Mirror's figural imaginations have spread widely along the length of human history. A mirror's triptych technology, composed of three mirrored figures, each of which has individually been suggested by different mirror figures in the past, appears as an innovative mirror figure in Magritte's' La Reproduction Interdite: The Portrait of Edward James. The description, explicative and implicative analysis of this finding has been the central preoccupation of this work. The mirror's triptych technology includes chiasmus, the performance of criss-cross movements between opposing sides in a variety of directions; it adds a mirror that positions, en abyme, parts or entire reflections vis- -vis each other; moreover, it incorporates a mirror that changes the directions of causality, time and directionality. Three mirrors, bearing the singularity of each in their unique way of creating plurality, generate infinite and uncountable pluralities as they generate a "singular" mirror. With the mirror's triptych technology, the mirror of mimesis transforms its dance while endlessly playing, like interminable waves of water, with profundity; it interchanges directions, times and senses. Instead of repeating the verosimilarity of an imagined copy of reality, the mirror of mimesis acquires virtuality. Mise en abyme, metalepsis and chiasmus confound performance by adding a means for considering the undecidable. Mirror triptych technology then questions and destabilizes the traditional Mirror function and ads the possibility of envisaging it as a technology that instead of mimesis implies and promotes virtuality. Diana Silberman Keller research interests are on ideologies and education, post-structural critique, informal education, cultural studies, philosophy of the media and game studies. She has published numerous articles and books on informal pedagogy, ideology and education and textual and semiotic analysis of educational texts. The Hebrew University of Jerusalem (1992) and the European Graduates School (2007) have granted her Ph.D. titles. On 2008 she has been nominated associate professor at Beit Berl College, Israel by the Council of higher Education in this country and currently develops academic programs and research on New Media, Games Studies and Informal Education.

This book considers education in both formal and informal settings, and looks critically at the accepted dichotomy between education and popular culture. It argues that popular culture is capable of educating and that education shares many characteristics with popular culture, and tries to overcome these dichotomous relationships while also trying to clarify the reciprocal effects between the two.

'His Pen and Ink are a Powerful Mirror' is a volume of collected essays in honor of Ross Brann, written by his students and friends on the occasion of his 70th birthday. The essays engage with a diverse range of Andalusi and Mediterranean literature, art, and history. Each essay begins from the organic hybridity of Andalusi literary and cultural history as its point of departure, introduce new texts, ideas, and objects into the disciplinary conversation or radically reassesses well-known ones, and represent the theoretical, methodological, and material impacts Brann has had and continues to have on the study of the literature and culture of Jews, Christians, and Muslims in al-Andalus. Contributors include: Ali Humayn Akhtar, Esperanza Alfonso, Peter Cole, Jonathan Decter, Elisabeth Hollender, Uriah Kfir, S.J. Pearce, F.E. Peters, Arturo Prats, Cynthia Robinson, Tova Rosen, Aurora Salvatierra, Raymond P. Scheindlin, Jessica Streit, David Torollo.

With its laser-focus on the verbal and visual infrastructure of narrative, The Metanarrative Hall of Mirrors is the first sustained comparative study of how image patterns are tracked in prose and cinema. In film examples ranging from Citizen Kane through Apocalypse Now to Blade Runner 2049, then on to Christopher Nolan's 2020 Tenet, Garrett Stewart follows the shift from celluloid to digital cinema through various narrative manifestations of the image, from freeze-frames to computer-generated special effects. By bringing cinema alongside literature, Stewart discovers a common tendency in contemporary storytelling, in both prose and visual narrative, from the ongoing trend of “mind-game” films to the often puzzling narrative eccentricities of such different writers as Nicholson Baker and Richard Powers-including the latter's eerie mirroring of reader empathy in his 2021 Bewilderment.

Secretive, enigmatic beings, they came to Earth to live among humanity in quiet, aristocratic isolation. But now, after years of silence, the "gods" have decided to share their art. Across the vast galactic void come great ships bearing the fruits of an incomprehensible alien culture - paintings and sculpture of such raw, visceral power that their unveiling plunges the Earth into violent chaos, and sends the visitors fleeing from their adopted planet. But some remain behind - to face death at the hands of rampaging mobs, to witness the outcome of the grand cosmic game, and to assist in the creation of one last, potentially universe-shattering masterpiece that will illuminate the awesome, final destinies of god and man.

In an important contribution to African American film and performance history, Stephanie Batiste looks back at African American stage and screen productions of the 1930s.

Using the best scientific decision-making practices, this book introduces the concept of risk management and its application in the structure of national security decisions. It examines the acquisition and utilization of all-source intelligence and addresses reaction and prevention strategies applicable to chemical, biological, and nuclear weapons; agricultural terrorism; cyberterrorism; and other potential threats to our critical infrastructure. It discusses legal issues and illustrates the dispassionate analysis of our intelligence, law enforcement, and military operations and actions. The book also considers the redirection of our national research and laboratory system to investigate weapons we have yet to confront.

From best-selling author David Morley, this book presents a set of interlinked essays which discuss and examine some of the key debates in the fields of media and cultural studies. Spanning the last decade, this fascinating and readable book is based on interdisciplinary work on the interface of media and cultural studies, cultural geography and anthropology. Clearly structured in five thematic sections, the book surveys the potential contribution of art-based discourses to the field and offers critical perspectives on the emergence of the ‘new media’ of our age. Including discussion on the status and future of media and cultural studies as disciplines, the significance of technology and new media, and raising questions about the place of the magical in the newly emerging forms of techno-modernity in which we live today, this is a media student must-read.

The relationship between government and the businesses that contribute towards the defence and security of the state is a critical one; it often underscores a modern state’s foreign policy and sense of place in the world. Yet, despite its clear importance, this subject is underexplored and rarely analysed in a rigorous manner. As a consequence, government defence industrial policies, if they exist at all, often seem somewhat contrived, ill-considered and contradictory. The Defence Industrial Triptych systematically analyses the components and drivers of the relationships that bind a government to its defence industrial base by examining three major case studies: the UK, US and Germany, who between them account for over three quarters of NATO defence spending. The features of their defence industrial relationships –whether common or unique – provide vital lessons for policy-makers, industrialists and the taxpayer. As defence cuts bite across NATO and as the UK approaches the 2015 Strategic Defence and Security Review, the relationships this Whitehall Paper considers are more important than ever.