Estilos de uso e significados dos autorretratos no Instagram: Identidades narrativas de adultos jovens brasileiros / Styles of use and meanings of self-portraits on Instagram: Narratives identities of young Brazilian adults / Estilos de uso y significados de los autorretratos en el Instagram: Identidades narrativas de jóvenes adultos brasileños

O Brasil é o segundo país que mais acessa o Instagram e seu público mais conectado são os adultos jovens. Com foco na constituição de identidades narrativas e de uma perspectiva sistêmica, a presente pesquisa buscou identificar quantitativamente os estilos de uso e compreender qualitativamente os significados atribuídos por jovens adultos aos autorretratos postados no Instagram. Foi adotado o método misto sequencial explanatório. Primeiramente, foram contabilizadas e analisadas imagens postadas durante dez dias por 30 homens e 30 mulheres brasileiros, com idades entre 25 e 29 anos. Na fase seguinte, foram entrevistados seis colaboradores, três homens e três mulheres, selecionados a partir da quantidade de fotos postadas no período abordado. A análise estatística evidenciou que a categoria de imagens mais postada por homens e mulheres corresponde à dos autorretratos. A análise temática das entrevistas indicou que o Instagram oferece maior liberdade de exposição e que os participantes sofrem influência do olhar externo. Os significados atribuídos às postagens foram: privacidade, memória, beleza e felicidade. Identidades narrativas imagéticas se constituem e moldam as formas de expressão possíveis na rede, regidas pelos ideais de gênero, beleza e felicidade. A liberdade imaginada nas escolhas biográficas se vê tolhida por um olhar que vigia e curte.(AU)

Brazil is the second country that most accesses Instagram and its most connected public are the young adults. Focusing on the constitution of narrative identities and from a systemic perspective, the present research sought to quantitatively identify the styles of use and to understand, qualitatively, the meanings attributed by young adults to self - portraits posted on Instagram. The mixed sequential explanatory method was adopted. First, we analyzed the images posted for 10 days by 30 Brazilian men and 30 women, aged 25-29. In the next phase, six contributors, three men and three women were interviewed, selected from the number of photos posted in the covered period. Statistical analysis showed that the category of images most posted by men and women corresponds to the self-portraits. The thematic analysis of the interviews indicated that the Instagram offers greater freedom of exposure and that the participants are influenced by an outside view. The attributed meanings to the posts were: privacy, memory, beauty and happiness. Narrative identities are shaped in a way to constitute the possible forms of expression in the network, governed by ideals of gender, beauty and happiness. Eyes that watch and "like" hampers the freedom of the biographical choices.(AU)

Brasil es el segundo país que más accede al Instagram y su público más conectado son los adultos jóvenes. Mirando la constitución de identidades narrativas y de una perspectiva sistémica, la presente investigación buscó identificar cuantitativamente los estilos de uso y comprender, cualitativamente, los significados atribuidos por jóvenes adultos a los autorretratos publicados en el Instagram. Se adoptó el método mixto secuencial explicativo. En primer lugar se contabilizó y analizó imágenes publicadas durante diez días por 30 hombres y 30 mujeres brasileños, con edades entre 25 y 29 años. A continuación, se entrevistó tres hombres y tres mujeres, seleccionados a partir de la cantidad de fotos publicadas en el período. El análisis estadístico evidenció que la categoría de imágenes más publicada por hombres y mujeres corresponde a los autorretratos. El análisis temático de las entrevistas indicó que el Instagram ofrece mayor libertad de exposición y que los participantes sufren influencia de la mirada externa. Los significados atribuidos a las publicaciones fueron: privacidad, memoria, belleza y felicidad. Las identidades narrativas se constituyen y moldean las formas de expresión posibles en la red, regidas por los ideales de género, belleza y felicidad. La libertad imaginada en las elecciones biográficas se ve restringida por una mirada que vigila y "me gusta".(AU)

Selfie addiction: the prodigious self-portraits

Background: Selfie’s are self-portrait taken to admire the excessive pride in one’s own appearance. When these selfies are taken persistently in increased numbers with futile efforts to stop taking them is called as “SELFIE ADDICTION”. There is an uncontrollable craving for taking selfie’s which has a great impact on the life style modifications substantially in the adolescent age group. This problem has just commenced but it has disseminated rapidly to a greater magnitude.Methods: This study was done as a community based cross sectional study at Pondicherry, Chennai and Kadaloor district during November 2015 and February 2016 with the objectives of assessing the prevalence and its risk factors of the Selfie addiction among adolescents. Individuals of adolescent age group were randomly selected and the data were collected using direct questionnaire method with proper informed consent. The data was entered in MS excel sheet and analysis was done using SPSS software.Results: A total of 766 college students were interviewed of which 53% were males with the mean age of 19 years. The purposes of taking selfies were time pass (46%), to admire themselves (14.5%), to post in social network sites (23.7%). Among the study participants 87% of them had the habit of taking selfies regularly using mobile phones and the number of selfies per minute varied from 2 to 10 per minute. The prevalence of selfie addiction was present among 111 (14.5%) and it was significantly associated with gender, higher version mobile phone users, early morning selfie takers, chronic mobile users.Conclusions: The prevalence of selfie addiction among adolescent population in our study was moderately high and hence interventions should be made to create cognizance among the general population about the risk factors and its consequences.

O impacto da doença de Alzheimer nos autorretratos de William Utermohlen / The impact of Alzheimer's disease in William Utermohlen's self-portraits / El impacto de la enfermedad de Alzheimer en los autorretratos de William Utermohlen

A doença de Alzheimer (DA) desencadeia o declínio progressivo da função cognitiva, particularmente da memória. A doença compromete o córtex frontal e temporoparietal, impactando nas habilidades cognitivas e motoras do paciente. Neste artigo, descrevem-se as mudanças no estilo visual dos autorretratos do artista norte-americano William Utermohlen, produzidas após o diagnóstico de DA, correlacionando-as com as habilidades analisadas com os testes de função cognitiva, a fim de destacar a magnitude da expressão gráfica para a compreensão desta doença.

Alzheimer's disease (AD) triggers the progressive decline in cognitive function, particularly memory. The disease affects the frontal and temporoparietal cortex, affecting the patient's cognitive and motor skills. This article describes the changes in the visual style of self-portraits by American artist William Utermohlen produced after AD diagnosis, correlating them with skills analyzed with cognitive function tests in order to highlight the magnitude of the graphic expression for the understanding of this disease.

La enfermedad de Alzheimer (EA) desencadena la disminución progresiva de la función cognitiva, particularmente de la memoria. La enfermedad compromete el cortex frontal y parietotemporal, impactando en las habilidades cognitivas y motoras del paciente. En este artículo, se describen los cambios en el estilo visual de los autorretratos del artista norteamericano William Utermohlen, producidos después el diagnóstico de EA, relacionándolos con las habilidades analizadas con pruebas de función cognitiva, a fin de destacar la magnitud de la expresión gráfica para la comprensión de esta enfermedad.

Gustav Klimt (1862-1918) y su cuadro sobre la medicina / The portrait of medicine and Gustav Klimt (1862-1918)

Gustav Klimt was an Austrian Symbolist painter and one of the most important representatives of the modernist movement of the Viennese Secession. The most notable works carried out at his golden age were the "Portrait of Adele Bloch-Bauer I" and "The kiss". In 1901 he paints "Medicine" where he returns to the entanglement of floating bodies -the lifetime- among which appears the skeleton of death; a female figure stands out from the column to represent freedom from pain. The figure of Hygeia or Hygieia, daughter of Aesculapius, who personifies medicine, is shown in the foreground. In 1911, thanks to "The life and death", a picture related to medicine, he was awarded the first prize at the Universal Exhibition of Rome. A number of his artworks were confiscated by the Nazi dictatorship. During the advance of enemy troops, and fearing that these works would become spoils of war, it was decided to burn the castle where they remained confiscated. Therefore, countless artworks were lost. The progressive development of symbolic or abstract motifs already emphasized the freedom of spirit that permeated all the avant-garde of early twentieth century.

Reflexões sobre o envelhecimento e os processos criativos na maturidade a partir dos autorretratos de Rembrandt / Reflections about the Aging and the criatives processes from the self-portraits of Rembrandt

Feito levantamento e reflexão sobre os autorretratos de Rembrandt, artista holandês do século XVII, mostrando-o na juventude, na maturidade e na velhice. O artista fez mais de 100 autorretratos durante a trajetória de vida, que documentaram impiedosa e cruelmente o perecimento de seu corpo. A altivez e o vigor, retratados nos autorretratos da juventude, foram substituídos por qualidades adquiridas na dura caminhada pela vida. Diante da decadência da carne, desnudaram-se a paciência, a reflexão e a sabedoria. Rembrandt, na última etapa da vida, velho e pobre, continuou a trabalhar executando pinturas de grande qualidade. Com paixão e amor pelo seu trabalho, experiente e maduro, esmerou-se na técnica pictórica e produziu seus melhores quadros. A pintura foi o refúgio do artista, dando-lhe forças e ânimo, até sua morte aos 63 anos de idade. Em nossa sociedade atual, da mesma forma que ocorria na época de Rembrandt, o velho ainda é desprezado, descartado e excluído, em fase da vida na qual poderia continuar a ser útil, em decorrência dos conhecimentos e experiências adquiridos ao longo dos anos, o que o predispõe ao aparecimento de doenças, como depressão e demências. Portanto, da mesma forma que Rembrandt, os indivíduos idosos podem-se manter produtivos contribuindo ativamente para sua qualidade de vida, assim como da sociedade atual.

It was made a survey and reflection about the self-portraits of Rembrandt, dutch artist of the seventeenth century, showing him on youth, maturity and old age. The artist made more than 100 self-portraits during his life course, merciless and cruelly documenting his body extinction. The loftiness and vigor portrayed in the youth self-portraits, were replaced by qualities acquired in the hard journey through life. Given the decay of the flesh, they were stripped by patience, reflection and wisdom. Rembrandt, in the last stage of life, old and poor, continued to work creating great quality paintings. With passion and love for his work, experienced and matured, he excelled in the painting technique and produced his best paintings. The painting was the artist refuge, giving him strength and courage until his death at age 63. In our current society, same way in the time of Rembrandt, the old man is still despised, discarded and excluded, in a life phase in which he could continue to be useful due to the knowledge and experience acquired over the years, that predisposes him to diseases such as depression and dementia. Therefore, just as Rembrandt, older people can remain productive, contributing actively to the society quality of life.

La lección de anatomía del doctor Nicolaes Tulp: el comienzo de una utopía médica / The anatomy Lesson of Dr. Nicolaes Tulp: The beginning of a medical utopia

The Anatomy Lesson of Dr. Nicolaes Tulp was painted by Rembrandt Harmen-szoon van Rijn at the early age of 26 years. In the XVII century these paintings were very popular in the Netherlands, and in this country the cities fourished as cultural centers searching the anatomy knowledge. Nicolaes Tulp was one of the persons in the center of Amsterdam’s scene during XVII century. In 1632 Tulp was 39 years old, and he was an anatomist and a surgeon. Rembrandt masterly shows an autopsy performed by Dr. Tulp. This picture is the description of the beginning of a medical intellectual utopia: the absolute visibility of the disease. Unfortunately this utopia is blind to the complete visibility of the psycho-socio-cultural dimensions of the ill.

'Amas mercenárias': o discurso dos doutores em medicina e os retratos de amas - Brasil, segunda metade do século XIX / 'Mercenary wet-nurses': the discourse of medical doctors and portraits of the wet-nurses - Brazil in the second half of the 19th century

Explora o tema das amas-de-leite em fotografias e teses dos doutores em medicina da segunda metade do século XIX. Os médicos de então condenavam o emprego indiscriminado de amas-de-leite e tentavam estimular a construção da imagem da 'nova mãe', que devia amamentar seus próprios filhos. Abordam-se a complexidade do assunto amamentação (por mãe, ama, animal ou objeto) na época e os problemas dele decorrentes para as partes envolvidas: o bebê branco, o bebê negro, a ama, a mãe do bebê branco, a família senhorial abrangente e os doutores em medicina. Destacam-se fotos de amas com crianças, em atitude que se pretendia 'positiva', a demonstrar harmonia e afeto e, aparentemente, em contradição com os debates que envolviam seu emprego.

The article explores the theme of wet-nurses using photographs and theses of medical doctors during the second half of the 19th century. The doctors at that time condemned the indiscriminate use of wet-nurses and tried to encourage construction of the 'new mother' image, one who ought to breast feed her own children. They approached the complexity of the feeding subject (by mother, wet-nurse, animal or object) at that time and the problems arising from it for the parties involved: the white baby, the black baby, the wet-nurse, the mother of the white baby, the seignorial family involved and medical doctors. Photos are highlighted of wet-nurses with children in an attitude that was intended to be 'positive', to demonstrate harmony and affection and, apparently, contradicting the debates regarding them.

Eyelid Shape of the Chosun Dynasty: Analysis of 101 Portraits

The aim of this study is to elucidate the morphology and preference of the eyelid shape of the Chosun dynasty. One hundred and one portraits of Chosun dynasty were analyzed. Portraits of early(1392-1550), mid(1551-1700), and late (1701-1910) Chosun dynasty were 26, 17 and 58 respectively. The most of the portraits were men of noble birth(86). Others were the portraits of the Kings(4) and Monks(4), Women(4) and patriots(4).The double fold were observed in 20%, among them 65% were outfold. Epicanthal fold were present in 16% Thirty-one% had hooding of the upper eyelid. Sixty nine% had Wrinkles of the lower eyelids. Sixty three had baggy lower eyelid and lower lid ectropion were observed in 6% and 1% respectively. According to the Korean aphorism of the portrait drawing of Chosun dynasty "If one hair is different, the portrait is another man's", the portraits were drawn like a photograph. In this aspect our attempt to light up the eyelid shape of several hundreds years ago when photographs were not available have validity.

Was the Beauty of Chosun Dynasty Different from that of Japanese Edo Dynasty or Present Korea?: Anthropometric Analysis of Portraits

The aim of this study is to elucidate whether the beauty of Chosun dynasty was different from that of Japanese Edo dynasty or present Korea by anthropometric analysis. We analyzed faces of 6 portraits of beauty of Chosun dynasty and 5 of Japanese Edo dynasty, and 9 photographs of prize-winner in the beauty contest of Korea during resent 3 years. We measured the 20 anthropometric items on each portraits and calculated 17 proportional indices of the face. Portraits of beauty of Chosun dynasty had the greater value on 1 proportion index(ratio of nasal width to intercanthal distance) and less value on 3 proportion index(ratio of horzontal dimension of palpebral fissure to intercanthal distance, Ratio of height of vermilon to transverse width of mouth, eye fissure inclination) than Edo dynasty. Portraits of beauty of Chosun dynasty had the greater value on 1 proportion index(ratio of height of upper eyelid to total facial height) and less value on 3 proportion index(ration of vertical dimension of palpebral fissure to total facial height, ratio of nasal width to intercanthal distance, eye fissure inclination) than nine prize-winner of beauty contest of Korea. In conclusion, beauty of Chosun dynasty has lower eye fissure inclination, wider nasal ala, and thiner lip than one of Edo dynasty. Beauty of Chosun dynasty has oriental eyelid, wider upper eyelid, narrower eye fissure, lower eye fissure inclination, narrower nasal ala than present beauty.