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FACES WITHOUT INTERIORITY: MUSIC VIDEO’S REINVENTION OF THE PORTRAIT

100%
Jirsa T.
World Literature Studies
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2019
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vol. 11
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issue 4
55 – 68
EN
No matter how contemporary music videos differ across genres, aesthetic styles, and production background, they usually focus on the performer’s face. Exploring its opacity and agency, this essay argues that contemporary music video production replaces the face as an expression of the subject’s interiority and identity with a media-affective interface whose main function is to amplify the video’s work of audio-visual forms, performative mechanisms, and atmosphere. Through a close reading of the hip-hop video Chum by Earl Sweatshirt (dir. Hiro Murai, 2012), I demonstrate how it generates the face as an audio-visual screen that absorbs, intensifies, and gives rhythm to both the moving images and sounds. Such desubjectification opens a way to rethink portraiture within the music video genre as a media operation undermining the traditional notions of representation, interiority, and identity in favour of unfolding its technological and affective links between sounds, moving images, and lyrics.
2

FACEBOOK EFFACING THE FACE? REASSESSING LEVINAS’S ETHICS IN THE AGE OF SOCIAL CONNECTIVITY

100%
Hofmeyr B.
Filozofia (Philosophy)
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2014
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vol. 69
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issue 2
119 – 130
EN
Though the distant Other, the faceless stranger becomes ever closer and more accessible through various technological mediations and social networks, we seem to grow increasingly disconnected from any possibility of what Levinas calls ‘proximity’. ‘Proximity’ – the face-to-face encounter with the other person – signals a traumatising indictment of the gravitational pull of our egoism rooted in what Spinoza referred to as our conatus essendi. Rather than individualistic self-actualisation, Levinas sees brotherhood as the fundamental presupposition of our shared humanity and as the foundation of freedom and equality. While rather a-ethical than immoral, it is our very conatus that seems to open the door to indifference, prejudice and hate. On the other hand, the possibility of ethical action, of a humane society, is something that Levinas attempts to account for by the help of a responsibility more fundamental than our ontological blueprint.
3
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PLASMATIC MIMESIS: NOTES ON EISENSTEIN’S (INTER)FACES

100%
Geil A.
World Literature Studies
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2019
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vol. 11
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issue 4
26 – 41
EN
This essay explores the question of (inter)faces as a problem of mimetic form in the work of Sergei Eisenstein. While Eisenstein ’s early theory of attractions emphasizes the production of audience effects through “motor imitation,” his later writings appear to depart from this model for sake of a notion of “ex-stasis” that would transport the spectator out of her or his current state. These two sides of Eisenstein’s thought are brought together here in the concept of “plasmatic mimesis,” which is explored through the figure of the face in a number of his theoretical texts and his first film Strike (1925). By taking up the device most associated with the face in Eisenstein – typage – and reading a specific instance in Strike’s superimposition of animal and human faces, this essay ultimately aims to decentre the face as a privileged site for mimesis-as-mirroring in cinema and audio-visual media. Thinking the face through concept of “plasmatic mimesis” makes it into one form among others but in doing so it frees the face to assume the principle Eisenstein calls “formal ecstasy”: the capacity of all form not simply to mimic but to ex-statically stand beside and beyond it.
4

Echa fizjonomiki w literaturze rosyjskiej przełomu XVIII i XIX wieku

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Dąbrowska M.
Slavica Wratislaviensia
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2011
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vol. 153
241-250
EN
Physiognomy is a method of recognizing the mental characteristics of a human while relying on his appearance, first of all the features of his face (the color of the eyes, the shape of the nose, the height of the forehead and the like). It was already known in the antiquity (Aristotle); it enjoyed great popularity in the late 18th century (J.K. Lavater). This article comprises three parts. The first contains the review of Aristotle’s physiognomy studies. The second reports the course of the discussion on physiognomy in the second half of the 18th century; it earned critical comments from I. Kant who called it “a cheap merchandise,“ and also from G. Hegel and G. Lichtenberg. The third part reviews the selected texts on Lavater and physiognomy published in the early 19th century Russian magazines; it also describes the way the face used to be presented in sentimental stories (a beautiful face being tantamount to a good heart) and presents direct notes on Lavater in The letters of a Russian traveler by N. Karamzin and in The journey from Petersburg to Moscow by A. Radishchev.
5
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Neúmyslná nezdvořilost českých mluvčích v angličtině. Interkulturní pragmatická studie

100%
Vokurková I.
Časopis pro moderní filologii (Journal for Modern Philology)
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2009
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vol. 91
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issue 2
104-114
EN
The paper compares verbal responses of Czech and native English speakers to 12 model situations and analyses them in terms of Brown-Levinson’s politeness strategies (face-management theory). The survey aims to detect the pragmalinguistic features in Czech speakers’ English that can possibly lead to negative evaluation by English native speakers (i.e. can be seen as impolite). The results suggest that the Czech speakers failed to employ not only mitigation strategies in English, such as hedging, indirection and option-giving that seek to minimise the imposition conveyed by the FTA, but also intensification strategies that accentuate the illocutionary force of the FFA. The reasons that led to unintended impoliteness in non-native speakers included deficient pragmatic knowledge or generally poor English as well as different expectations about and evaluations of the given situations in English and Czech contexts. Such discrepancies are motivated by different cultural values and their hierarchies.
6
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BEAUTY OF THE HUMAN FACE IN CONTEMPORARY INTERDISCIPLINARY DISCOURSE

100%
Kišoňová R.
ESPES
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2023
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vol. 12
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issue 2
103 – 116
EN
The face serves as a fascinating focal point for exploring different perspectives and attitudes on human nature, including their identity, boundaries, culture, roles, and function of looks, beauty, religion, imagination, memory and more. In this paper, I will explore the analysis of facial beauty in the framework of contemporary interdisciplinary research, particularly the realms of contemporary cognitive science, neuropsychology, and evolutionary biology. Why do we prefer some faces and not others? What mechanisms underlie the evaluation of some faces as more attractive than others? What is the role of evolution in our perception of facial beauty?
7
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ON THE PHENOMENOLOGY OF AN ACTOR'S FACE ((K fenomenologii tvare herca)

86%
Vinar J.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 1
47-56
EN
The author, reputable Czech theatre theoretician, produced a comprehensive and for theatre important monograph on the role of an actor's work with his/her own face in the rendition of a dramatic figure and, hence, the function of the actor's face in the process (not only strictly limited to facial expressions) of change of an actor to a dramatic figure. The author examines this process from the different angles and traces back the less-known areas of perception and the use of the face in the theatre cultures of the Far East. The paper focuses on the elucidation of the presence of physiognomy in ancient Chinese culture and in ancient theatre. It is concluded by the author's statement that Roman pragmatism, certain indifference to the metaphysical problems of early philosophy, was outweighed by an interest in concrete specificities, in the present or about to begin time of the foreseeable future. The Roman art of divination, which interpreted omens, both seen and heard, and built on the art of 'reading from the face', served the above purpose. Here the Romans availed the classical knowledge of Greek anthropometry and physiognomy and given principles of corporeal beauty.
8

SELF-REASSURANCE, SELF-CRITICISM, AND EYE-TRACKING OF HAPPY FACES

86%
Strnádelová B., Halamová J., Mentel A.
Studia Psychologica
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2019
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vol. 61
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issue 3
189 – 202
EN
This study explores the relationship between self-criticism, self-reassurance, and the face scanning patterns participants use to recognize photos of happiness. Forty-two participants were being recorded by eye-trackers while watching photos of happy and neutral facial expressions. Participants also completed the Forms of Self-Criticising/Attacking and Self-Reassuring Scale. The Hated Self score was negatively related to the total fixation duration on the eyes and around the eyes. The Inadequate Self score tended to correlate positively with the total fixation duration time on all examined areas of the face and Reassured Self score tended to correlate positively with the total fixation duration time on the area around the eyes, although none of these correlations appeared to be statistically significant. Being able to distinguish between the more pathological Hated Self form of self-criticism and the less pathological Inadequate Self could improve psychological assessment and intervention evaluations.
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