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Journal articles on the topic 'Narcissus and Echo'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Oliver, Kelly. "Psychoanalysis and Deconstruction, A Love Story." Journal of French and Francophone Philosophy 23, no. 2 (December 7, 2015): 35–44. http://dx.doi.org/10.5195/jffp.2015.694.

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In The Right to Narcissism: A Case for Im-Possible Self-Love, Pleshette DeArmitt opens the space for an alternative to origin story so popular with political philosophers, namely, the social contract, which assumes a rational and self-identical subject. She does this obliquely by deconstructing narcissism as love of the self-same, or, love of what Kristeva might call “the clean and proper self.” Like Echo interrupting Narcissus’s soliloquy of deadly self-absorbed pleasure and his solitary auto-affection upon seeing his own reflection, Pleshette interrupts the seeming proximity of self-same, the closeness of near, and the propinquity of proper by deflecting the image of Narcissus onto the voice of Echo, who comes into her own by repeating his words. How, asks Pleshette, can Echo’s reiteration of the words of another be anything more than mere repetition or reduplication? Echoing Derrida, she answers that it is through a declaration of love. Echo’s repetition of the words of Narcissus take on new meaning, and allow her to express herself, and her love, through the words of the other. After all words are words of the other. Language comes to us from the other. Echo becomes a self, a “little narcissist,” through an address from and to the other, through the appropriation and ex-appropriation of the other’s words.

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2

Valerie Wohlfeld. "NARCISSUS AND ECHO." Antioch Review 71, no. 1 (2013): 158. http://dx.doi.org/10.7723/antiochreview.71.1.0158.

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3

Johnson, Cyraina E. "The Echo of Narcissus." International Studies in Philosophy 22, no. 1 (1990): 37–50. http://dx.doi.org/10.5840/intstudphil199022175.

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4

Koenig, Amy A. "The Pantomimic Voice." Greek and Roman Musical Studies 9, no. 2 (August 20, 2021): 320–40. http://dx.doi.org/10.1163/22129758-bja10027.

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Abstract Ovid’s Metamorphoses, as scholars have demonstrated, can be read in dialogue with Roman pantomime dance, and the tale of Echo and Narcissus is one of its most ‘pantomimic’ episodes. While others have focused on the figure of Narcissus in this vein, I turn instead to Echo, whose vocal mimicry can be seen as a mirror of the pantomime’s art, and whose juxtaposition with Narcissus seems emblematic of the body-voice relationship in pantomime. Echo’s desire for Narcissus engages with an existing lyric tradition of depicting the relationship between singing voice and dancing body in erotic terms. In such situations, the desire is fulfilled if the performers are both singing and dancing, uniting body and voice in performance. The thwarted union of Echo and Narcissus, however, embodies instead the dynamics of pantomime: the subordination or absence of the voice in favor of the body, and the connection created between dancer and audience.

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5

Williams, James. "Echo and Narcissus in Victorian Poetry." Essays in Criticism 69, no. 2 (April 1, 2019): 178–202. http://dx.doi.org/10.1093/escrit/cgz009.

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6

Petit, Laetitia, Anne Boisseuil, and Sandie Iffli. "Adolescents and Facebook: Narcissus without (an) echo." Revista Latinoamericana de Psicopatologia Fundamental 18, no. 4 (December 2015): 663–78. http://dx.doi.org/10.1590/1415-4714.2015v18n4p663.6.

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After discussing the reasons for Facebook’s popularity among adolescents, we proceed by analyzing the different types of superego and their structure during the great psychic upheaval of this developmental period. The prevalent use of the logic of orality and anality by Facebook causes regression in adolescents and may provoke a de-eroticization or even a desexualization of the Oedipal superego. This puts the cultural and the archaic superegos to the forefront, which may ultimately result in complete avoidance of sexuality, as it is experienced as dangerous. All of these factors may threaten the structuring capacity of the categories of lack and desire.

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7

Carla Gober. "Narcissus and Echo: Seduction and a Leave-taking." Gestalt Review 11, no. 1 (2007): 82. http://dx.doi.org/10.5325/gestaltreview.11.1.0082.

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8

Kiening, Christian. "Narcissus und Echo. Medialität von Liebe und Tod." Antike und Abendland 55, no. 1 (December 24, 2009): 80–98. http://dx.doi.org/10.1515/9783110207927.80.

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9

LeVen, Pauline. "Echo’s Bones and the Metamorphoses of the Voice." Greek and Roman Musical Studies 6, no. 1 (March 22, 2018): 14–25. http://dx.doi.org/10.1163/22129758-12341309.

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Abstract This article concentrates on the description of the demise of Echo in the Ovidian narrative of Echo and Narcissus in Metamorphoses 3. I argue that a pun in the line vox tantum atque ossa supersunt (3.398) encapsulates the problem at the heart of the myth: rather than being a reflection on the origins of the echo and the delusion of the senses, the myth of Echo is a meditation on the nature of the voice.

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10

Naas, Michael. "Echoing Sentiments: Art and Melancholy in the Work of Pleshette DeArmitt." Journal of French and Francophone Philosophy 23, no. 2 (December 7, 2015): 76–83. http://dx.doi.org/10.5195/jffp.2015.696.

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During those first few days, those first few weeks, truth be told, still today, something in me has wanted simply to echo the sentiments of others. That’s because I myself didn’t know exactly what to say and, truth be told, I still don’t know today. But it’s also because others, including and especially some of the people here today, beginning with my co-panelists and, perhaps especially, early on, Leigh Johnson, knew at the time just what had to be said and so expressed so well the sentiments that we all—that I at least—just wanted to echo. Just to echo, that’s what I wanted to do, because by echoing the sentiments of others I would be able to protect myself just a bit longer, I thought, though also, I self-justified, by echoing others I would be able to give back in some way to Pleshette herself, who showed us in her work that Echo does not simply repeat but initiates even when it looks or sounds as if she is not, Echo who gives back even when it sounds as if she has nothing to give, Echo who not only has her own Narcissus but her own narcissism—which Pleshette would have been the first to tell us is not only not a bad thing but a necessary one, and perhaps just what is needed for a new thinking of empathy, of mourning, and, perhaps, as I will try to say, of the ephemeral.

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11

Barclay, Michael W. "The Echo Phase." Journal of Phenomenological Psychology 24, no. 1 (1993): 17–45. http://dx.doi.org/10.1163/156916293x00026.

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AbstractThis article focuses on the significance of acoustical phenomena (acoumena) in the development of the subjectivity of the infant. An attribute of that development, beginning with the breakdown of psychological symbiosis for the infant, is the loss implicit in the eventual participation of the subject in a symbolic order and the consequent acquisition of language. The essay examines how such loss can contribute to the constitution of the subject and the ego of the subject. Two aspects of language, metaphor and metonymy, are examined in regard to their fundamental relationship to subjectivity. The character Echo, from the myth of Narcissus and Echo, is the namesake for a phase of development, the Echo Phase, which is postulated to begin after the third month of life. During this phase, to some extent the development of the subject depends upon intersubjectivity and concomitant auditory and linguistic phenomena. It is an implicit purpose of this essay to understand the advent of the ego as the expression of a phenomenological structure, dependent upon language and intersubjectivity, that mediates between subject and world. ... By chance Narcissus lost track of his companions, started calling "Is anybody here?" and "Here!" said Echo. He looked around in wonderment, called louder "Come to me!" "Come to me!" came back the answer. He looked behind him, and saw no one coming; "Why do you run from me?" and heard his question Repeated in the woods. "Let us get together!" There was nothing Echo would ever say more gladly, "Let us get together!" And to help her words, Out of the woods she came, with arms all ready To fling around his neck. But he retreated: "Keep your hands off," he cried, "and do not touch me! I would die before I give you a chance at me." "I give you a chance at me," and that was all She ever said thereafter, spurned and hiding, Ashamed, in the leafy forests, in lonely caverns. She frets and pines, becomes all gaunt and haggard, Her body dries and shrivels till voice only And bones remain, and then she is voice only For the bones are turned to stone. She hides in woods And no one sees her now along the mountains, But all may hear her, for her voice is living. Ovid, Metamorphoses

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12

Pile, Steve. "Echo, Desire, and the Grounds of Knowledge: A Mytho-Poetic Assessment of Buttimer's Geography and the Human Spirit." Environment and Planning D: Society and Space 12, no. 4 (August 1994): 495–507. http://dx.doi.org/10.1068/d120495.

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In Geography and the Human Spirit, Buttimer argues that the history of geographical concern is marked by cyclical time, which is distinguished by three phases: Phoenix, Faust, and Narcissus, By taking a longer look at one of these myths, Narcissus, it is possible to suggest that Buttimer bases her account on some problematic assumptions. Thus, the figure of Echo, absent from Buttimer's telling of the myth, can return to disrupt her story. This mytho-poetic assessment reveals something of the way in which ‘others’ are constituted in her story: I take this erasure to be symptomatic of an ‘othering’ humanism, which is predicated on the other, but considers itself self-grounded and thereby distances itself from others. The conclusion questions Buttimer's universalism, her concept of cyclical time, and her sense of a liberation cry of humanism, I suggest that an emancipatory geography cannot rely on undisclosed and marginalized ‘others’, in this case represented by the figure of Echo.

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13

Coffin, Charlotte. "An Echo Chamber for Narcissus: Mythological Rewritings in Twelfth Night." Cahiers Élisabéthains: A Journal of English Renaissance Studies 66, no. 1 (November 2004): 23–28. http://dx.doi.org/10.7227/ce.66.1.4.

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14

Lerner, Ross. "“Doubly Resounded”: Narcissus and Echo in Petrarch, Donne, and Wroth." Modern Philology 118, no. 2 (November 1, 2020): 159–80. http://dx.doi.org/10.1086/710610.

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15

Tucker, Lauryl. "Progeny and Parody: Narcissus and Echo in Stevie Smith’s Poems." Twentieth-Century Literature 60, no. 3 (2014): 336–66. http://dx.doi.org/10.1215/0041462x-2014-4003.

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16

Bishop, Jeffrey P., Joseph B. Fanning, and Mark J. Bliton. "Echo Calling Narcissus: What Exceeds the Gaze of Clinical Ethics Consultation?" HEC Forum 22, no. 1 (March 2010): 73–84. http://dx.doi.org/10.1007/s10730-010-9123-8.

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17

Rustin, Margaret. "The inspiration of the ancients: the myth of Narcissus and Echo." Infant Observation 22, no. 2-3 (September 20, 2019): 86–91. http://dx.doi.org/10.1080/13698036.2019.1680307.

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18

Gee, Erin. "Repetition as Radical Referral: Echo and Narcissus in the Digital Index." Leonardo Music Journal 23 (December 2013): 89. http://dx.doi.org/10.1162/lmj_a_00165.

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19

AIKIN, JUDITH P. "NARCISSUS AND ECHO: A MYTHOLOGICAL SUBTEXT IN HARSDÖRFFER‘S OPERATIC ALLEGORY‘SEELEWIG’ (1644)." Music and Letters 72, no. 3 (1991): 359–69. http://dx.doi.org/10.1093/ml/72.3.359.

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20

Thiry-Stassin, Martine. "Émergence du langage figuré dans l'Istoire de Narcissus et de Echo." Le Moyen Français 60-61 (January 2007): 405–16. http://dx.doi.org/10.1484/j.lmfr.2.303174.

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21

Massardier-Kenney, Françoise. "Narcissus and Echo: Women in the French Récit (review)." MFS Modern Fiction Studies 36, no. 4 (1990): 633–34. http://dx.doi.org/10.1353/mfs.0.0611.

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22

KNIGHT, D. "Review. Narcissus and Echo: Women in the French 'Recit'. Segal, Naomi." French Studies 44, no. 1 (January 1, 1990): 105. http://dx.doi.org/10.1093/fs/44.1.105.

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23

Rath, Richard Cullen. "Echo and Narcissus: The Afrocentric Pragmatism of W. E. B. Du Bois." Journal of American History 84, no. 2 (September 1997): 461. http://dx.doi.org/10.2307/2952567.

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24

Stroup, George W. "Between Echo and Narcissus The Role of the Bible in Feminist Theology." Interpretation: A Journal of Bible and Theology 42, no. 1 (January 1988): 19–32. http://dx.doi.org/10.1177/002096438804200103.

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25

Bishop, Jeffrey P., Joseph B. Fanning, and Mark J. Bliton. "Erratum to: Echo Calling Narcissus: What Exceeds the Gaze of Clinical Ethics Consultation?" HEC Forum 22, no. 2 (June 2010): 171. http://dx.doi.org/10.1007/s10730-010-9132-7.

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26

Greer, Margaret R. "Tragic Resonance: Listening for Women’s Voices in the Myth of Echo and Narcissus." Bulletin of the Comediantes 72, no. 1 (2020): 73–101. http://dx.doi.org/10.1353/boc.2020.0004.

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27

Bologova, Marina A. "Motifs of the myth about Echo and Narcissus in the novels by M. Rybakova." Sibirskiy filologicheskiy zhurnal, no. 1 (March 1, 2011): 107–11. http://dx.doi.org/10.17223/18137083/34/16.

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28

Sandison, Garry. "Beckett's Embers and the Modernist Ovid: a Tiresian Poetic?" Journal of Beckett Studies 22, no. 2 (September 2013): 180–200. http://dx.doi.org/10.3366/jobs.2013.0071.

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This paper interprets the second Beckett radio play, Embers, as a miniature epic that reworks numerous myths from Ovid's Metamorphoses. Paradoxically exploiting an aural broadcast medium, Beckett thus creates, in the listener's imagination, a mythical series of interlocking visual ekphrases. Comparison of the earliest extant versions, the MS THR 70.3 holograph and MS 4664 typescript, also suggests that Beckett's Embers – after Eliot's The Waste Land – dramatises the revelatory afflatus of Orphico-Dionysiac ritual initiation. Though caricatured in Plato's parable of the cave, such mystical gnosis was later celebrated in Ovid's interwoven myths of Echo, Narcissus, and the blind shaman Tiresias.

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29

Crandell, George. ""Echo Spring": Reflecting the Gaze of Narcissus in Tennessee Williams'sCat on a Hot Tin Roof." Modern Drama 42, no. 3 (September 1999): 427–41. http://dx.doi.org/10.3138/md.42.3.427.

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30

Lipjankic, Dina. "Narcissistic Echo: The myth of Narcissus multiplied and transformed in Oscar Wilde's the Picture of Dorian Gray." Nasledje, Kragujevac 14, no. 38 (2017): 289–300. http://dx.doi.org/10.5937/naslkg1738289l.

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31

Thody, Philip. "Reviews : Narcissus and Echo. Women in the French Récit. By Naomi Segal. Manchester: Manchester University Press, I988. Pp. 253. £27.50." Journal of European Studies 19, no. 4 (December 1989): 333–35. http://dx.doi.org/10.1177/004724418901900406.

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32

Kellner, Hans. "A Dutchman Views the World – Ankersmit as a Reader." Journal of the Philosophy of History 12, no. 3 (November 28, 2018): 371–90. http://dx.doi.org/10.1163/18722636-12341403.

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AbstractThroughout his extensive work, Frank Ankersmit presents a mode of reading that informs his philosophy of history. He has commented in passing that the visuality of his approach is a Dutch trait, and that historical works succeed when they serve as a “belvedere,” offering a panoramic view. His discussions of Erich Auerbach and Hayden White reveal his own reading protocols, which differ from those of the great readers Auerbach and White, however, in that Ankersmit does not read his texts “proximally,” as linguistic artefacts. Instead, he favors a “distal” stance from his texts in order to see the work as a whole, as a pictorial narratio. In this way, the reader-viewer may experience an aesthetic mood like the one Ankersmit feels, for example, when confronted by a Guardi painting. Further, in his discussion of Gibbon and Ovid, he shows that the myth of Narcissus, in which admiration of an image is replaced by a mere echo, reveals a danger of historical representation and the need for a metamorphic picture, blurring the contours. If we consider Ankersmit as a reader with a pictorial sense, whether “Dutch” or not, his position as a philosopher of experience will come into better focus.

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33

Dinter, Martin T. "Intermediality in the Metamorphoses." Trends in Classics 11, no. 1 (September 15, 2019): 96–118. http://dx.doi.org/10.1515/tc-2019-0006.

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Abstract This article provides an intermedial re-reading of Ovid’s Metamorphoses, treating a wide range of passages from Echo and Narcissus in Book 2 to the final sphragis which rounds off Book 15. As its title indicates, the Metamorphoses is at heart a poem about transformations. It is therefore imbued with a sense of dynamism and volatility, which in turn renders it a fertile source of represented intermedial transposition. This chapter explores three processes relating to this wider concept: ‘creation’, where a medial product is woven, painted, or sculpted, ‘human-to-media transformations’, which provide a subversive take on intermediality due to their negative connotations, and ‘meta-intermediality’, through which Ovid comments on media and their narratological potential within the wider poem. By thus problematising medial communication, Ovid identifies and advocates a hierarchy of art forms based on their effectiveness as monumentalising devices: within this system, engravings – owing to their permanence – take precedence over woven or written products. This tendency comes to the fore in the final book of the Metamorphoses, in which Ovid links his poetry to the Fates’ records on ‘brass and solid iron’ (Ov. Met. 15.808–815). In so doing, he does not only assert the authority which his work possesses as a prophecy for Rome’s greatness, but also appoints himself as a renowned bard for the ages.

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34

Lima, Raisa Inocencio Ferreira. "Arte e descolonização como um mecanismo de defesa na obra de Grada Kilomba." Revista PerCursos 20, no. 44 (March 13, 2020): 11–34. http://dx.doi.org/10.5965/1984724620442019011.

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Apresentação da obra Memórias da Plantação: episódios de racismo cotidiano e da série audiovisual Illusions, especialmente, "Narcissus and Echo”, criados por Grada Kilomba. A artista, filósofa e psicanalista, ilustra as operações estético-sensíveis do seu corpus teórico, através de um testemunho crítico sobre a história e epistemologia do racismo − denominado racismo ontológico. Neste artigo, o trabalho subjetivo atua em diferentes campos, de forma interdisciplinar: na descolonização do conhecimento; na interseccionalidade entre questões de classe, gênero e raça; como também, no desejo de constituição de um sujeito da negritude. Sendo assim, este artigo pretende traçar um panorama argumentativo que destrinche o que é o racismo epistemológico e como ele afeta o cotidiano nas instituições e na psique social. Finalmente, através da obra e do pensamento de Grada Kilomba, perguntar como podemos operar novos meios de reparação histórica e criar novas sensibilidades, compondo assim um novo sujeito, ou ainda, uma existência além da redução ao silêncio, ilustrado pela máscara de Anastácia. São, portanto, temáticas diferentes que se entrecruzam para tentar dar conta da realidade social, que nos afeta no campo político, sensível e sentimental. Por isso, de antemão, a teoria se revela uma prática do pensamento ativista, como também, a arte se revela uma forma de pensar a vida e vice-versa, compondo uma ética que descoloniza o pensamento, a arte, a memória e que emancipa ao produzir outras maneiras de expressão do ser. Palavras-chave: Descolonização estética. Afrossensibilidade. Racismo epistemológico. Feminismo intersecciconal

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35

Jin, Seunga Venus, and Ehri Ryu. "“The Paradox of Narcissus and Echo in the Instagram Pond” in Light of the Selfie Culture from Freudian Evolutionary Psychology: Self-Loving and Confident but Lonely." Journal of Broadcasting & Electronic Media 62, no. 4 (October 2, 2018): 554–77. http://dx.doi.org/10.1080/08838151.2018.1474881.

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36

Houghton, L. B. T. "OVID, REMEDIA AMORIS 95: VERBA DAT OMNIS AMOR." Classical Quarterly 63, no. 1 (April 24, 2013): 447–49. http://dx.doi.org/10.1017/s0009838812000675.

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Anagrams and syllabic wordplay of the kind championed by Frederick Ahl in his Metaformations have not always been favourably received by scholars of Latin poetry; I would hesitate to propose the following instance, were it not for the fact that its occurrence seems peculiarly apposite to the context in which it appears. That Roman poets were prepared to use such techniques to enhance the presentation of an argument by exemplifying its operation at a verbal level is demonstrated by the famous passage of Lucretius (DRN 1.907–14; also 1.891–2) in which the poet seeks to illustrate the tendency of semina … ardoris to create fire in wood by the literal presence of elements from the word for ‘fires’ (IGNes) in that denoting wood (lIGNum). A similar conception may underlie the association insinuated by the love elegists between amor and mors, suggesting that death is somehow ‘written into’ love: so Propertius declares laus in amore mori (2.1.47), while Tibullus appears to point to the lurking presence of death in the pursuit of love in the lines interea, dum fata sinunt, iungamus amores: | iam ueniet tenebris Mors adoperta caput (1.1.69–70) – so swift and unexpected is death's approach that it is already present in aMOReS in the preceding line. Ovid's awareness of the poetic potential of this kind of play (if that is the right word for it) is fully exhibited in his celebrated account of Echo and Narcissus in Metamorphoses 3, where the subject matter gives the poet ample scope to exploit the humorous and pathetic possibilities afforded by Echo's fragmented repetitions of the frustrated entreaties of her beloved.

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37

Marks, Herbert. "Echo and Narcissism." University of Toronto Quarterly 61, no. 3 (March 1992): 334–54. http://dx.doi.org/10.3138/utq.61.3.334.

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38

KISLIN, KONSTANTIN B. "INTERPRETATION OF THE MYTH OF NARCISSUS AND ECHO IN A TREATISE “OVIDIUS MORALIZATUS” BY PETRUS BERCHORIUS IN THE CONTEXT OF RECEPTION OF THE ANTIQUE MYTHOLOGY IN FRANCE OF THE 12TH -14TH CENTURIES." Study of Religion, no. 2 (2020): 91–98. http://dx.doi.org/10.22250/2072-8662.2020.2.91-98.

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39

Reichardt, Dosia. ""Only your picture in my mind": the image, the heart, and the mirror in some seventeenth-century poems." Renaissance and Reformation 30, no. 2 (January 1, 2006): 67–82. http://dx.doi.org/10.33137/rr.v30i2.9575.

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La subjectivité aux débuts des temps modernes demeure un thème d'un grand intérêt. Toutefois, les « poèmes au miroir » de Cavalier, caractérisés par l'inversion étrange qu'il fait subir à la logique usuelle de la louange propre au lyrisme amoureux, ont été particulièrement négligés. Cet article examine donc la façon de réagir qu'ont les poètes face au spectacle d'une femme absorbée par son miroir. Les récits d'Ovide au sujet de Echo et Narcisse servent d'assise à cet examen des anxiétés de nature sexuelle et à leur évocation du masochisme ironique de Marvell. Les amoureux masculins du milieu du XVIIe siècle tendent dans les « poèmes au miroir » à perdre leur identité en échange de qualités féminines apparentées à l'affliction. De superbes et froides maîtresses deviennent simultanément des Narcisses (présentées comme vaniteuses et ridicules par Ovide) ainsi que leur dur reflet sur la surface du miroir. À une époque où la cour devait renvoyer l'image du monarque, l'exploration que ces poèmes offrent de la stérilité de ce procédé comporte à la fois des sous-entendus politiques, et une retraite non seulement en campagne - comme Cavalier l'a fait, mais également dans les plaisirs du texte.

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40

Ziarek, Ewa Plonowska. "De Copia: On Narcissism, Echo, and the Im-Possible Female Friendship." Journal of French and Francophone Philosophy 23, no. 2 (December 7, 2015): 1–13. http://dx.doi.org/10.5195/jffp.2015.703.

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There are two interrelated questions that I would like to explore in the context of Pleshette DeArmitt’s work. The first one pertains to the intellectual stakes in the eloquent style of her writing, its elegance and playfulness, which accompanies the philosophical order of argumentation. And the second one refers to the issue of female friendship. How can one discuss such friendship without resorting to merely biographical, historical, or autobiographical terms? Yet what kind of philosophical theories of female friendship could I possibly refer to? Perhaps to none. DeArmitt, whose life has created so many friendships, did not live long enough to write about friendship, at least not directly. And yet I would like to suggest that her captivating—the adjective that I use here deliberately—book, The Right to Narcissism: A Case for Im-possible Self-Love, leaves us traces of female friendship in her philosophical argument that narcissistic self-love is inseparable from the love of another.

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41

Shapiro, Jordan. "The Eco-Gastronomic Mirror: Narcissism and Death at the Dinner Table." Ecopsychology 2, no. 4 (December 2010): 247–52. http://dx.doi.org/10.1089/eco.2009.0033.

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Noiray, Jacques. "Une « mise en abyme » de La Curée : Les Amours du beau Narcisse et de la nymphe Echo." Littératures 16, no. 1 (1987): 69–77. http://dx.doi.org/10.3406/litts.1987.1392.

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"Echo and Narcissus." Screenworks 3, no. 1 (2012). http://dx.doi.org/10.37186/swrks/3.1/1.

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Campbell, Mary Baine. "Echo and Narcissus, or, Man O Man!" Critical Survey 28, no. 2 (January 1, 2016). http://dx.doi.org/10.3167/cs.2016.280208.

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Rezaei, Mariam. "The 42 Mirrors of Narcissus." Archive(s), no. 1 (November 20, 2020). http://dx.doi.org/10.47041/echo.1.xxoe7211.

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"Echo and Narcissus: women's voices in classical Hollywood cinema." Choice Reviews Online 29, no. 07 (March 1, 1992): 29–3808. http://dx.doi.org/10.5860/choice.29-3808.

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Steinman, Dolores A., Peter W. Coppin, and David A. Steinman. "Narcissus and Echo: Reflections on an Art-Science Collaboration." Leonardo, December 4, 2020, 1–12. http://dx.doi.org/10.1162/leon_a_02009.

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Abstract:

More than a decade ago, our previous Leonardo contribution described our goal of establishing a basis for scientific exploration of blood flow dynamics closely intertwined with the visual arts. Here we present a case study of new collaborative art-science exploration. We show how paradigms we co-developed for visually abstracting cerebral aneurysm blood flows were extrapolated to sonification and bi-modal representations, and how a close interdisciplinary partnership was effected by guiding engineering students versed in the arts and artists adept with digital technology towards the final outcomes being more than the sum of their parts.

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Rignall, John. "Johannes Ungelenk. Narcissus and Echo: A Political Reading of George Eliot’s." Anglia 132, no. 2 (July 1, 2014). http://dx.doi.org/10.1515/ang-2014-0046.

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ANBARPINAR, Elif. "ECHO VE NARCİSSUS MİTİ ÜZERİNDEN OKUMALAR VE YENİ MEDYA SANATINA YANSIMALARI." Art-e Sanat Dergisi, December 6, 2020. http://dx.doi.org/10.21602/sduarte.794381.

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Bertrand, Anne. "Markus Lüpertz, Narcisse et Echo. Discours, essais et poèmes 1961-2019." Critique d’art, December 7, 2020. http://dx.doi.org/10.4000/critiquedart.68272.

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