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Books on the topic 'The Lacanian mirror stage'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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

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2

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

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3

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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4

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

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5

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

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6

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

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7

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

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8

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

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9

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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10

Romantic Stage: A Many-Sided Mirror. Rodopi B.V. Editions, 2014.

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11

Hunt, Roderick. Oxford Reading Tree: Stage 6: Owls Playscripts: Mirror Island. Oxford University Press, 1999.

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12

E, Knight Alan, ed. The stage as mirror: Civic theatre in late medieval Europe. Woodbridge, Suffolk, UK: D.S. Brewer, 1997.

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13

Knight, Alan E. The Stage as Mirror: Civic Theatre in Late Medieval Europe. D.S.Brewer, 1997.

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14

(Illustrator), Stanley Wong, ed. The Moon and the Mirror: A Play (Literacy 2000 Stage 5). Rigby, 1995.

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15

Stage and Picture in the English Renaissance: The Mirror up to Nature. Cambridge University Press, 2017.

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16

Brychta, Alex, and Roderick Hunt. Oxford Reading Tree : Stage 6 and 7: More Storybooks B Mirror Island. Oxford University Press, 2008.

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17

Radaev, Vadim. A Crooked Mirror. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794974.003.0012.

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The study examines the evolution of heterogeneous illegal markets, including markets for homemade alcohol, counterfeit alcohol, and illegally manufactured alcohol in Russia. A variety of statistical sources and survey data is used to demonstrate that the compositions of these markets have come through four different stages since late socialism, depending on the constellation of political, legislative, and economic factors. At each stage, some of these markets prevail, whereas others remain undeveloped. Overall, illegal alcohol markets tend to grow in periods of exogenous political or economic shocks and shrink in periods of economic growth. Changes in the structure of illegal markets are backed by a continuous requalification of products, organizations, and transactions contesting the boundaries between legality and illegality. Some illegal activities retain their legitimacy due to the ignorance or tolerance of enforcement agencies and final consumers.

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18

Hill, Julia. The Mist in the Mirror (New Longman Literature). Longman Publishing Group, 1995.

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19

All Aboard: Junior Guided Reading: Junior Core Readers: Stage 14 Short Stories - A Crack in the Mirror (All Aboard). Heinemann Educational Books - Primary Division, 1995.

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20

Hui, Isaac. ‘I fear I shall begin to grow in love with my dear self’: The Parasite and His ‘Mirror Stage’. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423472.003.0005.

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In Act 3 scene 1, we see Mosca’s narcissism for the first time. In the language of Lacan, narcissism is inseparable from the concept of ‘mirror image’, which is how a subject gains his (mis)recognition. This chapter analyses the parasite’s joy and the connection between the ‘mirror image’ and comedy, examining the parasite’s role and how his self-indulgence constitutes an integral part in the study of Volpone. Even though the parasite may think that he is different from the dwarf, the androgyne and the eunuch, he may just be another Volpone’s bastard. Drawing references to the Marx Brothers’ Duck Soup, this chapter examines how comedy plays upon the logic of the ‘para-site’. Finally, it compares the use of the ‘mirror stage’ in comedy and tragedy by making a brief discussion of Hamlet.

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21

Hydrographs of lake stage, stream discharge, and hydraulic head in ground water for the Mirror Lake area, New Hampshire, 1979-1995. Denver, Colo: U.S. Dept. of the Interior, U.S. Geological Survey, 1999.

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22

Gilliland, Thomas. Dramatic Mirror: Containing the History of the Stage from the Earliest Period to the Present Time; Including a Biographical and Critical Account of All the Dramatic Writers, from 660; and Also of the Most Distinguished Performers from the Days of Shak. HardPress, 2020.

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23

Smith, Matthew J., and Julia Reinhard Lupton, eds. Face-to-Face in Shakespearean Drama. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474435680.001.0001.

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This book celebrates the theatrical excitement and philosophical meanings of human interaction in Shakespeare. On stage and in life, the face is always window and mirror, representation and presence. Essays examine the emotional and ethical surplus that appears between faces in the activity and performance of human encounter on stage. By transitioning from face as noun to verb – to face, outface, interface, efface, deface, sur-face – chapters reveal how Shakespeare's plays discover conflict, betrayal and deception as well as love, trust and forgiveness between faces and the bodies that bear them.

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24

Shrock, Dennis. Johannes Brahms – Ein deutsches Requiem. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0008.

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Chapter 8 begins with historical precedents, including Brahms’s appointments as a choral conductor during his early professional life, his interest in and performance of works by J. S. Bach, and his association with Robert Schumann—of short duration but of profound influence. Substantial discussion is also given to the texts about life suffering that Brahms chose for most of his sacred choral compositions. The Requiem is discussed in terms of its long gestation, unification through use of musical motifs, and balanced and mirror structures. Performance practice issues include timbre and vibrato, metric accentuation, disposition of performers on stage, and tempo fluctuation.

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25

Metcalfe, David, and Harveer Dev. Oxford Assess and Progress: Situational Judgement Test. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805809.001.0001.

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Returning for a third edition, Oxford Assess and Progress: Situational Judgement Test (SJT) is THE definitive guide for students preparing to sit the Situational Judgement Test for entry into the UK Foundation Programme. This authoritative book, mapped to the Foundation Programme curriculum and GMC guidance, includes over 285 practice questions to help you maximize your SJT score. Fully revised and updated, this third edition provides over 285 questions and high-quality feedback that has been developed to clarify the ranking of every answer option, not just the correct one. All scenarios are based on real experiences informed by practising doctors and medical students who have sat the SJT to ensure that the questions closely mirror the content of the real exam. Two mock tests allow candidates to prepare for exam day and practice their timings - one of the biggest challenges in the exam. Written by consultants, this authoritative guide demystifies the SJT, allowing you to achieve the best possible score and take control of the first stage of your medical career.

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