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This article explores the representation of wrath in relation to the topic of shipwreck in literary texts from 17th-century Spain. As seen in the emblematic genre of the time, as well as in novellas and theatre plays, wrath is represented as the shipwreck of reason. Lack of control and the destruction of the mind as consequences of anger are associated with the capsizing of ships in marine storms. From the Renaissance and well into the late 17th-century, a sound mind is figuratively equivalent to the tranquil voyage in which the ship is in control of the maritime space. By contrast, the reckless and uncontrollable mind is comparable to the ship tossed and destroyed by the tempest, unable to return from the abyss of the ocean depths. As demonstrated in the literary texts of the time, to let the mind be taken over by the passions, particularly wrath and love, was frequently correlated with madness and, thus, with moral decline, as under contemporaneous thought, insanity was connected to ethical degeneration and conversely, sanity with Christian virtues. Moreover, the symbolic implication of the shipwreck motif in Early Modern Spanish literature also reflected the medical notions of the time—namely those related to the bodily humors. Within these sociocultural coordinates, wrath and unrequited love are correlated to choleric and melancholic natures that can lead to madness and social unrest. In sum, the connection of wrath to nautical devastation is an effective means to convey social and political commentary and transmit didactic messages. [ABSTRACT FROM AUTHOR]

The author explores the book "The Last Gift of Time: Life Beyond Sixty" by feminist scholar Carolyn Heilbrun of Columbia University. Topics include the academic community's reaction to the suicide of Heilbrun in 2003, the author's reflection on the melancholy being felt by Heilbrun as she wrote in the book, her thoughts on the second wave of feminism, Heilbrun's interest in the history of women, and views on Heilbrun's description of aging and retirement as liberation in her book.

There is an ongoing crisis of despair involving migrants from abroad who are seeking refuge in one of the world's longest-standing, post-World War II democracies--India. There are roughly 4.9 million noncitizen migrants in India, with most coming from Bangladesh, Myanmar, Nepal, Pakistan, and Sri Lanka. Because these migrants often live in the shadows, they are frequently deprived of fundamental human rights. On the one hand, it may seem surprising that this population remains so vulnerable. After all, India's Supreme Court has been a leading institutional light in safeguarding the rights of many marginalized groups. Supreme courts in other countries point to judgments from the Indian Supreme Court as a model for how to ensure that communities on the periphery are treated with dignity and due process. Furthermore, the Indian judiciary has been assisted in its progressive rights jurisprudence by a robust constitution and a vibrant civil society. Yet when it comes to noncitizen migrants, there has been a dearth of sustained judicial support. Additionally, while there is certain, important, bottom-up activism on behalf of these noncitizens, it has frankly not been enough to meet the cascade of needs that exist. This project focuses on how institutional inadequacies, at both the governmental and societal levels, have left noncitizen migrants among some of the most isolated individuals within India. Namely, the absence of specialized and independent immigration courts, an outdated immigration statute, a lack of a strong immigration legal profession, insufficient legal education on immigration law, and little research on immigration doctrine are key reasons why migrants face such dire circumstances today. Otherwise put, India's weak immigration infrastructure has sadly contributed to the difficulties noncitizen migrants face in accessing lawyers, the legal process, and, ultimately, justice within Indian society. [ABSTRACT FROM AUTHOR]

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At the beginning of Samuel Beckett's radio play, All That Fall, Mrs Rooney famously forgets her lines: she cannot quite remember the precise phrase that she strains to recall from John Ford's The Lover's Melancholy. However, what has been overlooked is Beckett's own forgetfulness as to the origins of this intertextual reference. Repeatedly, he attributes this line (and others from his wider stock of notes) to one of Ford's close contemporaries: John Marston. This article recovers Beckett's many mistaken allusions to Marston, and begins to think through the ways in which his curious recurrence in Beckett's thinking at the time of All That Fall's composition might betray a particular interest in the revenge genre (in which Marston is so influential). It posits that, in writing All That Fall, Beckett works to 'vaguen' many of the formal tropes that recur over the course of revenge drama's long literary history. It then goes on to explore the possibility that this play for voices might engage specifically with this generic tradition in order to stage a critique of religion. [ABSTRACT FROM AUTHOR]

Copyright of Mavi Atlas is the property of Mavi Atlas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the representation of wrath in relation to the topic of shipwreck in literary texts from 17th-century Spain. As seen in the emblematic genre of the time, as well as in novellas and theatre plays, wrath is represented as the shipwreck of reason. Lack of control and the destruction of the mind as consequences of anger are associated with the capsizing of ships in marine storms. From the Renaissance and well into the late 17th-century, a sound mind is figuratively equivalent to the tranquil voyage in which the ship is in control of the maritime space. By contrast, the reckless and uncontrollable mind is comparable to the ship tossed and destroyed by the tempest, unable to return from the abyss of the ocean depths. As demonstrated in the literary texts of the time, to let the mind be taken over by the passions, particularly wrath and love, was frequently correlated with madness and, thus, with moral decline, as under contemporaneous thought, insanity was connected to ethical degeneration and conversely, sanity with Christian virtues. Moreover, the symbolic implication of the shipwreck motif in Early Modern Spanish literature also reflected the medical notions of the time—namely those related to the bodily humors. Within these sociocultural coordinates, wrath and unrequited love are correlated to choleric and melancholic natures that can lead to madness and social unrest. In sum, the connection of wrath to nautical devastation is an effective means to convey social and political commentary and transmit didactic messages.

The passage of human civilization into the new geological era of the Anthropocene raises the question of species extinction. How can we confront the possibility of collective death in a way that does not descend into uncontained anxiety or melancholy? Michel Serres's works in the Foundations and Humanism series offer critical insights into the way in which human violence and death operate as mechanisms for binding together human collectives. Serres draws attention to the role of "social technologies" based around sacrificial practices, the scapegoating mechanism, and the use of corpses as markers of social relations (or "statues"). He argues that these mythic logics and practices persist in modern societies and technoscience. They may also be at work in a modified way in the proposed technical solutions to climate change around space travel and planetary colonization. Drawing on the tradition of Folk Horror film-making and literature, it is argued that reversing the direction of travel, back into the Earth, provides better instruction about how to live and die in the Anthropocene. Reflection on the puteal sites where this may be accomplished will serve as the mechanism. [ABSTRACT FROM AUTHOR]

This paper considers the changing picture of depression, or melancholy as it was called in the seventeenth century, as in Burton's Anatomy of Melancholy. Freud distinguished between mourning and melancholia in the sense of healthy and pathological reactions to loss; but the concept has also evolved within psychoanalysis, as in Klein's 'On the sense of loneliness'. The process of working through depression with a goal of self-knowledge seems to come gradually closer to a Keatsian worldview of the quest for beauty and truth, in line with Meltzer's 'aesthetic conflict'. Using some of Keats' letters and poems from the winter and spring of 1818–1819, the paper traces his analysis of his own depression, as he works out how to exorcise its persecutory qualities, and learns to 'see great things in loneliness'. His understanding of the two types of melancholy, depressive and persecutory, culminates in his 'Ode on Melancholy'. [ABSTRACT FROM AUTHOR]

Amy Levy's suicide has overshadowed much criticism of her work and life, but scholars have neglected to address Levy's experiences of low mood during her lifetime. This article examines Levy's writing about the persistent feelings of sadness in her life, in both her correspondence and literary work. It suggests that Levy drew on contemporary discourses of low mood to explore the idea of a melancholic poetic temperament in her poetry and fiction, which found its most distilled expression in her suicidal poet motif. This article discusses Levy's use of the suicidal poet in three texts “A Minor Poet” (1884), “Cohen of Trinity” (1889), and “Sokratics on the Strand” (1884). These texts demonstrate Levy's critical examination of melancholy as a component of the poetic identity, rather than an expressive engagement with suicidal feelings. Through the use of the dramatic monologue and, in “Sokratics”, a dramatic dialogue, Levy stages competing perspectives on the poetic temperament, reflecting on the value and purpose of sadness for the artistic mind. [ABSTRACT FROM AUTHOR]

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This article introduces Fazil Say's Sonata for Violin and Piano op. 7, composed in 1997, shortly after his international success. Despite being an early work, it exhibits the architectural complexity characteristic of Say's style, blending his Turkish cultural heritage with innovative compositional techniques. The authors aim to analyze this sonata thoroughly, exploring its mature style and cultural influences in order to provide a series of guiding principles for interpretation. They discuss the architectural and semantic meanings that reside in the incorporation of Turkish musical elements, such as modal approaches, folk traditions, and dance rhythms, throughout the sonata's three movements. Each movement is examined, highlighting technical challenges, interpretive nuances, and thematic connections to Turkish culture. The sonata's structure, culminating in a palindromic arrangement, is investigated, emphasizing its coherence and narrative thread. The first movement introduces melancholic themes, the second movement evokes Turkish instruments and rhythmic patterns, the third movement emulates the Horon dance, and the second to last movement draws from Turkish folk songs. The conclusion praises Say's fusion of tradition and innovation, highlighting the interpretive freedom left to performers and listeners. Overall, the Sonata op. 7 reflects Say's distinctive musical language and showcases his prowess as both a pianist and composer, blending tradition with modernity in a captivating manner. [ABSTRACT FROM AUTHOR]

Tanburi Cemil Bey is considered one of the greatest geniuses who grew up in the classical Turkish music tradition. However, his place in the history of national culture cannot be understood only through his actions and works in the musical field. To accurately determine his position, the conceptual apparatus of a comparative and multidimensional perspective is needed. For this reason, this study discusses the concept of genius attributed to Cemil Bey and investigates the possibilities of evaluating him as a form of historical subjectivity through the structure-agency tension in sociology. While doing this, the concept of melancholy, which has accompanied genius since ancient times, is also included in the analysis. These concepts have a deeprooted unity that frames the medical, epistemological and philosophical norms of the Western tradition of thought. The closeness between these two concepts, which were mainly established on a medical and philosophical level in ancient Greek thought, is discussed in a wide range of symbols within the framework of the Saturn myth in Renaissance cosmology. By revising the ancient belief that the planets have a certain influence on the character and moral qualities of people, the personification of the melancholic genius is added to the myth of Saturn in the astrological context of Renaissance cosmology. Thus, it paves the way for the maturation of a separate poetic experience of melancholy that focuses on the existential dimension of melancholy as well as its physical symptoms. Romanticism intensifies the perception of melancholy as a sign of selfreflexivity that allows contemplation on the deepest aspects of existence and often symbolizes creative genius. It creates a context in which Cemil Bey can be read, like C. Baudelaire and W. Benjamin, who see themselves as residents of this unique field of subjectivity. [ABSTRACT FROM AUTHOR]

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Copyright of Psychosozial is the property of Psychosozial-Verlag GmbH & Co. KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the concept of "melancholy feminism" in the film Barbie, highlighting its limited view of feminism and its failure to address the struggles of marginalized women. The author also discusses the concept of "melancholy gender" and its role in shaping gender identities. The article critiques Barbie for perpetuating a narrow definition of womanhood and failing to acknowledge the lives of marginalized individuals. It analyzes a montage sequence in the film, arguing that it flattens the experiences of diverse women and overlooks structural issues. The text concludes by advocating for resistance and mourning as important endeavors for marginalized communities. [Extracted from the article]

H. G. Wells’s 1936 dialogue novel, The Anatomy of Frustration, which reiterates his advocacy for a World State, has received scant critical attention. This article explores the work’s place in Wells’s oeuvre, its narrative structure, its relation to Robert Burton’s The Anatomy of Melancholy, and the various ways in which it reveals the substantive contradictions that undergird Wells’s utopian projects. These contradictions are explored – placing them in relation to recent critical debates about Wells’s politics – by focusing on the anti-Semitism evident in The Anatomy of Frustration. I argue in the article that attention to this prejudice allows us to ask important questions about the contradictions evident in Wells’s utopianism. [ABSTRACT FROM AUTHOR]

Sitting might be associated in our minds with a break in action; less a gesture than a slump into inertia. However, by analyzing John Milton's Samson Agonistes (1671), John Webster's The Duchess of Malfi (1614), and texts on melancholy and Hercules's attack on the Pygmies, we argue that manifold ideas about madness and melancholy are encapsulated in the early modern sitting body. Hercules, Samson, and the Duchess are explicitly written—or can be read—as mad and melancholy. Like Lucas Cranach and Albrecht Dürer's depictions of Melancholia, these characters are seen in a sitting posture. By sitting decisively, the Duchess and Samson alert us to their early modern context which is rife with visual and textual depictions of sitting. Thereby, they invite us to read their sitting bodies as sites where madness and rationality, power and dependency, and different genders, incline into and towards each other. [ABSTRACT FROM AUTHOR]

This article considers Trump's presidency as metamodern, embodying contradictions within the established order and resonating with contemporary cultural trends. Oscillating between modernism and postmodernism, metamodernism is defined by coexistence of seemingly contrasting affective states and dispositions: enthusiasm and irony, hope and melancholy, attachment and alienation, generating a multifaceted subjecthood. Trump's nostalgic slogan 'Make America Great Again' (MAGA) emphasizes this vacillation, a new inflection of an old phrase, received as both facetious and sincere, promising return to a prelapsarian state, while also taking neo-liberal ideals to extreme conclusions. This juxtaposition, the nostalgic impulse for something new, is traced as an increasingly dominant aesthetic form within digital games. As we explore, certain genres and aesthetics epitomize this, providing anachronistic audio-visuals, rhizomatic exploration, punishing gameplay, revolving around intertextuality and demands for community participation. We finally locate both Trump's presidency and this nostalgic turn in contemporary digital games as symptomatic of a metamodern impulse, a search for stability and order amongst an increasingly fragmented, imbalanced and chaotic system. [ABSTRACT FROM AUTHOR]

Copyright of Prohistoria is the property of Prohistoria Ediciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

According to ancient times, Iranians were among the first people to recognize mental abnormalities as diseases. They explained the causes of mental diseases using various scientific methods based on observation and experience and suggested practical ways for treatment. The main treatment methods they proposed included the use of medicine and other physical treatments. In some cases, psychotherapy methods were also used to treat mental patients. This study was conducted using the analytical-documentary method, with authentic traditional medical texts, literary and historical works, and other narrative texts that documented the treatment of mental patients as sources. The purpose of this study is to demonstrate that the Iranian culture, and particularly Iranian medical culture, has had a rational approach to mental disorders for a long time. Iranian doctors have avoided superstitious beliefs and instead sought scientific and experimental methods for treatment. The findings of this study suggest that, in comparison to approaches of Western medicine to mental disorders in the pre-modern era, which often involved rejecting such patients and not treating mental patients, Iranian doctors focused on the underlying causes of mental disorders. They treated patients using scientific methods while also maintaining a human and compassionate approach.

The question of the relationship between the rational soul and the body, and the mediating role of the vaporous soul, has led to the formation of many philosophical discussions in this area. One of these cases is the causes and symptoms of mental illnesses, such as melancholic depression, which, from Avicenna's perspective, the most important reason for its occurrence and the most effective method of treatment should be sought in the relationship between the rational soul and the body. Melancholic depression means the deviation of human thoughts and mental images from the correct path, in which case the correspondence of cognitive concepts with the external world is disrupted, and therefore the person is immersed in their own incorrect thoughts and beliefs. This mental illness has different levels, and in its most severe form, mania, the patient's perceptions are greatly deviated from the real world, they constantly think about the dead, and may consider themselves dead. From Avicenna's point of view, the main cause of this disease should be sought in the weakness of the vaporous soul, which weakens the connection between the soul and the body. The root of this weakness is also the predominance of the melancholic temperament in the brain, which disrupts the function of the vaporous soul as the link between the soul and the body. Overall, Avicenna's approach to melancholic depression shows his comprehensive approach to mental disorders, an approach that is rooted both in his philosophical foundations and in empirical evidence and studies.

Late Ottoman writers whose mothers were formerly enslaved were haunted by the mother's arrested mourning for her lost mother/land in the Caucasus. "Intimate biofiction" by these writers – potential masters and sons of slaves – offers a unique narratorial point of view distinct from first-person slave narratives and third-person abolitionist literature. Abdülhak Hamid Tarhan's long narrative elegy, Vâlidem (My Mother), written at the time of her death around 1897 and published with a sequel in 1913, triangulates the mother/land, the father/land, and the son on his diplomatic and exilic itinerary. In Ottoman Turkish and aruz meter, Hamid imagines the melancholic crypt of the mother, the paradigmatic child of Gothic literature who remains undead – a phantom haunting her own progeny. In a melancholic inversion of loss, Circassia is reincarnated as the mother/land who lost her. Hamid's mother is resurrected in a sequel to give birth to the sons of the new fatherland. Her narrative overwritten once again, the same mother appears in Mihrünnisa Hanım's counterpoetics alongside the nanny who stayed. The metonymic chain of exilic replacement mothers extends even to Hamid's last, teenage bride from Belgium. [ABSTRACT FROM AUTHOR]

According to ancient times, Iranians were among the first people to recognize mental abnormalities as diseases. They explained the causes of mental diseases using various scientific methods based on observation and experience and suggested practical ways for treatment. The main treatment methods they proposed included the use of medicine and other physical treatments. In some cases, psychotherapy methods were also used to treat mental patients. This study was conducted using the analytical-documentary method, with authentic traditional medical texts, literary and historical works, and other narrative texts that documented the treatment of mental patients as sources. The purpose of this study is to demonstrate that the Iranian culture, and particularly Iranian medical culture, has had a rational approach to mental disorders for a long time. Iranian doctors have avoided superstitious beliefs and instead sought scientific and experimental methods for treatment. The findings of this study suggest that, in comparison to approaches of Western medicine to mental disorders in the pre-modern era, which often involved rejecting such patients and not treating mental patients, Iranian doctors focused on the underlying causes of mental disorders. They treated patients using scientific methods while also maintaining a human and compassionate approach. [ABSTRACT FROM AUTHOR]

Cinema is one of the most vivid and sensational reflection tools in the art world since it reverberates almost all emotions concerning human beings and their experiences. One of these emotions is grief due to the loss of our beloved ones and in the same way as existence and life, it is a striking issue covering lots of films and thus the concept of mourning and sorrow are the most outstanding and common themes having a profound impact on cinema audiences. In other words, despite cultural and social differences all around the world, grief and pain are intense and universal emotions. Understanding and interpreting the contexts in which these emotions are addressed in different cinema cultures is essential to reveal the cultural projections of cinematic narratives. As part of this idea, the main purpose of this study is to illustrate how Turkish Cinema and American Cinema approach the concepts of bereavement and lament. Accordingly, four well-known films, Canım Kardeşim (1973) Babam ve Oğlum (2005), Rabbit Hole (2010) and finally Manchester by the Sea (2016) have been determined via purposeful sampling method and analyzed by focusing on remarkable similarities and differences in terms of loss and death with the aid of descriptive analysis. As a result of reviews of the films, it has been observed that the Turkish approach to death and loss includes melodrama, emotional abuse, and local connotations while the American one involves a more realistic point of view underlying individual crises, mental collapses or devastations. [ABSTRACT FROM AUTHOR]

The paper discusses the Coen brothers’ film Inside Llewyn Davis as representing in microcosm the developmental trajectory from late adolescence towards adulthood for the title character. This entails negotiating the problems of unconscious guilt, failure to mourn and an awareness of time in order to effect a movement from masochistic melancholy and hidden grandiosity to being able to relinquish omnipotent phantasies, say au revoir to internal persecutors and achieve a degree of self-possession. [ABSTRACT FROM AUTHOR]

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Copyright of Bohemistyka is the property of Instytut Filologii Slowianskiej Uniwersytetu im. Adama Mickiewicza w Poznaniu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work stems from a question that I have tried to answer. Is Les Murray, an Australian poet of great stature who is little known in France, an autistic person, as Daniel Tammet, who translated some of his poems into French, claims ? To answer this question, I had to take a closer look and explore the many facets of his life and work: his written work first of all, but also his numerous public readings and the many interviews he has given to various media. Along the way, I became convinced that Les Murray is more a case of melancholia, and thus his work constitutes a testimony of this terrible illness. I was then able to pinpoint some of its aspects: the pain of existing, the relation to the body, the misadventures of desire, and finally the suppletion found in writing: an everlasting body of poetry [ABSTRACT FROM AUTHOR]

Cet article, qui porte sur la nouvelle de Claire de Duras Ourika (1823), émet l'hypothèse que la mélancolie de l'héroïne est tout à la fois un diagnostic lucide que propose l'autrice sur l'impossibilité, pour une jeune fille noire vivant à Paris au début du xixe siècle, d'être reconnue comme un être humain à part entière, et le dévoilement d'une conscience réflexive qui constitue à elle seule une forme de protestation, donc de résistance face au racisme négrophobe dont elle est victime. La plainte d'Ourika révèle une forme d'agentivité, fût-ce dans le désespoir conduisant à une fin tragique. This article, which concerns Claire de Duras's novella Ourika (1823), proposes that the melancholy of the protagonist is both a lucid diagnosis, on behalf of the author, of the impossibility for a Black young woman living in Paris at the beginning of the nineteenth century to have her humanity fully recognised, and the revelation of a reflexive conscience which constitutes her only form of resistance against the negrophobic racism of which she is the victim. Ourika's lament thus reveals a form of agency, despite its desperate tone and tragic end. [ABSTRACT FROM AUTHOR]

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The novel In the Castle of My Skin (1953) by Barbadian author George Lamming can be reread from a planetary perspective (Spivak 2003; Pratt 2022). In this way, two large areas of inquiry into alterity become evident that link the human with the non-human as forms of resistance to colonial modernity. On the one hand, a planetary melancholy (Apter 2013), which comes into tension with post-imperial melancholy (Gilroy 2004), becomes noticeable in the processes of loss of young G. in the face of the disintegration of the colonial world and childhood from of the emergence of the climatic force, the flood of the first chapter. On the other hand, two forms of criticism within the narrative that warn about the collapse of the colonial world, which are thought through a previous tradition in the character of the Old Man (Jonas 1988) and planetary humanism (Gilroy 2000) in the character of Trumper. These are complex procedures that deactivate the usual readings of the conflicts between nature and culture to reread not only new forms of resistance to the colonial modernity of the 20th century, but also inscribe the work outside the field of World Literature.