Calderwood, "A Midsummer Night's Dream:
Anamorphism and Theseus' Dream," Shakespeare Quarterly 42 (1991): 409-30, esp.
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.
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.
