The Art of Madness

The nineteenth century was not an entirely kind time for the female artist. Coming of age as the 1800’s bridged into its latter half, literary artists Elizabeth Stuart Phelps Ward, Charlotte Perkins Gilman, and Kate Chopin were all well aware of their uncharitable culture. Equipped with firm feminist bents and creative visions, each of three women produced a seminal work – The Story of Avis, “The Yellow Wallpaper,” and The Awakening, respectively – taking that atmosphere to task. In these stories, each of the three women produces a female protagonist who struggles for having been born simultaneously an artist and a woman. The writers pit their women’s desires against the restrictive latitude of their time and show how such conditions drive women to madness, as a result of which they are forced to either escape into the blind mind of insanity or deal daily with their pain and inescapable societal condemnation. In an age where “hysteria” was a frequent hit in the vernacular, Phelps, Gilman and Chopin use art and literature as mediums to show that, indeed, there is a method behind the madness.

A Document in Madness:Ophelia's Music of Insanity

This paper considers the musicological aspects of the songs performed by Ophelia in Shakespeare's Hamlet. It proposes a reconsideration of the concept of madness and insanity by an attentive, attuned and learned listening to the songs sung by Ophelia and the ways in which they are performed and received.

Heterotopias of mental health care: The role of space in experiences of distress, madness and mental health service use.

The change from an institutional to community care model of mental health services can be seen as a fundamental spatial change in the lives of service users (Payne, 1999; Symonds & Kelly, 1998; Wolch & Philo, 2000). It has been argued that little attention has been paid to the experience of the specific sites of mental health care, due to a utopic (idealised and placeless) idea of ‘community’ present in ‘community care’ (Symonds, 1998). This project hence explored the role of space in service users’ experiences, both of mental health care, and community living. Seventeen ‘spatial interviews’ with service users, utilising participatory mapping techniques (Gould & White, 1974; Herlihy & Knapp, 2003; Pain & Francis, 2003), plus seven, already published first person narratives of distress (Hornstein, 2009), were analysed using thematic analysis (Braun & Clarke, 2006). Mental health service sites are argued to have been described as heterotopias (Foucault, 1986a) of a ‘control society’ (Deleuze, 1992), dominated by observation and the administration of risk (Rose, 1998a), which can in turn be seen to make visible (Hetherington, 2011) to service users a passive and stigmatised subject position (Scheff, 1974; 1999). Such visible positioning can be seen to ‘modulate’ (Deleuze, 1992) participants’ experiences in mainstream space. The management of space has hence been argued to be a central issue in the production and management of distress and madness in the community, both in terms of a differential experience of spaces as ‘concordant’ or ‘discordant’ with distress, and with movement through space being described as a key mediator of experiences of distress. It is argued that this consideration of space has profound implications for the ‘social inclusion’ agenda (Spandler, 2007; Wallcraft, 2001).

Unchained Minds: Self-Accounts of Madness

This thesis explores the connection between the historical and social construction of madness in relation to how society currently views madness and schizophrenia. The anti-psychiatry movement has been outlined using the work of anti-psychiatrists David Cooper, R. D. Laing and Franco Basaglia. Foucault’s work regarding madness and the asylum is also reviewed to give an overarching analysis of madness, including analysis of its creation. With the help of Basaglia, madness as class warfare and social disease are explored. By connecting this analysis to the medicalization of schizophrenia and the use of counter-narratives, this thesis uses the work of Deleuze and Guattari to illustrate how mental illness can be redefined through deterritorialization, reterritorialization and lines of flight. Specifically, this thesis uses a Foucauldian textual analysis to examine self-narratives of schizophrenia including, the films A Beautiful Mind and The Best of Youth, and the books Two Accounts of a Journey Through Madness, The Center Cannot Hold and Living With Voices. These self-narratives illustrate the importance of considering an individual’s voice when determining treatment options for mental illness. Overall, a shift in thinking is needed. The findings suggest self-help groups are not enough on their own and should be combined with medical intervention. Self-narratives are an important step in the recovery process as it allows one to come to terms with their voice hearing experiences. As well, self-narratives are useful in the treatment process as a tool that can help to redefine dominant conceptualizations of schizophrenia and mental illness today.

The right to remain silent : the ethics of invasion and evasion in Paul Sayer’s ''The Comforts of Madness''

Este artigo considera as implicações do silêncio e da ética da experimentação médica no romance de Paul Sayer, The Comforts of Madness, vencedor do prémio Whitbread. O romance de Sayer debruça-se sobre um paciente emestado catatónico, Peter, o qual procura retirar-se para um estado de pura subjetividade como consequência de uma série de eventos traumáticos. Inicialmente tratado num hospital tradicional, é posteriormente transferido para uma clínica experimental onde é submetido a uma série de «tratamento» invasivos e bárbaros com o objectivo de «curá-lo». A abordagem de Sayer dos temas relacionados com a insanidade, o silêncio pessoal e a medicina progressiva levanta questões relativas ao direito do indivíduo de rejeitar o mundo comunitário e à ética de extrair a narrativa retida da narrativa relutante. Ao examinar os processos de normalização e resistência, o romance levanta questões relativamente à ética da inclusão forçada e estabelece uma legitimidade de não-cooperação, o direito ao silêncio, o qual funciona em paralelo com a legitimidade da voz marginalizada. A tendência recente nos estudos literários tem sido no sentido da exposição e promoção das vozes anteriormente ostracizadas pela indústria editorial e pelo público leitor, mas, de um modo geral, este processo tem partido da premissa de que a voz perdida beneficia de tal exposição. Para Sayer, existe o caso igualmente persuasivo relacionado com o reconhecimento do direito à privacidade, em risco de ser preterido numa era de transparência excessiva. Este ensaio discute o modo como o romance de Sayer aborda estas preocupações e salienta a sua consciência do processo complexo de lidar com o indivíduo para quem a recusa a falar corresponde a um gesto social ambíguo.

"Mad dogs and transnational migrants?" Bajan-Brit second-generation migrants and accusations of madness

Second-generation British-Barbadians ("Bajan-Brits'') returning to the land of their parents are frequently accused by indigenous Barbadian nationals of being mad. Narratives of the migrants reflect four major sets of factors: (1) madness as perceived behavioral and cultural differences; (2) explanations that relate to the historical-clinical circumstances surrounding the incidence of mental ill health among first-generation West Indian migrants to the United Kingdom; (3) madness as a pathology of alienation that is attendant on living in Barbados; and (4) madness as "othering,'' "outing,'' and "fixity.'' British second-generation "returning nationals'' to the Caribbean, living as they do in the plural world of the land of their parents' birth, after having been raised in the colonial "Mother Country,'' exhibit hybridity and in-betweenness. Accusations of madness serve to fix the position of these young migrants outside the mainstream of indigenous Barbadian society. Our analysis invokes recent postcolonial writings dealing with "strange encounters'' to theorize that the madness accusation serves to "other'' the young Bajan-Brit migrants in a strongly postcolonial context.