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The original style and contents of Nathaniel Lee’s production have often been interpreted as indicative of the author’s alleged mental illness. This contribution proposes a new approach to Lee’s works, suggesting that the tragedy Brutus (1680), which contains a sort of nosology of alterations in thought and behaviour, is a liminal text on the border between literature and medical treatise. Lee appropriates the scientific discourse of his time not only to question recent notions of mental disorder, but also to articulate a reflection on the condition of power in the political world.

The practice of physical medicine underwent a sea change at the turn of the 20th century, but the management of mental disorders stayed much the same as it had been since Rome. New names have been coined for disorders, and synthetic drugs are advertised as a solution to every problem, but the causes are still largely unknown and, although spontaneous remission can occur, there are no cures. This review of psychiatric diagnosis and treatment from Rome to the 21st century offers a rationale to support the classic (and still current) classification of disorders. It offers a method of distinguishing the major kinds of disorders and suggests when the prescription of psychoactive drugs may—or may not—be appropriate.

Unhinged evokes how institutions of higher learning police their boundaries through codes of professionalism and sanity. It examines what kinds of bodies and minds are permitted to walk across campus grounds, to take up an office, enter a classroom, present research, speak in a Zoom meeting. Hiring a Mad scholar means more than ticking the requisite diversity box. The presence of madness within a scholarly setting disrupts boundaries between reason and unreason, between legitimacy and illegitimacy, between what should be heard and what should be silenced. The essay considers specifically a moment of failed listening, when assumptions were made about what a mad person means, as if she has no say in defining herself and her needs. What results is not a theoretical intervention into a given text, but into a living moment: the ethics of care within academic settings and the difficult translation of conceptual framework from page to face. This lyrical meditation ultimately imagines what madness might have to offer the forums of academia, what listening to madness might teach us about the signifying resonance of unordinary linguistics and why a sentence uttered in an international atrocity might need to break. The analysis subverts assumptions of pathology and risk, revealing how the negation of a madwoman's agency and voice is itself a danger.

Artikkelissa tarkastellaan Suomalaisen Kirjallisuuden Seuran tutkija Ulla Lipposen (1941–2015) tallettaman digitaalisen folkloreaineiston kuvaa 2000- luvun hulluudesta osana kansanhuumoria. Artikkelissa pohditaan, millaista kuvaa yhteiskunnasta ja hulluna pidetyn ilmentymistä nuorten aikuisten tallettamat esimerkit rakentavat. Mille niissä nauretaan tai millaiseen kulttuuriseen keskusteluun ne ottavat osaa huumorin keinoin? Artikkeli nostaa esille kaksi erilaista tulokulmaa hulluuteen: lääketieteelliseen diagnosointiin liittyvät näkökulmat sekä kulttuuriseen, pääosin normeja rikkovan käytöksen tuottamaan hulluuteen. Artikkeli osoittaa, että huumorin keinoin on mahdollista käsitellä arkoja yhteiskunnallisia kysymyksiä, tavallisuuden, normaaliuden ja poikkeavuuden määritelmiä sekä kyseenalaistaa totuttuja ajatusmalleja.

The film Das Cabinet des Dr. Caligari by Robert Wiene (1920) is analyzed in the article in detail. The author examines the spatial model, the relationships between the characters and the ambiguity of the narrative structure. It is noted that the expressionist decoration of urban space is combined with the traditional entourage of private interiors, which are associated with the traditions of Biedermeier, as well as with the old-fashioned clothing of the characters. In this context, the design of Jane’s room, similar to the bedroom of a fairy princess, stands out. Fairy-tale motives are also revered in the episode of the girl’s abduction by the monster, the somnambulist Cesare. While the exteriors of the main part of the city lack a certain texture, the space of the fair has it, and it is dominated by soft fabrics and wooden bases. In comparison with the houses and pavements of the city, the fair seems more real, tangible, as if it is in the register of non-style, more lifelike art. Expressionism to a certain extent is always the embodiment of the inner state of individuals, their mental disharmony. Therefore, the expressionistic broken, angular outlines of the city create a sense of a frozen or convulsed “spiritual interior”, inner world of a human, which at the subconscious level is perceived in contrast to the physical interior of living organisms, devoid of rigid geometricism. In the film, the “frame story” and the “inner plot” coexist. According to the frame story, Dr. Caligari is the attending physician in a psychiatric clinic, and most of the other characters are his patients. According to the inner plot of Francis, a series of violent murders takes place in the city. It turns out that they are inspired by Caligari, who simultaneously lives in two guises—as a fairground charlatan-magician and as a psychiatrist, testing the possibilities of influencing a somnambulist. Thus, the two lines of the whole plot contradict each other. The director does not give direct hints about which story is trustworthy. According to the author, this is because the director’s subconscious goal is to demonstrate to the audience the principles of perception of different narratives and the regularity of our rejection of the version according to which Caligari is an ordinary respectable doctor. Caligari can be interpreted as an expression of the recipient’s distrust towards any positive images of power and scientific influence on the individual. Robert Wiene’s film makes us offset the perception of modernism in art, which is traditionally considered in the paradigm of rational creativity, and see the possibilities of a symbiosis of art as a cognitive activity and as spontaneous, unconscious creativity. В статье подробно анализируется фильм Роберта Вине «Кабинет доктора Калигари» (1920), рассматривается пространственная модель, соотношение образов персонажей и многозначность повествовательной конструкции. Отмечается, что экспрессионистская декорация городских пространств сочетается с традиционным антуражем приватных интерьеров, в которых читаются традиции бидермайера, а также со старомодной одеждой действующих лиц. В данном контексте особо выделяется решение комнаты Жанны, похожей на спальню сказочной принцессы. Сказочные мотивы прочитываются и в эпизоде похищения девушки монстром-сомнамбулой Чезаре. Если экстерьеры основной части города лишены определенной фактурности, то пространство ярмарки ею обладает, в нем доминируют мягкие ткани и деревянные основы. По сравнению с домами и мостовыми города ярмарка кажется более реальной, осязаемой, как бы находящейся в регистре внестилевого, более жизнеподобного искусства. Экспрессионизм в известной степени всегда является воплощением внутреннего состояния личности, ее душевной дисгармонии. Поэтому экспрессионистские изломанные, угловатые очертания города создают ощущение застывшего или пребывающего в конвульсиях «духовного нутра», которое на подсознательном уровне воспринимается нами по контрасту с физическим нутром живых организмов, лишенным жесткого геометризма. В фильме сосуществуют «рамочная история» и «внутренний сюжет». Согласно рамочной истории, доктор Калигари является лечащим врачом в психиатрической клинике, а большинство остальных персонажей — его пациенты. Согласно внутреннему сюжету, который подается от имени Франца, в городе происходит череда жестоких убийств. Оказывается, что в них повинен Калигари, одновременно живущий в двух ипостасях — как ярмарочный маг-шарлатан и как ученыйпсихиатр, стремящийся испытать возможности воздействия на сомнамбулу. Тем самым, две линии сюжетного целого противоречат друг другу. Режиссер не дает прямых намеков на то, какая история заслуживает доверия. По мнению автора, так происходит потому, что подсознательная цель режиссера — продемонстрировать аудитории принципы восприятия разных нарративов и закономерность нашего неприятия той версии, согласно которой Калигари — обычный добропорядочный медик. Калигари может быть интерпретирован как фигура недоверия реципиента любым позитивным образам власти и научного воздействия на индивида. Фильм Роберта Вине заставляет скорректировать восприятие модернизма в искусстве, традиционно рассматриваемого в парадигме рационального творчества, и увидеть возможности симбиоза искусства как познавательной деятельности и как стихийного, бессознательного творчества.

Francisca Paula de Azúa requested in 1780 the interdiction of her husband Ramón Cortés, claiming he was incapable of administering his patrimony on account of a madness caused by his constant drunkenness. At the same time, she turned to the ecclesiastical court to request divorce based on the same reasons. Both records constitute the documentation explored by this article to propose a biographical exercise that traces the experience of a woman from the Chilean creole elite society from the late colonial period marked by the melancholy and pain caused by the repeated abuse her husband inflicted on her. Her story is presented as a case of feminine agency in a context particularly adverse, that of cohabitation with a husband whose constant drunkenness and consequent violent conduct was understood by those surrounding him as a mental illness. This article aims at exploring the different layers of Francisca Paula’s story to search for the traces of her emotional biography: it examines what she might have felt, how she and the people surrounding her signified those feelings, and how these emotions were represented and instrumentalized in the judicial procedure. By resorting to the biographical lens, the article intends to rescue her individuality and subjectivity, but also to reflect on the feminine experience in the late colonial period.

Linda Hogan’s poetry, fiction and non-fiction have increasingly been linked to eco-criticism, ecofeminism, and environmental justice especially with the publication of her second and third novels, Solar Storms and Power. Yet, it is in Solar Storms that the author explicitly links the theme of the deracination of a brutally abused mother who in turn abuses and projects her self-hatred on her daughter, with a ruthlessly exploited and depleted landscape that consumes and devours all forms of life which it is supposed to nourish. In this paper I will examine the complex narrative structure employed by Linda Hogan in her examination of interior and exterior landscapes as they bear directly upon the discourse of madness, trauma and healing in the female protagonist’s physical, spiritual and political journey to selfhood. I will argue that Hogan’s narrative strategy subverts western trauma theories which posit a linear construction of trauma where the latter is defined as belated temporality, accessible through evocation of repressed memory. Conversely, Linda Hogan’s achronological narrative highlights sensations to which we have no access, because trauma disrupts the “I”, and hence chronology. The approach the adolescent character uses to cure herself of self-loathing and sel-fhatred, passed down by her incurably insane mother, defies the bildungsroman requirement for self-isolation for the creation of an autonomous subject in favor of a self-in-relation model conceived in spatial rather than temporal terms, where Angel, the heroine is “no longer empty space.”

No abstract available.

Critics of psychiatry (or “anti-psychiatrists”) such as philosopher Michel Foucault, sociologist Erving Goffman and physician Ronald David Laing tend to view psychiatry as a form of social control, one of the state institutions of oppression. The concept of “norm” in relation to mental health is understood as culturally conditioned. Psychiatry is used to isolate and “stigmatise” the carriers of non-normative rationality, individuals with different states of mind and patterns of behaviour. Kant has no objections to the practice of forced treatment of the insane, assuming they are declared incompetent. At the same time, Kant considers it necessary to entrust the very procedure of declaring a person incompetent not to medical professionals, but to philosophers. This is due to the fact that Kant sees mental illness as a breakdown, a weakness in cognitive abilities. Kant shares the modernist ideal of a single normative rationality, which is the basis of moral abilities and a guarantee of personal autonomy. In contrast, anti-psychiatry proceeds from the postmodern idea of the diversity of forms of rationality, or refuses entirely to evaluate reason (sanity) as an essential attribute of human nature, thereby justifying the irrational and non-rational aspects of human existence. From this perspective, insane people appear as stigmatised carriers of alternative, non-normative rationality. Accordingly, such people should be protected from any medical coercion, because doctors, when making their decisions, proceed from culturally conditioned criteria of rationality and from a very relative and changing psychiatric norm.

Looking at the construction of te self through the eyes of Focault means taking a path made of archeology, history, seeking the roots of subjectification and its declinations linked to the context, in spite of every form of absolutism and metaphysics that wants to fix subjectification itself to a form of truth. To do that, we will start from reason and madness, going through the genealogic research conducted by Focault in its work of 1961, History of Madness in the Classical Age.

On October 24, 2018 80 years since the birth of Venedikt Erofeyev - one of the most unusual Russian writers, thinkers and rebels of the XX century were executed. This article is devoted to identification and the description of the nature of creative intension of the writer. Besides, the stateof-the-art review of the main stages biographic and a career of V. Erofeyev is provided. It is proved that the main sense-forming milestones of the creative nature of the author are the following: sources (or injuries) which defined a drama vector of all course of life; gift as potentiality of the birth of creative energy; “madness” as original, original manifestation of identity and, at last, belief - a powerful moral and spiritual ancestor.

In her play Don Quixote de la Mancha. A Comedy, in Five Acts, Taken from Cervantes’ Novel of that Name (1856), María Amparo Ruiz de Burton is seen to identify with her Don Quixote, a cathartic character who views himself as impotent and mistreated. The identification of Don Quixote as a colonized, mad Californio is not accidental, but done for ideological effect. He serves as an expression of an incipient —even if problematic— oppositional identity for Californios within the new Anglo/US hegemonic regime post-1848. It is a contradictory identification, loaded with racial and class anxieties, which aims to redress the decentering and despoliation of Californios as a whole while shining a light on those upper-class Californios who associated with their US colonizers. This article suggests that the play’s significance, and indeed uniqueness, is the creation of an incipient border identity for the Californios through the prism of madness.

Jane Eyre has a well-designed structure of a bildungsroman that focuses on the pursuit of Jane’s desire and ignores the same for Bertha. The conceptual structure conveys a linear discourse to determine a prefixed understanding of Bertha, Jane, and Rochester. In Bertha’s context, the bildungsroman operates to deliver issues of race, gender, and disability in an existential quest to ascertain and establish her madness. There is a well-designed structural correspondence of bildungsroman, interplay of dark and light binary, the desire of Jane against the asexual Bertha, and the metaphor of fire in mapping the doubling. The literary devices serve as a dominant metaphorical barrier to normalcy in Thornfield. The paper considers this authorial viewpoint on Bertha’s sickness as a construct of a parallel gendered and a more potent conceptualisation of madness. In problematising madness, the paper argues a cultural narrative of representation that is affected by the impaired mind of Bertha. It will interrogate how the narrative systematically forges a doubling within which she is objectified, influenced, muted, bounded and characteristically disabled.

The aim of this article is to try to see how the confinement of the physical world extends to the mental structure of the characters in Hundred Lives and Dust through the exclusion grids of Michel Foucault’s discourse. We will discuss the author’s writing processes through the external exclusion procedures proposed by the French philosopher. We will also see how the Foucauldian principle of heterotopias can serve as an analytical tool to express the perdition of the Black people of Guadeloupe under the sign of slavery that seems to endure without saying its name. Likewise, the work of Franz Fanon in psychiatry who names forms of identity alienation among blacks, as well as the ethnological work of Stéphanie Mulot on the West Indian communities and their family and social specificities, inherited from centuries of slavery, we will serve points of support for a description and interpretation as close as possible to the text and its cultural content.

An 'inquisition' (or inquiry) held before a Justice of the Peace was the primary instrument for management of lunacy in eighteenth-century England. Yet its purpose was to protect wealth rather than the individual. The 1766 case book of Dr John Monro, London's leading doctor for madness, unexpectedly records a consultation that links two siblings who both had inquisitions. Nicholas Jeffreys' only son was attested lunatic in 1744: to circumvent inheritance through primogeniture, Jeffreys directed the family wealth to his last living child. One of his three daughters married Lord Camden, a former Lord Chancellor: after her and her second sister's deaths, the last-surviving sister was also placed under inquisition in 1780, to ensure the inheritance for his own family., Competing Interests: Declaration of conflicting interestsThe author declared no potential conflicts of interest with respect to the research, authorship and/or publication of this article.

An astronomical concept up to the eighteenth century, 'eccentricity' started to be used to refer to behaviours considered as odd, strange, rare, extravagant, etc. Once reified into a personality trait, it gained explanatory power. This not only increased its popularity but also facilitated its links with psychopathology and neuropsychology, and, via the shared concept of madness, with the notions of genius and creativity. This Classic Text describes the process whereby Alienism (Psychiatry) medicalized eccentricity. To this day, the latter remains firmly attached to 'psychoticism' and to some personality disorders., Competing Interests: Declaration of conflicting interestsThe author declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Emerging evidence suggests that transgender individuals are more likely than cisgender peers to receive a diagnosis with a primary mental disorder. Attributions of madness, though, may serve the social function of dismissing and discrediting transgender individual's self-perceptions. The narratives of individuals who stop or reverse an initial gender transition who also identify as living with mental health conditions can sometimes amplify these socio-political discourses about transgender people. Through a critical mental health lens, this article presents a qualitative analysis of 16 individuals who stopped or reversed a gender transition and who also reported a primary mental health condition. Semi-structured, virtual interviews were conducted with people living in Canada. Applying constructivist grounded theory methodology, and following an iterative, inductive approach to analysis, we used the constant comparative method to analyse these 16 in-depth interviews. Results show rich complexity such that participants narrated madness in nuanced and complex ways while disrupting biased attitudes that madness discredited their thoughts and feelings, including prior gender dysphoria. Instead, participants incorporated madness into expanding self-awareness and narrated their thoughts and feelings as valid and worthy. Future research must consider provider's perspectives, though, in treating mad individuals who detransitioned, since alternate gender-affirming care models may better support the identification and wellness of care-seeking individuals who may be identified (in the past, present, or future) as mad., (© 2023. The Author(s), under exclusive licence to Springer Science+Business Media, LLC, part of Springer Nature.)

In this article, I compare the strategies of visual representation employed in the two 1969 photobooks Gli esclusi (D'Alessandro-Piro) and Morire di classe (Berengo Gardin et al.). These photobooks have been the photographic protagonists of the reform of psychiatric health care that, fed by the upheavals of the late 1960s, brought about the closure of psychiatric asylums in 1978 thanks to the famous Law 180. I will specifically focus on the representation of claustrophobic spaces in their relationship with the bodies of inmates compared to the traditional iconography of madness. This article aims to show that these photobooks (while employing radically different strategies of representation) aim at providing a visual translation of the pivotal philosophical coordinates that guided the reform of psychiatric health care. [ABSTRACT FROM AUTHOR]

Theatre as a form of mediation may be integrated in different ways in a psychiatric milieu, drawing on everyone's professional and personal history. Anne Rejony, actress turned nurse, presents her experience of the encounter with madness during the years when she was a practising professional in the theatre. She then explores different ways in which the tools of theatre may be brought into mental care. Valérie Pfohl and Lydie Elatré, a nurse and a day-care psychologist, present their encounter with the practise of theatre in a therapeutic workshop. This work in co-therapy with a drama-therapy actor leads them to redefine their stance towards care through the play of the self. At least, Karine Joguet, psychologist and drama therapist illustrates with a case, how the creative process in group allows unknown parts of self to be identified in a protective care frame. [ABSTRACT FROM AUTHOR]

Krisma Mancía (1980, El Salvador) is one of the most promising members of the postwar generation of young Salvadoran poets. Like Jacinta Escudos, Claudia Hernández and Vanessa Núñez Handal in prose, Krisma Mancía breaks free of the taboos still found within Salvadoran society that have kept women's issues out of literary discourse longer than in other Latin American countries, and brings them to the forefront in her poetry. In this study, I focus on analyzing the poems "Exquisita ama de casa" and "El juego de la demencia," both from the collection La era del llanto (2004) and showing how difficult it is for the female subjects to break free from patriarchal order and create an independent, strong female identity. Krisma Mancía delves deeply into the contradictions inherent in Salvadoran society to give us a harrowing look at two repressive expectations still placed upon Salvadoran women today: that of the traditional housewife and of the obedient and lady-like daughter. Through grotesque, often surrealistic images, and multiple voices within the poems, Mancía shows us how these societal expectations result in women becoming monstrous, becoming chimeras that can only find freedom in a descent into madness and rage. [ABSTRACT FROM AUTHOR]

Although some criticism exists regarding Jane Eyre's character on stage, early theatrical versions of Bertha's character are largely unexamined. In this article I offer a twofold analysis of three stage scripts based on Charlotte Brontë's Jane Eyre (1847) (premiering in 1867, 1870, and 1877). I show how each play contains drastic plot changes that deemphasize Bertha's madness in favour of rendering her a promiscuous deviant. Simultaneously, the scripts cleanse Rochester's character of sexual and marital scandal. The emergent plot alterations ultimately polarize Bertha's and Rochester's moral profiles and reduce feminist aspects that we have come to associate with Charlotte Brontë's original novel. [ABSTRACT FROM AUTHOR]

This text it's a mapping of how the madness appears categorized in the Brazilian bureaucratic documents in force of 1978, beginning of the fight for psychiatric reform, until the present time. This mapping is inspired by the anthropological propositions about the creative capacities of documents, the public policies as constituents of the process of state formation and about administration and governance while technologies of government that create specific segments. The objective of this study is to show that the changes in official categories in state documents are linked to the reorientation of mental health care, revealing the interrelationship between demands for citizenship and services. It is part of this objective to emphasize the capacity of the documents to create social realities as from administrative interventions and redefinition of boundaries (individual, domestic, professional, institutional and state). [ABSTRACT FROM AUTHOR]

Copyright of Imagofagia is the property of Imagofagia - AsAECA 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.)

Myxedema Madness is a rare but easily treatable cause of psychosis. Since Myxedema Madness was first described the question of a specific psychopathological symptom complex caused by severe hypothyroidism was raised in the literature. The present review of 52 published cases indicates that there are no specific somatic and psychopathological findings to diagnose a myxedema psychosis. It is diagnosed through the measurement of thyroid stimulating hormone and treated by application of L-thyroxine. Due to its excellent prognosis, myxedema madness should always be considered a differential diagnosis in new onset psychosis. • Myxedema Madness should be considered as a rare cause of psychosis. • There are no specific psychopathological findings to diagnose Myxedema Madness. • Hypothyroidism can be easily detected by the determination of blood TSH. • Therapy consists of replacement therapy with thyroxine. [ABSTRACT FROM AUTHOR]

In the mid-nineteenth century, modern Psychiatry and Spiritism were being formed and diverged on the spiritual etiology of mental disorders and on whether mediumistic practices would be a major cause of mental alienation ("spiritist madness"). This article investigates the arguments of European physicians and Allan Kardec's reactions on these two themes. As primary sources, we analyzed European medical publications (1858-1936), Kardec's writings and performed a case study on "Morzine's Possessions". Doctors denied spiritual causes of mental illnesses and considered mediumship a product of fraud or brain activity, whose practice would be a great cause of mental alienation. Kardec questioned the quality of diagnoses and statistics on cases of "spiritist madness". He argued that, in addition to the biopsychosocial causes of madness, spiritual obsessions would be a complementary cause. The evidence would be anomalous abilities exhibited by patients (e.g., speaking languages they did not know, showing knowledge of facts at a distance, etc.) and the effectiveness of disobsession, even if performed at a distance from the patient. [ABSTRACT FROM AUTHOR]

Copyright of Felsefe ve Sosyal Bilimler Dergisi (FLSF) is the property of Felsefe ve Sosyal Bilimler Dergisi (FLSF) 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.)

Han Kang's novel explores the relevance of food choices and eating habits to the articulation of gender relations and power structure in a family environment. The heroine's vegetarianism and then anorexia, accompanied by escapist fantasies of withdrawal from the symbolic order of conformity and submission defining a patriarchal society, her quiet "rebellion," which constitutes an assertion of autonomy, is subdued by literal and symbolic violence. Family and psychiatric hospital, the main settings for the action, represent places of normalisation, where the recalcitrant vegetarian and anorexic body is controlled and disciplined. [ABSTRACT FROM AUTHOR]

Copyright of Humanitas: International Journal of Social Sciences / Uluslararasi Sosyal Bilimler Dergisi is the property of Humanitas: International Journal of Social Sciences 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.)

Krisma Mancía (1980, El Salvador) is one of the most promising members of the postwar generation of young Salvadoran poets. Like Jacinta Escudos, Claudia Hernández and Vanessa Núñez Handal in prose, Krisma Mancía breaks free of the taboos still found within Salvadoran society that have kept women’s issues out of literary discourse longer than in other Latin American countries, and brings them to the forefront in her poetry. In this study, I focus on analyzing the poems “Exquisita ama de casa” and “El juego de la demencia,” both from the collection La era del llanto (2004) and showing how difficult it is for the female subjects to break free from patriarchal order and create an independent, strong female identity. Krisma Mancía delves deeply into the contradictions inherent in Salvadoran society to give us a harrowing look at two repressive expectations still placed upon Salvadoran women today: that of the traditional housewife and of the obedient and lady-like daughter. Through grotesque, often surrealistic images, and multiple voices within the poems, Mancía shows us how these societal expectations result in women becoming monstrous, becoming chimeras that can only find freedom in a descent into madness and rage.

Ian McEwan’s 1997 Enduring Love has its resolutely rational protagonist, Joe Rose, stare madness in the face once he becomes the object of another man’s obsession. Although he remains, for much of the novel, an invisible presence, Jed Parry is as central a character as Joe, whose near-monopoly on narrative voice may well relegate the former’s version of the story to the margins, yet fails to silence him. Although, as stated by Guillaume Le Blanc, the vulnerable often tend to become invisible in our society, in Enduring Love, Joe often finds himself unable to look away from Jed. By foregrounding the rarely explored madness of men, the novel simultaneously makes traditionally marginalised forms of masculinity visible, and sheds light on what often remains invisible behind the façade of hegemonic masculinities, exposed as quintessentially narrative constructs. This paper focuses on the ways in which Parry’s vulnerability seeps into a narrative which both repeats and repeals traditional processes of invisibilisation and silencing of men with mental illness, and on the (un)masking of masculinity at play in the confrontation between Joe and Jed.

In this article, I compare the strategies of visual representation employed in the two 1969 photobooks Gli esclusi (D’Alessandro-Piro) and Morire di classe (Berengo Gardin et al.). These photobooks have been the photographic protagonists of the reform of psychiatric health care that, fed by the upheavals of the late 1960s, brought about the closure of psychiatric asylums in 1978 thanks to the famous Law 180. I will specifically focus on the representation of claustrophobic spaces in their relationship with the bodies of inmates compared to the traditional iconography of madness. This article aims to show that these photobooks (while employing radically different strategies of representation) aim at providing a visual translation of the pivotal philosophical coordinates that guided the reform of psychiatric health care.

My aim in this essay is to explore the complementarities that obtain between Nietzsche’s account (or teaching) of the “death of God” and J. M. Coetzee’s characterization of David Lurie in his 1999 novel Disgrace. I am particularly concerned to investigate the responses of Nietzsche’s Madman and Coetzee’s protagonist to their respective insights into (or experiences of) the “death of God.” Both respondents, I offer, may be seen and understood to create public spectacles in which they acquire (what they take to be) permanent, meaning-conferring identities that are meant, if not destined, to withstand the dislocations and calamities to come. In both cases, moreover, the point of the spectacle is to secure the conditions under which its architect may escape any responsibility for navigating the uncertainties that are bound to arise in the aftermath of the “death of God.” Whereas Nietzsche is primarily concerned to anticipate (and diagnose) the distress that leads to the creation of responsibility-deferring spectacles, Coetzee provides an instructive treatment of life after the death of God, as David Lurie is compelled to confront the emerging post-theistic order he had hoped to avoid.

Foucault’s participation in the 1954 carnival of the mad at an asylum in Switzerland marked the beginning of his critical reflections on the origins of psychology. The event revealed a paradox at the heart of psychology to Foucault, for here was an asylum known for its progressive method and groundbreaking scientific research that was somehow still exhibiting traces of a medieval conception of madness. Using the cultural expression of this carnival as a starting place, this paper goes beyond carnival costumes to uncover the historical structures underneath the discipline of modern psychology. Drawing on Foucault’s earliest works in psychology, his 1954 Mental Illness and Personality, his 1954 “Dream, Existence and Imagination,” his 1957 “Scientific Research and Psychology” and briefly his 1961 History of Madness, I will describe the discrepancy between the theory of modern psychology, which finds its heritage in the methods of modern science, and the practice of modern psychology, which finds its heritage in the classical age. I will argue that this division helps make sense of unexplained psychological phenomena, as seen in general practices related to artistic expression, and individual experiences, as seen in the presence of guilt and the resistance to medical diagnosis in patients.

This paper crystallizes how and why Bellow's intellectual heroes in his later novels are men of ideas, dissenters and revolutionists of the age, though marginalized, victimized, degraded, disregarded, and forgotten despite their celebrity contributions to American culture. This partly exists in their being idealists, men of imagination and letters and partly because of the spoilt capitalistic American culture. Herzog satirizes the masses' norms, and ironically and sympathetically, is mocked by Bellow himself for his being too romantic. Henderson, Sammler and Humboldt sketch the decline of humanism and the agony of the intellectual. Corde illustrates this humanistic fall through the crisis of the communist system in Romania. Because of this cultural backdrop, American intellectuals are destined to suffer, feel agony and alienation. Here Bellow suggests subversion and deconstruction to the norms of his society. More strikingly, he adopts the strategy of being =forever en route,' forever re-evaluating one's beliefs and ideals. His heroes' madness is only a moment of wisdom and over consciousness about the necessity of replacing the culture of masses and capitalism. Deeply behind this, Bellow maintains that the promises of the Enlightenment morality--freedom, faith, happiness, altruism, reason, wisdom, humanism, self-autonomy and harmony--have surprisingly turned into their opposites and have been supplanted by new terms of utilitarian, nihilist, =irrational' discipline characterized by amorality, illusion, risk and the crisis of knowledge. [ABSTRACT FROM AUTHOR]