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A group of twenty scholars from different disciplinary and cultural backgrounds developed a series of dialogues and discussions on the notion, experience and representation of madness. This volume is the result of those discussions.
The crossing of borders and frontiers between political states and between languages and cultures continues to inhibit and bedevil the freedom of movement of both ideas and people. This book addresses the issues arising from problems of translation and communication, the understanding of identity in hyphenated cultures, the relationship between landscape and character, and the multiplex topic of gender transition. Literature as a key to identity in borderland situations is explored here, together with analyses of semiotics, narratives of madness and abjection. The volume also examines the contemporary refugee crisis through first-hand “Personal Witness” accounts of migration, and political, ethnic and religious divisions in Kosovo, Greece, Portugal and North America. Another section, gathering together historical and current “Poetry of Exile”, offers poets’ perspectives on identity and tradition in the context of loss, alienation, fear and displacement.
The films of Darren Aronofsky invite emotional engagement by means of affective resonance between the film and the spectator’s lived body. Aronofsky’s films, which include a rich range of production from Requiem for a Dream to Black Swan, are often considered “cerebral” because they explore topics like mathematics, madness, hallucinations, obsessions, social anxiety, addiction, psychosis, schizophrenia, and neuroscience. Yet this interest in intelligence and mental processes is deeply embedded in the operations of the body, shared with the spectator by means of a distinctively corporeal audiovisual style. Bodies in Pain looks at how Aronofsky’s films engage the spectator in an affective form of viewing that involves all the senses, ultimately engendering a process of (self) reflection through their emotional dynamics.
Reel Kabbalah: Jewish Mysticism and Neo-Hasidism in Contemporary Cinema​ studies the ways in which fictional film in the first decade of the twenty-first century represents the esoteric Jewish speculative traditions known as Kabbalah and Hasidism. It examines the textual and conceptual traditions behind five important cinematic representations -- Pi (1998), Ushpizin (2004), Bee Season (2005), The Secrets (2007), and A Serious Man (2009) -- and it considers how film both stands in continuity with those traditions and modifies them in the New Age vein of what is known as neo-Kabbalah and neo-Hasidism. Brian Ogren transforms our understanding of reception history by focusing on how cinema has altered perceptions of Jewish mysticism. In showing how the Jewish speculative traditions of Kabbalah and Hasidism have been able to affect mass-consumed cinematic portrayals of ultimate Truth, this book sheds light on the New Age, pop-cultural dialectic of the particular within the universal and of the universal within the particular.
Artists and Attic sees the relationship between architecture and literature as a concrete reflection of nineteenth century ideology creating an iconic picture of women's position in society and literature during that period. In the Victorian house, the attic is hidden and neglected, yet to a woman artist, it is a space of her own to produce a text of her own. The author presents the neglected attic as related to the neglected woman and the limited space symbolizes the confinement of woman and the woman writer, yet obtaining this space of her own becomes the central concern to women and women writers. This book explores the function of the attic in nineteenth century British and American women's writing, as it is given meaning and life by the writers. To many of the women, the attic created a paradoxical image of their seclusion, but also of their own poetic space for freedom in creation. Many of the writers see the attic as a retreat to escape from patriarchal oppression and a place to seek social identity.
Madness and Modernism provides a phenomenological study of schizophrenic disorders, criticizing some standard conceptions of these disorders. Sass argues that many aspects of this group of disorders can actually involve more sophisticated (albeit dysfunctional) forms of mind and experience.
This volume explores the history and historiography of madness from the ancient and medieval worlds to the present day. Covering Africa, Asia and South America as well as Europe and North America, chapters discuss broad topics such as the representation of madness in literature and the visual arts, the material culture of madness, madness within life histories and the increased globalization of knowledge and treatment practices. Chronologically and geographically wide-ranging and providing a fascinating overview of the current state of the field, this is essential reading for all students of the history of madness, mental health, psychiatry and medicine.
The philosophy of psychosis and the psychosis of philosophy: a philosopher draws on his experience of madness. In this book, philosopher and linguist Wouter Kusters examines the philosophy of psychosis—and the psychosis of philosophy. By analyzing the experience of psychosis in philosophical terms, Kusters not only emancipates the experience of the psychotic from medical classification, he also emancipates the philosopher from the narrowness of textbooks and academia, allowing philosophers to engage in real-life praxis, philosophy in vivo. Philosophy and madness—Kusters's preferred, non-medicalized term—coexist, one mirroring the other. Kusters draws on his own experience of madness—two episodes of psychosis, twenty years apart—as well as other first-person narratives of psychosis. Speculating about the maddening effect of certain words and thought, he argues, and demonstrates, that the steady flow of philosophical deliberation may sweep one into a full-blown acute psychotic episode. Indeed, a certain kind of philosophizing may result in confusion, paradoxes, unworldly insights, and circular frozenness reminiscent of madness. Psychosis presents itself to the psychotic as an inescapable truth and reality. Kusters evokes the mad person's philosophical or existential amazement at reality, thinking, time, and space, drawing on classic autobiographical accounts of psychoses by Antonin Artaud, Daniel Schreber, and others, as well as the work of phenomenological psychiatrists and psychologists and such phenomenologists as Edmund Husserl and Maurice Merleau-Ponty. He considers the philosophical mystic and the mystical philosopher, tracing the mad undercurrent in the Husserlian philosophy of time; visits the cloud castles of mystical madness, encountering LSD devotees, philosophers, theologians, and nihilists; and, falling to earth, finds anxiety, emptiness, delusions, and hallucinations. Madness and philosophy proceed and converge toward a single vanishing point.
New essays providing fresh insights into the great 20th-century American poet Lowell, his writings, and his struggles.
This book presents new perspectives on the multiplicity of voices in the histories of mental ill-health. In the thirty years since Roy Porter called on historians to lower their gaze so that they might better understand patient-doctor roles in the past, historians have sought to place the voices of previously silent, marginalised and disenfranchised individuals at the heart of their analyses. Today, the development of service-user groups and patient consultations have become an important feature of the debates and planning related to current approaches to prevention, care and treatment. This edited collection of interdisciplinary chapters offers new and innovative perspectives on mental health and illness in the past and covers a breadth of opinions, views, and interpretations from patients, practitioners, policy makers, family members and wider communities. Its chronology runs from the early modern period to the twenty-first century and includes international and transnational analyses from Europe, North America, Asia and Africa, drawing on a range of sources and methodologies including oral histories, material culture, and the built environment. Chapter 4 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.