
- English
- ePUB (mobile friendly)
- Available on iOS & Android
About this book
A fascinating new study of the face, form, and history of expression.
Advances in facial recognition, artificial intelligence, and other technologies provoke urgent ethical questions about facial expressivity and how we interpret it. In The New Physiognomy, Rochelle Rives roots contemporary facial dilemmas in a more expansive timeline of modernist engagements with the face to argue that facial ambiguity is essential to how we value other people.
Beginning with nineteenth-century caricatures of Oscar Wilde's face, Rives reasons that modernist modes of reading the face perceived it as a manifestation of both biologically determined traits and scripted forms of personality. Considering faces such as sculptures of great poets, portraits of facially wounded World War I soldiers, W. H. Auden's aging face, and Cindy Sherman's recent photographic self-portraits, Rives reframes how to read modernist works by Theodore Dreiser, Edith Wharton, Jean Rhys, Joseph Conrad, Mina Loy, Henry Tonks, and Henri Gaudier-Brzeska.
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Information
Table of contents
- Cover
- Title Page
- Copyright Page
- Contents
- Acknowledgments
- Introduction. Whatās in a Face?
- 1 Facing Wilde; or, Emotionās Image
- 2 Realist Prosopagnosia; or, Face Blindness in Theodore Dreiserās Sister Carrie
- 3 Nothing āConclusiveā: Optics as Ethics in Joseph Conradās The Secret Agent
- 4 Modernist Prosopopoeia; or, Making Faces
- 5 Unreadable Persons: The āFace-Scapeā of Old Age
- Epilogue. āGetting Outā of the Face
- Notes
- Index