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Abbate, Carolyn, 191n12 Abbott, Porter, xii, 188n1 aesthetics, 148, 167, 193n14 Aldama, Frederick Luis, xii, 188n1 Alys, Francis, 148 American Idol (TV series), 120 American Psycho (film), 45 Anderson, Barbara Fisher, 188n1 Anderson, Joseph D., 188n1 Anna Karenina (Tolstoy), 64–65, 72 Apted, Michael, 109 Arendt, Hannah, 183n19 Aristotle, 182n9 Arsenal, 72–75 Auerbach, Erich, 182n9 Austen, Jane: Emma, 43; Persuasion, 21–23, 25, 33, 34, 42, 185n1; Pride and Prejudice, 32, 33–36, 37, 40, 85, 97, 157–58 Austin, Mike, xii, 188n1 autism, xiii, 185n3 Auyoung, Elaine, xii Bachelor (TV series), 118 Baillargeon, Renee, 182n11 Bardem, Javier, 86 Barnes, Jennifer, 185n3 Baron-Cohen, Simon, 2, 181n1, 183n20, 184n32 Barrett, Lisa Feldman, 186n18 Barthes, Roland, 111, 186n14 Bauman, Melissa D., 182n8 Belin, Pascal, 191n4 benefactors, sadistic: in Cymbeline, 46; definition of, 45; in Emile, 47–49, 52; and ethics, 45–46; in Fight Club, 49– 53; in The History of Ophelia, 46–47; and unreliable narration, 50–53 Bergman, Ingrid, 69 Bering, Jesse M., 10, 183nn21–22 Betterton, Thomas, 62 Biutiful (film), 86 Bizup, Joseph, xii Blair, Robert James Richard, 182n13 Bloom, Paul, xiii, 147–48, 181n6, 185n2, 189n3, 192nn5–6, 192n8 Bogart, Humphrey, 83, 84 Booth, Barton, 62 Booth, Wayne, 186n15 Borenstein, Elhanan, 181n4 Bortolussi, Marisa, 188n1 Boulton, Maureen Barry McCann, 140– 41, 192nn16–17 Branagh, Kenneth, 131 Brando, Marlon, 130, 191n6 Branigan, Edward, 188n1 Brazzi, Rossano, 127 Bridget Jones: The Edge of Reason (Fielding), 37–38, 40 Broadcast Tapes of Dr. Peter, The (documentary), 109 Brooks, Cleanth, 192n17 Burney, Frances, Evelina, 60–61, 62 Butler, Emily A., 186n22 Butler, Judith, 184n29 Butte, George, 182n9 Byrne, Richard W., 181n1 Candid Camera (TV series), 119 Caracalla, 9, 10 Index 212 INDEX Carroll, Noël, 188n1 Carruthers, Peter, 185n10 Cartier-Bresson, Henri, 111 Casablanca (film), 83–85 Casino Royale (film), 90 Cassandra’s Dream (film), 90 Castle, Terry, 194n37 Certeau, Michel de, 183n26 Chair, The (documentary), 108 Chang, Kang-i Sun, xiii, 139, 141, 191n13, 192n18 Chardin, Jean-Baptiste-Siméon, 164, 166; Soap Bubbles, 145, 156, 158 Chauvet, Jean-Marie, 193n16 Cheney, Dorothy L., 186n18 “chevalier qui fist parler les cons, Le” (fabliau), 38–39, 40 Chicago (film), 137 Chinese opera, 139–40, 141 Chirico, Giorgio de, 149 cinéma vérité, 106–11 Citron, Marcia J., 191n12 Clarissa (Richardson), 56, 59–60, 61, 63, 76, 158 Clinton, Hillary, 92–93 cognitive cultural studies, xii Cohn, Dorrit, 186n21 Collier, John: A Confession, 173–75; Fallen Idol, 174–175 Coming Home (TV series), 118 contrasts, rule of, 30–31, 180; in absorptive paintings, 147, 157; in How to Be Good, 58; in My Fair Lady, 132; in The Office, 104–6; in Pride and Prejudice, 34–35, 186n17; in proposal compositions, 170 Cosmides, Leda, 98, 181n2, 189n11 Count of Monte Cristo, The (Dumas), 45 Crane, Mary, xii, 188n1 Csibra, Gergely, 182n11 culture of greedy mind readers: and art, 149, 153, 177; definition of, 11–13, 17, 179; and film, 79, 90; and reality TV, 120–21; and sentimentalism, 165; as subverting contexts for embodied transparency, 76; and theater, 55 Currie, Gregory, 188n1 Darnell, Mike, 119–20 Dasser, Verena, 181n1 David, Jacquez-Louis, 159, 160–61, 190n11 Davis, Lucy, 103 Defoe, Daniel, Robinson Crusoe, 43 Dennett, Daniel, 29, 181n1, 184n32, 185n7 Dessay, Natalie, 142 Devis, Arthur, 152 Diderot, Denis, 161–62 Dissanayake, Ellen, 193n16 Dixon, Barbara, 119 Dixon, Peter, 188n1 Dowd, Maureen, 92 Drew, Robert, 107 Duchamp, Marcel, 148 Dunbar, Robin, 181n1 Dunne, Michael, 191n1 Dutton, Denis, 183n23 Dylan, Bob, 141–42 Easterlin, Nancy, xii, 188n1 Ekman, Paul, 186n18 eleven-o’clock numbers, 132–34, 191n10 Eliot, T. S., 192n22 Ellis, Jack C., 107, 189n4, 190nn12–14 embodied transparency: and absorption, 74, 145–47, 152, 154–67; in American Psycho, 45; in Anna Karenina, 64–65, 72; in Biutiful, 86; in Bridget Jones, 37–38, 40; in Casablanca, 85; in Chicago, 137; in children, 27, 89, 111; in Chinese opera, 139–41; in cinéma vérité, 106–11; in Clarissa, 56, 59–60, 61, 63, 76; in Cymbeline, 46, 52; death as ultimate instance of, 109, 111–14; definition of, 23; and eleven-o’clock numbers, 132–34; in Emile, 47–49, 52; and ethics, 32, 36, 39–40, 45–46; in Evelina, 62; in Fever Pitch (film), 74–76; in fiction vs. real life, 25–28, 30, 57, 112–13, 128, 180; in Fight Club, 49–53; and film, 65, 79–101; and football, 72–76; and gambling, 90–91; in Guys and Dolls, 130; in Hamlet, 130–131...

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