Maart 2013: jaargang 10, nommer 1 - LitNet

LitNet Akademies Jaargang 10 (1), Maart 2013
Koerner, J.L. 1993. The moment of self-portraiture in German Renaissance art.Chicago:
University of Chicago Press.
Kosekela, H. 2004. Webcams, TV shows and mobile phones: Empowering
exhibitionism, Surveillance & Society, 2(2/3):199–215.
Kromm, J. en S.B. Bakewell (reds.). 2010. A history of visual culture: Western civilization
from the 18th to the 19th century. Oxford en New York: Berg.
Lackner, S. 1977. Max Beckmann. New York: Harry N. Abrams.
Lasén, A. enE. Gómez-Cruz. 2009. Digital photography and picture sharing: redefining the
public/private divide. Knowledge Technology Policy, 22:205–15.
Lee, D. 2005. Women's creation of camera phone culture. Fibreculture Journal, 6. (20 Maart
2009 geraadpleeg).
Luke, T. en G. Ó Tuathail. 2000. The spatiality of war, speed and vision in the work of Paul
Virilio. In Crang en Thrift (reds.) 2000.
Lynch, M. 2011. After Egypt: the limits and promise of online challenges to the authoritarian
Arab state. Reflections, 9(2):301–10.
Mannion, O. 2011. Reading Facebook through Lacan. New Zealand Sociology, 26:143–54.
Marshall, P.D. 2010. The promotion and presentation of the self: celebrity as marker of
presentational media.Celebrity Studies,1(1):35–48.
Moxey, K. 2004. Impossible distance: past and present in the study of Dürer and
Grünewald. The Art Bulletin, 86(4):750–63.
Myers, B.S. 1966. The German Expressionists: a generation in revolt. New York: Frederick
A. Praeger.
Okabe, D. en M. Ito. 2003. Camera phones changing the definition of picture-worthy. Japan
Media Review, 29. (14 April 2009 geraadpleeg).
Olivier, B. 2011. Facebook, cyberspace and identity. Psychology in Society, 41:40–58.
Panofsky, E. 1955. The life and art of Albrecht Dürer. Princeton, NJ: Princeton University
Press.
Pisters, P. 2010. Logistics of perception 2.0: multiple screen aesthetics in Iraq War
films. Film Philosophy, 14(1):232–52.
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