Relevant bibliographies by topics / The Lacanian mirror stage

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'The Lacanian mirror stage'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "The Lacanian mirror stage"

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Yazdanpanahi, Marjan. "A Lacanian Reading of the Two Novels The Scarlet Letter And Private Memoirs And Confessions of A Justified Sinner." Register Journal 3, no. 2 (July 1, 2016): 107. http://dx.doi.org/10.18326/rgt.v3i2.107-126.

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This paper discusses two novels The Private Memoirs and Confessions of a Justified Sinner and The Scarlet Letter written by James Hogg and Nathaniel Hawthorn from the perspective of Jacques Lacan theories: the mirror stage, the-name-of-the-father and desire. The mirror stage refers to historical value and an essential libidinal relationship with the body-image. The-name-of-the-father is defined as the prohibitive role of the father as the one who lays down the incest taboo in the Oedipus complex. Meanwhile, desire is neither the appetite for satisfaction, nor the demand for love, but the difference that results from the subtraction of the first from the second.Keywords: Lacanian Reading; The Mirror Stage; The-Name-Of-The-Father And Desire
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Martin, Thomas L., and Duke Pesta. "“All for Love, and Nothing for Reward,”: Psyche from Spenser to Lacan, and the Loss of Critical Values." Ben Jonson Journal 23, no. 2 (November 2016): 143–68. http://dx.doi.org/10.3366/bjj.2016.0162.

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As a generation of Lacanian critics convert what Spenser does into a science of the formations of subjectivity and psycholinguistic desire, they miss Spenser's project of providing a unique account of human psychology in his encyclopedic work. Both Lacan and Spenser have detailed accounts of the operations of the human soul or psyche and the stages the subject passes through in each. As the essay contrasts these divergent models, a number of illuminating distinctions emerge. While in Lacan the self remains positioned in a single arena where the irreconcilable demands of subjectivity and intersubjectivity oppose one another perpetually, in Spenser the conditions of subjectivity are always perilous for the self, cut off from the nutriments of community and nature. Despite grand claims Lacanians have made on his behalf, Lacan's account of human nature cannot enter the heroic struggles of Spenser's second stage and so never fully engages the dynamics of Spenser's quest narrative. The story Lacan tells of the psyche is always the one that ends in a tragic thwarting. Whether we like Spenser's picture or not, it is clearly not the one espoused by Lacan. In the end, a comparative critical reading of Spenser helps correct an interpretive overeagerness by Lacanian critics, a cast of mind that is perhaps psychologically significant in itself. Spenser's cautionary tales about the pitfalls of subjectivity and its proper correctives outside the self contrast finally with a style of reading that mirrors the critics' own narcissistic obsessions more than they are willing to admit.
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Shahwan, Saed Jamil. "A Lacanian Study of Hemingway’s The Old Man and the Sea." Mediterranean Journal of Social Sciences 10, no. 1 (January 1, 2019): 87–91. http://dx.doi.org/10.2478/mjss-2019-0009.

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Abstract This paper sought to explore the role played by Lacan in the analysis of Hemingway’s work in The Old Man and the Sea. It is clear from the analysis that Lacan contributed immensely to the growth and improvement of the literary work between 1901 and 1981. Similarly, for effective analysis of the novel, Lacan sought to bring out issues on desires, conscious, unconscious, subconscious, psychology and others in the interpretation of the Hemingway’s literature. However, to achieve the objective, Lacan adopted his psychological stages of development that includes the real, mirror, and the symbolic stages. Through these stages, Lacan clearly brought out the content as perceived by Hemingway of social, cultural and religion. Ultimately, the analysis of the old man and the sea by Lacan showed that as people become aware or conscious they start to hope for unconsciousness.
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Rose, Gillian. "Distance, Surface, Elsewhere: A Feminist Critique of the Space of Phallocentric Self/Knowledge." Environment and Planning D: Society and Space 13, no. 6 (December 1995): 761–81. http://dx.doi.org/10.1068/d130761.

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In this paper I focus on a particular subjectivity and a particular spatiality. The subjectivity is that of dominant Western masculinities. The spatiality is the specific organisation of space through which that subjectivity is constituted and through which it sees the world, a problematic described here as a space of self/knowledge. The importance of a particular organisation of space to this particular subjectivity is introduced through the work of Irigaray, and elaborated with reference to Mulvey's account of the Lacanian mirror stage. Both Mulvey and Irigaray emphasise the importance of a distancing, visualised space to dominant masculinities. However, Mulvey and Irigaray have both been criticised for conceptualising this dominant subjectivity and his visual space in ways which leave little possibility for feminist disruption. These criticisms have been made from a diverse range of theoretical-political positions. In this paper, however, I engage specifically with the visual space of phallocentric space/knowledge, and therefore only explore the critical possibilities offered by other, more recent feminist appropriations of Lacan because these have centred precisely on questions of visuality, spatiality, and subjectivity. In particular, interpretations of Lacan's distinction between a certain organisation of space and what Lacan calls ‘the gaze’ arc drawn upon here in order to theorise both the fragilities of dominant masculinities and the existence of other visualised spaces of self/knowledge. It is thus argued that certain psychoanalytic feminisms can offer a critical account of phallocentric self/knowledge, which is also a critical account of the production of visual spatialities.
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Soufas, Teresa S., and Matthew D. Stroud. "The Play in the Mirror: Lacanian Perspectives on Spanish Baroque Theater." Hispanic Review 66, no. 4 (1998): 480. http://dx.doi.org/10.2307/474865.

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Darst, David H., and Matthew D. Stroud. "The Play in the Mirror: Lacanian Perspectives on Spanish Baroque Theater." Hispania 80, no. 1 (March 1997): 59. http://dx.doi.org/10.2307/345955.

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Weimer, Christopher B. "The Play in the Mirror: Lacanian Perspectives on Spanish Baroque Theater." Bulletin of the Comediantes 49, no. 2 (1997): 380–83. http://dx.doi.org/10.1353/boc.1997.0024.

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Zarzycki, Andrzej. "The Mirror Stage." Technology|Architecture + Design 1, no. 2 (November 2017): 127. http://dx.doi.org/10.1080/24751448.2017.1354599.

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Muller, John. "Lacan's mirror stage." Psychoanalytic Inquiry 5, no. 2 (January 1985): 233–52. http://dx.doi.org/10.1080/07351698509533586.

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Pourjafari, Fatemeh, and Leila Anjomshoaa. "The Mirage of the Mirror: A Lacanian Reading of Nadine Gordimer’s Loot." International Journal of Applied Linguistics & English Literature 2, no. 5 (September 1, 2013): 127–32. http://dx.doi.org/10.7575/aiac.ijalel.v.2n.5p.127.

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Dissertations / Theses on the topic "The Lacanian mirror stage"

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Svensson, Andreas. "Forsake Thy Art, Forsake Thyself : A Lacanian Reading of Oscar Wilde's The Picture of Dorian Gray." Thesis, Högskolan i Gävle, Engelska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-32531.

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This essay argues, with the help of Lacanian psychoanalysis, that Dorian Gray, the protagonist in Oscar Wilde’s novel, fails to abide by the rules governed by the culture of society. It is argued that Lacan’s theories about the mirror stage develop Dorian’s character and his realizations of his true self as part of the culture which shapes him. The mirror is represented by the four characters Basil Hallward, Lord Henry Wotton, Sibyl Vane, and Sibyl’s brother James. Basil, Henry, and Sibyl are all representations of different aspects of the mirror explained by Lacan’s theories, and these three characters help Dorian realize his true identity and self.
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Green, Kyle. "The Angry God in the Mirror Stage: Applications of Lacanian Psychoanalysis to the Naturalization of Violence in Men's Studies in Religion." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28865.

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In this thesis I discuss some relationships and conversations that occur---and some that could occur in the future---among authors in men's studies in religion and those who work with Jacques Lacan's psychoanalytical model. I focus on how "male violence" is discussed in men's studies in religion. I do this to make projections about why trends in men's studies in religion regarding concepts about violence appear as they do. In the first chapter I attempt to present my theoretical and methodological bias. I locate my interpretation in Judith Butler's theories regarding performance and citation. I then present significant working definitions for the following chapters that remain consistent throughout the thesis. In the second chapter I present a literature review regarding men's studies in religion. I present French feminist ideas about God and masculinity as contributing to motivational ideologies in the field. I then identify mythopoetic and masculinist authors as producing the field's momentum. I lastly present a number of current authors and themes that show a central focus regarding a link between masculinities and violence in the field. In the third chapter I present a literature review about Lacan's psychoanalytic theories regarding the subject and signification. I begin by analyzing Lacan's primary sources in his two most substantial works: Ecrits and The Four Fundamental Concepts of Psycho-Analysis. I then explore how contemporary Lacanian theorists shift his ideas in productive and interesting ways. I lastly show how Lacanian signification can be used to interpret the ways in which authors who contribute to men's studies in religion signify such concepts as "masculinities" and "violence". In the fourth chapter I build upon a Lacanian theoretical model using a Foucauldian framework regarding institutional knowledge. I show how authors in men's studies in religion methodologically and implicitly cite a perceived institutional understanding about violence. Using Jeremy Carrette's focus on the importance of utterances in institutions, I will show that feminist ideologies compose "mechanisms of coercion" for authors who signify violence and masculinity. In the fifth chapter I combine Foucault's work concerning institutional knowledge with Lacan's theories about signification. I show that signification in men's studies in religion is coerced by a feminist re-definition regarding violence. I argue that this re-definition is best defined as Lacanian trauma, and that this trauma is so effective in the field because the traumatic event has to do with re-defining Jewish and Christian conceptions regarding God's masculinity. This thesis has implications for possible ways in which authors in men's studies in religion can approach violence in future work. This thesis composes, or highlights, a conversation between Lacanian psychoanalysis and studies about masculinity. The contribution is thus to two fields because it presents new avenues for discussion that are not yet explored, while drawing on current, relevant and productive work from significant contemporary authors.
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Kella, Greta. "What? Do I look like this? : A qualitative study of mirrors’ impact on contemporary dance pedagogy students’ experiences of themselves." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-351.

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The purpose of this study was to describe how mirrors affect contemporary dance pedagogy students’experiences of themselves. Empirical material was collected through semi-structured interviews with four dance pedagogy students at the School of Dance and Circus, and analyzed with the help of post-humanistic perspective and Lacanian mirror stage theory. The results suggest that mirrors are active agents that participate in several things, for example they create an evaluating gaze, objectification, alienation from the subject as a unity, experience of two-dimensional bodies and distraction. The results also suggest that the mirrors actively create afront and direction, and therefore they shield dancers from sensing their ‘inner selves’ as well as others in theroom, time and space. The feeling of success and mood affect the way dancers feel about their mirror images and themselves. In summary, this study stresses that the mirror, an object, is active and agentic, instead of thinking that the dancer is the only active part in the dancer-mirror relationship.
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Oliveira, Rackel Hagen de. "A gênese da teoria lacaniana do estágio do espelho: os materiais para construção." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/5635.

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Esta pesquisa propõe investigar as principais referências teóricas utilizadas por Jacques Lacan para a construção da teoria do estágio do espelho e visa especificar o papel desempenhado por cada uma delas nessa construção. O intuito é contextualizar os principais conceitos relevantes ao tema a partir das suas fontes primárias e analisar a arquitetura conceitual interna dos trabalhos elegidos – tendo em vista as produções do autor publicadas no final da década de 1930 até meados dos anos 1950. Com a finalidade de recapitular essa trajetória, este trabalho visa traçar a gênese teórica de alguns conceitos fundamentais que marcaram o pensamento lacaniano no início de sua obra e resgatar as origens dos principais alicerces a partir dos quais Lacan constrói a teoria do estágio do espelho. Dentro desse quadro, aborda-se as principais referências da psicologia infantil do desenvolvimento, presentes nas obras de Charlotte Bühler, James Mark Baldwin e, sobretudo, Henri Wallon. Em seguida, recupera os experimentos da psicologia comparada, nos estudos de Louis Bolk e Wolfgang Köhler. Por fim, a partir das evidências apresentadas, trata-se de situar, precisamente, as principais perspectivas que Lacan aborda e adere em seu objeto de estudo, evidenciando as diferenças de concepções adotadas, quando estas forem relevantes ou importantes para a compreensão da teoria.
This research proposes to investigate the main theoretical references used by Jacques Lacan for the construction of the theory of the stage of the mirror and aims to specify the role played by each of them in this construction. The aim is to contextualize the main concepts relevant to the theme from their primary sources and to analyze the internal conceptual architecture of the chosen works - in view of the author's productions published in the late 1930s until the mid 1950s. To recapitulate this trajectory, this work aims to trace the theoretical genesis of some fundamental concepts that marked the Lacanian thought at the beginning of its work and to rescue the origins of the main foundations from which Lacan constructs the theory of the stage of the mirror. Within this framework, the main references of developmental child psychology are presented in the works of Charlotte Bühler, James Mark Baldwin and, above all, Henri Wallon. Then retrieves the experiments of comparative psychology in the studies of Louis Bolk and Wolfgang Köhler. Finally, from the evidence presented, it is a question of precisely situating the main perspectives that Lacan approaches and adheres to in his object of study, highlighting the differences of conceptions adopted, when these are relevant or important to the understanding of the theory.
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Welsch, Jonathan T. "'The Mirror Stage' and other Poems and The Linguistic Subject of William Carlos Williams' Spring and All." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518824.

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The poems in this collection draw, firstly, on my interest in a tradition of American confessionalism, which, particularly in the poems of John Berryman, seems to re-articulate the 'fragmented self of Anglo-American Modernism. A second major interest is in the more radical dislocations oflyric voice in John Ashbery's poetry. In the following poems, these two influences combine in the exploration of linguistic constructions of SUbjectivity, especially that of a knowing and knowable author figure. Specific practical concerns which stem from this central interest include translation and focalization strategies, polyphony, and oblique responses to philosophical, cultural, and literary contexts. These poems also explore questions of lyrical SUbjectivity in relation to constructions of gender and sexuality, with a particular focus on masculinity. I work from the premise that the authorial voice and its claims to truth, power, and sexual and gendered identity are . continually undermined by inner incoherencies and contradictions, a process of selfsubversion which these poems work to emphasize. Inmany places, this emphasis relates to a tension between a 'disembodied' authorial/lyrical voice and the 'embodied' form of the poem, which exposes that voice to textual inconclusiveness. This tension is also examined through the problematics of lyrical address and gendered relations between the'!' and 'you'. The Linguistic Subject of William Carlos Williams' Spring and All This thesis explores the discourse of authorial subjectivity at work in the declarative prose of William Carlos Williams' 1923 book, Spring and All, now regarded as a seminal text of American Modernism. In order to re-examine what has proven for critics to be a variously interpretable relationship between subject and object in Williams' early thinking, I read Spring and All here through an interconnected chain of conceptual frameworks. More. specifically, in hopes of remapping Spring and All's fragmented notion of authorial SUbjectivity against a more diverse history of ideas, these four chapters bring the longestablished influences of visual arts and Romanticism on Williams into juxtaposition with the less biographically or historically derived contexts of structuralist linguistics and Lacanian psychoanalytic theory. By drawing on correspondences among these contexts.this thesis finally argues for a notion of radically 'linguistic' SUbjectivity underlying Williams' early poetics, which may be productively compared to earlier philosophies of a mutually constitutive dialectic between external objects and a persistent centrality of the self, as well as later 20th-century revisions which emphasize the formalistic and linguistic nature of this relationship.
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Godsland, Shelley. "Writing reflection, reflection on writing : Lacan's mirror stage and female self-construction in Helena Parente Cunha and Sylvia Molloy." Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364206.

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O'Hanlon, Kelsie C. "Medieval Views on Aging and Their Modern Implications: Analyzing Chaucer's Pardoner Through the Lens of a Second Mirror-Stage." Ohio Dominican University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=odu1512578183523566.

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Finn, Richelle V. "“More Human Than Human”: Lacan’s Mirror Stage Theory and Posthumanism in Philip K. Dick’s Do Androids Dream of Electric Sheep?" ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2460.

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In my thesis, Philip K. Dick's Do Androids Dream of Electric Sheep? is examined using French psychoanalyst Jacques Lacan's mirror stage theory. In the novel, humans have built androids that are almost indistinguishable from humans except that they lack a sense of empathy, or so the humans believe. The Voigt-Kampff Machine is a polygraph-like device used to determine if a subject shows signs of empathy in order to confirm if one is an android or a human. Yet, should empathy be the defining quality of determining humanity? In his article "The mirror stage as formative of the function of the ‘I’ as revealed in psychoanalytic experience," Lacan refers to a particular critical milestone in an infant's psychological development. When the baby looks in a mirror, they come to the realization that the image they are seeing is not just any ordinary image; it is actually themselves in the mirror. This "a-ha" moment of self-realization is what Lacan's Mirror Stage Theory is based on. According to Lacan's theory, the image that the child sees in a mirror becomes an "Other" through which they will always scrutinize and pass judgment on, for it is not how they have pictured themselves to be in their mind’s eye. I hypothesize that the androids are humans' artificial and technological Other. It is my thought that Dick uses the conflict of determining the biological from the artificial, the effort to differentiate humans from androids and biological animals from artificial ones, to illustrate Lacan's psychoanalysis of the mirror stage and its importance in our continual search for determining what humanity is and who we really are.
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Smith, Enoch Shane. "The Presence of Jacques Lacan's Mirror Stage and Gaze in Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde and in Rouben Mamoulian's 1931 Film." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/75.

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For many years, theorists have turned to popular movies and books to help interpret the difficult principles of Jacques Lacan. However, one story that has gotten very little attention is Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde and its derivative body of film adaptations. Both the novella and Rouben Mamoulian’s 1931 film are a small part of an intertextual body of work which contains scenes that play out the Lacanian principles of the mirror stage and the gaze very well. Since art imitates life, an in depth exploration of the way that these scenes play out can illuminate how Lacan’s abstract theories might look in the real life formation of identity and in male/female relations.
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Moore, Lorna. "In[bodying] the other : performing the digital other as a component of self through real-time video performance." Thesis, University of Wolverhampton, 2014. http://hdl.handle.net/2436/319914.

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Through practice-led research this thesis will explore the phenomenology of interactions between the digital 'other', and the lived experience of the subject through real-time video performance practice. It challenges the assumption that the digital video image is merely or simply other to the subject and aims to re-position the 'other' as an integral part of self where we perform the other. It does this by drawing on Jacques Lacan's Mirror Stage and claims that through digital performance we can suspend divisions between the self and the digital other. By being immersed within the real-time video image the thesis argues we re-enter the Mirror Stage and become captivated within the digital counterpart. Through a disruption in the proprioception of the body there is a crossover of the actual self and digital other which are suspended in each other. Through the use of Head Mounted Display Systems in the work In[bodi]lmental it is claimed that the actual body can In[body] the other subject as part of self. The thesis argues that the digital other is a component of self mediated through new digital technologies to be understood as an augmented self. Therefore it is through an In[bodied] Mirror Stage we momentarily access the loss of the Lacanian real encountered through the uncanny experience. This investigation has been conducted in the form of four digital performance projects defined as Inter-Reactive Explorations I-REs (i-iv).The I-REs were subjected to critical analysis and reflection using a variety of disciplines including: psychoanalysis, philosophy, the study of perception, phenomenology, and ethnography. The methodological framework for this research has been coined 'auto-ethnophenomenology'; a mixed-method approach utilizing auto-ethnography and the phenomenological lived experiences of informants. This model has enabled both the 'I' of the researcher and the other to be equally represented from both first person and third person perspectives. The symbiotic relationship between the theory and the practice is exemplified through the phenomenology of interactions between the digital 'other', and the lived experience of the subjects supported by the writings of Sigmund Freud, Jacques Lacan, Maurice Merleau-Ponty, Drew Leder and Rane Willerslev.
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Books on the topic "The Lacanian mirror stage"

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The play in the mirror: Lacanian perspectives on Spanish baroque theater. Lewisburg [Pa.]: Bucknell University Press, 1996.

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Tolan, Stephanie S. The face in the mirror. New York: Morrow, 1999.

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1786-1865, Utagawa Toyokuni, and University Gallery Leeds, eds. Mirror of the stage: The actor prints of Kunisada. Leeds: University Gallery Leeds, 1996.

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Věra, Ptáčková. A mirror of world theatre: The Prague Quadrennial, 1967-1991. Prague: Theatre Institute, 1995.

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Susan, Hill. Mist in the mirror. London: Mandarin, 1993.

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Susan, Hill. The mist in the mirror. Edited by Head Jackie. Harlow: Longman, 1995.

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Susan, Hill. The mist in the mirror. Leicester: Ulverscroft, 1995.

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Mirror on the stage: The Pulitzer plays as an approach to American drama. West Lafayette, Ind: Purdue University Press, 1987.

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Morgan Wortham, Simon. Impossible Divisions: Fanon, Hegel and Psychoanalysis. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429603.003.0002.

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This chapter concentrates on Fanon’s Black Skin, White Masks, where the Hegelian theme of mutual recognition as the origin of man’s self-consciousness and potential freedom is tested against the complex circumstances of colonialism. Fanon’s idea that the ‘Negro slave’ is recognized by the ‘White Master’ in a situation that is ‘without conflict’ suggests a possibly double, or self-resistant, meaning: the colonial situation after slavery ushers in something like a phony war; but also colonialism’s historical interpretation is not exhausted by the Hegelian master-slave logic. Through this double possibility of the colonial, one wonders whether after Hegel it is historical interpretation or the historical process itself that has gone awry. Such dynamic tensions suggest an impossibly divided dialectics at work throughout Fanon’s corpus. The section of Fanon’s ‘The Negro and Recognition’ devoted to a critique of Adler points to an earlier footnote in Black Skin, White Masks which offers a lengthy engagement with Lacan, allowing us to reread the politics of racial difference into the scene of the Lacanian mirror-stage. Here, the resistant ‘other’ of psychoanalysis unlocks the possibility of another ‘politics’ capable of addressing, by better recognising, some of its most significant impasses.
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Romantic Stage: A Many-Sided Mirror. Rodopi B.V. Editions, 2014.

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Book chapters on the topic "The Lacanian mirror stage"

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Culler, Jonathan. "The Mirror Stage." In High Romantic Argument, edited by Lawrence Lipking, 149–63. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501727689-008.

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Longhofer, Jeffrey. "Mirror stage (and Mirroring)." In A-Z of Psychodynamic Practice, 117–19. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-03387-1_44.

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Armstrong, Philip. "Hamlet: The Stage Mirror." In Shakespeare's Visual Regime, 6–29. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230288874_2.

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Tallis, Raymond. "The Mirror Stage: A Critical Reflection." In Not Saussure, 131–63. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-18993-9_6.

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Tallis, Raymond. "The Mirror Stage: A Critical Reflection." In Not Saussure, 131–63. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-23963-4_6.

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Domínguez-Rué, Emma. "The Mirror Stage of Old Age." In Encyclopedia of Gerontology and Population Aging, 1–3. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-69892-2_275-1.

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Grant, Michael. "The Mirror Stage: A Critical Reflection." In The Raymond Tallis Reader, 253–83. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230286054_9.

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Van Bunder, David, and Gertrudis Van de Vijver. "Phenomenology and psychoanalysis on the mirror stage." In Body Image and Body Schema, 253–71. Amsterdam: John Benjamins Publishing Company, 2005. http://dx.doi.org/10.1075/aicr.62.17van.

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Davis, William V. "The presence of Absence: Mirrors and Mirror Imagery in the Poetry of R. S. Thomas." In Life the Play of Life on the Stage of the World in Fine Arts, Stage-Play, and Literature, 347–60. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0826-6_23.

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Weitz, Eric. "When the Mirror Laughs: Face to Face with Three Recent Irish Stage Worlds." In Irish Theatre in Transition, 122–36. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137450692_8.

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Conference papers on the topic "The Lacanian mirror stage"

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Robinson, Richard C., Ronald J. Huppi, and Steven L. Folkman. "Optimization of a cryogenic mirror stage." In International Symposium on Optical Science and Technology, edited by James B. Heaney and Lawrence G. Burriesci. SPIE, 2002. http://dx.doi.org/10.1117/12.451776.

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Zhang, Jianhuan, Jin Tao, Yan Liu, and Yan Nan. "Grating exchange system of independent mirror supported by floating rotary stage." In Applied Optics and Photonics China (AOPC2015), edited by Bin Xiangli, Dae Wook Kim, and Suijian Xue. SPIE, 2015. http://dx.doi.org/10.1117/12.2202926.

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Yu, Han, Wu Fan, and Yongjian Wan. "Testing technology for off-axis parabolic mirror during fine grinding stage." In 5th International Symposium on Advanced Optical Manufacturing and Testing Technologies, edited by Li Yang, Yoshiharu Namba, David D. Walker, and Shengyi Li. SPIE, 2010. http://dx.doi.org/10.1117/12.867715.

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Hsu, Ming-Ying, Gung-Chian Yin, Chien-yu Lee, Bo-Yi Chen, Hok-Sum Fung, Shang-Wei Lin, Duan-Jen Wang, and Yu-Shan Huang. "High loading precision rotation stage design for synchrotron radiation mirror stitching measurement." In Optomechanical Engineering 2019, edited by Keith B. Doyle and Jonathan D. Ellis. SPIE, 2019. http://dx.doi.org/10.1117/12.2525563.

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Ninomiya, Ken, Masaki Hasegawa, and Sadao Aoki. "Two-stage x-ray mirror system for microscopic x-ray photoelectron spectroscopy." In International Symposium on Optical Fabrication, Testing, and Surface Evaluation, edited by Jumpei Tsujiuchi. SPIE, 1992. http://dx.doi.org/10.1117/12.132132.

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Tan, Min, and Wing-Hung Ki. "Current-mirror miller compensation: An improved frequency compensation technique for two-stage amplifiers." In 2013 International Symposium on VLSI Design, Automation and Test (VLSI-DAT). IEEE, 2013. http://dx.doi.org/10.1109/vldi-dat.2013.6533876.

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Lu, Yunjun, Feng Tang, Xiangzhao Wang, Yong Li, Xiulong Wan, Fudong Guo, and Fengzhao Dai. "A high-accuracy subaperture stitching system for nonflatness measurement of wafer stage mirror." In SPIE/COS Photonics Asia, edited by Sen Han, Toru Yoshizawa, and Song Zhang. SPIE, 2014. http://dx.doi.org/10.1117/12.2071824.

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Biswas, Pallabee, and Ashutosh Nandi. "Process Corner Analysis of 2-stage Op-Amp Using Low Supply Voltage Current Mirror." In 2018 Second International Conference on Intelligent Computing and Control Systems (ICICCS). IEEE, 2018. http://dx.doi.org/10.1109/iccons.2018.8663150.

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Gallagher, Benjamin B., J. Scott Knight, D. Scott Acton, Koby Z. Smith, Erin Wolf, Eric Coppock, James Tersigni, Thomas Comeau, and Taylor S. Chonis. "Characterization and calibration of the James Webb space telescope mirror actuators fine stage motion." In Space Telescopes and Instrumentation 2018: Optical, Infrared, and Millimeter Wave, edited by Howard A. MacEwen, Makenzie Lystrup, Giovanni G. Fazio, Natalie Batalha, Edward C. Tong, and Nicholas Siegler. SPIE, 2018. http://dx.doi.org/10.1117/12.2311815.

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Mohedano Arroyo, Ruben, Pablo Benitez, Juan C. Minano, Francisco Bercero, and Pablo Lobato. "Design, construction, and measurement of a dielectric single-mirror two-stage (DSMTS) photovoltaic concentrator." In International Symposium on Optical Science and Technology, edited by Roland Winston. SPIE, 2001. http://dx.doi.org/10.1117/12.448827.

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