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22 books about Mirror
Cahokia
Mirror of the Cosmos
Sally A. Kitt Chappell
University of Chicago Press, 2002
At the turn of the last millennium, a powerful Native American civilization emerged and flourished in the American Midwest. By A.D. 1050 the population of its capital city, Cahokia, was larger than that of London. Without the use of the wheel, beasts of burden, or metallurgy, its technology was of the Stone Age, yet its culture fostered widespread commerce, refined artistic expression, and monumental architecture. The model for this urbane world was nothing less than the cosmos itself. The climax of their ritual center was a four-tiered pyramid covering fourteen acre rising a hundred feet into the sky—the tallest structure in the United States until 1867. This beautifully illustrated book traces the history of this six-square-mile area in the central Mississippi Valley from the Big Bang to the present.
Chappell seeks to answer fundamental questions about this unique, yet still relatively unknown space, which was designated a UNESCO World Heritage Site in 1982. How did this swampy land become so amenable to human life? Who were the remarkable people who lived here before the Europeans came? Why did the whole civilization disappear so rapidly? What became of the land in the centuries after the Mississippians abandoned it? And finally, what can we learn about ourselves as we look into the changing meaning of Cahokia through the ages?
To explore these questions, Chappell probes a wide range of sources, including the work of astronomers, geographers, geologists, anthropologists, and archaeologists. Archival photographs and newspaper accounts, as well as interviews with those who work at the site and Native Americans on their annual pilgrimage to the site, bring the story up to the present.
Tying together these many threads, Chappell weaves a rich tale of how different people conferred their values on the same piece of land and how the transformed landscape, in turn, inspired different values in them-cultural, spiritual, agricultural, economic, and humanistic.
Chappell seeks to answer fundamental questions about this unique, yet still relatively unknown space, which was designated a UNESCO World Heritage Site in 1982. How did this swampy land become so amenable to human life? Who were the remarkable people who lived here before the Europeans came? Why did the whole civilization disappear so rapidly? What became of the land in the centuries after the Mississippians abandoned it? And finally, what can we learn about ourselves as we look into the changing meaning of Cahokia through the ages?
To explore these questions, Chappell probes a wide range of sources, including the work of astronomers, geographers, geologists, anthropologists, and archaeologists. Archival photographs and newspaper accounts, as well as interviews with those who work at the site and Native Americans on their annual pilgrimage to the site, bring the story up to the present.
Tying together these many threads, Chappell weaves a rich tale of how different people conferred their values on the same piece of land and how the transformed landscape, in turn, inspired different values in them-cultural, spiritual, agricultural, economic, and humanistic.
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Charles Ives in the Mirror
American Histories of an Iconic Composer
David C. Paul
University of Illinois Press, 2013
In this sweeping survey of intellectual and musical history, David C. Paul tells the new story of how the music of American composer Charles Ives (1874–1954) was shaped by shifting conceptions of American identity within and outside of musical culture. Paul focuses on the critics, composers, performers, and scholars whose contributions were most influential in shaping the critical discourse on Ives, many of them marquee names of American musical culture themselves, including Henry Cowell, Aaron Copland, Elliott Carter, and Leonard Bernstein.
Paul explores both how Ives positioned his music amid changing philosophical and aesthetic currents and how others interpreted his contributions to American music. Although Ives's initial efforts to find a public in the early twenties attracted a few devotees, the resurgence of interest in the American literary past during the thirties made a concert staple of his "Concord" Sonata, a work dedicated to nineteenth-century transcendentalist writers. Paul shows how Ives was subsequently deployed as an icon of American freedom during the early Cold War period and how he came to be instigated at the head of a line of "American maverick" composers. Paul also examines why a recent cadre of scholars has beset the composer with Gilded Age social anxieties.
Paul explores both how Ives positioned his music amid changing philosophical and aesthetic currents and how others interpreted his contributions to American music. Although Ives's initial efforts to find a public in the early twenties attracted a few devotees, the resurgence of interest in the American literary past during the thirties made a concert staple of his "Concord" Sonata, a work dedicated to nineteenth-century transcendentalist writers. Paul shows how Ives was subsequently deployed as an icon of American freedom during the early Cold War period and how he came to be instigated at the head of a line of "American maverick" composers. Paul also examines why a recent cadre of scholars has beset the composer with Gilded Age social anxieties.
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The Deer in the Mirror
Cary Holladay
The Ohio State University Press, 2013
With a song-like voice and deep knowledge of the history and folklore of her native Virginia, Cary Holladay creates dazzling stories of hardship and ecstasy. A young widow romances a German immigrant while weighing a proposal from the colonial governor. Convicted of murdering her master, an enslaved woman is burned at the stake. A breakneck stagecoach ride gives a bricklayer’s apprentice the power to save or destroy his fellow passengers. An aging bachelor despairs of his marriage to a Confederate orphan. A beautiful adventuress joins the 1898 Alaska Gold Rush, charms a violent gangster, and figures out the secret of his fabulous wealth.
This seventh book from an award-winning author spans 300 years in the Old Dominion. Holladay’s people fight the wars, battle the floods, and wrest a living from a wilderness where “Time is God’s, not ours”—so says a reformed prostitute whose obsessive love for an amnesiac Yankee soldier defines her life. With a sensuous, lyrical style, Holladay holds a distinctive place in contemporary fiction.
All of these stories have appeared in major literary journals and anthologies, including Tin House and New Stories from the South: The Year’s Best.
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The Frame and the Mirror
On Collage and Postmodernism
Thomas P. Brockelman
Northwestern University Press, 2001
If the postmodern is a collage--as some critics have suggested--or if collage is itself a kernel of the postmodern, what does this mean for our way of understanding the world? The Frame and the Mirror uses this question to probe the distinctive question of the postmodern situation and the philosophical problem of representation.
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Galileo's Glassworks
The Telescope and the Mirror
Eileen Adair Reeves
Harvard University Press, 2008
Galileo and the Dutch telescope have long enjoyed a durable connection in the popular mind, transforming a rather modest middle-aged scholar into the icon of the Copernican Revolution. And yet the speed with which the telescope changed the course of Galileo's life and early modern astronomy obscures his actual delayed encounter with the instrument. This book considers the lapse between the telescope's 1608 creation in The Hague and Galileo's acquaintance with such news ten months later. Along the way, Reeves offers a revised chronology of Galileo's life in this critical period.
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Lenore Tawney
Mirror of the Universe
Edited by Karen Patterson
University of Chicago Press, 2019
Recent years have seen an enormous surge of interest in fiber arts, with works made of thread on display in art museums around the world. But this art form only began to transcend its origins as a humble craft in the late nineteenth and early twentieth centuries, and it wasn’t until the 1950s and 1960s that artists used the fiber arts to build critical practices that challenged the definitions of painting, drawing, and sculpture. One of those artists was Lenore Tawney (1907–2007).
Raised and trained in Chicago before she moved to New York, Tawney had a storied career. She was known for employing an ancient Peruvian gauze weave technique to create a painterly effect that appeared to float in space rather than cling to the wall, as well as for being one of the first artists to blend sculptural techniques with weaving practices and, in the process, pioneered a new direction in fiber art. Despite her prominence on the New York art scene, however, she has only recently begun to receive her due from the greater art world. Accompanying a retrospective at the John Michael Kohler Arts Center, this catalog features a comprehensive biography of Tawney, additional essays on her work, and two hundred full-color illustrations, making it of interest to contemporary artists, art historians, and the growing audience for fiber art.
Copublished with the John Michael Kohler Arts Center.
Raised and trained in Chicago before she moved to New York, Tawney had a storied career. She was known for employing an ancient Peruvian gauze weave technique to create a painterly effect that appeared to float in space rather than cling to the wall, as well as for being one of the first artists to blend sculptural techniques with weaving practices and, in the process, pioneered a new direction in fiber art. Despite her prominence on the New York art scene, however, she has only recently begun to receive her due from the greater art world. Accompanying a retrospective at the John Michael Kohler Arts Center, this catalog features a comprehensive biography of Tawney, additional essays on her work, and two hundred full-color illustrations, making it of interest to contemporary artists, art historians, and the growing audience for fiber art.
Copublished with the John Michael Kohler Arts Center.
[more]
The Man in the Mirror
William Marion Reedy and His Magazine
Max Putzel
University of Missouri Press, 1998
A flamboyant and controversial figure, William Marion Reedy was one of the most successful literary entrepreneurs of his day. Editor of the Mirror, a St. Louis weekly, from 1891 to 1920, Reedy played a large role in breaking down the genteel literary tradition, developing a native poetry, and helping to form some fifty significant poets. Emily Dickinson, Stephen Crane, Ezra Pound, Edwin Arlington Robinson, Amy Lowell, Sara Teasdale, Carl Sandburg, and Vachel Lindsay are just a few of the writers whose works Reedy featured in his magazine.
The Man in the Mirror offers a colorful description of Reedy's boyhood in St. Louis during the turbulent period following the Civil War. This well-documented biography follows Reedy throughout his years as a reporter in the early days of the St. Louis Post-Dispatch and Globe-Democrat and as editor of the St. Louis Star. Only seven years after Reedy founded the Mirror as a national journal of opinion--a potpourri of political comment, social gossip, and literary miscellany—the magazine's circulation far surpassed that of the Dial, Atlantic Monthly, or Nation.
Max Putzel truly conveys the spirit and personality of Reedy by carefully examining his life within the context of the literary world he influenced so significantly. Full chapters are devoted to his relationships with Theodore Dreiser, Ezra Pound, Vachel Lindsay, Amy Lowell, and others. Edgar Lee Masters, whose Spoon River Anthology first appeared in the Mirror, called Reedy both the "Literary Boss of the Middle West" and his best friend. In fact, Reedy had quite a range of friends, from librarians to politicians, St. Louis locals to Teddy Roosevelt. His personal effect on people, writers and readers alike, is what has made him such an important historical figure.
It is a tribute to Reedy's critical judgment that the reputations he helped to build would later overshadow his own. The Man in the Mirror, lauded as "the first substantial study of Reedy's work" by American Literature, reveals Reedy's notable contribution to the literary world.
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Medusa
In the Mirror of Time
David Leeming
Reaktion Books, 2013
With her repulsive face and head full of living, venomous snakes, Medusa is petrifying—quite literally, since looking directly at her turned people to stone. Ever since Perseus cut off her head and presented it to Athena, she has been a woman of many forms: a dangerous female monster that had to be destroyed, an erotic power that could annihilate men, and, thanks to Freud, a woman whose hair was a nest of terrifying penises that signaled castration. She has been immortalized by artists from Leonardo da Vinci to Salvador Dalí and was the emblem of the Jacobins after the French Revolution. Today, she’s viewed by feminists as a noble victim of patriarchy and used by Versace in the designer’s logo for men’s underwear, haute couture, and exotic dinnerware. She even gives her name to a sushi roll on a Disney resort menu. Why does Medusa continue to have this power to transfix us?
David Leeming seeks to answer this question in Medusa, a biography of the mythical creature. Searching for the origins of Medusa’s myth in cultures that predate ancient Greece, Leeming explores how and why the mythical figure of the gorgon has become one of the most important and enduring ideas in human history. From an oil painting by Caravaggio to Clash of the Titans and Dungeons and Dragons, he delves into the many depictions of Medusa, ultimately revealing that her story is a cultural dream that continues to change and develop with each new era.
Asking what the evolution of the Medusa myth discloses about our culture and ourselves, this book paints an illuminating portrait of a woman who has never ceased to enthrall.
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Mirror in Parchment
The Luttrell Psalter and the Making of Medieval England
Michael Camille
University of Chicago Press, 1998
What is the status of visual evidence in history? Can we actually see the past through images? Where are the traces of previous lives deposited? Michael Camille addresses these important questions in Mirror in Parchment, a lively, searching study of one medieval manuscript, its patron, producers, and historical progeny.
The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real.
In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.
The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real.
In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.
[more]
Mirror In Parchment
The Luttrell Psalter and the Making of Medieval England
Michael Camille
Reaktion Books, 1998
What is the status of visual evidence in history? Can we actually see the past through images? Where are the traces of previous lives deposited? Michael Camille addresses these important questions in Mirror in Parchment, a lively, searching study of one medieval manuscript, its patron, producers, and historical progeny.
The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real.
In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.
The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real.
In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.
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Mirror in the Shrine
Robert A. Rosenstone
Harvard University Press, 1988
The Mirror in the Text
Lucien Dällenbach
University of Chicago Press, 1989
The Mirror in the Text is concerned with the literary and artistic device of mise en abyme, the use of an element within a work which mirrors the work as a whole—like the 'play within a play' in Hamlet.
In this classic study, Lucien Dällenbach provides the first systematic analysis of this device and its literary and artistic applications from Van Eyck and Velasquez to Gide, Beckett and the French nouveau roman.
Alongside this wealth of examples, Dällenbach constructs his theoretical argument with elegance and clarity, assuming no previous knowledge of arcane and specialized theory, but guiding the reader helpfully through the maze of literary criticism. The result is a new conceptual field, a new grammar of the mise en abyme, and an examination of its function within the work of art and literature.
The highly original study has been acclaimed as one of the most important works of contemporary literary theory. It will be of interest to all students of English and European literature, as well as to students of the visual arts.
In this classic study, Lucien Dällenbach provides the first systematic analysis of this device and its literary and artistic applications from Van Eyck and Velasquez to Gide, Beckett and the French nouveau roman.
Alongside this wealth of examples, Dällenbach constructs his theoretical argument with elegance and clarity, assuming no previous knowledge of arcane and specialized theory, but guiding the reader helpfully through the maze of literary criticism. The result is a new conceptual field, a new grammar of the mise en abyme, and an examination of its function within the work of art and literature.
The highly original study has been acclaimed as one of the most important works of contemporary literary theory. It will be of interest to all students of English and European literature, as well as to students of the visual arts.
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The Mirror of Spain, 1500-1700
The Formation of a Myth
J. N. Hillgarth
University of Michigan Press, 2000
In this major new work, J. N. Hillgarth investigates how Spain was seen by non-Spaniards in the period when it was the leading power in Europe. The author brings together a wide range of sources that elucidate Spanish history and Spanish character. He demonstrates the ways that propaganda has distorted both these things in the past and even continues to do so in the present.
In the first of the volume's four parts, the author discusses the reasons--geographic, political, and religious--why Spain has proved a hard country to understand. Hillgarth looks at travelers to Spain, from pilgrims to diplomats, spies, exiles, and foreign residents. In its second part, special attention is devoted to the interaction between Christians, Jews, and Muslims, including Jewish and Muslim exiles and secret Jews within Spain.
In its third section, The Mirror of Spain explores reactions to Spain by those who saw it from the outside, the Italians, Dutch, French, and English. One chapter deals with the English, Scottish, and Irish Catholics, who, like the Jewish and Muslim exiles, played a double role in that they were at once "insiders" and outsiders. Finally, Hillgarth attempts to show how two crucial centuries have affected the way Spain has been seen down to the present.
The Mirror of Spain draws on a wide range of sources in different languages. It relies on documents in the Public Record Office and the British Library, the Archivo General de Simancas and the collections of the colleges founded by exiles in Spain, and on major libraries in Venice and Jerusalem. The volume will be of interest to a broad spectrum of scholars--to medievalists, historians of Spain, scholars of political and literary thought, and all those interested in notions of national identity.
J. N. Hillgarth has taught for many years at the University of Toronto and the Pontifical Institute of Mediaeval Studies. He is a Fellow of the British Academy and has received awards and honors from a wide variety of distinguished institutions in Europe and North America.
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Mirror of the Darkest Night
Mahasweta Devi
Seagull Books
It’s the mid-to-late 1800s and the British have banished Wajid Ali Shah—the nawab of Awadh in Lucknow—to Calcutta. To the sound of the soulful melody of the sarangi, the mercurial courtesan Laayl-e Aasman is playing a dangerous game of love, loyalty, deception, and betrayal. Bajrangi and Kundan, bound by their love for each other and for Laayl-e, struggle to keep their balance. Ranging across generations and geography, the scale of Laayl-e’s story sweeps the devil, a crime lord, and many other remarkable characters into a heady mix.
Mirror of the Darkest Night is almost an aberration in Mahasweta Devi’s oeuvre. Known for her activism and hard-hitting indictment of social inequalities, she pays close attention to detail in this sparkling novel. It offers a rare glimpse of Devi’s talent for telling the sort of story she normally eschewed—and it’s a cracker of a tale.
Mirror of the Darkest Night is almost an aberration in Mahasweta Devi’s oeuvre. Known for her activism and hard-hitting indictment of social inequalities, she pays close attention to detail in this sparkling novel. It offers a rare glimpse of Devi’s talent for telling the sort of story she normally eschewed—and it’s a cracker of a tale.
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The Mirror of the Sea
Joseph Conrad
Northwestern University Press, 1988
First published in 1906, The Mirror of the Sea was the first of Joseph Conrad's two autobiographical memoirs. Discussing it, he called the book "a very intimate revelation. . . . I have attempted here to lay bare with the unreserve of a last hour's confession the terms of my relation with the sea, which beginning mysteriously, like any great passion the inscrutable Gods send to mortals, went on unreasoning and invincible, surviving the test of disillusion, defying the disenchantment that lurks in every day of a strenuous life; went on full of love's delight and love's anguish, facing them in open-eyed exultation without bitterness and without repining, from the first hour to the last."
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The Mirror of the Self
Sexuality, Self-Knowledge, and the Gaze in the Early Roman Empire
Shadi Bartsch
University of Chicago Press, 2006
People in the ancient world thought of vision as both an ethical tool and a tactile sense, akin to touch. Gazing upon someone—or oneself—was treated as a path to philosophical self-knowledge, but the question of tactility introduced an erotic element as well. In The Mirror of the Self, Shadi Bartsch asserts that these links among vision, sexuality, and self-knowledge are key to the classical understanding of the self.
Weaving together literary theory, philosophy, and social history, Bartsch traces this complex notion of self from Plato’s Greece to Seneca’s Rome. She starts by showing how ancient authors envisioned the mirror as both a tool for ethical self-improvement and, paradoxically, a sign of erotic self-indulgence. Her reading of the Phaedrus, for example, demonstrates that the mirroring gaze in Plato, because of its sexual possibilities, could not be adopted by Roman philosophers and their students. Bartsch goes on to examine the Roman treatment of the ethical and sexual gaze, and she traces how self-knowledge, the philosopher’s body, and the performance of virtue all played a role in shaping the Roman understanding of the nature of selfhood. Culminating in a profoundly original reading of Medea, The Mirror of the Self illustrates how Seneca, in his Stoic quest for self-knowledge, embodies the Roman view, marking a new point in human thought about self-perception.
Bartsch leads readers on a journey that unveils divided selves, moral hypocrisy, and lustful Stoics—and offers fresh insights about seminal works. At once sexy and philosophical, The Mirror of the Self will be required reading for classicists, philosophers, and anthropologists alike.
Weaving together literary theory, philosophy, and social history, Bartsch traces this complex notion of self from Plato’s Greece to Seneca’s Rome. She starts by showing how ancient authors envisioned the mirror as both a tool for ethical self-improvement and, paradoxically, a sign of erotic self-indulgence. Her reading of the Phaedrus, for example, demonstrates that the mirroring gaze in Plato, because of its sexual possibilities, could not be adopted by Roman philosophers and their students. Bartsch goes on to examine the Roman treatment of the ethical and sexual gaze, and she traces how self-knowledge, the philosopher’s body, and the performance of virtue all played a role in shaping the Roman understanding of the nature of selfhood. Culminating in a profoundly original reading of Medea, The Mirror of the Self illustrates how Seneca, in his Stoic quest for self-knowledge, embodies the Roman view, marking a new point in human thought about self-perception.
Bartsch leads readers on a journey that unveils divided selves, moral hypocrisy, and lustful Stoics—and offers fresh insights about seminal works. At once sexy and philosophical, The Mirror of the Self will be required reading for classicists, philosophers, and anthropologists alike.
[more]
The Real Real Thing
The Model in the Mirror of Art
Wendy Steiner
University of Chicago Press, 2010
Our era is defined by the model. From Victoria’s Secret and America’s Next Top Model to the snapshots we post on Facebook and Twitter, our culture is fixated on the pose, the state of existing simultaneously as artifice and the real thing.
In this bold view of contemporary culture, Wendy Steiner shows us the very meaning of the arts in the process of transformation. Her story begins at the turn of the last century, as the arts abandoned the representation of the world for a heady embrace of the abstract, the surreal, and the self-referential. Today though, this “separate sphere of the aesthetic” is indistinguishable from normal life. Media and images overwhelm us: we gingerly negotiate a real-virtual divide that we suspect no longer exists, craving contact with what J. M. Coetzee has called “the real real thing.” As the World Wide Web renders the lower-case world in ever-higher definition, the reality-based genres of memoir and documentary are displacing fiction, and novels and films are depicting the contemporary condition through model-protagonists who are half-human, half-image. Steiner shows the arts searching out a new ethical potential through this figure: by stressing the independent existence of the model, they welcome in the audience in all its unpredictability, redefining aesthetic experience as a real-world interaction with the promise of empathy, reciprocity, and egalitarian connection.
A masterly performance by a penetrating, inquisitive mind, The Real Real Thing is that rarest of books, one whose provocations and inspirations will inspire readers to take a new—and nuanced—look at the world around them.
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The Sea as Mirror
Essayings in and against Philosophy as History
Wu Yi
Diaphanes, 2021
The Sea as Mirror traces the pressing and repressed material and symbolic presence of the Mediterranean Sea and the Atlantic Ocean from Plato to Heidegger. To do so, Wu Yi employs the maritime as a lens to understand the drive of philosophy as both a response to and moment within the impetus of Western colonization. Yi examines how philosophy has again and again constructed itself as a genre in opposition to the movement of deterritorialization and fluidity of mimesis. She does so via the method (meta, “after” + hodos, “way, journey”) of a series of essayings (in the original sense of trial, measure, attempt) across a geopolitical topography of discourses.
These include philosophical texts drawn from a constellation of historical topoi at the critical moments of their encounter with the maritime: Plato and Euripedes’s work from fifth-century Athens; Augustus and Plautus’s writings from republican and early imperial Rome; Shakespeare’s creations from Elizabethan England; Kant and Rousseau’s texts from enlightenment continental Europe; and the thinking of Husserl and Heidegger from interwar Germany of the twentieth century. For each historical topos, Yi juxtaposes different representations of and responses to the maritime through the reading of a philosophical text vis-à-vis the reading of a literary text. In so doing, she lays bare the deep political and moral ambiguity attributed to the ocean in Western philosophical and literary imaginaries.
These include philosophical texts drawn from a constellation of historical topoi at the critical moments of their encounter with the maritime: Plato and Euripedes’s work from fifth-century Athens; Augustus and Plautus’s writings from republican and early imperial Rome; Shakespeare’s creations from Elizabethan England; Kant and Rousseau’s texts from enlightenment continental Europe; and the thinking of Husserl and Heidegger from interwar Germany of the twentieth century. For each historical topos, Yi juxtaposes different representations of and responses to the maritime through the reading of a philosophical text vis-à-vis the reading of a literary text. In so doing, she lays bare the deep political and moral ambiguity attributed to the ocean in Western philosophical and literary imaginaries.
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Some Kind of Mirror
Creating Marilyn Monroe
Konkle, Amanda
Rutgers University Press, 2019
Although she remains one of the all-time most recognizable Hollywood icons, Marilyn Monroe has seldom been ranked among the greatest actors of her generation. Critics have typically viewed her film roles as mere extensions of her sexpot star persona. Yet this ignores both the subtle variations between these roles and the acting skill that went into the creation of Monroe’s public persona.
Some Kind of Mirror offers the first extended scholarly analysis of Marilyn Monroe’s film performances, examining how they united the contradictory discourses about women’s roles in 1950s America. Amanda Konkle suggests that Monroe’s star persona resonated with audiences precisely because it engaged with the era’s critical debates regarding femininity, sexuality, marriage, and political activism. Furthermore, she explores how Monroe drew from the techniques of Method acting and finely calibrated her performances to better mirror her audience’s anxieties and desires.
Drawing both from Monroe’s filmography and from 1950s fan magazines, newspaper reports, and archived film studio reports, Some Kind of Mirror considers how her star persona was coauthored by the actress, the Hollywood publicity machine, and the fans who adored her. It is about why 1950s America made Monroe a star, but it is also about how Marilyn defined an era.
Some Kind of Mirror offers the first extended scholarly analysis of Marilyn Monroe’s film performances, examining how they united the contradictory discourses about women’s roles in 1950s America. Amanda Konkle suggests that Monroe’s star persona resonated with audiences precisely because it engaged with the era’s critical debates regarding femininity, sexuality, marriage, and political activism. Furthermore, she explores how Monroe drew from the techniques of Method acting and finely calibrated her performances to better mirror her audience’s anxieties and desires.
Drawing both from Monroe’s filmography and from 1950s fan magazines, newspaper reports, and archived film studio reports, Some Kind of Mirror considers how her star persona was coauthored by the actress, the Hollywood publicity machine, and the fans who adored her. It is about why 1950s America made Monroe a star, but it is also about how Marilyn defined an era.
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The Tain of the Mirror
Rodolphe Gasché
Harvard University Press, 1986
Violin Playing Herself in a Mirror
Poems
David Kutz-Marks
University of Massachusetts Press
The first book of poetry from David Kutz-Marks. Guided by long and musical lines with quickly shifting forms of discourse and reference, these poems challenge our identities, our thoughts, and our quarrels with each other as they dart back and forth between interior spaces and real human relationships.
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When I Look into the Mirror and See You
Women, Terror, and Resistance
Randall, Margaret
Rutgers University Press, 2002
In the early 1980s, in the midst of Central America’s decades of dirty wars, Nora Miselem of Honduras and Maria Suárez Toro of Costa Rica were kidnapped and subjected to rape and other tortures. Of the nearly two hundred disappeared persons in Honduras in those years, they are, remarkably, two of only five survivors. Fourteen years after their ordeal, Suárez and Miselem’s chance meeting at a conference on human rights was witnessed by and is now retold in Margaret Randall’s When I Look into the Mirror andSee You.
Through direct testimony, vivid prose, and evocative photographs, Randall recounts the terror, resistance, and survival of Suárez and Miselem. The book details the abuses suffered by them, the ruses they used to foil their captors, the support that they gave each other while imprisoned, the means they used to escape, and their attempts to reconstruct their lives. For the first time, Suárez and Miselem explore the pain and trauma of their past and Randall has done the service of adding these remarkable voices to the global campaign to bring the world’s attention to women’s human rights.
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