our Face concerns the relationship between the drawing, the self-portrait and the image in the mirror. This is accomplished following some ideas exposed in Bachelard's The wather an d the dreams (L'Eau et les Rêves) where the mirroring on still water is put up into debate. The present paper tries to explore a concept of self-portrait departing of Bachelard’s notion of naturalization of the image. In this way it is set up the idea that the drawing self-portrait can be an action that gives back natural presence to identity, which was lost in a too much artificial
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23

Wijnands, Clim. "Reflections of the Hidden Duchess and the Moon King: The Tabula Scalata and the Engaged Beholder in Sixteenth-Century Italy." Ikonotheka, no. 29 (September 16, 2020): 79–101. http://dx.doi.org/10.31338/10.31338/2657-6015ik.29.2.

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A tabula scalata consists of triangular slats painted on two sides and attached to a panel, creating a “double image”. Sometimes, a mirror was placed at straight angles of the upper frame, allowing the beholder to see both painted sides at the same time – but only when standing in the right position. This contribution analyses how these scarcely studied devices relied on the beholder’s active participation to convey intertwined layers of artistic, scientific, political, and poetic meanings. To do so, it discusses two sixteenth-century case studies. The first is a lost painting created in Frenc
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24

Kroll, L., E. Mikhailova, and E. Serdiouk. "Taking Turns Before the Mirror I: Theory and Setting." Group Analysis 28, no. 3 (1995): 281–89. http://dx.doi.org/10.1177/0533316495283004.

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This article deals with one aspect of mirroring in the group therapeutic context. A group member sitting before a mirror describes in detail his or her face as if creating a self-portrait; the group may give support, share feelings, ask questions, produce associations and so on. Many aspects of this technique are relevant to the Group-analytic tradition though the procedure also has something in common with psychodrama and gestalt. At the same time the process obviously deals with altered states of mind, being closely related to the magical and ritualistic function of a mirror in a cultural tr
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25

Brečević, Geska Helena, and Robert Brečević. "Verfünfungseffekt: Delving into the Enchanted World of Fivefold-portraits and Self-partitioning." Magic, Vol. 5, no. 1 (2020): 66–71. http://dx.doi.org/10.47659/m8.066.ess.

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Discovered during a media-archeological investigation into optical illusions, trick photography, and discarded memorabilia, the photo-multigraph technique opened the door to an enchanted world of cloned appearances orbiting in a self-reflective solar system. Shapeshifting into our preferred artistic medium, this turn-of-the-century photographic technique becomes the video-multigraph. It is bizarrely noteworthy that self-isolation would become not only the subject of the piece, but also – due to the unforeseen spread of a recently mutated virus – the prevailing circumstances under which the wor
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26

Schwertsik, Kurt. "Looking into the Mirror: Fragments from diaries, reports, and manifestos." Tempo, no. 161-162 (September 1987): 52–67. http://dx.doi.org/10.1017/s0040298200023342.

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[A selection from Schwertsik's writings was made in 1980 by Harriett Watts for a projected Tempo article, and translated by her in collaboration with Schwertsik. Even though the present expanded and updated selection is once again intended as a general introduction to the composer, it takes account of a marked change in his reputation during the past seven years: neither his detractors nor his friends from the Darmstadt era can any longer echo the ironic words with which he began one of his own poems: ‘We have lost all trace of him./His very existence remains doubtful’.below left: self-portrai
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27

Maggi, Armando. "The Word’s Self‐Portrait in Blood: The Shroud of Turin as Ecstatic Mirror in Emanuele Tesauro’s Baroque Sacred Panegyrics." Journal of Religion 85, no. 4 (2005): 582–608. http://dx.doi.org/10.1086/431811.

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28

Charles-Saget, Annick. "The Limits of the Self in Plotinus." Antichthon 19 (1985): 96–101. http://dx.doi.org/10.1017/s0066477400003269.

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Psychoanalysis is born of the fact that the notion of the self appears unable to take account of the whole of psychological life. Rejecting the limits of the self is recognizing the fact that it is invaded by forces which are completely other than it; it also involves both an analysis of why these are not understood, and a recognition that it is possible for the self to be obliterated. Plotinus asks: “But we . . . who are we?” (6.4.[22].14, 16). Does it involve flagrant anachronism to establish a link between the contemporary philosophy of the limits of the self and the Plotinian opening up to
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29

Schweidler, Walter. "Time and Trace: The Mirror of Time." Kronoscope 14, no. 2 (2014): 150–62. http://dx.doi.org/10.1163/15685241-12341302.

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Diego Velázquez’s Las Meninas is certainly one of the philosophically most interesting, most ambitious and most discussed paintings of all times. It contains a philosophical thesis or insight that can be interpreted in several ways but that also forces the interpreter to come to a precise decision concerning the concrete scenery that is reproduced in this painting. The content of this decision can be characterized quite concretely by the question of the painting’s mirror, which is constitutive for that scenery. The question is if this constitutive mirror is the one that we see in the painting,
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Lesage-Gárriga, Luisa. "Plutarch and the Law of Reflection: Critical and Literary Commentary to De facie 930A-C." Ploutarchos 15 (October 30, 2018): 29–42. http://dx.doi.org/10.14195/0258-655x_15_3.

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In 930A-C, Plutarch introduces and immediately rejects the law of reflection because, in his view, the theory is not self-evident nor unanimously accepted. To reinforce this rejection, he provides two examples taken from the field of catoptrics: 1) the images resulting from convex mirrors and 2) those resulting from folding mirrors. Up until now, the slightly corrupted state of the transmitted text and the technical language of the theory and the examples discussed in the passage have prevented scholars from reaching a sound interpretation of the passage. In this paper, I will first address th
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Lauriola, Rosanna. "Athena and the Paphlagonian in Aristophanes' Knights. Re-considering Equites 1090-5, 1172-81." Mnemosyne 59, no. 1 (2006): 75–94. http://dx.doi.org/10.1163/156852506775455261.

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AbstractThis paper re-examines the treatment of Athena in some passages of Aristophanes' Knights along the lines of a previous study by C.A. Anderson (1991 and 1995). Two topics will be considered: the dream-oracles of Athena (Eq. 1090-5), and some epithets characterizing the goddess during the food-serving contest (Eq. 1172-81). The Paphlagonian's and Sausage-Seller's portraits of Athena are self-referential images in that they are able both to play a significant 'dramatic' role in the contest for the steward-ship of Dêmos, by preparing for the final fate of each character within the comic pl
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Айнутдинов, Антон Сергеевич. "Beyond the severity: portrait of the 1990s in the painting of Igor Simonov." Искусство Евразии, no. 2(17) (June 27, 2020): 12–38. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.001.

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Поздняя живопись уральского художника Игоря Симонова, известного зрителю картинами «сурового стиля», менее всего отмечена как публикой, так и критиками. Статья посвящена описанию трех картин художника этого периода творчества, определивших его основные мировоззренческие и художественные установки. «Аллегория» 1988 года открывает другой этап вчерашнего мэтра «сурового стиля», став картиной-предтечей новых форм искусства в 1990-е годы. Картина «Наш паровоз…» показывает человека в общественной жизни после перестройки, выведенного на холсте до портретного образа. «Автопортрет 1997 г.» дает предста
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Kornbluh, Anna. "Objectively Curious Commitments." Victorian Literature and Culture 48, no. 2 (2020): 445–54. http://dx.doi.org/10.1017/s1060150320000054.

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In these times of ours, whither art? What is the use of the defamiliarizing and the sublime amidst cataclysmic conflicts over identity and belonging, resources and institutions, climate and extinction? Understandably, many defenders of art have lately come to frame their defenses in terms of messaging: artists make art to convey messages otherwise excluded from official discourse (ideology, policy, history, social science), to testify and self-express, to achieve recognition and elicit identification. Spectators and readers in turn look to art in order to see themselves mirrored, their experie
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Esner, Rachel. "Presence in Absence." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, no. 2 (2011): 79–100. http://dx.doi.org/10.28937/1000106179.

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Seit der Epoche der Romantik bringen viele der Diskurse, die künstlerische Kreativität betreffen, den Künstler und seinen Arbeitsraum zusammen: Die Werkstatt wird als ein Spiegel des Künstlers und seines Werks angesehen, als ein Heiligtum, ein sozialer Raum oder eine Ausstellungsfläche. Ein populärer bildlicher Topos der Zeit war die Darstellung des leeren Ateliers. Der vorliegende Beitrag versteht das Bild des leeren Ateliers im 19. Jahrhundert als ein Selbstporträt des Künstlers. Er untersucht, wie die Darstellung des Raums und seiner Objekte dem Gemälde die Präsenz des Künstlers einschreibe
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Stasińska, Antonina. "PRIVILEGED MOBILITY AND UN‑MEDIATED CHOICE? THE CASE OF YOUNG PEOPLE LIVING IN TRANSNATIONAL LONG-DISTANCE RELATIONSHIPS." Studia Humanistyczne AGH 18, no. 3 (2019): 91–104. http://dx.doi.org/10.7494/human.2019.18.3.91.

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In postmodern times of emphasized fluidification, individualism and cosmopolitanism, mobility becomes self-evident and naturalized, yet socially desirable and anticipated. Therefore it is valuable to use ethnography to look at individual experiences. They are young, educated, and mobile, pursuing their dreams and goals while living in big cities: Poles and other (not only) European citizens who maintain transnational long-distance relationships create perfectly suitable representatives of the category of ‘privileged mobility’. This article is based on ethnographic fieldwork I conducted in 2016
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Asmi, Rehenuma. "Everyday Conversions: Islam, Domestic Work, and South Asian Migrant Women in Kuwait." American Journal of Islamic Social Sciences 35, no. 3 (2018): 83–86. http://dx.doi.org/10.35632/ajiss.v35i3.485.

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There is a tendency in academic literature to compare and contrast reli- gions to try to understand the motivations of the convert. What are the costs and benefits of conversion? What is gained and what is lost? Thinking in these utilitarian terms can lead to a focus on causality and materiality, rather than the metaphysical and ephemeral aspects of religious thought and practice. Furthermore, religious conversion to Islam is often mired in the same prejudices and stereotypes of the orient found in western and predominantly Judeo-Christian depictions of the Middle East, the region that Islam i
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Asmi, Rehenuma. "Everyday Conversions: Islam, Domestic Work, and South Asian Migrant Women in Kuwait." American Journal of Islam and Society 35, no. 3 (2018): 83–86. http://dx.doi.org/10.35632/ajis.v35i3.485.

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There is a tendency in academic literature to compare and contrast reli- gions to try to understand the motivations of the convert. What are the costs and benefits of conversion? What is gained and what is lost? Thinking in these utilitarian terms can lead to a focus on causality and materiality, rather than the metaphysical and ephemeral aspects of religious thought and practice. Furthermore, religious conversion to Islam is often mired in the same prejudices and stereotypes of the orient found in western and predominantly Judeo-Christian depictions of the Middle East, the region that Islam i
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38

Serhan, Qasim Salman, and Muhanned Agel Hadi. "The Poet As Painter :, A Study In John Ashbery's "Self-Portrait In A Convex Mirror." آداب الكوفة, 2017, 31. http://dx.doi.org/10.36317/0826-009-030-020.

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39

DIMAKOPOULOU, Stamatina. "The Poetics of Vision and the Redemption of the Subject in John Ashbery’s Self-Portrait in a Convex Mirror." E-rea, no. 2.2 (October 15, 2004). http://dx.doi.org/10.4000/erea.436.

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40

COSTA, Márcia Rodrigues da, and Rodrigo FONTANARI. "PENSAR OS AUTORRETRATOS DE VIVIAN MAIER THINK ON VIVIAN MAIER’S SELF-PORTRAIT." Acta Semiótica et Lingvistica 22, no. 1 (2017). http://dx.doi.org/10.22478/ufpb.2446-7006.2017v22n1.36637.

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Resumo: Este artigo analisa alguns autorretratos de Vivian Maier enquanto construção de cena, espécie de ficção, recorrendo a Barthes, e ao conceito de mise en abyme, conforme o escritor francês André Gide. Em seus autorretratos produzidos com o espelho, a presença da fotógrafa é quase sempre posta em cena desdobrada, rebatida em perspectivas múltiplas, conduzindo-nos a questionar a própria condição do autorretrato, da imagem de si para si mesmo e para o olho do outro. Estas imagens nos mostram a mise en abyme, possibilitada pelo jogo de espelho ou de espelhamento que Vivian Maier explora.Pala
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Dean, Gabrielle. "Portrait of the Self." M/C Journal 5, no. 5 (2002). http://dx.doi.org/10.5204/mcj.1991.

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Let us work backwards from what we know, from personal experience: the photograph of which we have each been the subject. Roland Barthes says of this photograph that it transforms "the subject into object": one begins aping the mask one wants to assume, one begins, in other words, to make oneself conform in appearance to the disguise of an identity (Camera Lucida 11). A quick glance back at your most recent holiday gathering will no doubt confirm his diagnosis. Barthes gives to this subject-object the title of Spectrum in order to neatly join the idea of spectacle with the fearsome spectre, wh
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Paul Stephens. "Self-Portrait in a Context Mirror: Pain and Quotation in the Conceptual Writing of Craig Dworkin." Postmodern Culture 19, no. 3 (2009). http://dx.doi.org/10.1353/pmc.2009.0004.

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43

Caputo, Giovanni B., and Giancarlo Lepore. "Artistic portraits of strange-face illusions produced through eye-to-eye gazing in dyads or mirror-gazing." Leonardo, July 30, 2019, 1–6. http://dx.doi.org/10.1162/leon_a_01824.

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Strange-face illusions are apparitional perceptions of deformed faces, unknown people and monstrous beings – that are produced when staring for a long time at one’s own face reflected in a mirror or when eye-to-eye staring at another person in a dyad, at low level room illumination. In this experiment, portrait artists were invited to draw strange-face illusions they perceived during a 10-minute session of eye-to-eye gazing while paired in dyads with naïve participants. Dissociation was measured through standard self-report questionnaires. Results showed that portraits became more abstract and
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44

Sobral, Filomena Antunes, and Cláudia Figueiredo Simões. "Metamorfoses – Um projeto de videoarte e fotografia." AVANCA | CINEMA, February 26, 2021. http://dx.doi.org/10.37390/avancacinema.2020.a113.

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Metamorphoses is a project whose objective is to induce introspective thinking about the search for perfection through the image. It refers to the existence of metamorphic gaze when the reflection of the self reproduces itself in the mirror: there remains the manifest contemplation of the individual as a reflected element and simultaneously a second surreptitious image created by the projection of the self. It is evidenced the artistic interpretation of the relationship of the subject with his reflection conditioned by social and cultural experience.Many artists use their own bodies to convey
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45

Guéneau, Catherine. "Auto-fiction(s) du réel : « La Pudeur ou l'Impudeur » d'Hervé Guibert." @nalyses. Revue des littératures franco-canadiennes et québécoise, April 16, 2012. http://dx.doi.org/10.18192/analyses.v7i2.361.

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Si l’autobiographie en littérature ou l’autoportait en peinture et en photographie ont été couramment pratiqués, le cinéma semblait moins adapté techniquement à ce type de réalisation intimiste. L’apparition progressive de procédés de filmage plus légers donnera finalement aux cinéastes toute la liberté nécessaire pour l’auto-filmage. Le film d’Hervé Guibert La Pudeur ou l’Impudeur (1991), en utilisant ce type de dispositif, entrecroise des enjeux de vie avec des enjeux de représentation à travers ce qu’on pourrait nommer « un cinéma du subjectif». Un cinéma qui ne serait plus séparé de la vie
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46

Goodall, Jane. "Looking Glass Worlds: The Queen and the Mirror." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1141.

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As Lewis Carroll’s Alice comes to the end of her journey through the looking glass world, she has also come to the end of her patience with its strange power games and arbitrations. At every stage of the adventure, she has encountered someone who wants to dictate rules and protocols, and a lesson on table manners from the Red Queen finally triggers rebellion. “I can’t stand this any more,” Alice cries, as she seizes the tablecloth and hurls the entire setting into chaos (279). Then, catching hold of the Red Queen, she gives her a good shaking, until the rigid contours of the imperious figure b
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McCosker, Anthony. "Blogging Illness: Recovering in Public." M/C Journal 11, no. 6 (2008). http://dx.doi.org/10.5204/mcj.104.

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As a mode of open access public self-expression, blogs are one form of the unfolding massification of culture (Lovink). Though widely varied in content and style, they are characterised by a reverse chronological diary-like format, often produced by a single author, and often intimately expressive of that author’s thoughts and experiences. The purpose of this paper is to explore the use of blogs as a space for the detailed and on-going expression of the day to day experiences of sufferers of serious illness. We might traditionally consider the experience of illness as absolutely private, but i
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48

Gabler, Colin Bauer, V. Myles Landers, and R. Glenn Richey. "Benefits and challenges of developing an eco-social orientation: implications for marketing practice." European Journal of Marketing ahead-of-print, ahead-of-print (2020). http://dx.doi.org/10.1108/ejm-05-2019-0400.

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Purpose Social and environmental actors have been added to the stakeholder balancing act required of organizations in today’s competitive marketplace. To address this, the firms may create orientations to convey their strategic priorities. The purpose of this paper is to explore how different levels of environmental orientation (EO) and social orientation (SO) influence firm outcomes. This paper leverages logic from the too-much-of-a-good-thing effect to predict that firms must strategically align their resources with performance goals to optimize these resources. Design/methodology/approach T
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Shiloh, Ilana. "Adaptation, Intertextuality, and the Endless Deferral of Meaning." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2636.

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 Film adaptation is an ambiguous term, both semantically and conceptually. Among its multiple connotations, the word “adaptation” may signify an artistic composition that has been recast in a new form, an alteration in the structure or function of an organism to make it better fitted for survival, or a modification in individual or social activity in adjustment to social surroundings. What all these definitions have in common is a tacitly implied hierarchy and valorisation: they presume the existence of an origin to which the recast work of art is indebted, or of biological
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50

Starrs, D. Bruno. "Enabling the Auteurial Voice in Dance Me to My Song." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.49.

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Despite numerous critics describing him as an auteur (i.e. a film-maker who ‘does’ everything and fulfils every production role [Bordwell and Thompson 37] and/or with a signature “world-view” detectable in his/her work [Caughie 10]), Rolf de Heer appears to have declined primary authorship of Dance Me to My Song (1997), his seventh in an oeuvre of twelve feature films. Indeed, the opening credits do not mention his name at all: it is only with the closing credits that the audience learns de Heer has directed the film. Rather, as the film commences, the viewer is informed by the titles that it
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