And The Mirror Cracked explores the politics and pleasures of contemporary feminist cinema. Tracing the highly productive ways in which feminist directors create alternative film forms, Anneke Smelik highlights cinematic issues which are central to feminist films: authorship, point of view, metaphor, montage and the excessive image. In a continuous mirror game between theory and cinema, this study explains how these cinematic techniques are used to represent female subjectivity positively and affirmatively. Among the films considered are A Question of Silence , Bagdad Cafe , Sweetie and The Virgin Machine .

Like Conrad's Marlow, whose tale of journeying into the "heart of darkness" gives us as much insight into one man's personality as it does into the mysteries of the dark world he explored, so the anthropologist's record of another culture contains more than objective, scientific data about his investigation. Embedded within it are clues to the "personality" of anthropology itself: the attitudes, approaches, even prejudices that at any given stage in history are inextricable from the ideology of the anthropologist. Therefore, the mirror he holds up to show us another culture can never be a perfect one. His own professional attitude toward his subject, as well as his choice of medium, are factors that create "cracks" in the mirror of anthropology through which we believe we view the life of other cultures. Hence, the concept of "reflexivity" and the striving to recognize how it warps in the portrayal of anthropological truth lie at the core of the twelve finely wrought essays collected in this volume. Wide ranging in geography as well as viewpoint, they highlight various methods and media (film, ethnography, text) through which an anthropologist chooses to portray a culture, and the various forms, such as art, theater, and ritual, through which a culture portrays itself. Recognizing the link between these two processes provides the key to cultural and methodological self awareness. Reflexivity is defined and clarified in the introduction and in three of the essays, and the remaining nine essays evince the principle through fieldwork and startling case studies. Essays by Jay Ruby and Eric Michaels shed new light on the enormous potential of film and video, showing how a form generally thought to be "nonscientific" can in fact give fresh insight into the scientific premises underlying the discipline's methodology. Essays by Barbara Babcock and Carol Ann Parssinen focus on the novel and ethnography, examining existing works. Anthropologists, as well as students of film, art, and theater, will find that this intriguing work begins to redefine traditional distinctions between science and the arts and brings to light fresh resources that are utilized in the search for anthropological truth. Contributors: Richard Schechner, Victor Turner, Barbara Myerhoff, Jay Ruby, Eric Michaels, Dennis Tedlock, George Marcus, Paul Rabinow, Barbara Babcock, Carol Ann Parssinen, and Dan Rose.

Western constructs giving precedence to ideas over experience have, for long, dominated theorization in Indian social sciences. Problematizing their tenuous relationship, this book presents a passionate plea to create new frameworks for describing contemporary Indian social experiences. Using a dialogic form and placing the reality of untouchability and Dalit life at the centre of analyses, Gopal Guru and Sundar Sarukkai examine the ontological and epistemological nature of experience, thereby exhibiting the politics of experience. By illustrating ways of using alternative frameworks for theorizing, The Cracked Mirror argues for a more careful understanding of the ethics of representation.

An essential reconsideration of one of the most far-reaching theories in modern neuroscience and psychology. In 1992, a group of neuroscientists from Parma, Italy, reported a new class of brain cells discovered in the motor cortex of the macaque monkey. These cells, later dubbed mirror neurons, responded equally well during the monkey’s own motor actions, such as grabbing an object, and while the monkey watched someone else perform similar motor actions. Researchers speculated that the neurons allowed the monkey to understand others by simulating their actions in its own brain. Mirror neurons soon jumped species and took human neuroscience and psychology by storm. In the late 1990s theorists showed how the cells provided an elegantly simple new way to explain the evolution of language, the development of human empathy, and the neural foundation of autism. In the years that followed, a stream of scientific studies implicated mirror neurons in everything from schizophrenia and drug abuse to sexual orientation and contagious yawning. In The Myth of Mirror Neurons, neuroscientist Gregory Hickok reexamines the mirror neuron story and finds that it is built on a tenuous foundation—a pair of codependent assumptions about mirror neuron activity and human understanding. Drawing on a broad range of observations from work on animal behavior, modern neuroimaging, neurological disorders, and more, Hickok argues that the foundational assumptions fall flat in light of the facts. He then explores alternative explanations of mirror neuron function while illuminating crucial questions about human cognition and brain function: Why do humans imitate so prodigiously? How different are the left and right hemispheres of the brain? Why do we have two visual systems? Do we need to be able to talk to understand speech? What’s going wrong in autism? Can humans read minds? The Myth of Mirror Neurons not only delivers an instructive tale about the course of scientific progress—from discovery to theory to revision—but also provides deep insights into the organization and function of the human brain and the nature of communication and cognition.

CHAPTERS: 1.- From Beowulf to the Balrogs: The Roots of Fantastic Horror in The Lord of the Rings. 2.- Fear and Horror: Monsters in Tolkien and Beowulf. 3.- Of Spiders and (the Medieval Aesthetics of) Light: Hope and Action in the Horrors of Shelob's Lair. 4.- Shelob's and her Kin: The Evolution of Tolkien's Spiders. 5.- The Shadow beyond the Firelight: Pre-Christian Archetypes and Imagery Meet Christian Theology in Tolkien's Treatment of Evil and Horror . 6.- The Cry in the Wind and the Shadow on the Moon: Liminality and the Construct of Horror in The Lord of the Rings. 7.- Barrows, Wights, and Ordinary People: The Unquiet Dead in J.R.R. Tolkien's The Lord of the Rings . 8.- Horror and Anguish: The Slaying of Glaurung and Medieval Dragon Lore. 9.- Shadow and Flame: Myth, Monsters and Mother Nature in Middle-earth. 10.- Evil Reputations: Images of Wolves in Tolkien's Fiction.

Realizing that she is too old to travel, Miss Jane Marple decides she is through with crime detection, but a murder that happens almost on her doorstep changes her mind.

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

Stonygates had been built originally as a kind of Temple to Victorian Plutocracy - Philanthropy had made of it a home for Juvenile Deliquents. Over the entrance were inscribed the words "Recover Hope All Ye Who Enter Here". But Miss Jane Marple came to Stonygates in fulfilment of a promise to an old school friend to find out what was wrong at this most unusual college, now being run by the friend's third husband and housing, besides two hundred juvenile deliquents, the stepchildren of her previous marriages. As soon as she arrived Jane Marple knew thet her friend was right: something was wrong at Stonygates. What she saw around her was illusion, not reality. In the words of the conjuror "They do it with mirrors" But who? And why?

Her Silence is BROKEN. Her voice is now heard. Echoing loud, vibrant and FREE. A decade's long journey will now be told. from successfully single to married with five children in one year. Chronicling homelessness, marital affairs, grief, loss, divorce, and joy. All while learning to listen to that still small voice. Crying God where are you. Learning to find him in the murkiest of waters. These are her personal reflections.