Cover

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Title Page, Copyright, Dedication

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pp. i-vi

Contents

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pp. vii-viii

List of Plates

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pp. ix-x

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Acknowledgments

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pp. xi-xii

I would like to thank the University of South Florida for the partial release time granted me through a President's Council Award (summer 1984) and a Research and Creative Scholarship Award (summer 1985) and for a one semester sabbatical (fall 1986), during which I was able to complete...

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1. Introduction

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pp. 14-37

One can study an age through its art; and one can study an age by studying the art that it studies, the art it chooses as its models, and what it discovers in those models. Early in the twentieth century Wassily Kandinsky explained the interest in "primitive" art as a...

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2. Self-Conscious Theatre

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pp. 38-69

One of the most elegant expressions of modern epistemological skepticism is Pirandello's 1917 play, It Is So! (If You Think So) (Cosi e, se vi pare!). The play is rooted in the assumption that contradictions can exist-that something or, in this case, someone can simultaneously...

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3. Replications and Convergences

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pp. 70-101

Andy Warhol's Marilyn Monroe prints have become virtual icons of the early nineteen-sixties. Through a photographic process, Warhol transferred an image from the mass media to a silkscreen from which his prints were made. The mass media image itself was derived from...

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4. Projecting Genres, Projecting Selves

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pp. 102-127

In Jean-Luc Godard's classic film of the French New Wave, Breathless (A bout du souffle, 1960), Jean-Paul Belmondo plays Michel Poiccard, and Michel models himself after the heroes of American...

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5. Writing About Writing: John Fowles and John Barth

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pp. 128-169

John Fowles's The Magus (1965, revised version 1977) is a virtuoso performance in narrative Pirandellianism. Nicholas Urfe, a young Englishman teaching on a Greek island, encounters Maurice Conchis, the mysterious owner of a lavish...

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6. Postmodernism, Posthumanism, and Politics

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pp. 170-205

It has become a commonplace assumption that the present is a post-humanist era. As early as 1935 Jose Ortega y Gasset spoke of art's "dehumanization."1 Although remarkably prophetic in many respects, Ortega y Gasser, as the title of his famous essay implies, was...

Bibliography

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pp. 206-213

Index

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pp. 214-218