Types Of Portraits Research Articles

Representations of Dissent against Communism in Romania: Anti-Communist Heroes, “Prison Saints,” and (Extra)Ordinary Citizens

This article discusses the uses and functions of visual representations in the articulation of a comprehensive memory of dissent against the Communist regime in Romania. Through qualitative research using the interdisciplinary study of the art and politics of memory, the study answers the question of how artistic renditions of the past differ from official discourse on dissent and how these representations are used politically. This article argues that these artistic representations enrich the understanding of dissent against the Romanian Communist regime and thus play a political role in consolidating a missing or limited memorialization of diverse forms of opposition to the Communist regime, thus disrupting the narrative of perfect control. Artistic discourses about the Communist past include at least three types of portraits of dissenters: (1) anti-Communist heroes who participated in the armed resistance of the 1940s and 1950s; (2) Communist prisoners who are recalled either as victims or “prison saints”; and (3) (extra)ordinary citizens who had nonconforming ideas either through their political activity or through their cultural choices. The latter are recalled as participating in workers’ strikes, as exercising a form of personal opposition through their refusal to comply with the regime’s natalist policies (dissenting women), or as taking part in broader cultural opposition forms, such as watching Western films on videocassettes. These artistic discourses vary from heroization to politicization, serve to build legitimacy for the democratic regime, explain how dissent had a role in the change of regime, and accentuate individuals’ agency.

Соотношение мимических и аффективных характеристик в вербальном сравнении лиц

<p>The results of the analysis of verbalizations obtained in the situation of verbal comparison of images of emotional expressions from the VEPEL database are presented. It has been shown that specific information about expression is quantitatively presented in the verbal comparison data. The analysis of verbalizations, performed using the tools of the perceived quality paradigm, made it possible to differentiate the features of expressions, presenting them in two types of verbal portraits: affective and mimic. Comparison of these two types of verbal portraits allows to interpret affective judgments in mimic terms, and vice versa. The verbal features included in mimic verbal portraits were compared with descriptions of mimic characteristics of basic expressions according to P. Ekman. It is shown that many of the features identified in the situation of verbal comparison coincide with the descriptions proposed by P. Ekman, who, however, enumerated them without indicating their relative value.</p>

Гравированный автопортрет и портрет гравера. К вопросу о самосознании и социальном статусе граверов в России второй половины XVIII века

This paper examines the unique self-portrait prints which provide rich material for raising a number of previously overlooked questions related to Russian art in the age of Catherine the Great. It reveals why self-portrait prints were so rare in eighteenth-century Russia; what were the motives of those few printmakers who decided to turn to such an unpopular type of portrait at the time; what was the social position of printmakers; how they viewed themselves and their profession and what are the specifics of self-portraiture in printmaking in comparison with self-portraits in other media. As is shown in this work, the printed self-portrait allowed a printmaker to freely express himself in the way he wanted and also claimed a privileged social position for the depicted, reflecting the desire of the author-model to fit his image into the social hierarchy. The phenomenon was set somewhat apart from the official strategy for the development of Russian art in the eighteenth century, for it presumed a higher status for the artist as individual than was usual at the time, and anticipated, however unconsciously, the depths that would be discovered in artist’s self-portraits in the era of romanticism.

Коммуникативный портрет онлайн-педагога в эпоху глокализации

The article presents the results of the analysis of the communicative portrait of an online-teacher, conducted as part of the study of distance learning discourse. The authors analyzed more than 30 recordings of practical classes in various disciplines related to the study of the English language in the distant format. As a result, four types of digital communicative portraits of a teacher were identified: virtual communicative portrait, non-verbal communicative portrait, emotive and cognitive communicative portrait, and professional and competent communicative portrait, their main characteristics are considered and the strategies underlying the creation of each type of portrait are explored. The current study was carried out in the context of studying the discourse of distance learning. Under distance learning discourse the authors mean a special form of interaction between a teacher and a student, occurring remotely, organized with the help of information technologies (the use of which can transform the emotional, mental and motivational components of the human personality), which also has a multimodal nature, making education more inclusive and accessible, and carried out with the direct methodological and program support of the educational institution in which the teacher works and the student studies. Speaking about the methodological support of an educational institution, the authors take into account the trend towards glocalization of academic course programs, aimed at creating meaningful connections between the global context and local culture, making education relevant and meaningful for students. The analysis made it possible not only to form a holistic idea of the digital communicative portrait of a teacher, but also to record modern requirements for a teacher working in the era of digitalization, glocalization and the development of distance learning.

Мир старообрядчества в русском изобразительном искусстве XVIII – первой трети XX вв.

Basing on a review of about 300 works created in the 18th – first third of the 20th centuries, the study presents a chronological and genre-thematic panorama of the development of the Old Believer trend in Russian fine art. It includes portraits, architectural landscapes, historical, genre paintings, book illustrations and sketches of theatrical scenery. The portrait genre is represented by commissioned works depicting real personalities and portrait types reproducing collective images of a diverse Old Believer community. Architectural landscapes captured key Old Believers locations — Vygoleksinskoe community, Rogozhskoye and Preobrazhenskoye cemeteries in Moscow, Pustozersk, Kerzhenets, Karelian necropolises. Historical painters came to the attention of such events as the presentation of new books by Patriarch Nikon, the rejection of newly printed books by Solovetsky monks, a dispute about faith in the Faceted Chamber, and the persecution of Old Believers. A special place is occupied by the images of Boyaryna Morozova and Archpriest Avvakum. Genre painting reflects the way of life of the Old Believers and its connection with the religious picture of the world. Over the course of two centuries, there was a formation and development of interest in the Old Believer theme, which found expression in enriching the genre palette and increasing the number of authors. About 60 artists showed interest in the Old Believers. A special contribution was made by M. Mylnikov, F. Solntsev, V. Perov, S. Miloradovich, V. Surikov, M. Nesterov, F. Malyavin, I. Kulikov, I. Goryushkin-Sorokopudov, B. Kustodiev, V. Kuznetsov, V. Plotnikov. In graphic and pictorial works, Old Believers act as bearers of national culture, adherents of their native antiquity.

Приемы создания портрета главного героя в якутском эпосе (на материале текстов олонхо «Нюргун Боотур Стремительный» П. А. Ойунского и «Строптивый Кулун Куллустуур» И. Г. Тимофеева-Теплоухова)

Introduction. The article examines Yakut heroic olonkho epics — Nyurgun Bootur the Swift by P. Oyunsky and Kulun Kullustuur the Obstinate by I. Timofeev-Teploukhov — for techniques employed to create portraits of main characters. According to N. Yemelyanov, the olonkho Kulun Kullustuur the Obstinate recorded from taleteller I. Timofeev-Teploukhov clusters with earliest patterns of archaic epic, while that of Yakut writer P. Oyunsky (Nyurgun Bootur the Swift) is the first literary adaptation of olonkho texts. The study attempts an insight into how and which particular portrayal techniques were used by P. Oyunsky and I. Timofeev-Teploukhov to depict main characters of theirs. The comparative approach to the narratives recorded in different periods shall make it possible to trace the use of portrayal techniques, which shall underline the unique artistic features characterizing each of the taletellers, and show how such portrayal patterns developed to gain deeper associative essentials in further olonkho texts. Goals. The study aims to identify some distinct features inherent to the techniques of creating main characters’ portraits in the olonkhos Nyurgun Bootur the Swift and Kulun Kullustuur the Obstinate, and outline ethnic specifics in portrayal characteristics. To facilitate this, the paper shall classify portrayals, articulate types of techniques and their functions in portraying a main character, identify stable formulas employed to depict heroes, determine specific features of portrayal as a key technique for the making of an epic hero. The work reviews the existing types of epic portraits, their functions and attributes, examines some visual means serving to unveil the images of main characters. Results. The study attests to the examined narratives are characterized by an increased stability of depictive portrayals with peripheral parts (artistic and emotional epithets) tending to vary. Each such depictive portrayal proves multifunctional, semantically wide, and technically relevant. The descriptions of the heroes’ appearances are somewhat idealized and rich in comparisons, repetitions, evaluative epithets. Portrayal agendas of P. Oyunsky vary through history and depend on actual artistic methods and style employed by the author who pays special attention to fictional details depicted in the context of folk traditions. The study of the techniques helps identify which innovative tools P. Oyunsky used when he was creating his Nyurgun Bootur the Swift.

Читая «Воспоминания» Т.Н. Ливановой: портреты современников. Часть II

The article continues a series of studies devoted to the three-volume Memoirs by T.N. Livanova the publication of which is being prepared at the State Institute for Art Studies. The article considers several types of verbal portraits created by the memoirist. First, these are images of the people Livanova got acquainted with in the evacuation. Nowadays, almost nothing is known about them and it is the features of the text as such that remain the object of research. Another collection is made up of portraits of Livanova’s students, some of whom gained an odious reputation. A separate line of memoirs consists of “double” portraits not of musicians or musicologists but representatives of allied specializations of the humanities. Finally, roughly in the middle of Livanova’s narrative is an extended, multi-figured canvas dedicated to the Wipper family.

The Multifunctionality of Vestial Vocabulary in the Artistic Portrait of V.A. Gilyarovsky (based on the Autobiographical Novels "My Wanderings" and "People of the Theater")

The journalistic legacy of V.A. Gilyarovsky has been studied in sufficient detail, to a lesser extent, the attention of scientists was riveted to his autobiographical prose - the stories "My Wanderings" and "People of the Theater", the author's manner, the expression of an individual vision of the world and man. The article deals with the linguistic and stylistic features of the portrait of V.A. Gilyarovsky and reveals the originality of the vestial vocabulary, its function in describing the appearance of heroes of different social strata.The purpose of the study is to study the themes and problems of autobiographical prose, to carry out a linguistic analysis of portrait descriptions in the stories "My Wanderings" and to identify the specifics and functions of the vestial vocabulary. In the study, the emphasis was placed on understanding the features of the writer's style, the specifics of his portraits, the ethnolinguistic and etymological aspect of the clothing vocabulary.As a result of the analysis, it was revealed that in the autobiographical prose of V.A. Gilyarovsky, the main type of portrait is socio-historical, descriptive and everyday. Based on artistic tasks, the writer does not strive to comprehend the psychology of the characters or their rare individuality. There is no author's commentary in the portrait. The principles of the external image become fundamental. The "masculine" vision of the surrounding people leads to a lack of positive or negative expression, exaltation of feelings or sentimentality.Civil uniform, frock coat, tailcoat, livery in portraits have not only a descriptive function, "visualizing" the hero, but also reveal the position of the hero, determine his personal attitude to his own position in society. Uniform, overcoat, caps, boots represent uniforms, where the definitions emphasize the material, insignia, style and details of clothing; awards. This vocabulary is also of a historical and archaic nature, allowing the reader to imagine the features of the costume of the 19th century, to immerse themselves in an interesting, unknown, sometimes patriarchal world, which contributes to understanding the environment, its hierarchy and, at the same time, picturesque diversity.Female portraits with vestial vocabulary are rare; they perform a descriptive function, a function of social characterization. The legal requirement to wear official and particular dress is observed by officials who serve as heroes.The change in fashion, associated not only with the aesthetic, but also with the ideological and political views of the revolutionary youth, their desire to democratize their appearance, is shown by the portrait of the exiles, where the vocabulary of folk clothes, in particular, the appearance of urban workers, prevails. At the same time, accessories emphasize the "subculture" of nihilists.

Tumor immunity portrait: An AI-driven molecular predictor combining tumor microenvironment and tumor mutational burden for immune checkpoint inhibitor response prediction.

e14691 Background: Low response rates and toxicities from immune checkpoint inhibitors (ICI) highlight the need for improved ICI response prediction tools. Increasing evidence shows the tumor microenvironment (TME) plays a critical role in therapy response; however, current ICI response prediction methods often use a single tumor characteristic (i.e., tumor mutational burden [TMB]). Here, we present the BostonGene Tumor Immunity Portrait, an AI-driven molecular predictor based on the TME subtype combined with TMB status to identify ICI responders in non-small cell lung cancer (NSCLC), melanoma, and gastric cancer (GC). Methods: We collected a meta cohort from 26 publicly available datasets (n = 2,077) composed of NSCLC, melanoma, and GC patients that received ICI therapy. A transcriptomic-based TME subtyping approach was used to classify the TME as fibrotic (F), immune-enriched, fibrotic (IE/F), immune-enriched (IE), or desert (D) (Bagaev, Cancer Cell, 2021). TMB status (low < 10; high > 10) was determined by whole exome sequencing. A logistic regression model was used to generate a score of 0, 1, 2, or 3 based on the sum of points assigned to the TME subtype (F = 0 points, IE/F and D = 1 point, IE = 2 points) and to the TMB status (high = 1 point and low = 0 points). Each score corresponded to one of four Tumor Immunity Portrait types: 0 - Immunosuppressive; 1 - Resistant; 2 - Neutral; 3 - Immune Primed. Results: Tumor Immunity Portrait types were associated with increasing ICI response rates in each cancer type. Immune Primed type (IE + TMB-High) response rates in melanoma and GC were 76.2% and 100%, respectively. Immunosuppressive type (F + TMB-Low) was associated with ICI non-response in melanoma (p = 0.003) and NSCLC (p < 0.001). The Tumor Immunity Portrait accurately predicted ICI non-response, shown by the negative predictive value (NPV) of the Immunosuppressive type (F + TMB-Low) for NSCLC (100%), melanoma (92.3%), and GC (96.1%). Conclusions: Using an integrated approach combining the tumor’s characteristics and TME, the BostonGene Tumor Immunity Portrait provides accurate prediction of ICI non-response in 3 cancer types, warranting further validation for use in personalized treatment decision making. [Table: see text]

Characteristics of the Employment of the Population of Russia in the Informal Sector of the Economy

Relevance. The shadow economy exists in all countries of the world, however, the scale of employment in it indicates the degree of development of state institutions. The presence of shadow relations in the economy leads to a decrease in the revenues of the budget system at different levels of government, so it is necessary to create legal and economic conditions to reduce the share of the informal sector of the economy. Unfavorable socio-economic conditions for development, as a rule, are associated with the departure of employment to the informal sector of the economy, so it is necessary to identify the portrait characteristics of the population employed in it.The purpose of this study is to develop tools to counter the employment of the population in the informal sector of the economy, based on an assessment of the level of employment by type of economic activity and portrait characteristics.Objectives: to study the dynamics and structure of employment in the informal sector of the economy; identify factors that affect the level of shadow employment; develop tools to counteract shadow relations and determine the conditions for reducing the level of the informal sector of the economy.Methodology. The methodological basis of the study is a comparative and correlation analysis, the study used methods for calculating absolute, relative indicators, graphical and tabular methods for displaying information. Results: an assessment of shadow relations in the economy was carried out; the dynamics of the level of employment in the informal sector of the economy is analyzed; the factors that have a significant impact on it are identified; approaches are proposed to reduce the threat of the growth of the scale of shadow relations.Conclusions. Many countries are actively working to identify the causes and conditions for the existence of shadow relations, including Russia is actively working in this direction. As a result of the analysis, we have proposed a toolkit for reducing the scale of employment in the informal sector of the economy.

For the Record: Muzio Costanzo, ‘Franciscus Etiopem’, and Paris Bordon’s Portrait of a Man in Armour with Two Pages

ABSTRACT The Metropolitan Museum’s Portrait of a Man in Armour with Two Pages, painted a sixteenth-century portrait by the Venetian artist Paris Bordone, has been of great interest to art and cultural historians studying the depiction of Black subjects in early modern portrait art, because it is the earliest known work to depict a Black page attending a White male subject. It influenced the development of a distinct European portrait type in which aristocratic white sitters were represented with enslaved Black attendants in which their unequal power relations underscored by the rigid hierarchies of their proximities. Lugo-Ortiz and Rosenthal observe that the result of this motif is ‘the paradoxical presence and erasure of the enslaved subject in portraiture’ as material subjects that are seen but not acknowledged. Such a voluntary ‘erasure’ of what is clearly present also applies to the ways we have read archival documents about enslaved people from the point of view of the colonizer. Here, I re-read both the painting and the documents to restore the identities of both the main soldier subject and his Black slave, Francisco of Ethiopia, by drawing attention to our encoded methods of reading racialized subjects in the gallery and in the archive.

On Portraiture

Abstract: This essay considers the large and unwieldy question—"What is portraiture?"—in order to understand more clearly the achievements in sculpture, painting, and print that characterize a period art historians have described as the "golden age" of the British portrait. The essay redefines portraiture to include all of the major and minor portrait types across media; it devises corresponding rhetorical modalities for those different material environments; and it proposes a system of dynamic interplay rather than one of static taxonomy. Crucial to this effort is the reconceptualization of the material object itself as an entity capable of modal effect separate and apart from image or likeness. Equally important is the recognition that the interplay in question can be understood as a process by which portraiture measures, exchanges, and stores portrait values in ways similar to those of monetary systems.

Collective and Individual Experiences of Slaves in Leghorn, Pisa and Florence, 1702-1826

This article presents a group portrait of captives and slaves and a picture of some individual slaves’ lives in the Bagno of Leghorn and Pisa and in the House of Catechumens of Florence in the Grand Duchy of Tuscany during the period 1702-1826. This research is based on Leghorn government papers, the archive of Florence’s Ginori family and the records of the Magistrato del Bigallo.The study follows two lines of inquiry corresponding to two different scales of analysis. The first draws a group portrait from a list of slaves living at the Bagno of Leghorn and released in 1747. This portrait reveals a uniform and collective life and provides quantitative information on the latter, particularly concerning the question of the time of their captivity or their enslavement. The second line of investigation explores the experiences and individual trajectories of several slaves between Livorno, Pisa and Florence and raises questions about conclusive interpretations concerning the level of homogeneity in their living and working conditions. The presence of slaves and captives in galleys or prisons has been the subject of much research based on the many documents produced in these places, including lists of slaves that allow scholars to build a group portrait. The realization of this type of portrait requires, however, consideration of individual trajectories and differences. This is made possible by sources such as the supplications of slaves living in these places of detention as well as those resident in the House of Catechumens of Florence. The petitions of slaves, in both Pisa and Livorno, reveal the diversity of living conditions in the same place of detention. While historiography has emphasized a standardization of conditions in different environments—such as galleys and prisons—the study sheds light on how differences in physical qualities (health, physical strength, skin colour), geographical origin, professional skills or religion of captives and slaves had an impact on access to freedom, their agency, and their treatment by their owners. In addition, the sources of the Magistrato del Bigallo allow for a very subtle approach, making it possible to show for example the different experiences of a brother and a sister, both slaves and from Sub-Saharan Africa, in the House of Catechumens of Florence.These sources, less explored, bring to light formerly invisible stories of enslaved people from the Mediterranean and outside with singular trajectories that complicate existing interpretations. The two approaches, that of the group portrait and that concentrating on the individual experiences of the captives and slaves, are fundamental to developing a comprehensive understanding of the phenomenon of slavery in Tuscany.

Face Value: Toward a Theory of Eighteenth-Century Portraiture

This essay postulates a field theory of the portrait, one capable of explaining both portrait objects and the forces to which they were subject. It does so not with the intention of celebrating theoretical mastery, but to facilitate three comparatively modest claims: first, that eighteenth-century portraiture was, and always has been, a vibrant conglomeration of disparate portrait types, in which knowledge of any one type encouraged knowledge of the whole; second, that the objects themselves made frequent reference to the generic and media networks of which they were a part; and third, that many contemporary viewers became adept at negotiating these networks and were motivated to do so by the larger cultural demands that portraiture served.

Cultural Encounter, Race, and a Humanist Ideology of Empire in the Art of Trecento Venice

Cultural Encounter, Race, and a Humanist Ideology of Empire in the Art of Trecento Venice

Power data sampling model based on multi-layer sensing and prediction

Abstract With the development of smart grid and energy Internet, more and more smart sensing devices are installed and used in the power system, thus forming the advanced metering infrastructure (AMI). It makes the power system generate massive data all the time, which may come from smart meters, digital protection devices and so on. Behavior evaluation is to filter out the selected tags that meet the type of user portrait from the user system through the known partial tags, and these similar tags together determine the user’s behavior. How to make good use of the collected power big data is an important research topic in the field of power system. Using data mining technology to analyze power big data is a common research method to deal with power big data problems. To facilitate the staff to quickly understand the characteristics of the user, save service costs, improve user service satisfaction, and find the weak links of the power grid, this paper introduces the random forest algorithm, further researches on the basis of user portraits, combines database technology, machine learning algorithm and Logistics algorithm appropriately, constructs the user data sampling model based on big data, fully excavates the big data information of users and predicts the behavior of power users. According to the results of the forecast, it helps the power enterprises to correct and improve the relevant measures in the future. Experiments show that compared with the traditional Logistics model, the K-S value is increased by about 65.38%. The Gini coefficient is increased by about 12.60%, and the efficiency of the algorithm is improved by 5.26%. It has great advantages in stability and generalization. It has a better effect on power data sampling and forecasting, and helps power enterprises to improve market evaluation and corporate reputation.

Thermal management of parallel cells — Methodology based on non-linear dynamics

Battery thermal management is crucial to ensure an efficient, safe, and durable use of battery. Yet despite various efforts devoted, there is still few methodologies available to guide either the design or the control of the battery thermal management system (BTMS) to maintain predefined limit on the temperature difference (△ T ) among cells subjected to various forms of non-uniformity. Our work aims to develop such methodology using the theory of non-linear dynamics. The theoretical framework is introduced using the preheating of two parallel-connected cells under simplified conditions as an example. Two types of portraits with zero and non-zero △T are revealed in phase plane. The one with a single stable focus in the vicinity of the diagonal is preferred as it represents a small △ T . A methodology to determine the region of control parameters so as to maintain △ T within a prescribed limit is developed using bifurcation analysis, and validated with the preheating experiments. The restriction of factors, including the frequency, acceptable △ T , target temperature and preheating time, on such region are examined, thereby establishing an optimal region capable of simultaneously meeting the multiple design criteria for fast and uniform preheating. Utilizing the optimal region, engineer can identify the cells' steady-state temperature, estimate the power requirements of heating equipment, and determine the heat removal capability of BTMS, etc. in design stage, and optimize the control strategy in usage stage. • A methodology of thermal management is developed using phase plane and bifurcation. • The methodology can be applied to the design and control of both preheating and charge. • Two types of portraits with zero and non-zero temperature difference are revealed. • A region of control parameters is determined to enable fast and uniform preheating.

Putting your best face forward: Posing biases in psychologists’ online portraits

ABSTRACT When posing for portraits the position you adopt influences perceptions. As the left hemiface (controlled by the emotion-dominant right hemisphere) expresses emotion more intensely, left cheek portraits communicate stronger emotion than right cheek portraits. This phenomenon influences perceptions of both emotional expressivity and professional specialisation: while left cheek portraits emphasise emotion, right cheek portraits appear more scientific. When professionals upload photographs online to promote their services, the cheek shown consequently influences perceptions. Given the importance of empathy in establishing a therapeutic alliance, theoretically psychologists would benefit from choosing left cheek portraits to enhance their perceived emotionality. The present study thus examined psychologists’ posing biases in photographs uploaded to online “Find a Psychologist” resources. Images (N = 1230) of psychologists were drawn from professional “Find a Psychologist” online databases, and coded for gender, portrait type and cheek shown. Results confirmed that psychologists show a left cheek bias, irrespective of gender and across portrait types (upper body, full body). This distinguishes psychologists from doctors and surgeons: past research reports no cheek bias in photos uploaded to “Find a Doctor” websites. The current findings suggest that psychologists may intuitively select left cheek images to enhance the communication of empathy to potential clients.

Profilové portréty ze sbírek Národního muzea

A historic collection of the Department of Older Czech History of the National Museum, which includes, among others, a very extensive collection of portraits encompassing various techniques, from painted, graphic and photographic portraits, through ceroplastic portraits, portrait silhouettes and portrait medallions, to portrait busts. While painted portraits in the form of miniatures, small and large hanging paintings have been the subject of detailed scientific attention, other types of portraits have been somewhat neglected. The aim of this paper is to draw attention to the presence of ceroplastic works, portrait silhouettes and small portrait medallions in the collections of the National Museum and to describe the phenomenon of profile portraits by means of these examples.

SELF-DESTRUCTIVE BEHAVIOR IN PATIENTS WITH SCHIZOPHRENIA SPECTRUM DISORDERS. FEATURES OF PATHOGENESIS AND PATHODYNAMICS.

The aim: To prove the heterogeneity of pathogenetic mechanisms and pathodynamics of self-destructive behaviour (SdB) in patients with schizophrenia spectrum disorders (SSD). Materials and methods: We examined 112 patients with different kinds of SSD: 55 men (49.1%) and 57 women (50.9%), 34.9±8 years old. In 44.6% of patients the features of SdB were present during more than half of disease time (Gr1) - before and after self-injury or suicidal attempt (SI\SA) as well as in acute psychosis exacerbation or in remission. They committed SI\SA mainly in a psychotraumatic situations and due to permanent feelings with a self-destructive content. In 55.4% of patients (Gr2) acute manifestations of SdB with realization of impulsive SI\SA were caused only as secondary symptoms of the severe exacerbation of psychosis. Self-destructive or suicidal ideas disappeared in Gr2 patients after the reduction of acute psychotic symptoms. Results: Psychometric testing by the PANSS confirmed the comparability of these groups. линеpatients' reaction on a psychological problems, especially family conflicts, the desire to reduce the high level of subjective anxiety or to draw attention to themselves. In 92% of these patients at the moment of examination manifestations of SDB and the same self-destructive motives persisted. While patients of Gr2 committed impulsive SI\SA only by the influence of command pseudohallucinations or delusional ideas at the acute psychosis. At the time of the study (in state without acute psychotic symptoms or in remission) all patients of Gr2 showed no SDB signs. The data according to the Big Five Personality Test fixed substantial distinctions in personal characteristics of patients in Gr1 and Gr2 as well. Conclusions: Our study proved the scientific hypothesis that the pathogenesis and dynamics of SdB in patients with SSD (who committed SI\SA) have essential differences. The research results allowed to describe two types of personal portrait of patients with SSD and SdB who had realized SI\SA. This crucial pathogenetic variances are important to design of the therapy strategies of those patients.