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| Introduction: The Self-Impersonation of Mythology | |
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| Pre- and Postmodern Narrative Recycling | |
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| Chronology and Intertextuality | |
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| The Mobius Strip and the Zen Diagram | |
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| The Mythology of Self-Impersonation | |
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| Self-Impersonation | |
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| Self-Impersonation by the Famous and the Literary | |
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| Nature Imitating Art Imitating Nature | |
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| Playing within the Play | |
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| Virtual Reality | |
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| Acting Out in Politics | |
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| Ironic Tangos | |
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| The Man Who Mistook His Wife for His Wife | |
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| The Marriage of Udayana | |
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| Ratnavali, The Lady of the Jeweled Necklace | |
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| Priyadarshika, The Woman Who Shows Her Love | |
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| The Marriage of Figaro | |
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| The Self-Replicating Wife | |
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| The Double Amnesia of Siegfried and Brunnhilde | |
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| Thidreks Saga | |
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| Volsunga Saga | |
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| Nibelungenlied | |
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| Ibsen's The Vikings at Helgeland | |
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| Wagner's The Ring of the Nibelung | |
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| The Sword in the Bed | |
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| Resurrection and the Comedy of Remarriage | |
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| True and False Accusations and Ordeals of Adultery | |
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| Sita's Ordeal of Resurrection | |
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| Resurrected Marriage in Shakespeare: The Winter's Tale | |
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| The Self-Replicating Child | |
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| Self-Replicating, Self-Sacrificing Mothers | |
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| Resurrected Marriage in Hollywood | |
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| My Favorite Wife (1940) | |
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| The Comedy of Remarriage in Hollywood | |
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| The Awful Truth (1937) | |
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| The Lady Eve (1941) | |
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| Amnesia and the Tragedy of Remarriage | |
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| The Comedy of Amnesiac Remarriage | |
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| The Matrimonial Bed (1930) | |
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| Remember? (1939) | |
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| I Love You Again (1940) | |
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| The Romance of Amnesiac Remarriage | |
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| As You Desire Me (1932) | |
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| Random Harvest (1942) | |
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| Julia Misbehaves (1948), Memory of Love (1948), and Love Letters (1945) | |
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| Reincarnation | |
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| Deja Vu All Over Again | |
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| The Man Who Forgot He Was God: The Monk's Dream | |
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| The God Who Forgot He Was God: Chandrashekhara and Taravati | |
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| The Romance of Reincarnation in India: The Two Lilas | |
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| The Romance of Reincarnation in Hollywood and Bollywood | |
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| Here Comes Mr. Jordan (1941) | |
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| The Reincarnation of Peter Proud (1975) and Chances Are (1989) | |
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| Late for Dinner (1991) and Forever Young (1992) | |
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| Madhumati (1958) and Karz (1980) | |
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| Face-Lifts | |
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| The Aging Wife | |
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| Face-Lifts: The Myths | |
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| Face-Lifts: The Films | |
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| Return from the Ashes (1965) | |
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| Ash Wednesday (1973) | |
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| Face of a Stranger (1979) | |
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| Shattered (1991) | |
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| A Face to Die For (1996) | |
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| Face/Off (1997) | |
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| Satyam Shivam Sundaram (1978) | |
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| Face-Lifts: The Surgery | |
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| Mind Lifts | |
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| Murder: Vertigo (1958) | |
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| Black Science: Duplicates (1992) and Dark City (1998) | |
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| Espionage: Total Recall (1990) (and True Lies [1994]) | |
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| Masquerading in the Red and the Noir | |
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| Passing: Race and Gender | |
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| Black as White as Black | |
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| Women Masquerading as Men as Women: Chudala | |
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| The Stage as World: Call Me Rosalind | |
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| The World as Stage: Beaumarchais and the Chevalier d'Eon | |
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| Women Masquerading as Women, Men as Men | |
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| Conclusion: The Zen Diagram of the Self | |
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| The Truth beneath the Mask | |
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| Appointment in Samsara | |
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| Loopholes | |
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| The Rabbi from Cracow | |
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| Second Naivete | |
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| The Happy Hypocrite | |
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| The Deep Surface | |
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| The Authentic Postmodern Copy | |
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| The Multiplicity of Masks | |
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| Tautological Self-Coincidence | |
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| Hiding in Plain Sight | |
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| The Analyst from Cracow | |
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| The Recursive Cunning of the Unconscious | |
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| The Mobius Strip Tease of the Self | |
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| Notes | |
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| Bibliography | |
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| Index | |