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‘Schizo’: The Liberatory Potential of Madness presents an interdisciplinary exploration of the potential of madness as a force for liberation from societies of control.
Following on the previous volume, Mental Health in Asia and the Pacific, which was co-edited with Milton Lewis, this book explores historical and contemporary developments in mental health in China and Chinese immigrant populations. It presents the development of mental health policies and services from the 19th Century until the present time, offering a clear view of the antecedents of today’s policies and practice. Chapters focus on traditional Chinese conceptions of mental illness, the development of the Chinese mental health system through the massive political, social, cultural and economic transformations in China from the late 19th Century to the present, and the mental health of Chinese immigrants in several countries with large Chinese populations. China’s international political and economic influence and its capabilities in mental health science and innovation have grown rapidly in recent decades. So has China’s engagement in international institutions, and in global economic and health development activities. Chinese immigrant communities are to be found in almost all countries all around the world. Readers of this book will gain an understanding of how historical, cultural, economic, social, and political contexts have influenced the development of mental health law, policies and services in China and how these contexts in migrant receiving countries shape the mental health of Chinese immigrants.
This volume explores the intriguing ontological ambiguities of madness in literature and the arts. Despite its association with a diseased/abnormal mind, there can be much sense and sensibility in madness. Daring to break free from the dictates of normalcy, madwomen and madmen disrupt the status quo. Yet, as they venture into unchartered or prohibited terrain, they may also unleash the liberatory and transformative potential of unrestrained madness. Contributors are Doreen Bauschke, Teresa Bell, Isil Ezgi Celik, Terri Jane Dow, Peter Gunn, Anna Klambauer, Rachel A. Sims and Ruxanda Topor.
How do you write your life story when readers expect you not to make sense? How do you write a case history that makes sense when, face to face with schizophrenia, your ability to tell a diagnostic story begins to fall apart? This book examines work in several genres of life writing–autobiography, memoir, case history, autobiographical fiction–focused either on what it means to live with schizophrenia or what it means to understand and ‘treat’ people who have received that diagnosis. Challenging the romanticized connection between literature and madness, Life Writing and Schizophrenia explores how writers who hear voices and experience delusions write their identities into narrative, despite popular and medical representations of schizophrenia as chaos, violence, and incoherence. The study juxtaposes these narratives to case histories by clinicians writing their encounters with those diagnosed with schizophrenia, encounters that call their own narrative authority and coherence into question. Mary Wood is the author of The Writing on the Wall: Women’s Autobiography and the Asylum (University of Illinois Press, 1994) and has published articles on autobiography, case history, literature and psychiatry, and narrative ethics in Narrative, British Journal of Medical Ethics, Journal of Trauma and Dissociation, and American Literary Realism. She teaches in the English Department at the University of Oregon.
In this book, the first to explore the role of disability in the writings of James Joyce, contributors approach the subject both on a figurative level, as a symbol or metaphor in Joyce’s work, and also as a physical reality for many of Joyce’s characters. Contributors examine the varying ways in which Joyce’s texts represent disability and the environmental conditions of his time that stigmatized, isolated, and othered individuals with disabilities. The collection demonstrates the centrality of the body and embodiment in Joyce’s writings, from Dubliners and A Portrait of the Artist as a Young Man to Ulysses and Finnegans Wake. Essays address Joyce’s engagement with paralysis, masculinity, childhood violence, trauma, disorderly eating, blindness, nineteenth-century theories of degeneration, and the concept of “madness.” Together, the essays offer examples of Joyce’s interest in the complexities of human existence and in challenging assumptions about bodily and mental norms. Complete with an introduction that summarizes key disability studies concepts and the current state of research on the subject in Joyce studies, this volume is a valuable resource for disability scholars interested in modernist literature and an ideal starting point for any Joycean new to the study of disability. A volume in the Florida James Joyce Series, edited by Sebastian D. G. Knowles Contributors: Rafael Hernandez | Boriana Alexandrova | Casey Lawrence | Giovanna Vincenti | Jeremy Colangelo | Jennifer Marchisotto | Marion Quirici | John Morey | Kathleen Morrissey | Maren T. Linett 
Schizophrenia has been one of psychiatry's most contested diagnostic categories. It has also served as a metaphor for cultural theorists to interpret modern and postmodern understandings of the self. These radical, compelling, and puzzling appropriations of clinical accounts of schizophrenia have been dismissed by many as illegitimate, insensitive and inappropriate. Until now, no attempt has been made to analyse them systematically, nor has their significance for our broader understanding of this most 'ununderstandable' of experiences been addressed. The Sublime Object of Psychiatry is the first book to study representations of schizophrenia across a wide range of disciplines and discourses: biological and phenomenological psychiatry, psychoanalysis, critical psychology, antipsychiatry, and postmodern philosophy. In part one, Woods offers a fresh analysis of the foundational clinical accounts of schizophrenia, concentrating on the work of Emil Kraepelin, Eugen Bleuler, Karl Jaspers, Sigmund Freud and Jacques Lacan. In the second part of the book, she examines how these accounts were critiqued, adapted, and mobilised in the 'cultural theory' of R D Laing, Thomas Szasz, Gilles Deleuze, Félix Guattari, Louis Sass, Fredric Jameson and Jean Baudrillard. Using the aesthetic concept of the sublime as an organising framework, Woods explains how a clinical diagnostic category came to be transformed into a potent metaphor in cultural theory, and how, in that transformation, schizophrenia came to be associated with the everyday experience of modern and postmodern life. Susan Sontag once wrote: 'Any important disease whose causality is murky, and for which treatment is ineffectual, tends to be awash in significance'. The Sublime Object of Psychiatry does not provide an answer to the question 'What is schizophrenia?', but instead brings clinical and cultural theory into dialogue in order to explain how schizophrenia became 'awash in significance'.
Over the course of the centuries the meanings around mental illness have shifted many times according to societal beliefs and the political atmosphere of the day. The way madness is defined has far reaching effects on those who have a mental disorder, and determines how they are treated by the professionals responsible for their care, and the society of which they are a part. Although madness as mental illness seems to be the dominant Western view of madness, it is by no means the only view of what it means to be ‘mad’. The symptoms of madness or mental illness occur in all cultures of the world, but have different meanings in different social and cultural contexts. Evidence suggests that meanings of mental illness have a significant impact on subjective experience; the idioms used in the expression thereof, indigenous treatments, and subsequent outcomes. Thus, the societal understandings of madness are central to the problem of mental illness and those with the lived experience can lead the process of reconstructing this meaning.
Preeminent music theorist and leader in the study of music and disability Joseph Straus presents a truly groundbreaking take on musical modernism--demonstrating in an expansive and vivid multimedia presentation that modernist music is inextricably entwined with attitudes toward disability. In Broken Beauty, Straus argues that the most characteristic features of musical modernism--fractured forms, immobilized harmonies, conflicting textural layers, radical simplification of means in some cases, and radical complexity and hermeticism in others--can be understood as musical depictions of disability conditions, including deformity/disfigurement, mobility impairment, madness, idiocy, and autism. Against the traditional medical model of disability, which sees it as a bodily defect requiring diagnosis and normalization or cure, this new sociocultural model of disability sees it as cultural artifact, something that is created by and creates culture. Straus places this revised model of disability against a wide range of canonical, high-art concert music from the first decades of the century through the 1950s. Broken Beauty illustrates how disability is right at the core of musical modernism; it is one of the things that musical modernism is fundamentally about.
This book examines communist and post-communist literary and visual narratives, including the writings of prominent anti-communist dissidents and exiles such as Vladimir Nabokov, Czeslaw Milosz and Milan Kundera, exploring important themes including how Eastern European regimes and cultures have been portrayed as totalitarian, barbarian and "Orientalist" – in contrast to the civilized "West" – disappointment in the changes brought on by post-communist transition, and nostalgia for communism.
This study uses two particular subcultures, skinheads and punks, to explore how constructions of subcultures in time, language, space, body practice, and identity offer alternative ways of understanding youth-adult relationships.