Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1998 Clio-The Youngest of muses Denise Wellenstein Follow this additional works at: http://scholarworks.rit.edu/ses Recommended Citation Wellenstein, Denise, "Clio-The Youngest of muses" (1998). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free open access by Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact ritscholarworks@rit.edu.
Rochester I nstitute of Technology Clio-The Youngest of Muses A Thesis submitted to Faculty of College of Imaging Arts Sciences in cidacy for degree of Master of Fine Arts. by Denise Wellenstein May 1998
Approvals Chairperson: Patti Ambrogi Date 5---c--p---t Associate Advisor: Elliott Rubenstein Associate Advisor: Stephanie Maxwell Date ) J L 31-~=~:::...----- Associate Advisor: Margaret Wagner Date ----jj---l.--j_------ MFA Coordinator: Angela Kelly n Date: --J11...-1 g, (1 J'0 I, Denise Wellenstein, hereby grant permission to Wallace Memorial Library of RIT to reproduce my sis in whole or in part. Any reproduction will not be for commercial use or profit. Signature Date
"To dance with one's own masterpiece represents ultimate transference of creative energy, that narrow frustrating art." barrier between life -Leonard Mendelsohn, Toys in Literature1 INTRODUCTION It was not until I recently looked back at work I have made in past few years that I realized common threads running through my first graduate projects culminating in my sis show entitled, "Clio The Youngest of Muses." My artistic process confronts struggle to synsize my different interests, my past experiences with present, my intuition imagination with logic practicality, ultimately my artistic self with all or parts of my life. My work is inspired by my interest in Greek myths. I am driven by challenge to incorporate history, significance, magical qualities of se stories into my work. Wher someone sees myth as real or fantasy, literal or allegorical, psychological, scientific, or spiritual, myth occupies a place in most people's minds. The fairy tales we hear as children are examples of stories whose significance sometimes evolve into beliefs we adopt as adults to make sense of world we live in. Contemporary culture has bred contemporary myths. Technology, including video computers, is also a form of magic in many peo ple's lives. The way in which images are created manipulated is often unseen (or behind--scene), y are able to blur our understing of reality. My artistic illusions technology to create a sense of wonder to provoke reconsideration of role of myth magic in our lives. My work uses desire to make photograph come to life through movement has been a part of my creative process since I began working with photography. Naturally, this led me to experiment with animation, film, video. Video projection, black light, miniature motorized elements are part of technological magic featured in my sis project, Clio The Youngest of Muses. In my sis work, I deal primarily with character of Muse from Greek mythology. I choose to accept idea of Muse into my own psyche as a part of myself to recreate a personal definition for Muse that works to empower myself as an artist. In this manner, I choose to reverse position of Muse as a product of patriar chal objectification of women. Leonard Mendelsohn, "Toys in Literature," in Sharing Literature with Children: A Thematic Anthology, 81-84; ed. Francelia Butler, (New York: David McKay, 1977). Quoted in Lois Rostow Kuznets, Wien Toys Come Alive: Narratives ofanimation, Metamorphosis, Development (New Haven London: Yale University Press, 1994), 180.
. >...<>. i,.. *.. ttlo. u. tultipe. Polyhymnia, f Cilllopt. 0. Ttrpslchore H urjnln. /. Mti^., 0 E F O H I inc MlJSBS FROM A SARCOPHAOUS IN THE LOUVRE, Paris THE MUSE In Greek mythology, re are nine Muses, daughters of Mnemosyne, or Memory, each of whom preside over a specific art or science. These Muses inspire2 artists poets with ir mor's memories so that past is not forgotten.3 However, more traditional concept of Muse, emerging from early Greek myths, is one of an ereal female who gives inspiration knowledge unconditionally to male poet or artist. As meaning of word, Muse, changes with cultural influence, Memory, mor of Muses, is forgotten.4 The image of Muse is personified as a female form used primarily by men for access to creativity. In Modernist art practice, Muse had been reinvented as a mortal woman who provides constant encouragement inspiration for artist; usually a male; most often her lover or husb. Since Romantic era, no or artistic period has used image of Muse so as heavily Surrealist movement. This movement includes artists such as Man Ray, Diego Rivera, Max Ernst, Andre Breton. Most of se men found Muse outside mselves in real-life women: ir lovers or friends who were artists mselves; Meret Oppenhiem, Leonora Carrington, Frida Kahlo. The Surrealists were very interested in artistic accessing inspiration. Since inspiration is often related to feminine,5 Surrealists sought to access this world through feminine aspect, anima of Jungian psychology, which can also be seen as a kind of Muse who conveys female qualities associated with femme-enfant. Qualities valued by male Surrealists in ir Muses were beauty, innocence, intuition. These qualities embody what y called femme-enfant, 6 or literally, womanchild. Thefemme-infant, immature woman, provided inspiration without threat of 2 To inspire meaning, literally, "to brea into" 3Mary K. DeShazer, Inspiring Women: Reimagining Muse (Elmsford, New York: Permagon Press, 1986). 4Originally, Muse was a triad, Triple Goddess of Goddess religions. 5Carl G. Jung, "The Relations Between Ego Unconscious," G. Jung, (New York: The Modern Library, 1959), 158. in Violet S. de Laszlo, ed., The Basis Writings ofc. Surrealism" 6 Gwen Raaburger, "The Problematics of Women in Mary Ann Caws, ed., Surrealism Women, (Cambridge, Massachusetts: MIT Press, 1990), 33. 2
artistic competition. works of art? with For if The femme-enfant subconscious, magical, roles, she were an also embodied an immature woman, how male Surrealists insight openness which was her used could she produce mature as a in tune liaison between mselves dreamy imagery of subconscious world. These women occupied split being both objectified women as Muse by male artists working artists in ir own rights. Most of se women underwent a integrated mselves as artists, women, sources ir self-portraits art personal self that depicting ir psyche or during childhood, which addresses was one of to depicted her have own have of children. ir inner (that of physical, persona, historically tended to be kept condition, gain access artists of this period whose work her body. She sixteen, she was in a bus this accident, she was suffered accident began making from that left her art. Her art, her journey toward insight, reclaiming to Henry Ford Hospital, miscarriage fetus pelvis which caused she carriage. on to Kahlo inside.10 women broken a machine accident), an Henry Ford Hospital, her by Rivera, a snail's shell symbolizing used physical symbols to concrete, Through integration Surrealists (internal) lost, miscarriage, (perhaps referring to bus orchid given inability to Surrounding her, bleeding in a hospital bed, is came to accept of two very both ir 1932 slow process of express what was she was related physical selves selves, Kahlo (external) mis experiencing or psychic selves as valid realities. 7 Louisa Surrealists Women Buck, "Faceless Femme Fatales: Louisa Buck Unearths Subject," Women's Art Magazine, 19 (Nov. /Dec. 1992), 16-17. 8 inspiration. Through or subconscious reality. In Kahlo's painting, she (that exploration of injured.9after physical physical or outward self inner which female when she was painfully her ir culture.8 depicts this transformation through permanently of y integrated outer to see) realities, Frida Kahlo polio bodies,7 subconscious) ors are welcome separated within our trying transitory period during which y Whitney Chadwick, 9 Mora R. Witzling, Women Artists Voicing Our Visions: Surrealist Movement, (Boston: Writings by Women Artists, 10 Sarah M. Lowe, Frida Kahlo, (New York: Universe, 1991), 67. Using Bodies as a Source of Little, Brown, Company, 1985), 92. (New York: Universe, 1991), 290.
Through practice of feminism, women are gaining a sense of confidence needed to identify reject some of limiting stereotypes under which y have been classified. The women Surrealists tended to reject label of Surrealist for mselves. Frida Kahlo said that even though she was thought of as a Surrealist, she wasn't "I never painted dreams. I painted my own reality."11 Whitney Chadwick suggests better descriptions of se women artists as "Magic Realists" or "Neo-Romantics."12 When Leonora Carrington, an artist working within Surrealist realm, was asked about women's role as Muse for Surrealist artists, her response was, "Bullshit."13 Poet Susan Griffin calls idea of male-defined Muse "a cop-out,"14 contemporary poet, feminist, critic, Adrienne Rich describes it as "uninteresting."15 However, in completely rejecting limiting stereotype of male-defined Muse, women risk losing, along with it, chance to reclaim or reinvent concept of original Muse as source of ir own creative inspiration. Poets such as May Sarton, Emily Dickinson, Denise Levertov have written about Muse as source of ir creative power. Some feminist critics tend to conclude that se women, in writing about or to ir muses are actually writing about or to mselves.16 The last stanza from "The Muse as Medusa"17 is one example of women about writing Muse as self: I turn your face around! It is my face. That frozen rage is what I must explore Oh secret, self enclosed, ravage place! this is gift I thank Medusa for. I turn your face around! It is my face. 11 Chadwick, 66. 12Robert J. Belton, "Speaking with Forked Tongues: 'Male' Discourse in 'Female' Surrealism," in Women Artists Surrealist Movement, Boston: Litde, Brown, Company, 1985), from Chadwick, 84, 92, 102. 13Chadwick,.23. 14Mary K. DeShazer, Inspiring Women: Reimagining Muse, (New York: Permagon Press, 1986), 28. 15Ibid. 16Ibid. 17 May Sarton, The Selected Poems ofmay Sarton, (W.W. Norton Company, 1978).
women." "For we think back through our mors if we are Virginia Woolf18 Recall intense grief suffered by Demeter at loss of her daughter, Persephone, to Underworld. Woman's detachment from her creativity is similar to mordaughter separation depicted in this Greek myth. Woman has been detached from her Memory, her mor,19 source of all inspiration creation. At some point during childhood, mors daughters intuitively break ir bond between each or. This is "successfully" so necessary that daughter becomes independent able to live in this society.20 However, this break of ties with mor results in daughter feeling alienated, which may cause her to search for lost mor for rest of her life.21 Women are conditioned to deny true self are encouraged rewarded to play roles that are expected in this society (though not necessarily true to self). Self-acceptance self-realization are often difficult processes of transformation for pains" women.22 Adrienne Rich refers to se difficulties as "birth which accompany births of our inner selves.23 For women Surrealists especially, conflict of this transformation involved temporary psychosis, "madness" or acute depression. Gloria Orenstein has renamed se "breakdowns" as "breakthroughs" to a truer sense of self-acceptance.24 Meret Oppenheim, probably most independent woman artist of Surrealist era, who was a long time friend, lover, model of Man Ray, survived an 18 year psychological artistic crisis,25 which began when she was 24, soon after fame of one of her pieces, Object, known as Dejeuner enfourure in 1936. She saw this piece as one of her more insignificant works.26 Oppenheim was so thoroughly associated with this piece by outside forces, it was 18Virginia Woolf, A Room of One's Own, (San Diego New York London: Harcourt Brace Jovanovich, 1929), 76. 19 Feminist Counseling in Action, Counseling in Action, (Sage Publishing). 20 Sara Bonnett Stein, Girls Boys: The Limits ofnonsexist Childrearing, (New York: Charles Schribner's Sons, 1983) 116. ^Feminist Counseling in Action, Counseling in Action, (Sage Publishing). ^Adrienne Rich, cited in DeShazer, 137. 23DeShazer, 137. 24Gloria Orenstein, "Reclaiming Great Mor: A Feminist Journey to Madness Back in Search of Great Goddess." Symposium, Spring 1982, 69 25Robert J. Belton, "Androgyny: Interview with Meret Oppenheim," (Cambridge: MIT Press, 1990). in Surrealism Women, ed. Mary Ann Caws 26Ibid. 64.
taken so seriously ( promoted heavily by male Surrealists as a true Surrealist work of art) that Oppenheim felt limited in becoming known as artist she truly was. During this period of mental despondency, Oppenheim worked with a Jungian analyst. She studied Jungian ories of archetypes, integration of separated selves, world of subconscious dreams. Suddenly, at age of 42, she began to paint again, starting most artistically productive time in her life.27 Oppenheim, during her years of mental crisis, was "breakthrough" preparing for her to her true self as a woman as an artist. Though idea of Muse was popularized by male Surrealists, y were wrong about looking outside mselves toward Or for inspiration. Ultimately, Muse became more powerful in lives art of women who, especially after ir relationships with ir male counterparts ended, developed self-reliance rar than looking toward men in ir lives for sustenance.28 Hence, realization of Muse within. As women artists continue to hold Muse as a source of energy originating in creation of existence as well as living within cores of mselves, it will be easier to heal woman's fragmented relationships with self, mor, or women. Women can begin to mend this break within mselves through learning deconstructing myth, even if it is based upon patriarchal ideas. By learning myth, power of self-knowledge. By knowing origin of her existence, women will gain which is a creation of Memory, she lives within feminine, determining her own destiny creating a valuable reality. "[By] knowing myth, one knows 'origin' of things hence can control manipulate m at will."29 Woman, in revising myths according to her own experience, will move herself from role of artistic object toward role of active creator.30 "By invoking a potent female Muse, modern woman poet relates her creativity to complex original mythic structures."31 This revision of history is, in words of Adrienne Rich, "an act of survival"32 for women. 27Ibid. 65. 28Chadwick, 183. 29Sally J. Time" Perkins, "The Myth of Matriarchy: Annulling Patriarchy Through Regeneration of Communication Studies, Winter 1994, 42/4 p.371-382. Citing Eliade, Myth Reality, (New York: Harper Row) 26. 30DeShazer, 44. 31Ibid. 32Adrienne Rich, cited in DeShazer, 137.
The preservation documentation of se women's works lives provide or women with a of role models group who were pioneers in reemergence of women's creative power before y had support of women's liberation. By ultimately integrating split between self image of self which y believed to be desired by men,33 y moved from being object, or Muse, for male artists of Surrealist movement toward a realization of whole self, often resulting in fruitful periods of artistic production later in ir lives. journey My strong interest in mind role of subconscious in art34 began my to also find Muse within. This interest is also what drew me to dream-like imagery of Surrealist movement. The Surrealists were interested in making a connec tion between two disparate worlds, outer inner ( conscious subcon scious world) creating a new two.35 reality, surreal, a combination of I was especially drawn to women who made ir art at this time. I felt a kinship to se artists was concerned that se artists, as well as myself, were limited by splitting of self into different roles. Research suggests that se women had similar intentions as I have to bring human being. toger inside outside selves to function as a full 33Chadwick, 183. 34 My minor study in undergraduate school was psychology counseling. 35Lucy Lippard, ed. Surrealists on Art, (Englewood Cliffs, NJ: Prentice-Hall, Inc., 1970), 2-3.
VIDEO Video is a medium which allows me to explore my interest in extreme or dual by acting out different personae that I perceive in ors as well as in myself. In my first video, To My Mor, My Muse, My Memory, I play three characters who strug personalities gle to find ir identities each is only one three as fragment of separate through lives. For example, does not difficulties young mythologies, I I have different woman illnesses encountered who stages of have had existence.36 common ir is self-destructive, of help feels unable to old woman has Alzheimer's y begin as characters from ancient give m present concerns personalities. In my second video, which may be interpreted video, I sit in at feel herself worthy for her children, disease. Though sonae, physical mental since They must find ir relationship with one anor characters represent women emotional physical provide is futile in ir case, Memory or Mnemosyne, mor of Muses, origin of ir These mor which individual. Various whole represent each character's alienation. individuals, front of ir dialogue Dark Things, I portray two main video stm per- from "Darkne" "* literally as voices of two sisters in a dialogue. In this a mirror use cy as makeup jewelry. The two voices carry badly singing Let Me Call You Sweeart. The voices are also mirrored in a shadow play featuring Muse Siren as rivaling sisters. The shared (but differently interpreted) memories y touch upon trigger on over a soundtrack of me puppet37 significant emotions reactions worth. toward The internal dialogue is bookended ally known as seductresses of sailors to each or about a destruction ir internalization I feelings own of self by an adapted myth in which a Siren (tradition destruction) indulgences ir Muse of are sisters jealousies of negative voices threaten to determine future if addressing insecurities, from past which not confronted. The shadow imagery plays upon idea of shadow archetype in Jungian side of video still from "Dark Things" 1996 Same psychology. The psyche which shadow is is usually seen as darker often projected onto people of SeX.38 36Since nine sections seemed overwhelming for a quarterly project, I divided by three came up with three main goddesses in many mythologies sometimes called maiden, mor crone. 37I was encouraged by my video teacher at time to look at Lotte Reininger animation films. Reninger was one of very first women filmmakers/ animators. 38Carl G. Jung, Jung Feminism: Liberating Archetypes, ed. Demaris S. Wehr, (Boston: Beacon Press, 1987) 58-59.
"Mnemosyne's H", 1996 from The Muse Museum "Birth of Muses", 1996 from The Muse Museum 'Topper, 1996 from The Muse Museum Both of se videos were first shown to my peers faculty during graduate walkthroughs as an element of an installation of sorts. To My Mor, My Muse, My Memory played on a monitor alongside my Muse Museum. The Muse Museum ( word museum being derived from word Muse) is a collection of artifacts, mostly props from my video. Each piece, representing dormant potential of Muse, is protected being for time being under a lucite box illuminated from below. The potential wishes of object are etched onto inside of box. The video Dark Things was projected onto a large, stretched sheet of white fabric meant to serve as a screen for a shadow ater ( projected video piece). Human-size shadow puppets of Muse Siren lit from behind with colored lights decorate side panels. In both of se cases, I worked to find a way to incorporate my video lan guage with object-making. elements to video installation of "Dark Things" 1996
Working on how to synsize se two main forms of making for my sis project, I involved which shot of myself whose hs a monitor on which played a speaking in tongues face through ball. Ideally, I of The Interview video39 life-size from my head mannequin own. played underneath of a torso She fit into booth a lamp globe serving as teller's crystal have had video projected onto surface globe. Video, bring a clear would a were molded fortune teller's booth. A video was seen created a piece called art- m jection projected onto or to life or make through my sculptures, m animation seemed appear to be to be moving would on ir.,,, own. lntmnrwt w Therefore, video pro key in achieving synsis between my videos my sculptures. by Laurie Anderson's The Shrink The artist filmed herself telling a story while sitting in a chair. She n projected a loop of moving During this time, image inspired. was also projections) impressed walked to be life-size Lastly, I as was go quality reality surface of a unlike, white, trapped for is an impressive chair. in projections which ghostlike began as faint figures (video spots of viewer.. A video of a person's stuffed piece of material shaped under a chair light like a constantly addressing was yet anor video sculpture which created a viewer. I was very interested in video projection's feeling. Laurie Anderson, At Shrink's, 1975 39 This video, Tall Ships These stop looking. This or of realistic from her result by Tony Oursler's Don't Look At Me intrigued "surreality" sense of foot high. The y walked out of darkness toward was away you Gary Hill's viewer. "person" human being. The to with toward was projected onto viewer speaking to of a miniature person I face was onto a plaster sculpture which was about a illusion grew I my or videos, Gary Hill, Tall Ships, 1992 Tony Ourseler, Don't Look At Me, 1994 could not st alone as a separate piece. 10
THE THESIS PROJECT PROCESS My intention was to push The Interview furr for my sis project so that for tune teller would interact with viewer by moving, speaking, telling fortunes. I constructed a miniature model of a mechanical fortuneteller in planning for life-size one. I decided to work with miniature creation. In On Longing, Susan Stewart describes miniature as "linked to nostalgic versions of childhood history, presents a diminutive, reby manipulative version of experience."40 I have made decorated doll houses since I was in grade school, so miniature felt very familiar to me. I felt more in control, able to do most of building on my own. Stewart also mentions, in discussing meaning in dollhouses miniatures: "The major function of enclosed space is always to create a tension or dialectic between inside outside, between private public property, between space of subject space of social."41 19th century toy atre I built a ater box similar to toy aters from nineteenth which were miniature aters "table- century top size, in which plays [were] produced for amuse ment of one's friends family. The actors [were] tiny, brightly painted figures two or three inches high, cut out from paper mounted on thin cardboard."42 The fig ures were controlled wire by attachments, pushed pulled by operators. I began to construct platforms for my own miniature ater, build a world for my characters to play out my stories. 40Susan Stewart, On Longing: Narratives of Miniature, Gigantic, Souvenir, Collection, (Durham London: Duke University Press, 1993). 41Stewart, 68. ^Suzanne Rahn, "Rediscovering Toy Theater-with a Review of George Speight's 'The History of English Toy Theater," in The Lion Unicorn 11 (October 1987): 113. 11
The area of about 10'xl5' 43 was converted into a dark enclosement so that no light except for light coming from inside ater would be visible. On front of ater box along bottom, I installed push buttons which viewer could use to activate different electrical currents move things inside ater. I videotaped myself telling story rear projected my image onto surface of a tunnel. This looped tape of my storytelling played continu view of sis project ClioThe Youngest of Muses, 1997 as ously viewers came pressed buttons which animated ater. Viewers' responses to this project were a fascina tion for interactivity. People were most intrigued in ir roles of pushing buttons not knowing what it would trigger. "People have always wanted to ani mate create in ir own images non-ani mate. Puppet shows mechanical toys have long been popular."44 Stewart writes in On Longing, "The desire to ani detail of sis project Clio The Youngest of Muses, 1997 mate is desire not simply to know everything but also to experience everything simultaneously" 45 43My sis was exhibited in a corner of SPAS Gallery, RIT. ^Film Before Film (Was geschah wirklich zwischen den Bildern?) Directed by Werner Nekes. 83 min. Kino International Corporation, videocassette release of 1985 German film. 1990. Videocassette. 45Stewart, 57. 12
In my sis project, I brought back characters of muses ir mor from my work of my first year at RIT, this time centering on my story of one Muse, youngest, Clio, Muse of history. Again more Muse is searching for her mor for herself. Clio's story is a parable for women who are trying to reconnect ir interior selves with ir exterior selves. Often, in times of confusion or difficulty, we look outside our selves for answers. Though Clio is Muse of history, she does not connect with who she is or underst her purpose. She is alone in her world, only Muse left who hasn't been drained of her life energy. Through her history, she possesses intuition she needs to save herself her family. However, without Memory (her mor), she is partially mis guided comes near same destruction as her sisters. To save herself from dying out, she begins to look for her mor from whom she has been long disconnected. Instead, she finds a fortune teller who can provide insight to past future. However, Clio is sus picious of teller. She discovers that fortuneteller is an outer shell disguised as a glowworm which has been draining m rating from Clio. glow from her sisters mor as well as sepa Looking for mor or Memory is my metaphor for looking deeply self to find wisdom. Clio is distracted from looking inside within when she encounters a fortune teller someone who promises illusion of wisdom. Like many, including her sisters, she is tempted by shortcut to self-knowledge. The easier, more immediate answers often come from outside sources rar than from searching inward. As Clio looks into crystal ball, she claims power knowledge of her fortune as her own rar than allowing it to be interpreted by anor. Furrmore, Clio rejects negative image she sees in crystal ball, asserting her free will, which saves her family Finding one's Muse is similar to finding one's self. Like Clio, many layers of illusions to find inner knowledge. herself. we must see through detail of sis project Clio-The Youngest of Muses, 1997 13
principal" CONCLUSION Woman's acceptance of her Muse within will provide not access only to source of creative energy but will provide a sense of self-wholeness a reclamation or connec tion with "ancient history"46 which has been lost to our consciousness for hundreds of years, lying rar dormant often unrecognized within a collective subconscious within female archetypes which surround us in myth. It is important for evolution of feminism that women acknowledge existence of female power which remains within patriarchal myth,47 For women artists, acknowledging original power of Muse as source of feminine creativity ful way for m to reconnect conflicting aspects which occur within as y is a power work as creators in a patriarchal society. The writer May Sarton has been quoted as saying, "The Muse opens up a dialogue with oneself,"48 This allows for integration of self, inner outer reality, many whole, Muse artist. ^DeShazer, p.70. Speaking of Goddess in H.D.'s poems, "matriarchal ^Orenstein, 53. 48May Sarton cited in Inspiring Women, 113. 14
BIBLIOGRAPHY Buck, Louisa. "Faceless Femme Fatales: Lousia Buck Unearths Surrealists Women Using Bodies as a Source of Subject," Women's Art Magazine 19 (November/December 1992): 16-17. Caws, Mary Ann, ed. Surrealism Women. Cambridge: MIT Press, 1991. Chadwick, Whitney. Women Artists Surrealist Movement. Brown, Company, 1985. Boston: Little, DeShazer, Mary K. Inspiring Women: Reimagining Press, 1986. Feminist Counseling in Action. Counseling Muse. New York: Permagon in Action. Sage Publishing. Jung, Carl G. "The Relations Between Ego Unconscious." In The Basic Writings ofc. G. Jung, ed. Violet S. de Laszlo. New York: The Modern Library, 1959. Kuznets, Lois Rostow. When Toys Come Alive: Narratives of Animation, Metamorphosis, Development. New Haven London: Yale University Press, 1994. Lippard, Lucy, ed. Surrealists on Art. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1970. Lowe, Sarah M. Frida Kahlo. New York: Universe, 1991. Nekes, Werner, director. Film Before Film (Was geschah wirklich zwischen den Bildern?) 1990. 83 min. Kino International Corporation, videocassette release of 1985 German film. An encyclopedic look at "prehistory" of cinema, covering shadow plays, peep shows, flip books, magic lanterns, lithopanes, panoramic scrolls, optical toys Orenstein, Gloria. "Reclaiming Great Mor: A Feminist Journey Back in Search of Great Goddess." Perkins, Sally J. "The Myth of Matriarchy: Annulling Patriarchy Regeneration of Time." to Madness Symposium (Spring 1982):45-70. Through Communication Studies 42/4 (Winter 1991):171-182. May Sarton. The Selected Poems ofmay Sarton. W.W. Norton Company, 1978.
Rahn, Suzanne. "Rediscovering Toy Theater with a Review of George Speight's The History of English Toy Theater." The Lion Unicorn 11 (October 1987): 111-127. Stein, Sara Bonnett. Girls Boys: The Limits ofnonsexist Childrearing. New York: Charles Schribner's Sons, 1983. Stewart, Susan. On Longing: Narratives of Miniature, Gigantic, Souvenir, Collection. Durham London: Duke University Press, 1993. Wehr, Demaris S., ed. Jung Feminism: Liberating Press, 1987. Witzling, Mora R., ed. Voicing Our Visions: Writings by Universe, 1991. Archetypes. Boston: Beacon Women Artists. New York: Woolf, Virginia. A Room of One's Own. San Diego, New York, London: Harcourt Brace Jovanovich, 1929.
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