Psychology has worked hard to explore the inner self. Modem psychology was born in Wundt's laboratory and Freud's consulting room, where the inner self was pressed to reveal some of its secrets. Freud, in particular, devoted most of his life to explor ing the hidden recesses inside the self-hidden even from the conscious mind, he said. From Freud's work right down to the latest journal article on self-schemata or self-esteem, psychologists have continued to tell us about the inner self. More recently, psychology has turned some of its attention to the outer self, that is, the self that is seen and known by other people. Various psychologists have studied how the outer self is formed (impression formation), how people control their outer selves (impression management), and so forth. But how is the outer self related to the inner self? There is an easy answer, but it is wrong. The easy answer is that the outer self is mostly the same as the inner self. Put another way, it is that people reveal their true selves to others in a honest and straightforward fashion, and that others accurately perceive the individual as he or she really is. Sometimes it works out that way, but often it does not. The issue is far too complex for the easy answer.

Discusses the origins and nature of self-monitoring describes examples of high and low self-monitoring, and explains how it affects personal relationships, social behavior, and performance in the workplace

Public, Private, Secret explores the roles that photography and video play in the crafting of identity, and the reconfiguration of social conventions that define our public and private selves. This collection of essays, interviews, and reflections assesses how our image-making and consumption patterns are embedded and implicated in a wider matrix of online behavior and social codes, which in turn give images a life of their own. Within this context, our visual creations and online activities blur and remove conventional separations between public and private (and sometimes secret) expression. The writings address the various disruptions, resistances, and subversions that artists propose to the limited versions of race, gender, sexuality, and autonomy that populate mainstream popular culture. They anticipate a future for our image-world rich with diversity and alterity, one that can be shaped and influenced by the agency of self-representation.

On pp. 28-36, "The Holocaust, " and pp. 125-141, "Eichmann, " discusses a reinterpretation of the controversy over Arendt's views on the origins of totalitarianism, the "guilt" of the Jews and the "evilness" of Eichmann. Suggests that one has to interpret Eichmann's behavior as that of a "private" man entering the public realm, aiming to achieve private self-interests. Contends that use of this terminology and way of thinking can explain Arendt's apparent inconsistencies in her views on the Holocaust.