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Take a trip down a madman's personal memory lane. Buckle up and hold on tight as you go through the decade of sex, drugs, and rock and roll-also known as the 80s. You will not be driving fifty-five because this story is about living life in the fast lane. Actually, the fast lane may be an understatement. It's more like warp speed down the highway to hell. Your pilot, who is a heavy metal singer from the day as well as an actor, shares his personal accounts of this exciting time. This is a very behind-the-scenes account both of the business and personal life of our deranged storyteller. This is an exciting and interesting tale explaining every brick in his wall, leaving nothing, I mean nothing, out. Hold on tight as this roller-coaster story has many ups and downs. The highs are high, such as concerts, videos, parties, etc. The lows are low, such as alcoholism, betrayal, insanity, etc. Try it, you'll like it! From the beginning to the end, it rocks. It has all been documented for one reason only-On Account of Madness.
Dr. Gabriella Mondini, a strong-willed, young Venetian woman, has followed her father in the path of medicine. She possesses a singleminded passion for the art of physick, even though, in 1590, the male-dominated establishment is reluctant to accept a woman doctor. So when her father disappears on a mysterious journey, Gabriella's own status in the Venetian medical society is threatened. Her father has left clues -- beautiful, thoughtful, sometimes torrid, and often enigmatic letters from his travels as he researches his vast encyclopedia, The Book of Diseases. After ten years of missing his kindness, insight, and guidance, Gabriella decides to set off on a quest to find him -- a daunting journey that will take her through great university cities, centers of medicine, and remote villages across Europe. Despite setbacks, wary strangers, and the menaces of the road, the young doctor bravely follows the clues to her lost father, all while taking notes on maladies and treating the ill to supplement her own work. Gorgeous and brilliantly written, and filled with details about science, medicine, food, and madness, The Book of Madness and Cures is an unforgettable debut.
Madness were true originals who mixed ska and reggae rhythms with social comment and music hall humour to become a British group like no other. They were the most successful UK singles band of the 80s, offering a larky down-to-earth take on Thatcher’s Britain through hits like ‘My Girl’, ‘One Step Beyond’, ‘House Of Fun’ and ‘Baggy Trousers’. Their appeal endures to this day, Madness’ latter-day concerts having become fun-packed celebrations of one of the best-loved songbooks in British pop. Like most bands Madness had their trials and tribulations, including band disputes, accusations of racism and an eventual split. But by then they had become a unique part of British pop history. In this book, John Reed tells their colourful story with a perceptive industry eye and the help of insights from many insiders and colleagues of the band.
Throughout the history of European modernism, philosophers and artists have been fascinated by madness. Something different happened in Brazil, however, with the “art of the insane” that flourished within the modernist movements there. From the 1920s to the 1960s, the direction and creation of art by the mentally ill was actively encouraged by prominent figures in both medicine and art criticism, which led to a much wider appreciation among the curators of major institutions of modern art in Brazil, where pieces are included in important exhibitions and collections. Kaira M. Cabañas shows that at the center of this advocacy stood such significant proponents as psychiatrists Osório César and Nise da Silveira, who championed treatments that included painting and drawing studios; and the art critic Mário Pedrosa, who penned Gestaltist theses on aesthetic response. Cabañas examines the lasting influence of this unique era of Brazilian modernism, and how the afterlife of this “outsider art” continues to raise important questions. How do we respect the experiences of the mad as their work is viewed through the lens of global art? Why is this art reappearing now that definitions of global contemporary art are being contested? Learning from Madness offers an invigorating series of case studies that track the parallels between psychiatric patients’ work in Western Europe and its reception by influential artists there, to an analogous but altogether distinct situation in Brazil.
This book is about the Diagnostic and Statistical Manual of Mental Disorders, more commonly known as the D.S.M. The D.S.M. is published by the American Psychiatric Association and aims to list and describe all mental disorders. Within its pages can be found diagnostic criteria for types of depression, types of schizophrenia, eating disorders, anxiety disorders, phobias, sleeping disorders, and so on. Also included are less familiar, and more controversial, conditions: Mathematics Disorder, Caffeine Intoxication, Nicotine Dependence, Nightmare Disorder. It must be admitted that the D.S.M. is not an exciting read. Its pages follow a standard format: Each disorder has a numerical code. This is followed by a description of the disorder, which includes information regarding prevalence, course, and differential diagnosis. Finally explicit criteria that patients must meet to receive the diagnosis are listed. These generally include lists of the symptoms that must be present, restrictions as to the length of time that the symptoms must have been troublesome, and clauses that state that the symptoms must not be better accounted for by some other condition.
The asylum--at once a place of refuge, incarceration, and abuse--touched the lives of many Americans living between 1830 and 1950. What began as a few scattered institutions in the mid-eighteenth century grew to 579 public and private asylums by the 1940s. About one out of every 280 Americans was an inmate in an asylum at an annual cost to taxpayers of approximately $200 million. Using the writing of former asylum inmates, as well as other sources, Writing Mad Lives in the Age of the Asylum reveals a history of madness and the asylum that has remained hidden by a focus on doctors, diagnoses, and other interventions into mad people's lives. Although those details are present in this story, its focus is the hundreds of inmates who spoke out or published pamphlets, memorials, memoirs, and articles about their experiences. They recalled physical beatings and prolonged restraint and isolation. They described what it felt like to be gawked at like animals by visitors and the hardships they faced re-entering the community. Many inmates argued that asylums were more akin to prisons than medical facilities and testified before state legislatures and the US Congress, lobbying for reforms to what became popularly known as "lunacy laws." Michael Rembis demonstrates how their stories influenced popular, legal, and medical conceptualizations of madness and the asylum at a time when most Americans seemed to be groping toward a more modern understanding of the many different forms of "insanity." The result is a clearer sense of the role of mad people and their allies in shaping one of the largest state expenditures in the nineteenth and early twentieth centuries--and, at the same time, a recovery of the social and political agency of these vibrant and dynamic "mad writers."
This multi-disciplinary book lies in the general areas of forensic psychiatry/psychology, sociology, jurisprudence, criminal law and criminology. It questions traditional assumptions about illness and mental disorder, and deals with the controversial notion that mental disorders (and possibly other 'illnesses') may be to varying extents the fault of the 'sufferer'. It examines how the law can take into account such 'culpable' notions of mental disorder in determining criminal responsibility. This culpability for the defense-causing condition (or 'responsibility for level of criminal responsibility') is called 'meta-responsibility'. The book is divided into two parts. The first section discusses theoretical issues, such as the manner in which traditional illness models relate to meta-responsibility; the insanity defence and other mental condition defences; the relationship of clinical issues such as medication non-compliance and insight to meta-responsibility and the counterfactual notion that consideration of the possible voluntary origins of mental disorder may benefit the criminal and non-criminal mentally disordered. The second section of the book presents a case vignette experiment of mock jurors, examining the effect of a 'meta-responsibility insanity test'.
When it was first published in France in 1961 as Folie et Déraison: Histoire de la Folie à l'âge Classique, few had heard of a thirty-four year old philosopher by the name of Michel Foucault. By the time an abridged English edition was published in 1967 as Madness and Civilization, Michel Foucault had shaken the intellectual world. This translation is the first English edition of the complete French texts of the first and second edition, including all prefaces and appendices, some of them unavailable in the existing French edition. History of Madness begins in the Middle Ages with vivid descriptions of the exclusion and confinement of lepers. Why, Foucault asks, when the leper houses were emptied at the end of the Middle Ages, were they turned into places of confinement for the mad? Why, within the space of several months in 1656, was one out of every hundred people in Paris confined? Shifting brilliantly from Descartes and early Enlightenment thought to the founding of the Hôpital Général in Paris and the work of early psychiatrists Philippe Pinel and Samuel Tuke, Foucault focuses throughout, not only on scientific and medical analyses of madness, but also on the philosophical and cultural values attached to the mad. He also urges us to recognize the creative and liberating forces that madness represents, brilliantly drawing on examples from Goya, Nietzsche, Van Gogh and Artaud. The History of Madness is an inspiring and classic work that challenges us to understand madness, reason and power and the forces that shape them.
‘Mad Tales from the Raj’ is an authoritative assessment of western psychiatry within the context of British colonialism. This revised version provides a comprehensive study of official attitudes and practices in relation to both Indian and European patients during the dominance of the British East India Company. It is fascinating reading not only to students of colonial history, medical sociology and related disciplines, but to all those with a general interest in life in the colonies.