LEADER 02056nam0 2200433 i 450 001 CFI0055168 005 20231121125431.0 010 $a8815011471 020 $aIT$b88-5247 100 $a20000316d1987 ||||0itac50 ba 101 | $aita 102 $ait 181 1$6z01$ai $bxxxe 182 1$6z01$an 200 1 $a˜L'œAmerica e la ricostruzione dell'Italia, 1945-1948$fJohn L. Harper 210 $aBologna$cIl mulino$d1987 215 $a329 p.$d21 cm 225 | $aCollana di storia contemporanea 300 $aTrad. di Barbara Curli. 410 0$1001CFI0012841$12001 $aCollana di storia contemporanea 500 10$aAmerica and the recostruction of Italy, 1945-1948. -$3CFI0055169$9CFIV035373$935998 606 $aStati Uniti d'America$xRelazioni economiche e commerciali con l'Italia 1945-1948$2FIR$3RMLC137625$9I 606 $aItalia$xEconomia$x1945-1948$xInterventi americani$2FIR$3RMLC137627$9I 676 $a338.9173045$9$v21 700 1$aHarper$b, John Lamberton$3CFIV035373$4070$0118685 790 1$aHarper$b, John L.$c $3TSAV365009$zHarper, John Lamberton 801 3$aIT$bIT-01$c20000316 850 $aIT-RM028 $aIT-RM0542 $aIT-RM1248 $aIT-FR0084 $aIT-RM0460 $aIT-FR0017 899 $aBiblioteca Universitaria Alessandrina$bRM028 899 $aBIBLIOTECA DEL MINISTERO DEGLI AFFARI ESTERI$bRM0542 $eN 899 $aBiblioteca Della Fondazione Pietro Nenni$bRM1248 899 $aBiblioteca Del Monumento Nazionale Di Montecassino$bFR0084 899 $aBiblioteca Dell' Archivio Centrale Dello Stato$bRM0460 899 $aBiblioteca umanistica Giorgio Aprea$bFR0017 912 $aCFI0055168 950 0$aBiblioteca umanistica Giorgio Aprea$d 52MAG 12/2407$e 52MAG0000149495 VMN RS $fA $h20140226$i20140226 977 $a 01$a 09$a 23$a 25$a 27$a 52 996 $aAmerica and the recostruction of Italy, 1945-1948$935998 997 $aUNICAS LEADER 04833nam 22007453 450 001 9910487546203321 005 20250506080452.0 035 $a(CKB)5590000000517591 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/76270 035 $a(MiAaPQ)EBC31982621 035 $a(Au-PeEL)EBL31982621 035 $a(oapen)doab76270 035 $a(EXLCZ)995590000000517591 100 $a20250506d2021 uy 0 101 0 $aeng 135 $aurmn|---annan 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aSelf-Representation in an Expanded Field 205 $a1st ed. 210 $aBasel, Switzerland$cMDPI - Multidisciplinary Digital Publishing Institute$d2021 210 1$aBasel :$cMDPI AG,$d2021. 210 4$d©2021. 215 $a1 electronic resource (228 p.) 225 1 $aState of the Arts-Reflecting Contemporary Cultural Expression Series 311 08$a3-03897-564-8 311 08$a3-03897-565-6 327 $aIntro -- State of the Arts-Reflecting Contemporary Cultural Expression -- Contents -- Acknowledgments -- About the Editor -- About the Authors -- Introduction -- From Self-Portrait to Selfie: Contemporary Art and Self-Representation in the Social Media Age -- Issues in Self-Representation -- Between Our Selves: Conversations on Race and Representation -- Feeling Myself: Loving Gestures and Representation in Mickalene Thomas: Muse -- From Self to #Selfie: An Introduction -- Selfie Shifts -- Race for the Prize: The Proto-Selfie as Endurance Performance Art -- Reflecting on Life on the Internet: Artistic Webcam Performances from 1997 to 2017 -- Selfie-Wars on Social Media -- New Selfie Precedents -- "First Ever Selfie Cover!": Cosmopolitan Magazine, Influencers, and the Mainstreaming of Selfie Style -- Self-Image as Intervention: Travis Alabanza and the New Ontology of Portrait Photography. 330 $aDefined as a self-image made with a hand-held mobile device and shared via social media platforms, the selfie has facilitated self-imaging becoming a ubiquitous part of globally networked contemporary life. Beyond this selfies have facilitated a diversity of image making practices and enabled otherwise representationally marginalized constituencies to insert self-representations into visual culture. In the Western European and North American art-historical context, self-portraiture has been somewhat rigidly albeit obliquely defined, and selfies have facilitated a shift regarding who literally holds the power to self-image. Like self-portraits, not all selfies are inherently aesthetically or conceptually rigorous or avant-guard. But, ?as this project aims to do address via a variety of interdisciplinary approaches? selfies have irreversibly impacted visual culture, contemporary art, and portraiture in particular. Selfies propose new modes of self-imaging, forward emerging aesthetics and challenge established methods, they prove that as scholars and image-makers it is necessary to adapt and innovate in order to contend with the most current form of self-representation to date. The essays gathered herein will reveal that in our current moment it is necessary and advantageous to consider the merits and interventions of selfies and self-portraiture in an expanded field of self-representations. We invite authors to take interdisciplinary global perspectives, to investigate various sub-genres, aesthetic practices, and lineages in which selfies intervene to enrich the discourse on self-representation in the expanded field today. Ace LehnerEditor 410 0$aState of the Arts-Reflecting Contemporary Cultural Expression Series 517 $aSelf-Representation in an Expanded Field 606 $aThe arts$2bicssc 606 $aPainting & paintings$2bicssc 610 $aSelfies 610 $aself-portraiture 610 $asocial media 610 $aart history 610 $arepresentation 610 $aphotography 610 $acontemporary art 610 $aIntersectionality 610 $aintersectional approaches 610 $aidentity 610 $aaesthetics 610 $acontemporary life 610 $aconsumer culture 610 $aavant-guard 615 7$aThe arts 615 7$aPainting & paintings 700 $aLehner$b Ace$01328929 701 $aBhaumik$b Sita Kuratomi$01817511 701 $aZelt$b Natalie$01817512 701 $aLemcke$b Rudy$01817513 701 $aTasman$b Marc$01817514 701 $aSauerlaender$b Tina$01817515 701 $aReichert$b Ramón$0992233 701 $aIqani$b Mehita$01064528 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910487546203321 996 $aSelf-Representation in an Expanded Field$94375353 997 $aUNINA