Works Cited

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Bakhtin, Mikhail. Rabelais and His World. Trans. Helene Iswolsky. Bloomington: Indiana U P, 1984. In this text, Mikhail Bakhtin explores masks in life and literature from an historical perspective. From the medieval grotesque to modern literature, Bakhtin analyzes the different ways in which masks have been used throughout history, and how meaning has shifted due to changing social and cultural attitudes.

Bohn, William. Apollinaire and the Faceless Man. Rutherford: Associated U P, 1991. Bohn looks at the poetry of Apollinaire with its reoccurring use of the "faceless" man as a symbol for the modern man. Bohn also discusses the impact that Apollonaire's symbol had on surrealism, futurism, sculpture and other modernist writers, as well as discussing his relationship with the other artists of the time.

Emerson, Ellen Russell. Masks, Heads, and Faces. London: A. and C. Black, 1892. Emerson's book tracks the importance of masks through the rise and development of art. From Ancient Greek to Mexican art, she discusses the different types of masks, what ceremonies they have been used for, and why they have reappeared as art in different cultures all over the world. This text is particularly useful because of her exploration of the historical use of masks, and her discussion of the human desire to transform the face into art. Emerson's book will certainly not explain the Modernist tendency to place primitive masks on their subjects; however, her catalog of the past is a useful tool for recognizing the sources that the Modernists drew from in their particular uses of this ancient tradition.

He Who Gets Slapped. Dir. Victor Seastrom. With Lon Chaney. 1924. This early film tells the story of a scientist who, after discovering the meaning of life, is robbed of his notoriety by a more powerful "friend." After suffering this blow and the loss of his wife to the same "friend," the scientist joins the circus as a clown known only as "He Who Gets Slapped." What follows is a sado-masochistic tale, where every night he reenacts the "slap" in the face that marked his downfall. The clown mask that he wears becomes a symbol, then, for his inability to accept disappointment and change.

Loy, Mina. The Last Lunar Baedeker. Ed. Roger L. Conover. Highlands: The Targon Society: 1982. This book is a compilation of Mina Loy's works from earlier publications. Within the text are a number of essays, poems and satires spanning over a lifetime of work.

Matthews, Nancy M. and Barbara S. Shapiro. Mary Cassatt: The Color Prints. New York: Harry N. Abrams, 1989. Although this book is mainly concerned with the influences and methods inherent in Cassatt's color prints, the book also showcases many of her preliminary sketches and oil paintings.

Monti, Franco. African Masks. Trans. Andrew Hale. London: Hamlyn, 1966. This book contains color pictures of various African Masks, and short summaries of their origins. It will be useful as a reference book from which to identify a specific culture in Africa with the masks that Modernist painters placed on their subjects.

Napier, A. David. Masks, Transformation, and Paradox. Berkeley: U of C Press, 1986. Napier charts the use of masks in art from Greek culture to the Balinese, exploring the cultural myths that surround this application. With a host of illustrations, this text is important for establishing a historical framework from which to discuss cultural personas.

Pound, Ezra. Early Poems. New York: Dover, 1996. This collection of Ezra Pound's earlier poems exemplifies his technique of adopting a personae and writing a poem from that perspective. The most pertinent of these poems to the subject of masking are "Cino," "Na Audiart," "Ballad of the Goodly Fere," "Exile's Letter," and of course, "Masks."

Richardson, John. A Life of Picasso: Volume II. 2 vols. New York: Random House, 1991. Richardson's two volume set looks at Picasso's artistic and personal lives, showing that the two often became intertwined with one another. From his early years to his later work, this exploration in to the art and life of Picasso is extensive. Along with some excerpts from his personal correspondences, both texts are full of illustrations of his paintings, drawings, and sculptures.

Rouart, Denis. Renoir. New York: Rizzoli, 1985. Rouart's compilation of Renoir's artistic work begins with his earliest paintings in the 1860's and ends with his sculptures from the early 1900's. Although Renoir's work spans over a time period of about 50 years, Rouart presents his work in a way that shows the artist's unique style, his passion for depicting the female form, and his love for the human face.

Thomas, Ron. Introduction. The Latin Masks of Ezra Pound. Studies in Modern Literature Ser. 4. Ann Arbor: UMI Research P, 1983. Thomas looks at Pound's various masks in terms of their relation to Virgil, Catullus, Propertius, Ovid and Horace. His theories on Pound's various poetic personas, as well as his background information on these historical Latin poets, are helpful for understanding what was influencing Pound, what he thought was important for a poetic and human identity

Yeats, William Butler. Introduction. Certain Noble Plays of Japan. Trans. Ezra Pound. Churchtown:Cuala P, 1916. This small book includes four Japanese Noh plays that were translated from the manuscripts of Ernest Fenellossa by Ezra Pound. The introduction by William Butler Yeats discusses the virtues of Japanese art, and specifically discusses the beauty of Noh theater.