The viewer becomes a performer again in Opgenorth's exper iment with anamorphism
, visual matter presented such that it can only be "correctly" discerned when seen from an extremely oblique angle.
In the name of Malvolio is Olivia, and in the name of Olivia is Viola."(37) Despite his clear-headed exploration of the analogous relationship between the anagram and the Renaissance fad for anamorphism
in the visual arts, Petronella settles for the tortuous and uninteresting diagnosis that Malvolio is "acting out the Lacanian mirror stage" and thus the "anagram is a conversion of one signifier into another signifier, and in this regard represents Lacanian 'lack.'"(38) In spite of such ingenuity, the overwhelming tendency of editors is either to admit defeat (as in the case of AMen) or to remain silent (Riverside).