"A Book of Myths" deals in a most entertaining manner with the mythology of Greece and Rome and many other noted lands. Added to the pleasure of the story there is the lure of the legend and the spell of old ways and customs. Not only many of the most celebrated are retold, but also many of the less well-known tales. The aim of the author, it is stated, has been to simplify for those who are not erudite scholars the stories of mythology, to which constant reference is made not only in classic, but in modern poetry, and to direct the attention of readers to poems which are not already known to them. Included are tales of Prometheus, Pygmalion, Orpheus, Perseus, King Midas, Pan, the Lorelei, Baldur and many more.

Do women in classical Hollywood cinema ever truly speak for themselves? In Echo and Narcissus, Amy Lawrence examines eight classic films to show how women's speech is repeatedly constructed as a "problem," an affront to male authority. This book expands feminist studies of the representation of women in film, enabling us to see individual films in new ways, and to ask new questions of other films. Using Sadie Thompson (1928), Blackmail (1929), Rain (1932), The Spiral Staircase, Sorry,Wrong Number, Notorious, Sunset Boulevard (1950) and To Kill a Mockingbird (1962), Lawrence illustrates how women's voices are positioned within narratives that require their submission to patriarchal roles and how their attempts to speak provoke increasingly severe repression. She also shows how women's natural ability to speak is interrupted, made difficult, or conditioned to a suffocating degree by sound technology itself. Telephones, phonographs, voice-overs, and dubbing are foregrounded, called upon to silence women and to restore the primacy of the image. Unlike the usage of "voice" by feminist and literary critics to discuss broad issues of authorship and point of view, in film studies the physical voice itself is a primary focus. Echo and Narcissus shows how assumptions about the "deficiencies" of women's voices and speech are embedded in sound's history, technology, uses, and marketing. Moreover, the construction of the woman's voice is inserted into the ideologically loaded cinematic and narrative conventions governing the representation of women in Hollywood film.

Nineteen contributors from the humanities and social sciences present essays exploring the myth of Narcissus, and the formation of theories based on this myth. Topics include the origin of the myth; variations of the myth; works of art inspired by the myth; the application of the myth to various social phenomena, literary works, and films; what the myth suggests about the relationship between self and others; and the transference of the myth from the individual level to the collective group. Spaas teaches French cultural studies at Kingston U. c. Book News Inc.

This book introduces the importance of echoism as a clinical entity and a theoretical concept. In Ovid's version of the myth of Echo and Narcissus, the character Echo receives equal attention to her counterpart, Narcissus, yet she has been completely marginalised in the pervasive literatures on narcissism. The author draws upon her work with patients who have experienced relationships with narcissistic partners or parents, and have developed a particular configuration of object relations and ways of relating for which she uses the term echoism. She uses psychoanalytic theory and existential philosophical ideas to underpin her formulations and inform her clinical thinking. Donnna Savery explores the question 'Am I an Echoist?' and introduces the concept of Echoism in the following YouTube video: https://www.youtube.com/watch?v=EEyjolXL7lA

Bulfinch's Mythology is a compilation of general audience works by Latinist Thomas Bulfinch. It delves into the roots and stories within classical mythologies all around the world.

A new book of unique reversible poems based on Greek myths from the creator of Mirror Mirror What happens when you hold up a mirror to poems about Greek myths? You get a brand-new perspective on the classics! And that is just what happens in Echo Echo, the newest collection of reverso poems from Marilyn Singer. Read one way, each poem tells the story of a familiar myth; but when read in reverse, the poems reveal a new point of view! Readers will delight in uncovering the dual points of view in well-known legends, including the stories of Pandora’s box, King Midas and his golden touch, Perseus and Medusa, Pygmalion, Icarus and Daedalus, Demeter and Persephone, and Echo and Narcissus. These cunning verses combine with beautiful illustrations to create a collection of fourteen reverso poems to treasure.

"Narcissus and Echo" is about romantic confessional fiction, in which the woman dies and the man lives to tell "his" tale. Whether femme fatale, nun, sister, aristocrat or fallen women, she is always somehow blamed for her own destruction. What motivates the man's narrative and how does the women's voice, curiously, survive the text? Naomi Segal brings insights from feminist and psychoanalytic theory to bear on writers such as Chateaubriand, Musset, Prevost and Gautier. Running throughout this lively and provocative study are dichotomies between speech and sight, male "doubles" and female "mirror", the narcissism of nostalgia and the paradoxes of undesire.

Narcissism—an inflated view of the self—is everywhere. Public figures say it’s what makes them stray from their wives. Parents teach it by dressing children in T-shirts that say "Princess." Teenagers and young adults hone it on Facebook, and celebrity newsmakers have elevated it to an art form. And it’s what’s making people depressed, lonely, and buried under piles of debt. Jean Twenge’s influential first book, Generation Me, spurred a national debate with its depiction of the challenges twenty- and thirty-somethings face in today’s world—and the fallout these issues create for educators and employers. Now, Dr. Twenge turns her focus to the pernicious spread of narcissism in today’s culture, which has repercussions for every age group and class. Dr. Twenge joins forces with W. Keith Campbell, Ph.D., a nationally recognized expert on narcissism, to explore this new plague in The Narcissism Epidemic, their eye-opening exposition of the alarming rise of narcissism and its catastrophic effects at every level of society. Even the world economy has been damaged by risky, unrealistic overconfidence. Drawing on their own extensive research as well as decades of other experts’ studies, Drs. Twenge and Campbell show us how to identify narcissism, minimize the forces that sustain and transmit it, and treat it or manage it where we find it. Filled with arresting, alarming, and even amusing stories of vanity gone off the tracks (would you like to hire your own personal paparazzi?), The Narcissism Epidemic is at once a riveting window into the consequences of narcissism, a prescription to combat the widespread problems it causes, and a probing analysis of the culture at large.

Echo and Narcissus: Echolocating the Spectator in the Age of Audience Research came about as a response to the recent shift of focus in the studies of cinema. While the seventies and the eighties were marked by increasingly complex theorisations of spectatorship, the last two decades have witnessed a turn towards ethnographic research into film reception. However, this long overdue turn towards the empirical viewer has not produced a genuinely broader scope of analysis. It has rather, all too hastily, consigned the spectator, a textually constructed viewing position, to oblivion, thanks to the concept’s perceived hegemonic and totalising premise. Echo and Narcissus intervenes into this state of affairs by arguing for a productive nexus between theorisations of spectatorship and the currently more fashionable audience research. Petek maintains that an informed mapping of contemporary (and past) filmviewing practices still requires a spectatorial model and she offers such a model through a re-reading of Ovid’s tale of Echo and Narcissus. She demonstrates that the myth’s central role in traditional theorisations of spectatorship has not yet been properly reflected upon. Her critical recuperation of the Ovidian myth provides a revised model of the spectator—one with discursive access to all types of cinema, yet, flexible enough to accommodate a range of viewers’ responses and their cultural diversity.