... building and, in the process, inadvertently show that, to overbear various negative associations of blur and fog, the authors/architects grew self-contradictorily emphatic about the need to produce de-emphasis in architecture and in modern life. Perl shows how this self-contradiction appears also...

...Anonymous Envoi This essay explores the possibilities of quietism in our time. It begins by examining briefly versions of quietism, Eastern and Western, then turns to particular works of Rilke, Kafka, and Beckett to review exigent images of quietism, variously relevant to the modern condition...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... in a single act. Publishing, it is suggested, resembles leave-taking: it is a way of saying good-bye to who you are. © 2016 by Duke University Press 2016 publish perish self-image COLUMNS PUBLISH AND PERISH Djaimilia Pereira de Almeida The state...

... Of course, the deconstruction or defl deconstruction the course, Of The Limitsof Seeing-as-a-Whole itself. deconstructs end, the in quarrel, abipolar as ofaesthetics self-image mythic the thefts, and borrowings, collaborations, syntheses, covert and of overt art of ment of peace...

... ; . Against the Self-Images of the Age , andmonographs andT. on Friedrich Schlegel, Mallarmé, S...

... and to self imaged...