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Journal articles on the topic 'The Lacanian mirror stage'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Vanheule, Stijn, and Paul Verhaeghe. "Professional Burnout in the Mirror: A Qualitative Study From a Lacanian Perspective." Psychoanalytic Psychology 22, no. 2 (2005): 285–305. http://dx.doi.org/10.1037/0736-9735.22.2.285.

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12

Boyle, A. J. "Introduction: Terence's Mirror Stage." Ramus 33, no. 1-2 (2004): 1–9. http://dx.doi.org/10.1017/s0048671x00001089.

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13

Benson-Allott, C. "OUR NATIONAL MIRROR STAGE." GLQ: A Journal of Lesbian and Gay Studies 14, no. 2-3 (January 1, 2008): 442–44. http://dx.doi.org/10.1215/10642684-2007-046.

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14

McGuirk, Bernard J. "From Mirror-State to Mirror-Stage: Reflections onModernismoandModernidad." Romance Quarterly 36, no. 3 (August 1989): 315–23. http://dx.doi.org/10.1080/08831157.1989.9932635.

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15

Williams, Todd O. "Reading Rossetti's the Mirror through Lacan's Mirror Stage." Explicator 67, no. 1 (September 2008): 48–51. http://dx.doi.org/10.3200/expl.67.1.48-51.

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16

함성주. "A Certain Lacanian Mirror in Korean Independent Teen Movie. : Focusing on (2010) and (2012)." Journal of Popular Narrative 20, no. 2 (August 2014): 275–302. http://dx.doi.org/10.18856/jpn.2014.20.2.009.

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17

Ian Parker, Kim. "Mirror, Mirror on the Wall, Must We Leave Eden, Once and for All? A Lacanian Pleasure Trip Through the Garden." Journal for the Study of the Old Testament 24, no. 83 (June 1999): 19–29. http://dx.doi.org/10.1177/030908929902408302.

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18

Zhang, Yan. "From Self-identification to Self-destruction—A Mirror Image Interpretation of Dorian Gray’s Psychic Transformation." Journal of Language Teaching and Research 7, no. 2 (March 3, 2016): 377. http://dx.doi.org/10.17507/jltr.0702.18.

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Oscar Wilde, the representative of Aestheticism, is the most controversial figure in English literary history. The Picture of Dorian Gray, as his first and only novel, has been the object of study for a long time. The study of the protagonist from the psychoanalytic angle is still new and has potential research value for its in-depth analysis. According to Lacanian mirror theory, the self-construction of an individual is formed under the influence of the other’s mirror image. In the novel, under the influence of all the elements, Dorian experiences the psychic transformation and gradually ends up in self-destruction after alienating his self-identification. The thesis aims to explore the critical mirrors in the process pf Dorian’s transformation in the light of Lagan’s theory so that the understanding the protagonist can be expanded.

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19

Vasseleu, Cathryn. "The Face Before the Mirror-Stage." Hypatia 6, no. 3 (1991): 140–55. http://dx.doi.org/10.1111/j.1527-2001.1991.tb00260.x.

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Drawing on the work of Irigaray and Levinas, this paper discusses the ethical limitations of Lacan's “mirror-stage” dynamic and interpolates a different interpretation of the material he uses to elaborate his theory. Close attention is paid to the significance of metaphors of vision and touch in the work of the three philosophers. The paper develops into an analysis of bigamy's and Levinas's interpretations of touch as the differential site of ethics.

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20

R. Sistani, Shahram. "Caught between a harrowing past and debilitating present: The Bluest Eye in the mirror of Lacanian psychoanalysis." Journal of Language and Literature 6, no. 3 (August 30, 2015): 33–37. http://dx.doi.org/10.7813/jll.2015/6-3/7.

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21

Marino. "Broken Glass: Sylvia Gellburg's Mirror Stage." Arthur Miller Journal 15, no. 1 (2020): 50. http://dx.doi.org/10.5325/arthmillj.15.1.0050.

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22

Sadler, Gregory B. "Situating Lacan’s Mirror Stage in the Symbolic Order." Journal of Philosophy: A Cross-Disciplinary Inquiry 2, no. 5 (2006): 10–18. http://dx.doi.org/10.5840/jphilnepal2006259.

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23

Linder, Mark. "Time for Lacan: Looking after the Mirror Stage." Assemblage, no. 21 (August 1993): 82. http://dx.doi.org/10.2307/3171218.

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24

Martin, Carol. "Holding a Mirror Up to Theatre." TDR: The Drama Review 65, no. 1 (March 2021): 54–61. http://dx.doi.org/10.1017/s1054204320000088.

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Swiss director Milo Rau holds a mirror up to theatre to call into question its assumptions, conventions, and relationship to daily life. Rau’s nonfictional story of the murder of Ihsane Jarfi takes place within two overarching narratives with different timeframes—what happens on the stage now, and what happened beyond the stage then. His dramaturgy cautions against both suspension of disbelief and catharsis and against confusing the fictional with the real.

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25

Welch, Nancy. "Playing with Reality: Writing Centers after the Mirror Stage." College Composition and Communication 51, no. 1 (September 1999): 51. http://dx.doi.org/10.2307/358959.

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26

Paget, Derek. "Mirror images: rehearsal and performance on screen and stage." Studies in Theatre Production 13, no. 1 (January 1996): 17–28. http://dx.doi.org/10.1080/13575341.1996.10806923.

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27

LOSSEFF, NICKY. "Casting Beams of Darkness into Bartók’s Cantata Profana." Twentieth-Century Music 3, no. 2 (September 2006): 221–54. http://dx.doi.org/10.1017/s1478572207000473.

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AbstractBéla Bartók’s Cantata Profana (1930) retains ambiguities inherent in the Romanian myth on which it is based – a story of nine hunting-lads magically transformed into stags. This article explores the mysterious elements through psychoanalysis, positing links between darkness, Bartókian ‘night music’, and the Unconscious. Other aspects of the musical language suggest representations of Lacanian processes, specifically a regressive fantasy to the mental order of the ‘Real’. This is linked to Bartók’s experience of childhood illness, a time of perfect maternal love but profound bodily betrayal, suggesting that the stag-body represents a strong, proud transformation, ‘replacing’ the debilitated body of childhood memory. Musically, the ‘mirror-image’ scales of the opening and ending of the work are re-examined. It is proposed that they represent Bartók acknowledging loss, most importantly the loss of the myth of ‘pure sources’, which had sustained him, both musically and psychologically, up until then. This loss inevitably sought expression after a disastrous polemical debate forced him to abandon the idea of musical purity in folksong.

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28

Lim, Kok Sing, Chang Hong Pua, Noor Azura Awang, Sulaiman Wadi Harun, and Harith Ahmad. "FIBER LOOP MIRROR FILTER WITH TWO-STAGE HIGH BIREFRINGENCE FIBERS." Progress In Electromagnetics Research C 9 (2009): 101–8. http://dx.doi.org/10.2528/pierc09061607.

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29

김현주. "Mirror stage: Reading Desire of Barabas as an ‘object a’." Journal of Classic and English Renaissance Literature 23, no. 2 (December 2014): 171–99. http://dx.doi.org/10.17259/jcerl.2014.23.2.171.

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30

Susan L. Fischer, Ph.D. "Editorial: Contact, Awareness, Experiment ... and the Double-Sided Mirror/Stage." Gestalt Review 13, no. 3 (2009): 206. http://dx.doi.org/10.5325/gestaltreview.13.3.0206.

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31

서상문. "The Educational Implications in the Mirror Stage of Jacques Lacan." Journal of Educational Idea 25, no. 2 (August 2011): 67–90. http://dx.doi.org/10.17283/jkedi.2011.25.2.67.

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32

Matz, J. "BEYOND THE MIRROR-STAGE: THE NEW HISTORICISM AND THEATRICAL POWER." Theater 23, no. 1 (December 1, 1992): 41–45. http://dx.doi.org/10.1215/01610775-23-1-41.

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33

Nam, J., K. B. Ahn, M. Cho, S. Jeong, J. E. Kim, S. Ahmad, P. Barrillon, et al. "Development of Motorized Slewing Mirror Stage for the UFFO Project." EAS Publications Series 61 (2013): 573–77. http://dx.doi.org/10.1051/eas/1361092.

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34

Bany Salameh, Haythem, Khaled Jawarneh, and Ahmed Musa. "Multi-stage Mirror-Based Planar Structure for Wavelength Division Demultiplexing." Journal of Optical Communications 39, no. 3 (June 26, 2018): 273–83. http://dx.doi.org/10.1515/joc-2016-0098.

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Abstract In this paper, a new design for a demultiplexer device for Wavelength Division Multiplexing (WDM) communication system is proposed. The proposed device consists of an inhomogeneous layer of a semiconductor material with refractive index that is graded according to a given profile. To minimize the size of the proposed device and achieve better spatial shift between the multiplexed wavelengths, several mirrors are placed at different locations inside the device. These mirrors will force the multiplexed light to be reflected before reaching the total internal reflection point. By controlling the different design parameters such as incident angle, the refractive index profile, etc., a small size, low cost and less complexity WDM device can be realized. In the design process, we exploits the ray’s spatial shift that results from the introduced mirrors and the material dispersion. In addition, the effect of the aforementioned design parameters on the amount of spatial shift between the adjacent wavelengths and the size of the device has been investigated. Results show that the proposed design achieves higher spatial shift as well as smaller device size in comparison with precedent WDM device designs.

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35

주안화. "China’s New Drama’s Scientific Nature and Stage Mirror Image Doctrine." Journal of Study on Language and Culture of Korea and China ll, no. 17 (August 2008): 345–54. http://dx.doi.org/10.16874/jslckc.2008..17.016.

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36

Beroiza, Alanna. "How Pictures Make Bodies and Bodies Make Pictures." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 1–35. http://dx.doi.org/10.1215/02705346-8359494.

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This article examines the visual dynamics underlying wrong-body narratives of gender through Lacanian psychoanalytic readings of Annie Leibovitz’s photographs of Caitlyn Jenner for Vanity Fair (2015) and Pedro Almodóvar’s film La piel que habito (Spain/France, 2011). Leibovitz’s photographs, seen as the public culmination of Jenner’s gender transition, and Almodóvar’s fictional film, centered on the forced surgical sex reassignment of one of its characters, both comment on the role of technically produced images in constructing visually articulated bodily materiality as central to gender. Staged in Jenner’s domestic space, often before mirrors that reflect the camera alongside its subject, Lei-bovitz’s photos portray Jenner at the center of complex scenarios of mastery over her image. These images demonstrate an awareness of their constructed nature at the same time as they offer themselves as the optical proof of Jenner’s transition; they reveal and, ostensibly, dominate what Lacan refers to as the fundamental misrecognition at the heart of all scopic scenarios of recognition. Almodóvar’s film imagines the reverse scenario in which the body-as-image exerts violent control over the individual, not only erasing the apparent sex of one of its characters, Vicente, but also, and less tolerably, attempting to erase the absence, or misrecognition, of his body in its status as what Lacan calls “objet a,” or object of desire. The distinct ways in which Leibovitz’s images and Almodóvar’s film theorize the relationship between bodies and images with regard to misrecognition and absence point to the continued necessity of considering the influence of scopic relations in formations of gender identity.

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37

Barzilai, Reut. "Being European: "Hamlet" on the Israeli Stage." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 27–53. http://dx.doi.org/10.18778/2083-8530.21.03.

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One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more financially successful than those directed by non-Israelis, and even when local national and political circumstances bore a striking resemblance to the plot of the play. Conversely, when one Israeli production of Hamlet (originating in an experimental theatre) did try to hold a mirror up to Israeli society—and was indeed understood abroad as doing so—Israeli audiences and theatre critics failed to recognize their reflection in this mirror. The article explores the various functions that Hamlet has served for the Israeli theatre: a rite of passage, an educational tool, an indication of belonging to the European cultural tradition, a means of boosting the prestige of Israeli theatres, and—only finally—a mirror reflecting Israel’s “age and body.” The article also shows how, precisely because Hamlet was not allowed to reflect local concerns, the play mirrors instead the evolution of the Israeli theatre, its conflicted relation to the Western theatrical tradition, and its growing self-confidence.

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38

Barzilai, Reut. "Being European: "Hamlet" on the Israeli Stage." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 27–53. http://dx.doi.org/10.18778/2083-8530.21.03.

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One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more financially successful than those directed by non-Israelis, and even when local national and political circumstances bore a striking resemblance to the plot of the play. Conversely, when one Israeli production of Hamlet (originating in an experimental theatre) did try to hold a mirror up to Israeli society—and was indeed understood abroad as doing so—Israeli audiences and theatre critics failed to recognize their reflection in this mirror. The article explores the various functions that Hamlet has served for the Israeli theatre: a rite of passage, an educational tool, an indication of belonging to the European cultural tradition, a means of boosting the prestige of Israeli theatres, and—only finally—a mirror reflecting Israel’s “age and body.” The article also shows how, precisely because Hamlet was not allowed to reflect local concerns, the play mirrors instead the evolution of the Israeli theatre, its conflicted relation to the Western theatrical tradition, and its growing self-confidence.

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39

Kubeček, V., and M. Vrbová. "Nd: YAG laser with plasma mirror." Laser and Particle Beams 6, no. 2 (May 1988): 219–24. http://dx.doi.org/10.1017/s0263034600003967.

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Nd: YAG laser action controlled by a solid target-plasma reflectivity is reported. A quasi-continuous mode-locking pulse train consisting of 26 ± 4 ps pulses was observed using a two-stage laser amplifier and a carbon target. A single pulse energy of 0.2 mJ and a peak power density at the target of about 1011 W/cm2 were measured.

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40

Tong, Ziye, Junwei Zhou, Yanchao Yang, and Lee-Ming Cheng. "Robust Facial Landmark Localization Based on Two-Stage Cascaded Pose Regression." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 10055–56. http://dx.doi.org/10.1609/aaai.v33i01.330110055.

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In this paper, we propose a two-stage cascaded pose regression for facial landmark localization under occlusion. In the first stage, a global cascaded pose regression with robust initialization is performed to get localization results for the original face and its mirror image. The localization difference between the original image and the mirror image is used to determine whether the localization of each landmark is reliable, while unreliable localization with a large difference can be adjusted. In the second stage, the global results are divided into four parts, which are further refined by local regressions. Finally, the four refined local results are integrated and adjusted to get the final output.

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41

Jacobsen, Jeppe T. "Lacan in the US cyber defence: Between public discourse and transgressive practice." Review of International Studies 46, no. 5 (March 20, 2020): 613–31. http://dx.doi.org/10.1017/s026021052000008x.

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AbstractEdward Snowden exposed the discrepancy between the official US defence discourse of liberal values in cyberspace and secret surveillance and cyber exploitation practices. Situated in the critical literature on security and surveillance, the article proposes that more attention needs to be paid to the constitutive role of transgressive practices for security communities. The article introduces a Lacanian strategy for studying transgression in the US cyber defence community. Through this strategy, a transgressive other – in this case, China in cyberspace – enters the fantasy of the US cyber defence community as the symptom that conceals more fundamental tensions in the US cyber defence. But the community's representation of China in cyberspace represents more than that; China is a fantasmatic object that structures and gives content to a desire for transgressing the official ideals of the US cyber defence. This is why the excessive cyber practices that China is criticised for conducting mirror the secret, disavowed transgressions of the US cyber defence. Transgressions, the article concludes through Lacan, provide the necessary (partial) enjoyment that sustains the US cyber defence community as a solidarity-in-guilt and the official US cyber defence discourse.

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42

Vieira, Marco A. "(Re-)imagining the ‘Self’ of Ontological Security: The Case of Brazil’s Ambivalent Postcolonial Subjectivity." Millennium: Journal of International Studies 46, no. 2 (November 27, 2017): 142–64. http://dx.doi.org/10.1177/0305829817741255.

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In this article, I critically engage with and develop an alternative approach to ontological security informed by Jacques Lacan’s theory of the subject. I argue that ontological security relates to a lack; that is, the always frustrated desire to provide meaningful discursive interpretations to one’s self. This lack is generative of anxiety which functions as the subject’s affective and necessary drive to a continuous, albeit elusive, pursuit of self-coherence. I theorise subjectivity in Lacanian terms as fantasised discursive articulations of the Self in relation to an idealised mirror-image other. The focus on postcolonial states’ subjectivity allows for the examination of the anxiety-driven lack generated by the ever-present desire to emulate but also resist the Western other. I propose, therefore, to explore the theoretical assertion that postcolonial ontological security refers to the institutionalisation and discursive articulation of enduring and anxiety-driven affective traces related to these states’ colonial pasts that are still active and influence current foreign policy practices. I illustrate the force of this interpretation of ontological security by focusing on Brazil as an example of a postcolonial state coping with the lack caused by its ambivalent/hybrid self-identity.

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43

Selhaiha, Nehad. "Faces in the Mirror: Images of Sheherazade on the Egyptian stage." Documenta 22, no. 4 (March 23, 2019): 359–67. http://dx.doi.org/10.21825/doc.v22i4.10335.

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44

Levine, Steven Z. "Virtual Narcissus: On the Mirror Stage with Monet, Lacan, and Me." American Imago 53, no. 1 (1996): 91–106. http://dx.doi.org/10.1353/aim.1995.0014.

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45

Mullini, Roberta. "Fulgens and Lucres: a mirror held up to stage and society." European Medieval Drama 1 (January 1997): 203–18. http://dx.doi.org/10.1484/j.emd.2.301064.

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46

Crowley, KevinD, and Joel Young. "Automated mirror-image stage (AMIS) for external-detector fission-track analysis." International Journal of Radiation Applications and Instrumentation. Part D. Nuclear Tracks and Radiation Measurements 17, no. 3 (January 1990): 410. http://dx.doi.org/10.1016/1359-0189(90)90067-8.

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47

Groulx, Dominic, and Benjamin Sponagle. "RAY-TRACING ANALYSIS OF A TWO-STAGE SOLAR CONCENTRATOR." Transactions of the Canadian Society for Mechanical Engineering 34, no. 2 (June 2010): 263–75. http://dx.doi.org/10.1139/tcsme-2010-0016.

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A ray-tracing analysis was conducted on a 2-stage solar concentrator made of two parabolic mirrors created by Lunenburg Industrial Foundry & Engineering (LIFE). The effects of the secondary mirror’s focal length, the distance between the secondary mirror and the target, and the misalignment with the sun were studied. The focal length of the secondary mirror determines the maximum local solar energy flux Φ that can be achieve on the target. For the optimal focal length of 157.9ʺ, a maximum Φ = 1.2 x 104 MW/m2 was achieve compare to Φ = 1680 MW/m2 for the initial LIFE’s focal length of 158.8125ʺ. The concentrator concentrates all the incident energy from the sun on the target, and that independently of the secondary mirror’s focal length (within the range studied), as long as the target position is within an 11 cm zone. Small misalignments in the order of ±0.2° would bring the concentration efficiency to zero.

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Malea, P., T. Kevrekidis, N. Papageorgiou, A. Mogias, and C. Arvanitidis. "Do interrelationships among benthic components mirror disturbance levels?" Journal of the Marine Biological Association of the United Kingdom 92, no. 2 (September 23, 2011): 235–43. http://dx.doi.org/10.1017/s0025315411001251.

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The hypothesis tested in this study is that changes in benthic ecosystem components interrelationships may mirror the degree of environmental stress in the Mediterranean coastal lagoons. Multivariate matrices deriving from four benthic components (macrophytes, zoobenthos, epibenthic decapods and demersal fish) from four lagoonal stations along a well-defined disturbance gradient were compared by means of second-stage non-metric multidimensional scaling (MDS). The resulting inter-matrix distances were used as a proxy for the identification of the degree of disturbance. The approach followed is novel in that it uses information from higher levels of the biological organization by taking into account more than a single benthic component, thus representing broad categories of functional groups. The second-stage MDS plots depict differences between inter-component distances in the sampling stations according to the degree of disturbance they experience and the BIOENV analysis demonstrates that certain components are correlated with the environmental variables at a higher degree in the most disturbed stations.

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Arlandis, Sergio, and Agustin Reyes-Torres. "Thresholds of Change in Children’s Literature: The Symbol of the Mirror." Journal of New Approaches in Educational Research 7, no. 2 (July 15, 2018): 125–30. http://dx.doi.org/10.7821/naer.2018.7.275.

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This article approaches the study of children’s literature as a threshold of change that allows readers to explore the reality around them, imagine other worlds and understand other perspectives. Based on the notion of the child’s cognitive development organized into four stages ―pre-reading, fantastic stage, fantastic-realistic stage and aesthetics stage― reading becomes a resource to combine fantasy and experience where the mirror is a highly suggestive element and prone to hundreds of interpretations and applications as can be seen in the plots of well-known books such as the brother Grimm’s Snow White, Lewis Carroll’s Through the Looking-Glass, Michael Ende’s The Neverending story and J.K. Rowling’s The Philosopher’s Stone, among others. As a result, as young readers go from one stage to another, the mirror gains greater symbolic complexity and they face the discovery of the self and the other as well as the confrontation between the so-called primary and secondary worlds, reality and the marvelous.

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Jayanti, Nicky Danur. "PEMBERIAN TERAPI CERMIN DALAM PENURUNAN INTENSITAS NYERI PADA IBU INPARTU KALA II." Jurnal Ilmiah Kesehatan Media Husada 2, no. 1 (September 12, 2013): 29–34. http://dx.doi.org/10.33475/jikmh.v2i1.100.

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In this era a lot about the world of medical research scientist with mirror therapy. This therapy can be used as a way to reduce the pain, as if the brain can predict patient back to health and recovery from illness. While in the case of childbirth mirror therapy was able to show the real state of the baby's position visually in women who are doing labor that affect the growth of maternal motivation in making an effort to push aside the pain. Measurements conducted on 20 mothers pain when the second stage, when the mother was taught to push 5 times the mother is not able to properly push past the pain scale assessment after mirror therapy treatment is done with mirrors placed with the length and width of 10 cm. After that led her to see the state of the baby until the mother found the concentration point and will reach very high concentrations and the mother's mind is influenced by the image of the mirror so she has a very strong suggestion. Results before the mirror therapy is given is 18 respondents (90%) with severe pain, whereas pain was only 2 respondents (10%). Having given moderate pain mirror therapy there were 16 respondents (20%), whereas severe pain a 4 respondents (20%). The data obtained were statistically analyzed by paired t test T-test using SPSS. Mirror therapy proven to be effective in reducing labor pain on stage II.

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