Someone Else S Face In The Mirror

In 2005, surgeons in France removed part of the face from a cadaver and grafted it onto the head of a 38-year-old woman grossly disfigured by a dog attack. Three years later, in December, 2008, surgeons at the Cleveland Clinic announced they had performed the first U.S. face transplant. Although modern culture is accustomed to pushing medicine and the human body beyond all limits, the world's first partial face transplant and the seven that have followed have caused a stir that still reverberates globally. This book begins with the story of Isabelle Dinoire, the recipient of the first face transplant, and chronicles her surgery and battles with tissue rejection. Its scope widens with a look at how surgical teams, including three U.S. transplant teams, are in a global race to perform the first full face transplant, and at how medical history has led up to this point—with prior successful transplants ranging from body parts as simple as cornea to those as neurologically complicated as the heart, a hand, and a penis. The most novel among these surgeries—the face transplant—conjures up particular and expansive psychological issues. Authors Bluhm and Clendenin show how transplant recipients struggle with functional issues including a lifetime of anti-rejection drugs, a danger highlighted by the recent death of the second face transplant patient, in China. But just as challenging in the case of face transplant is the psychological effect on—and potential threat to—identity. Who are you, if suddenly your face—or a significant portion of it—is not what you were born with? What is it like to look in the mirror, and see a face that is not the one you have always had? Dinoire lamented, "It will never be me." That statement is an absolute simplification of the identity issues a face transplant can create, explain the authors. Bluhm and Clendenin show how, across history and media, humankind—via medicine, literature, film, and other media—has dreamed of a day when face transplants would be possible. With so many disfigurements occurring among the military in Iraq, and experimental face transplants too expensive for implementation in the private sector, it is likely that the U.S. military will take the reins and further face transplant techniques as quickly as possible to serve injured personnel.

When we read poetry, we tend to believe that we are getting a glimpse of the interior of the poet's mind--pictures from the poet's imagination relayed through the representative power of language. But poets themselves sometimes express doubt (usually indirectly) that poetic language has the capability or the purpose of revealing these images. This book examines description in Renaissance poetry, aiming to reveal its complexity and variability, its distinctiveness from prose description, and what it can tell us about Renaissance ways of thinking about the visible world and the poetic mind. Recent criticism has tended to address representation as a product of culture; The Unimagined in the English Renaissance argues to the contrary that attention to description as a literary phenomenon can complicate its cultural context by recognizing the persistent problems of genre and literary history. The book focuses on Sidney, Spenser, Donne, and Milton, who had very different aims as poets but shared a degree of skepticism about imagistic representation. For these poets, description can obscure as much as it makes visible, and can create whole categories of existence that are outside of visibility altogether.

The face is central to contemporary politics. In Deleuze and Guattari’s work on faciality we find an assertion that the face is a particular politics, and dismantling the face is also a politics. This book explores the politics of such diverse issues as images and faces in photographs and portraits; expressive faces; psychology and neuroscience; face recognition; face blindness; facial injury, disfigurement and face transplants through questions such as: What it might mean to dismantle the face, and what politics this might entail, in practical terms? What sort of a politics is it? Is it already taking place? Is it a politics that is to be desired, a better politics, a progressive politics? The book opens up a vast field of further research that needs to be taken forward to begin to address the politics of the face more fully, and to elaborate the alternative forms of personhood and politics that dismantling the face opens to view. The book will be agenda-setting for scholars located in the field of international politics in particular but cognate areas as well who want to pursue the implications of face politics for the crucial questions of subjectivity, sovereignty and personhood.

Looking beyond the boundaries of various disciplines, the author demonstrates that symmetry is a fascinating phenomenon which provides endless stimulation and challenges. He explains that it is possible to readapt art to the sciences, and vice versa, by means of an evolutionary concept of symmetry. Many pictorial examples are included to enable the reader to fully understand the issues discussed. Based on the artistic evidence that the author has collected, he proposes that the new ars evolutoria can function as an example for the sciences.The book is divided into three distinct parts, each one focusing on a special issue. In Part I, the phenomenon of symmetry, including its discovery and meaning is reviewed. The author looks closely at how Vitruvius, Polyclitus, Democritus, Plato, Aristotle, Plotinus, Augustine, Alberti, Leonardo da Vinci and Durer viewed symmetry. This is followed by an explanation on how the concept of symmetry developed. The author further discusses symmetry as it appears in art and science, as well as in the modern age. Later, he expounds the view of symmetry as an evolutionary concept which can lead to a new unity of science. In Part II, he covers the points of contact between the form-developing process in nature and art. He deals with biological questions, in particular evolution.The collection of new and precise data on perception and knowledge with regard to the postulated reality of symmetry leads to further development of the evolutionary theory of symmetry in Part III. The author traces the enormous treasure of observations made in nature and culture back to a few underlying structural principles. He demonstrates symmetry as a far-reaching, leading, structuring, causal element of evolution, as the idea lying behind nature and culture. Numerous controllable reproducible double-mirror experiments on a new stereoscopic vision verify a symmetrization theory of perception.

Christopher Peacocke presents a philosophical theory of subjects of consciousness, together with a theory of the nature of first person representation of such a subject of consciousness. He develops a new treatment of subjects, distinct from previous theories, under which subjects were regarded either as constructs from mental events, or fundamentally embodied, or Cartesian egos. In contrast, his theory of the first person integrates with the positive treatment of subjects—and it contributes to the explanation of various distinctive first person phenomena in the theory of thought and knowledge. These are issues on which contributions have been made by some of the greatest philosophers, and Peacocke brings his points to bear on the contributions to these issues made by Hume, Kant, Frege, Wittgenstein, and Strawson. He also relates his position to the recent literature in the philosophy of mind, and then goes on to distinguish and characterize three varieties of self-consciousness. Perspectival self-consciousness involves the subject's capacity to appreciate that she is of the same kind as things given in a third personal way, and attributes the subject to a certain kind of objective thought about herself. Reflective self-consciousness involves awareness of the subject's own mental states, reached in a distinctive way. Interpersonal self-consciousness is awareness that one features, as a subject, in some other person's mental states. These varieties, and the relations and the forms of co-operation between them, are important in explaining features of our knowledge, our social relations, and our emotional lives. The theses of The Mirror of the World are of importance not only for philosophy, but also for psychology, the arts, and anywhere else that the self and self-representation loom large. The Context and Content series is a forum for outstanding original research at the intersection of philosophy, linguistics, and cognitive science. The general editor is François Recanati (Institut Jean-Nicod, Paris).

Often our default is to turn for guidance to external sources rather than connecting to the God-given Spirit of Love within us. We may effectively forfeit our direct connection to God and become dependent on outside authorities, causing our spiritual roots to remain shallow and insecure. Choosing Stillness, Knowing Love offers a practical daily plan that makes connecting to the Spirit of God personal and tangible. Through guided journaling, awareness, and stillness exercises, this book encourages the reader to develop the habit of creating space to listen to the still, small voice of God. This leads to deeper roots that result in healing, wisdom, and a natural production of the fruit of the Spirit. This book is designed to focus on one person at a time, one moment at a time.

This is the first book-length analysis of Shakespeare s depiction of specula (mirrors) to reveal the literal and allegorical functions of mirrors in the playwright s art and thought. Adding a new dimension to the plays Troilus and Cressida, Julius Caesar, Macbeth, Hamlet, King Henry the Fifth, Love s Labor s Lost, A Midsummer Night s Dream, and All s Well That Ends Well, Maurice A. Hunt also references mirrors in a wide range of external sources, from the Bible to demonic practices. Looking at the concept of speculation through its multiple meanings - cognitive, philosophical, hypothetical, and provisional - this original reading suggests Shakespeare as a craftsman so prescient and careful in his art that he was able to criticize the queen and a former patron with such impunity that he could still live as a gentleman.

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.