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This article explores how was identified and evaluated the emotional states of women who, seized by strong emotions, reacted in a violent and disorderly way executing "excesses" considered outside the bounds of law in Captaincy General of Chile during the 18th century. To do so, it examines judicial records involving violent behaviors, interpersonal disputes and family conflicts in which mood was scrutinized to explain what predisposed the person's actions. It delves into how women's passional excess or disturbed emotions were described, comparing it to the descriptions of men acting under similar predisposition to find out patterns behind this identification and the evaluation made by those involved in the altercation, judges, witnesses and lawyers. The article suggests that Chilean culture identified in "furor" and "fury", translated into reactions that denoted "voracity" and "discomposure", a seed of inner instability that was close to madness or that could be assimilated to it. This state of internal disturbance could affect both men and women, although the evaluation on its significance was in each case different. [ABSTRACT FROM AUTHOR]

In 1939, Marília, a thirty-year-old Brazilian housewife, residing in São Paulo, killed her lover, Armando, with an axe and gunshots. She turned herself in to the police and was admitted by her brother-in-law to the Pinel Sanatorium, a psychiatric institution catering to the city's more affluent social groups. The sources for this research include clinical documents—such as a medical report, lab tests, prescriptions, and a letter written by Marília—as well as newspaper articles from São Paulo that reported on the crime. Drawing on theoretical and methodological frameworks from the socio-cultural history of emotions, the history of women and gender, and the history of madness and psychiatry, this article identifies the emotions that surface in the different documents recounting Marília's story. Our primary objective is to analyze these emotions, not to explore their specific meanings, but to understand what they produce. I aim to comprehend how the collection of these emotions, as articulated across the various narratives I examine, operates through shared meanings to construct both an event and a subject: Marília. The different narratives about her life, including her own, and the crime she committed, highlight two central emotions: sadness and anger. This analysis demonstrates that these emotions operate within an emotional framework that defines places, possibilities, and limitations for women, grounded in the perception of their interconnected bodies and minds, social markers of difference, and expert discourses. It also reveals that emotional resistances are persistent. [ABSTRACT FROM AUTHOR]

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]

Realizamos una lectura comentada de la obra de Miguel de Unamuno Vida de Don Quijote y Sancho para analizar la comparación de las locuras que presenta entre el ingenioso hidalgo y la Vida de Íñigo de Loyola narrada por su biógrafo el padre Pedro de Rivadeneira. Se contrapondrán las dos locuras como reflejo de lo fuera de lo común del alma de un pueblo, que le llevó a crear un imperio, y también la del vasco que en el fondo son la misma, pues éstas se encuentran plasmadas en el alma española. Además, hemos tratado de poner de manifiesto la locura del propio Unamuno con su afán de inmortalidad que consigue ocupar un lugar en la vida de la fama junto con los personajes analizados, que ya la habían logrado con anterioridad y gracias a no ser lo que se entiende por personas juiciosas que son las que no logran construir nada interesante en la vida.

The present article develops an examination of the main aspects to be considered in the analysis that the philosophies of G. Canguilhem and M. Foucault devote to the problem of madness. The text stipulates the philosophical conditions of approach that both authors elaborate on to think about the problem of norms in the vital and social sphere. The question: what is crazy? then becomes the question of the social and political practices that have been developed concerning madmen and madness, evidencing the relevance that Canguilhem and Foucault give to the problem of norms, either in an ontological and/or historical-political framework of understanding. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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.)

El objetivo del presente trabajo es analizar el orgullo loco como movimiento social de visibilización y empoderamiento en la red social X. La metodología sigue un análisis de contenido en redes sociales; se ha realizado un seguimiento del hashtag #orgulloloco y #madpride durante un rango temporal de un año. El total de publicaciones identificadas fue de 403. Los resultados, a partir de las categorías principales de análisis, mostraron que el contenido sobre el orgullo loco se distribuye de la siguiente manera: visibilización y activismo (46%); recursos y apoyos (22,6%); denuncias (22,5%) y perspectiva profesional (8,9%). Este estudio proporciona un análisis profundo sobre las narrativas relacionadas con el orgullo loco en la red social X. El movimiento desempeña un papel esencial para valorar la diversidad de experiencias y perspectivas de las personas locas y de aquellas cuyas experiencias psíquicas se encuentran fuera de la norma. Al mismo tiempo, desafía de manera crítica la perspectiva biologicista de la psiquiatría. Además, juega un papel fundamental en la acción política de la salud pública.

La novela La ciudad de los locos del escritor argentino Juan José de Soiza Reilly, antes de editarse como libro en 1914, se publicó como folletín en la revista Caras y Caretas de Buenos Aires, entre 1907 y 1912, un dato desconocido que la resignifica plenamente. En esta novela por entregas confluye, caleidoscópicamente, el nihilismo nietzscheano, el pensamiento eugenésico, la poética macabra de la literatura folletinesca y la experimentación estética de las vanguardias europeas. En sintonía con la terapia open door de Cabred, Soiza Reilly sostiene un concepto despatologizador de la locura, en particular, de la emotividad. En tanto “psicología popular” o “psicología latinoamericana”, La ciudad de los locos se inscribe también, desde la sátira, en la tradición del ensayo de interpretación nacional. Este relato alegórico-satírico mediatiza una crítica conservadora a los liberalismos contemporáneos, en los que proyecta una amenaza disolvente. Con esta novela, Soiza Reilly procura reconducir toda potencia transgresora de la modernidad hacia una renovación moral, católica, de la vida. En tanto alegoría, es posible comprender también a la extinción de Locópolis, a contrapelo de la lógica reproductiva moderna, como una manifestación de una comunidad soberana en la que resuena la historia cultural latinoamericana. Abstract The novel La ciudad de los locos by the Argentine writer Juan José de Soiza Reilly, before being published as a book in 1914, was published as a serial in the magazine Caras y Caretas in Buenos Aires, between 1907 and 1912, an unknown fact that completely resignifies it. In this serialized novel, Nietzschean nihilism, eugenic thought, the macabre poetics of serialized literature and the aesthetic experimentation of the European avant-garde come together kaleidoscopically. In tune with Cabred’s open door therapy, Soiza supports a depathologizing concept of madness, in particular, of emotionality. As “popular psychology” or “Latin American psychology”, La ciudad de los locos is also inscribed, from satire, in the tradition of the national interpretation essay. This allegorical-satirical story mediates a conservative critique of contemporary liberalisms, on which it projects a dissolving threat. With this novel, Soiza Reilly seeks to redirect all transgressive power of modernity towards a moral, Catholic renewal of life. As an allegory, it is also possible to understand the extinction of Locópolis, contrary to modern reproductive logic, as a manifestation of a sovereign community in which Latin American cultural history resonates. DOI: 10.5281/zenodo.12801324

Madness and collective are two terms that have marched in a disjunct way in history. Its most obvious expression was the construction of the psychiatric asylum, located far from the life of the city. The most current incarnation is that of the individual who lives in the street, within the city, but outside of all ties. These individual lives a new exile without asylum in the collective. From my work as a psychologist in a social center in Paris, I ask myself how to integrate the difference of madness, without erasing it in the name of an ideal, inherent to this - and all - collective. I show that collective and madness are structurally disjunct, but for an institution to be alive, the two terms must be inseparable. The collective must be sufficiently docile, so that everyone can appropriate it as a means of life. If the collective is necessary for every speaking being, it is indispensable for those who cannot find a typical solution to the problems posed by their body and the problems it poses to the social body. [ABSTRACT FROM AUTHOR]

El presente artículo tiene por objetivo realizar una aproximación al concepto de locura en Michel Foucault, basados en su obra Historia de la locura en la época clásica I (2015), vinculada a su vez a la noción de cultura, tal como la entiende Raymond Williams en su caracterización de las tres categorías generales de cultura (ideal, documental y social). De esta vinculación entre conceptos, se deriva que la concepción de locura y todo lo que esta implica, responde a una construcción cultural dada, ligada a una época y sociedad determinada.

Copyright of Revista Poligramas is the property of Universidad del Valle 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 document is a research study on the survival of the cement industry in Indonesia during a crisis. The study uses qualitative methods and a comparative approach to analyze the responses of major players in the industry. The findings highlight the importance of strategic responses, leadership, and adaptability in overcoming the challenges of a crisis. The study provides insights and recommendations for cement players to improve their management strategies and prepare for future crises. [Extracted from the article]

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador 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 offers an epistemological, poetic, and ontological reading of the ways of knowing regarding mental disorders that are characteristic of the traditional healers (curanderas and curanderos) of an Indigenous group in Mexico. The study is based on ethnographic interviews with traditional Purépecha (Tarascan) healers in rural Michoacan. Interviews focused on local conceptions of emotional and mental illness, especially Nervios, Susto, and Locura (nerves, fright, and madness). We discuss the conceptual structure of these Indigenous illness notions, the nature of the associated imagery and notions of the soul, as well as the general sense of meaningfulness and reality implicit in Purépecha curanderismo. The highly metaphorical modes of understanding characteristic of these healers defy analysis in purely structuralist terms. They do, however, have strong affinities with the Renaissance "episteme" or implicit framework of understanding described in The Order of Things, Michel Foucault's classic study of modes of knowing and experiences of reality in Western thought—a work profoundly influenced by Heidegger's interest in the historical and cultural constitution of what Heidegger termed "Being." After examining the individual illness concepts, we explore both the poetic and the ontological dimension (the foundational sense of reality or of Being) that they involve, with special emphasis on supernatural concerns. [ABSTRACT FROM AUTHOR]

In this paper, an analysis is carried out of the way in which the discourses and counter-discourses around madness are presented in the novel Nadie me verá llorar by Cristina Rivera Garza, based on the elements of analysis referred to the order of the discourse, the subject, the device, the archaeologies of knowledge, literature and the technologies of the self, mainly from the perspective of Michel Foucault. [ABSTRACT FROM AUTHOR]

La Castañeda was one of the most emblematic spaces in the history of Mexican psychiatry, founded by Porfirio Díaz on September 9th, 1910, and its buildings and clinical records were inhabited by women and men of all social classes. However, there are other inhabitants who are rarely mentioned: children. This article aims to be a first approach to the rescue of the history of childhood in La Castañeda between 1940-1945 in a space that represented for the inhabitants of Mexico City the entrance to hell, the great "Locopolis" of the City. [ABSTRACT FROM AUTHOR]

En el presente trabajo propongo una lectura del cuento de Samanta Schweblin, “La pesada valija de Benavides”, y su trasposición al cine, en La valija de Benavidez (Laura Casabé, 2015). “La pesada valija de Benavides” forma parte de la colección de cuentos El núcleo del disturbio, ópera prima de la escritora argentina con la cual ganó el Premio del Fondo Nacional de las Artes en el año 2001. La película La valija de Benavidez, es una adaptación libre, escrita y dirigida por Laura Casabé, cuyo debut en cine fue con el largometraje fantástico El hada buena: una fábula peronista (2010). Me interesa puntualizar en el tratamiento del espanto, la locura y el mundo del arte tal como se configuran en uno y otro texto, y, de este modo, reflexionar sobre las maneras en las que el terror se corporiza en la trama a través de la estetización de la violencia.

El tipo de relación que se desarrollaba entre un psiquiatra (hombre) y una paciente (mujer) durante la primera mitad del siglo XX, en un psiquiátrico de la periferia como el Manicomio Provincial de Málaga, estuvo marcado por el proceso legitimador de la especialidad, los esfuerzos por encontrar datos positivos en la medicina mental, así como elementos relacionados con la construcción generizada de la locura. Tras la Guerra Civil, veremos el desarrollo de los actos diagnósticos y la aplicación de las terapias de choque en la institución, y como se fue haciendo aún más profunda la brecha relacional entre psiquiatras y “locas”. El objetivo de este trabajo es abordar qué elementos estuvieron presentes en la construcción de las subjetividades de las mujeres-locas de la sala 20, qué regímenes emocionales influyeron en estas relaciones y mostrar, por último, cómo la tecnificación de la terapéutica durante los años 40 dio lugar a la perpetuación y amplificación de una asimetría emocional entre psiquiatras y “mujeres-locas” de la sala 20, circunstancia en la que las mujeres mostraron también sus estrategias de resistencia.

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 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]

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.)

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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.)

La obra de Salvador Elizondo explora una vasta cantidad de géneros –que van desde la novela, el cuento, la poesía, el ensayo y la crítica–, así como diversas temáticas que han sido comúnmente estudiadas en su obra como son el tiempo, el erotismo, la muerte, lo oriental y otras menos exploradas como el terror y lo siniestro. En este trabajo nos enfocamos en “La puerta”, texto perteneciente al primer libro de cuentos de Salvador Elizondo, Narda o el verano (1966), donde desata una narrativa que se sostienen en la implicación de mecanismos de los relatos de terror, en específico en su relación con lo siniestro, vínculo que atiende a que ambas nociones operan para la consecución de un efecto desestabilizador. Este trabajo propone la relación terror-siniestro como eje de la configuración narrativa del cuento elizondiano, y toma como apoyo las propuestas teóricas de Sigmund Freud, Ernst Jentsch, H. P. Lovecraft y Noël Carrol.

Cuando en su pretenciosa y trasnochada Summa Philosophica el Cardenal Tomasso Maria Zigliara (al parecer, un autor de gran prestigio e influencia para la doctrina católica de fines del siglo XIX) se ocupe del llamado “comunismo” va a señalar con razón como uno de sus antecedentes más importantes a la célebre Utopía, de Tomás Moro, al tiempo que va a calificar a la tesis central allí defendida (la de la sustitución de la propiedad privada por la propiedad común) como “no menos impía que insensata” (non minus impia quam stulta). Aunque, desde luego, este “librillo verdaderamente dorado” no necesita en absoluto de defensa, quizás la acusación del docto Cardenal pueda ser tomada como una inmejorable ocasión para reflexionar sobre su significación y actualidad. Con tal propósito, en el presente trabajo me ocuparé, en primer lugar, de aclarar el sentido y alcance de los términos de dicha acusación (rayana en la condena) y de mostrar las razones por las que Zigliara considera que resultan aplicables a Utopía. E intentaré, luego, elaborar una posible respuesta a la misma. Solo que la estrategia de mi alegato no consistirá, pues, en sostener que nuestro autor no sería merecedor de la tan grave acusación de impiedad e insensatez; sino en plantear si no podría ser el caso que, efectivamente, haya incurrido en estos dos “delitos”, pero que justamente resida allí el mayor mérito y grandeza de su pensamiento.

Existe una tensión entre la cordura y la locura en el hecho mismo de la justicia, tensión que don Quijote encarna. En sus momentos de locura, el Quijote es un justiciero; en los de cordura, un jurista. Estos dos Quijotes aparecen y reaparecen a lo largo de la novela, pero cobran especial significado ante el testimonio de damas ultrajadas, como también al final, cuando el caballero recupera la cordura y resuelve sus problemas patrimoniales previo a testar. Finalmente, el artículo propone que para Cervantes la locura es una condición de posibilidad de la justicia en el mundo.

En el presente artículo se estudia la función dramática de María Josefa dentro de la estructura de La Casa de Bernarda Alba. Al concederle el papel de “loca”, el autor la convierte en personaje que, a pesar de su avanzada edad, se rebela contra la tiranía de su hija Bernarda. Así estructurado el personaje se asemeja a las figuras de locos y locas presentes en el teatro español áureo y el teatro inglés isabelino.

Jose Siles writes a review of Fernando Ceballos's book " The asylum: chronicles of a logic that colonizes subjectivities". [ABSTRACT FROM AUTHOR]

This article examines the dramatic function of María Josefa within the structure of La Casa de Bernarda Alba. By portraying her as "mad," the author portrays her as a character who rebels against the tyranny of her daughter Bernarda. In this construction of the character of María Josefa, there is a certain similarity with those "madmen" and "madwomen" in Spanish Golden Age and English Elizabethan theatre. [ABSTRACT FROM AUTHOR]

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En el amplio espectro de géneros de su narrativa —entrevistas, crónicas, cuentos, obras teatrales, novelas, así como en los paratextos— Soiza Reilly se autoconstruye como un psiquiatra lírico —a medias aristo- crático y plebeyo, creyente y nihilista, grave y clownesco— que, en la propia oscilación de su locura, descubre dimensiones extrañas, inéditas de la realidad, que desafían el sentido común. Sus entrevistas endiabladas, en este sentido, reparan en aspectos desconocidos de los famosos que profa- nan la idealización mediática y académica. Como reporter y cronista de Caras y Caretas, Soiza se ocupa primeramente de las celebridades —los sujetos sociales eminentes que erigen las instituciones, los medios y el público— por sobre los raros —al igual que Rubén Darío—, las figuras disruptivas y excepcionales de la contemporaneidad que resultan atractivas al lector y también a él mismo. Su narrativa, en este sentido, compone un caleidoscopio de locura —desde la propia perspectiva de alienista alienado— en la que se combinan, disparatadamente, fragmentos documentales de los locos actuales (celebridades y raros) para el consumo del público, al que la misma teoría psicosocial asocia también con la locura, por su baja extracción social en la que se condensarían todos los males y patologías.

La ducha popular es un instrumento que, en el siglo XIX, se aplica como tratamiento médico frente a los comportamientos anormales, ejerciéndose en un laboratorio en busca de resultados. Al considerarse demasiado coercitiva, esta práctica pasa a utilizarse como calmante de los estados eufóricos o epilépticos, y después como método disuasorio contra la locura. A principios del siglo XX se analizan estadísticamente los efectos de la ducha en un espacio pedagógico, pasando a definirse como un gabinete de hidroterapia donde se desplazan fluidos de razón y de emoción dentro y a través del cuerpo.

Este artículo analiza tres cuentos de Edgar Allan Poe (El demonio de la perversidad, El gato negro y El corazón delator). Estos cuentos tienen en común el tema de la perversidad, hacia cuya elucidación pretendemos avanzar desde la premisa deleuziana, según la cual es preciso volver al espacio literario donde fueron nombradas las perversidades, con el fin de obtener algunas claves de comprensión sobre las causas y consecuencias de la perversidad, así como sobre la naturaleza de estos personajes literarios que, en los tres cuentos citados, se autodefinen como víctimas de esta condición que se encarna en los seres humanos bajo la forma de un demonio. Nos acompañarán en este recorrido los aportes teóricos de Julia Kristeva, Gilles Deleuze, Michel Foucault, François Delaporte y Claude-Olivier Doron.

Un relato oral grabado en 2020 evoca un caso de locura inducida supuestamente por brujería que aconteció en el pueblo de Capulhuac, en el estado de México, cuando la madre del narrador era niña. Se transcribe y se contextualiza el relato y se estudian algunos de sus motivos folclórico-narrativos, especialmente aquellos que demuestran la mezcla de elementos autóctonos mexicanos y de elementos con raíces españolas y europeas.

Si bien hoy se conocen y tratan científicamente los problemas psicológicos derivados del embarazo y del parto, este trabajo trata de analizar cómo se abordaron estos en la España de la temprana Edad Moderna. Para ello se parte del concepto de “melancolía” según la tratadística de los siglos XVI y XVII, y se analizan los ejemplos contenidos en una fuente de gran interés, como son las vidas de santos y libros de milagros publicados en español en ese período. Esta fuente nos revela cómo se procuraba atender, mediante el consuelo y la empatía, las necesidades físicas y psicológicas de la mujer.

Este estudio explora la conexión entre la melancolía adusta y sus efectos psiquiátricos en la clase monárquica dentro del marco de la literatura medieval ibérica. La epistemología médica medieval exponía que cuando el humor negro se quemaba, los vapores subían a la cabeza, lo que provocaba la desconexión entre la percepción cognitiva y la realidad externa. A partir de las obras del rey Alfonso el Sabio, Ramon Llull y Juan Manuel, este estudio muestra cómo la locura melancólica contenía el fermento para deshumanizar y expulsar de la comunidad y de la vida social a la víctima de esta condición.

The issue of madness, always present in the hot-tempered gods - Ares, Aphrodite, and Dionysus - has to do with what the ancient Greeks referred to as alterity. It was the Greeks who 'invented' this notion. What is otherness? It is, simply said, the extensive category of the Other. Let us examine a few aspects of the way this category is presented in mythical thinking in order to understand its place in psychology and madness. Alterity has to do with the Other, who is outside or inside me; ipseity is the possibility of remaining the same. This recognition has political, historical, ethical and, of course, psychological implications. And yet, it is archetypal, because that is where, as we will see, the issues of the sibling archetype fall. The sibling, as a primordial image in the soul, is present in the psychological evolution of each individual and each culture, and its influence inevitably projects itself into the history and construction of our connections with friends, companions, partners, associates, and colleagues - i.e. with all others, before confirmation is established in the soul that madness is other people. [ABSTRACT FROM AUTHOR]

The character of Ophelia has inspired multiple artistic representations and feminist critiques. I aim to contribute to the interest aroused by Ophelia by showing her as a heroine who draws a world like a prison which, with her death, she faces more drastically than Hamlet. In the introduction, I will analyze the character's evolution in Shakespeare's work using the Aguilar edition. In the second part, I will present a feminist reading of Ophelia. In conclusion, against feminist readings that place her in a fictional story or that portray her only as a victim of patriarchy, I will show her as a disengaged heroine who speaks to us of our human condition. [ABSTRACT FROM AUTHOR]

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