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Building on what Margaret Price describes as the "long history of positive and person-centered discourses" of the term Mad, this article seeks to offer a (re)tooling and (re)theorization of the not-so-antiquated concept of "bedlam" as part of a Mad feminist literary theory and practice that aims to situate reading and writing practices on the subject of madness within a trauma-informed Mad framework and to (re)shape reading and writing practices by (re)seeing or seeing-in-a-new-and-old-Mad way the concept of "bedlam"—rendering it agential and unhinging it from its historical meanings. The article theorizes "bedlam" as a form of deliberate Mad literary practice, offering two examples of "bedlam-making", one in the poetry of Anne Sexton's 1960 collection To Bedlam and Part-way Back and the other in the historical fiction of Toni Morrison's Beloved. The article strives to re-articulate "bedlam" in a way that draws attention to the agency of language on the subject of madness, when written and read by writers and readers aware of the acute violences and traumas performed upon bodies exiled from "Reason", attending to the ways in which writers and readers make a subjectivity of "bedlam" or a resistance to and critique of systemic oppression that gives social agency to Mad literary action. "Making bedlam", it is argued in this essay, is a Mad feminist literary theory and practice, part of social justice discourses and liberation-focused action, which is deeply connected with other liberation movements in pursuit of the end of systemic violences. [ABSTRACT FROM AUTHOR]

What does Ophelia carry with her on stage in Act 4, scene 5 of Hamlet? She names a variety of botanicals, but productions have often replaced these with sticks, bones, pills, toys, or nothing at all. These replacements seek to provide modern audiences with more accessible or relatable symbols but can rarely capture the complexity and ambiguity of the originals. On page and stage, Ophelia's bouquet has become a key to interpreting her in her madness – the meaning ascribed to her plants going hand in hand with the presumed qualities she displays in the scene, from childish innocence to overt sexuality to defiant anger. This essay details a series of staging experiments conducted in a graduate Shakespeare class to investigate the dramaturgical possibilities of Ophelia's bouquet, asking how these items shape our perception and understanding of Ophelia, her mental state, and place within the play. [ABSTRACT FROM AUTHOR]

This text deals with the interpretation of where the meaningfulness of existence and our being in the world in Emmanuel Levinas's conception originates in its contrast to the similar conception developed by phenomenology of appearing - which is represented by M. Heidegger and H. Maldiney. I want to show on what premises Levinas argues that the epiphany of sense can only emerge in the case of a continuous overcoming of the nonsense of appearing and thus of Being as such. Therefore, I intend to go through the steps of Levinas' reasoning, which he never developed systematically, and explain why he can view Being as nonsensical and what this notion of nonsense could possibly mean in Levinas's philosophy. As a result, I would like present an implicit argumentation behind Levinas's well-known claim that the birth of sense must be of ethical origin and cannot arise through the process of appearing or Being alone. [ABSTRACT FROM AUTHOR]

Copyright of Felsefelogos is the property of Felsefelogos 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.)

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The aim of this article is to explore Derrida's approach to transcendental phenomenology as found at the intersection of two contemporary texts (one on Foucault and the other on Heidegger). In relation to the first, we inquire to what extent or under what conditions transcendental reduction can be associated with madness, silence and violence. In relation to the second, we inquire to what extent nonematicity would render transcendental phenomenology unsubmissive to the schema of Vorhandenheit. [ABSTRACT FROM AUTHOR]

This article has been translated into English by Nancy Luxon and published with permission. Michel Foucault, La littérature et la folie [La folie dans le théâtre baroque et le théâtre d'Artaud], in Folie, langage, littéature, eds. H.-P. Fruchaud, D. Lorenzini, & J. Revel, pp. 89–109 © Librairie philosophique J. Vrin, Paris, 2019. www.vrin.fr Requests for re-use of La littéature et la folie [La folie dans le théâtre baroque et le théâtre d'Artaud] should be directed to Librairie philosophique J. Vrin, Paris. Literature and madness dominate Michel Foucault's early writings in the 1960s, and indeed much of his career. In this text, Foucault considers the relation between madness, language, and silence; the difficult frontier between language and literary convention; and the experience of madness within language. He moves from a meditation on madness, to a rare commentary on theatre, stagecraft, and Artaud, and finishes by considering literature's capacity for rupture. 'Literature and Madness' is a translation of a text written by Foucault in the 1960s, and recently published in Folie, langage, littérature, ed. Henri-Paul Fruchaud, Daniele Lorenzini and Judith Revel (Paris: Vrin, 2019, 89–109). This version includes a translator's introduction by Nancy Luxon and was given a distinct subtitle to distinguish it from a similar lecture with the same title in that volume. [ABSTRACT FROM AUTHOR]

This paper addresses the multiple readings that Foucault offers of Descartes' Meditations during the whole span of his intellectual career. It thus rejects the (almost) exclusive focus of the literature on the few pages of the History of Madness dedicated to the Meditations and on the so-called Foucault/Derrida debate. First, it reconstructs Foucault's interpretation of Descartes' philosophy in a series of unpublished manuscripts written between 1966 and 1968, when Foucault was teaching at the University of Tunis. It then addresses the important shifts that took place in Foucault's thought at the beginning of the 1970s, which led him to elaborate a new approach to the Meditations in terms of 'discursive events'. Finally, it argues that those shifts opened up to Foucault the possibility of developing an original reading of Descartes' philosophy, surprisingly close to his own interest in ancient ask ē sis and the techniques of the self. [ABSTRACT FROM AUTHOR]

This article argues that Empedocles' trust in Strife (DK31 B115.14 = LM22 D10.14) is not, as the prevailing interpretation has it, only a past misjudgement and failure. Rather, trust in Strife still, and to his own lament, infects Empedocles' mind and informs his life. This detail then offers a fresh perspective on Empedocles' self-conception and on how, through the daimōn 's cosmic peregrinations, Empedocles raises and pursues questions of agency and responsibility. Furthermore, it sheds light on Empedocles' understanding of his own ethical standing: common assumptions to the contrary notwithstanding, he does not see himself as an unqualifiedly successful embodiment of his own ideals. [ABSTRACT FROM AUTHOR]

This article approaches the resonances of maternal madness in the subjectivation of a daughter from a case study. We worked with life history and a dialogue was carried out with the subjectivation processes and self-care practices. Narrative interviews were thematically analyzed to organize the results: the resonances of maternal madness in the subjectivation processes; the self-care as a transforming horizon in the subjectivation processes; the work of subjectifying a transgenerational legacy; and the elaboration of the mother as a reference of motherhood. Among the results, the following stand out: the presence of ambivalent affections; the inconsistency of the maternal physical presence and psychic availability; and the development, on the part of the interviewee, of care practices aimed at herself and at the other. A trajectory marked by violence, issues of race, gender and class, social and economic difficulties that intensified the condition of psychic suffering. [ABSTRACT FROM AUTHOR]

This article analyzes the madness not only as a pathology that integrates the fictional plot, but also as a literary device that gives verisimilitude to the narrative of Dracula (1897), the most recognized novel by Bram Stoker. In addition to highlighting the nuclear role of Renfield, Dr. Seward's patient, it is intended to demonstrate that the plurality of perspectives, manifested in diaries and letters written by different characters, supports a unit of meaning consolidated by the correspondence between author, work and reception. In other words, the absence of an omniscient narrator and the gathering of reports from multiple points of view allow the reader to assume the role of the doctor who studies, diagnoses and treats the alienated, scrutinizing their madness. The proximity between alienist and madman, however, blurs the line between sanity and insanity, which suggests the existence of a "language of madness" to guide the plot forged by Stoker. [ABSTRACT FROM AUTHOR]

Antoinette Cosway Mason in Jean Rhys's Wide Sargasso Sea (1966), whom her English husband later calls Bertha—the name of a mad white Creole woman in Jane Eyre—has been a focus of discussion of Rhys's novel, particularly regarding her madness and its implications of feminism and (post)colonialism. However, although largely neglected, depicting the post-emancipation British West Indies around the 1830s, Rhys represents various forms of physical and mental symptoms of madness, expressed not just by the white Creole woman but also by two important groups—white male colonizers and African Caribbeans. By focusing on the under-examined symptoms of madness, I will analyze how they reveal changing socioeconomic systems and the continuity of exploitation after emancipation. This reading also suggests how Rhys's novel about the 1830s West Indies reflects her own madness/anger about her contemporary post-colonial world of the mid-twentieth century. [ABSTRACT FROM AUTHOR]

This paper presents a case with a long-time voice hearer and patient with a diagnosis of schizophrenia in community mental health. The author shows how de-stigmatizing the experience of voice hearing, an approach offered in peer support models as well as in CBT for psychosis, works in tandem with a conceptualization of hallucinatory experiences informed by a Lacanian perspective outlined by Vanheule. Then, following theoretical formulations of Lacanian analysts Davoine and Gaudillière, the author discusses how psychotic phenomenon represent attempts at survival and the reconstruction of the world that has been lost. The author also draws out some barriers inherent in community-based treatment, specifically with regard to high staff turnover, and the difficulty of proper terminations in such settings given these limitations. [ABSTRACT FROM AUTHOR]

Copyright of Llull: Revista de la Sociedad Espanola de Historia de las Ciencias y de las Tecnicas is the property of Sociedad Espanola de Historia de las Ciencias y de las Tecnicas 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.)

The anonymous author of Chrestienne Instruction (1551)-a Protestant pastor, likely a cover for Claude Monier-was determined to extirpate any form of dance from Lyon. He considered dance to be a form of commerce and condemned it for theological, moral, social, and even psychological reasons, conflating it with trance and hysteria. Despite references to scripture, his case breaks down when he closes his work with a pastiche of a dance tune. As a result, the anathema he heaps on dance reveals the fanaticism of a preacher more concerned with subjecting his flock to his injunctions than with respecting the humanist ideals of his time. [ABSTRACT FROM AUTHOR]

Copyright of Philological Review (00151807) is the property of University of Belgrade, Faculty of Philology 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.)

Identity, often conceptualized as a continuum of the ego, lies at the conflux of both individual and collective interpretations of reality. The constructions of reality and identity are, however, far from being a purely cognitive trait; both are constructed through interaction with others, to the point where faulty interactions can lead to a lack of individuation, and the echo chambers of the Manosphere can skew a subject's interpretation of reality. The postmodern turn of cinema after the 1980s, acknowledging this relativism, presented deeply pathological characters in a more nuanced way, giving way to ambiguity. Bret Easton Ellis's American Psycho's Patrick Bateman is a pathological character who is described as having pathological traits but who has nonetheless been adopted by the Manosphere as an idealized role model. This article aims to comment on the mythical subversion of the myth of Narcissus in the narrative, the identity problem that Patrick Bateman suffers from, and to disentangle the processes whereby the Manosphere is misappropriating classical myths, mythologizing narrative characters to phenomenologically construct a different perception of reality, and how these problems are linked with an unrealized identity. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Filosofía (0034-8244) is the property of Universidad Complutense de Madrid 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.)

Exploring the relationship between genius and madness, this paper hypothesizes that the birth of the idea of genius, as a mark of exceptionality in arts, is linked to the emergence of positivism. The focus on the characteristics of the genius was intuitively an attempt to justify the role of art in a context where science seemed to have monopolized the knowledge. Thus, moving from the exceptionalism of the Enlightenment to the Romantic eccentricity, genius is associated with madness in order to restore the irrational dimension of knowledge. [ABSTRACT FROM AUTHOR]

This paper stems from the challenge of translating Pirandello's plays into Swahili and is aimed to open up a polylogue between Italian and Swahili literature. Therefore, in searching for connections between Luigi Pirandello's and Penina Muhando's plays, this paper will explore multiple masks engaged in a reciprocal dialogue among the following six selected plays: Enrico IV ('Henry IV,' Pirandello 1921); Così è, Se vi pare ('It is so, if you think so!' Pirandello 1917); Il Berretto a Sonagli ('Cap and bells,' Pirandello 1916); Pambo ('Decoration,' Muhando 1975); Nguzo mama ('The Mother Pillar,' Muhando 1982); and Lina ubani ('An Antidote to Rot,' Muhando 1984). In conclusion, this study will illustrate how different forms of sociohistorical alienation, which encircle the twentieth century, are stylistically represented in these plays through the characters who wear the masks of madness, or 'sage-madness.' To allow an in-depth analysis of the plays this study will be divided into two parts. Part one will examine Enrico IV ('Henry IV,' Pirandello 1921) and Pambo ('Decoration,' Muhando 1975). Part Two will examine Così è, Se vi pare ('It is so, if you think so!' Pirandello 1917); Nguzo mama ('The Mother Pillar,' Muhando 1982); Il Berretto a Sonagli ('Cap and bells,' Pirandello 1916); and Lina ubani ('An Antidote to Rot,' Muhando 1984). [ABSTRACT FROM AUTHOR]

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano 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 Colloquia Germanica Stetinensia is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego 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 paper underlines the portrayal of madness and schizophrenia as means of spiritual healing in Doris Lessing's The Golden Notebook. Insights for this analysis have been drawn from R. D. Laing. Freudian approach to schizophrenia and madness is psychological whereas Laing's understanding of it is existential. Anna Wulf, the protagonist in the novel goes through madness and schizophrenia and ultimately discovers wholeness. [ABSTRACT FROM AUTHOR]

How does emancipation from social oppression work and unfold? The paper is an attempt to deal with this question from an aesthetic point of view. By drawing on pragmatist resources, and more precisely on John Dewey's aesthetic theory and on Charlotte Perkins Gilman's short story 'The Yellow Wallpaper', I discuss the critical and transformative potential of a special kind of aesthetic experience, namely 'aecsthetic experience'. The paper unfolds in three steps: First, I introduce Iris Marion Young's account of social oppression, which fits particularly well with the framework of the 'The Yellow Wallpaper' (1). I show then, in contrast to an established interpretation, how the protagonist of Gilman's story makes an experience of liberation from oppression (2). Finally, I reconstruct Dewey's role in my interpretation of this feminist classic, and I suggest what a Deweyan account might learn from it (3). [ABSTRACT FROM AUTHOR]

In this article, I explore Seth Farber's critique in The Spiritual Gift of Madness that the leaders of the Mad Pride movement are failing to realize his vision of the mad as spiritual vanguard of sociopolitical transformation. First, I show how, contra Farber's polemic, several postmodern theorists are well suited for this leadership (especially the Argentinian post-Marxist philosopher Ernesto Laclau). Second, I reinterpret the first book by the Icarus Project, Navigating the Space between Brilliance and Madness, by reimagining its central metaphor of Icarus in the context of late capitalism as a prison world. Finally, I conclude with four strategies derived therefrom for higher functioning mad leaders to transform our penitentiary world. [ABSTRACT FROM AUTHOR]

Copyright of Studia Slavica Academiae Scientiarum Hungaricae is the property of Akademiai Kiado 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 Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University 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.)

William Shakespeare's King Lear (1605) is known for its projection of madness, similar to Toba Tek Singh (1955) penned by Sadat Hassan Manto. The paper aims to analyze the driving force behind this madness of characters of these two narratives. Both Shakespeare and Manto have presented it through the madness of characters and space, making exile a universal ideology. Thus, this study aims to research the concept of madness through journey via Edward W. Said's Exile -- "as a discontinuous state of being" (139). The exile of Cordelia and King Lear from Shakespeare's play, King Lear will be demonstrated with a comparative study with the expatriate of Bishan Singh and other lunatics from Manto's Toba Tek Singh. The research focuses on "the compound misery of "undocumented" people" who are banished just because of their deviance displayed in King Lear and Toba Tek Singh (Said 141). [ABSTRACT FROM AUTHOR]

This article explores a selection of visual and material commemorations of the Margaret Nicholson affair of 1786. Contextualizing the response to the affair within a broader story of spectacle and sensibility, it demonstrates that the cultural power and profusion of Nicholson, the would‐be assassin of King George III, were driven by her contravention of expectations surrounding gender, class, and madness. Along with visual analysis of surviving representations of Nicholson, the article questions how the commercial materialization of the Nicholson scandal related to issues surrounding eighteenth‐century experience, identity, and health. [ABSTRACT FROM AUTHOR]

From the point of view of the philosophy of the media, the text problematises the possibility and practice of thinking (self-awareness) in the time of media domination and the rule of technological-information ‘madness’. Also, in the background of the presentation plan, the article touches on the critique of the so-called media-based capitalism; it confronts the concept of ‘madness’ that we encounter under the veil of activity of the rational (instrumental) mind and modern media on the one hand and the thinking subject, his theoretical and practical possibilities, on the other. All this is demonstrated on the example of the (mis)use of artificial intelligence in modern media, which most often acts on social networks through two phenomena: the ‘epistemic bubble’ and the ‘echo chamber’. Based on the performed analyses, it is shown that the philosophy of the media, as an interdisciplinary oriented, theoretical critique of the media and mediated reality, has the opportunity and obligation to position itself towards technical inventions such as artificial intelligence used in the media, thus contributing to self-awareness and practice, both of the own discipline and of the social community in which the philosophy of the media critically participates.

In 1913, Paul Rabe, one of the physicians of the only psychiatric Institution on the island, wondered about the reasons for the premature death of those confined for general paralysis. As a matter of fact, their life expectancy did not exceed a few months versus over ten years for metropolitan patients. Having dismissed organic or material considerations related to confinement as the possible causes of such morbidity, Rabe came to the conclusion that this mortality could be accounted for by the complexity of colonial daily life.