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A man desperately tries to keep his pact with the Devil, a woman is imprisoned in an insane asylum by her husband because of religious differences, and, on the testimony of a mere stranger, "a London citizen" is sentenced to a private madhouse. This anthology of writings by mad and allegedly mad people is a comprehensive overview of the history of mental illness for the past five hundred years-from the viewpoint of the patients themselves.Dale Peterson has compiled twenty-seven selections dating from 1436 through 1976. He prefaces each excerpt with biographical information about the writer. Peterson's running commentary explains the national differences in mental health care and the historical changes that have take place in symptoms and treatment. He traces the development of the private madhouse system in England and the state-run asylum system in the United States. Included is the first comprehensive bibliography of writings by the mentally ill.
This is the first book to investigate how mental illness is portrayed in Hindi cinema. It examines attitudes towards mental illness in Indian culture, how they are reflected in Hindi films, and how culture has influenced the portrayal of the psychoses. Dinesh Bhugra guides the reader through the history of Indian cinema, covering developments from the idealism of the 1950s to the stalking, jealousy and psychopathy that characterises the films of the 1990s. Critiques of individual films demonstrate the culture’s approach towards mental illness and reflect the impact of culture on films and vice versa. Subjects covered include: Cinema and emotion Attitudes towards mental illness Socio-economic factors and cinema in India Indian personality, villainy and history Psychoanalysis in the films of the 60s. Mad Tales from Bollywood will be of interest to psychiatrists, mental health professionals, students of media and cultural studies and anyone with an interest in Indian culture.
KNOCKIN' ON EVIL'S DOOR Werewolves. Trolls. Sea Monsters. Rain of toads. Skyquakes. Sunnydale is being besieged by dark forces. But even with Buffy providing her unique style of damage control while Giles is hospitalized out of town, it's more than one Slayer can handle -- especially since the abominations are coming from a centuries-old portal through time and space. Somehow, the hell-hole must be found and corked at its source. For Buffy, Angel, and the rest of her gang, that means a road trip to Boston where an ailing Gatekeeper resides over a supernatural mansion that has been, until recently, holding the world's worst monsters at bay. Once there, Buffy discovers the catastrophic truth: the magical structure houses thousands of rooms, all of which are doorways to limbo's "ghost roads," and all of which may bring her face-to-face with the most nefarious forces in hell and on earth -- forces bent on horrific plans far worse than the Slayer ever imagined.
'An epic of survival' -- MICHAEL PALIN 'A "grade-A classic"' -- SUNDAY TIMES 'Utterly enthralling' -- GEOFF DYER, GUARDIAN 'Deeply engrossing' -- NEW YORK TIMES LISTED AS A BOOK OF THE YEAR IN THE TIMES, NEW STATESMAN, SUNDAY TIMES The harrowing, survival story of an early polar expedition that went terribly wrong, with the ship frozen in ice and the crew trapped inside for the entire sunless, Antarctic winter August 1897: The Belgica set sail, eager to become the first scientific expedition to reach the white wilderness of the South Pole. But the ship soon became stuck fast in the ice of the Bellinghausen sea, condemning the ship's crew to overwintering in Antarctica and months of endless polar night. In the darkness, plagued by a mysterious illness, their minds ravaged by the sound of dozens of rats teeming in the hold, they descended into madness. In this epic tale, Julian Sancton unfolds a story of adventure gone horribly awry. As the crew teetered on the brink, the Captain increasingly relied on two young officers whose friendship had blossomed in captivity - Dr. Frederick Cook, the wild American whose later infamy would overshadow his brilliance on the Belgica; and the ship's first mate, soon-to-be legendary Roald Amundsen, who later raced Captain Scott to the South Pole. Together, Cook and Amundsen would plan a last-ditch, desperate escape from the ice-one that would either etch their names into history or doom them to a terrible fate in the frozen ocean. Drawing on first-hand crew diaries and journals, and exclusive access to the ship's logbook, the result is equal parts maritime thriller and gothic horror. This is an unforgettable journey into the deep.
"This specifically "literary" historical study situates the rather sudden emergence of madhouses ("Bedlam") on the Shakespearean stage in the sophisticated literary dispute known as the "Poets' War," wherein various dramatists, particularly Jonson and Shakespeare, argued about what drama was supposed to be. "Madness" became a rhetorical battleground of artistic ideas, and that dispute, rather than any desire to represent the actual hospital, led to the appearance of "Bedlam" on the stage."
Though best known as the author of Dracula (1897) Bram Stoker had a successful career in the theatre. This collection brings together all Stoker's theatrical reviews from Dublin's Evening Mail, his published essays and interviews on the theatre, selections from Reminiscences of Henry Irving (1906) and a fictional work on the theatre.
Building on almost 300 productions from the last 25 years, this 2002 book focuses on the playtexts used when directors stage Shakespeare's plays: the words spoken, the scenes omitted or transposed, and the many other adjustments that must be made. Directors rescript to streamline the playscript and save running time, to eliminate obscurity, conserve on personnel, and occasionally cancel out passages that might not fit their 'concept'. They rewright when they make more extensive changes, moving closer to the role of playwrights, as when the three parts of Henry VI are compressed into two plays. Alan Dessen analyzes what such choices might exclude or preclude, and explains the exigencies faced by actors and directors in placing before today's audiences words targeted at players, playgoers, and playhouses that no longer exist. The results are of interest and importance as much to theatrical professionals as to theatre historians and students.