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Welch, Mark, University of Western Sydney, and Faculty of Nursing and Health Studies. "Reel madness : the representation of madness in popular western film." THESIS_FNHS_XXX_Welch_M.xml, 1997. http://handle.uws.edu.au:8081/1959.7/705.
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This thesis considers the representation of madness in popular film, in the main from the Western canon and English speaking, and argues that madness is seen and represented as an extreme of human experience, a form of Otherness, which throws into relief notions of ontology, sanity and personal and cultural identity. It progresses from a consideration of the historical representations of madness and sanity in art and literature to a review of the pertinent literature on cinema and representation, and uses seminal examples from throughout cinematic history mostly from English language films, from 1906-1996, to illustrate the argument. Alternative methodological approaches are considered for the insights they may provide, and also for the contribution they make to the development of the thesis, in particular the influence of semiotics. A number of stereotypical portrayals of madness, such as the 'mad scientist', the 'crazed murderer', and the 'doomed heroic outsider' are examined in detail. Finally, the thesis proposes the way madness, and mad people, are represented in popular film is reflective and indicative of social and cultural concerns over what can be known, how identity can be established and what it means to live in the contemporary world fraught with uncertainty, anxiety and changeDoctor of Philosophy (Hons)
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Welch, Mark. "Reel madness : the representation of madness in popular western film /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030915.132224/index.html.
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Love, Damian. "Samuel Beckett and the art of madness." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415352.
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Salel, Stephen Francis Tsuji Nobuo. "Retracting a diagnosis of madness : a reconsideration of Japanese eccentric art /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/6243.
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Byrne, Josephine. "Madness and the art of writing : constructions of madness in Janet Frame's Owls do cry and Faces in the water /." Title page and introduction only, 1992. http://web4.library.adelaide.edu.au/theses/09AR/09arb9951.pdf.
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Pazzaglia, Nicoletta. "Madness Apparatus: Gender Politics, Art and the Asylum in Fin-de-Siècle Italy." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18729.
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My dissertation focuses on literary and photographic representations of female madness as a means of exposing the material violence that notions of normality and of national identity produced in Italian society during the fin-de-siècle. Although many studies explore the exclusion of minorities in the project of nation-making, the mentally ill have rarely been discussed. Those studies that focus on literary representations of madness usually treat it as a metaphor or literary expedient and leave unexplored the material violence that psychiatric institutions inflicted on the mentally ill body. I aim to connect cultural realities and their representations, exploring the ways in which psychiatric and state power constructed and used the mentally ill body in the quest to create national identity. This quest was rooted in the widespread image of Italians as effeminate southerners from a backward, pre-modern part of Europe, an image that led to a crisis of masculinity.
In my study I consider the crisis of masculinity vis-à-vis practices of asexualization of the body conducted inside the asylum. Through a parallel analysis of psychiatric photography and literary representations of female madness in Giovanni Verga, Luigi Capuana, Gabriele D'Annunzio, and Futurist avant-garde writers, my study shows how these practices actively contributed to social constructions of madness. Chapter I is an introduction to the development of modern psychiatry vis-à-vis the project of national identity formation in post-unification Italy. Chapter II analyzes first literary representations of female madness and psychiatric portraits of female patients to argue that the asexualization of patients' bodies was used to offer an ontological weight to national manhood. Chapter III explores the phenomenon of hysteria to show how the body of the hysterical woman functioned as apparatus used to produce normalization. Chapter IV examines how the futurist avant-garde overturned the madness apparatus at the beginning of the twentieth century. The conclusion I draw is that the mentally ill body functioned as an abjected or excluded other whose alterity was key to the construction of Italian identity.
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Paddock, Virginia Lee. "Madness as metaphor : a study of mysticism in the life and art of Emily Dickinson." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/762988.
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The present study establishes a more full and accurate understanding of the importance of mysticism in the art and life of Emily Dickinson, and shows that because of the physiological changes endured by the mystic and the unique relationship between mysticism and madness, what might be read literally as madness (psychosis) in Dickinson's poems should be seen as a metaphor for the dark counterpoint of the mystical cycle.Chapter One establishes a necessary background on mysticism and discusses the effects of mystical experience on the mind and body of the mystic. As the mystic undergoes spiritual purification, she will be changed physiologically because the central nervous system has to be cultured and strengthened to withstand the changes created by the transcendental level of consciousness.Chapter Two chronologically documents Dickinson's mystical achievement, using her letters as the primary source and Evelyn Underhill's five stages of mystical development as the base of measurement. Dickinson achieved the first mystic life-Awakening, Purgation, and Illumination. Hints of the Dark Night of the Soul may be seen in her later years, but there does not appear to be firm evidence that it was ever fully established. Oscillating between states of pain and pleasure throughout her life, she did not achieve the perfect serenity, peace, and certitude that characterizes Union. Chapter Three examines the symbiotic relationship between mysticism and madness, to show that they share a common source and the end result depends on the preparedness of the individual. Chapter Four examines selected poems, written from 1859-65, from the perspective that Dickinson is a mystic describing mystical experience rather than a psychotic describing insanity. Chapter Four, as does Chapter Three, refers to the interpretation of Dickinson's poetry made by the Freudian psychiatrist, Dr. John Cody, because his interpretation has made the strongest argument for literal madness in Dickinson's work. Chapter Three shows the insufficiency of the argument to explain Dickinson, other mystics, and two of the parallel cases Cody used to support his thesis; Chapter Four demonstrates the same insufficiency when applied to Dickinson's poems of madness, terror, and despair. Chapter Five briefly examines the relationship between Dickinson, the mystic, and Dickinson, the poet.Department of English
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Smith, Philip. "The truth of a madman : the works of Art Spiegelman." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/16364.
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Art Spiegelman is one of the most important figures in the history of American comics. His work Maus (1980 and 1991) is arguably the landmark text in the field of comic book studies. Given the relatively recent reissue of his first collection Breakdowns (2008) and the publication of his interview/essay collection/scrapbook Metamaus (2011), it is likely that his work will continue to be the subject of critical interest. This thesis concerns the collections Breakdowns (1977 and 2008), Maus (1980 and 1991) and In the Shadow of No Towers (2004). It represents the first book-length extended study of Spiegelman s three major works. The central argument put forth in this thesis is that the Spiegelman oeuvre articulates and manifests a madness which its author perceives to underlie supposedly rational society. In support of this thesis I will employ critical models from the following fields: Holocaust studies, trauma theory, the anti-psychiatry movement, theories concerning the representation of madness, formalist analyses of comics, and Genette s narratological taxonomy.
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Vanderlinden, Cedric. "Going beyond illustration of the Lovecraft novel at the mountains of madness." Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020950.
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The research examines the relationship between the Sublime, the written works of H. P. Lovecraft, and the researcher’s production in the studio arts. It analyses how the Sublime is approached as a subject matter and principal objective within philosophical and artistic discourses, historically and within a contemporary paradigm. It also investigates the applicability of the Sublime to selected themes uncovered in H. P. Lovecraft’s work in general, and At the Mountains of Madness in particular. This is undertaken through an investigation of primary and secondary sources whose explorations and contextualization informs and supports the researcher’s practical visual studies. A reflective and critical analysis of this studio work is performed and included in the main body of the dissertation, from which a conclusion is drawn about the effectiveness of this approach. Specifically, the research explores the relevance of the Sublime both as a critical component of contemporary fine arts and as a fundamental element of the work of H. P. Lovecraft, At the Mountains of Madness in particular. In addition, the research’s practical component consists of a visual exploration of the intersection between the two. Furthermore, it represents an evaluation of this overlap in its effective translation across modes of expression, as interpreted through the medium of the researcher’s creative process.
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Heighton, Luke. "Exhibiting madness, art & the asylum : the creation & exhibition of images by psychiatric hospital patients in Vienna, 1890-1914." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565893.
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Testa, Federico Leonardo Duarte. "Perspectiva e alteridade : visões sobre arte, loucura e antropologia." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/97689.
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O presente trabalho visa estabelecer um exercício de perspectiva entre arte e loucura. Atentando para aquilo que é outro, heterogêneo, estrangeiro, constrói- se o terreno para perguntar o que pode a loucura dizer e revelar sobre a arte e a história da arte, e o que pode a arte dizer sobre a loucura. Paralelamente, pergunta-se pelo potencial da antropologia em relação a ambas: como a etnografia e a atitude antropológica podem se construir como paradigma para a teoria e a crítica de arte? A partir da imersão etnográfica em um contexto de reclusão onde arte e loucura se encontram - a oficina de criatividade de um hospital psiquiátrico -, pergunta-se o que podem a antropologia e a etnografia diante da loucura, suas obras e processos. Discute-se, então, uma “virada etnográfica” na arte contemporânea e uma “virada antropológica” ou “etnográfica”, ainda por realizar, na crítica de arte, situando-a enquanto experiência vivida, imersão e criação. Como transformar essas experiências em paradigma para pensar não só as artes dos outros, mas outras artes, outras possibilidades e modos de ser da arte? A partir de visões de diferentes formas pelas quais a busca e o contato com a alteridade se fizeram nas artes visuais, chega-se a indagar pela arte dos loucos. Nesse percurso são mobilizados diferentes referenciais como o Surrealismo, Jean Dubuffet, Arnulf Rainer, Bispo do Rosário, Michel Foucault, entre outros. Nesse exercício, não se perdeu de vista a dimensão política da exclusão dos atores sociais tidos como loucos. A escrita foi vista enquanto tarefa ética frente à memória do sofrimento dos excluídos. A todo o instante, é retomado o questionamento sobre como seguir a linha que liga arte e loucura, sem confirmar compromissos policiais e asilares com as instituições intoleráveis e repressivas de nossa cultura.This thesis intends to undertake an exercise of perspective between the fields of art and madness. Focusing on what is heterogeneous, stranger, other respect to ourselves and our culture, it puts forward the question about what can madness reveal about art and the history of art, and what can art tell us about madness. This thesis also asks about the potential of anthropology on relating to both art and madness: how can ethnography and an anthropological attitude constitute themselves as a paradigm to art criticism and to the theory of art? Departing from the ethnographic immersion into a universe of reclusion where art and madness meet – the creativity workshop of a psychiatric hospital -, this dissertation investigates the potentialities of anthropology and ethnography in face of madness, its works and processes. An “ethnographic turn” in contemporary art is, then, discussed, as well as an “ethnographic turn”, yet to accomplish, in art criticism, figuring it as intensive experience, immersion and process of creation. How to transform these experiences into a paradigm not just to think the arts of the others (“outsider arts”), but also to think other kinds of art, different possibilities and alternative concepts of art? Departing from several different ways by which the quest and the contact with alterity and otherness were made in the visual arts, the thesis approaches the art of the insane. Along this path, different artistic and philosophical references are mobilized such as Surrealism, Jean Dubuffet, Arnulf Rainer, Bispo do Rosário, Michel Foucault, among others. In this exercise, the political aspects regarding the process of exclusion of social actors categorized as mad are never out of sight. The act of writing was assumed as an ethical task before the necessity of remembering the suffering inflicted to the mad by society. The text constantly reiterates the questioning about how to follow the path that connects art and madness without confirming compromises with intolerable and repressive institutions of our culture.
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McKeon, Joseph Michael. "Constructuing the Category Entartete Kunst: The Degenerate Art Exhibition of 1937 and Postmodern Historiography." Ohio University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1142622901.
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Derby, John K. "Art Education and Disability Studies Perspectives on Mental Illness Discourses." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250311625.
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Le, Page Gaëlle. "Folie et processus de création : la Gestaltung comme fondement de la création." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20005.
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La création qui initie une ouverture où peut se glisser un point d’ancrage est une écriture du sujet que nous articulons au sinthome en tant que solution inédite visant à faire tenir la structure psychique. L’acte créateur est alors déterminé par un choix subjectif qui s’opère en touchant au plus près la dimension du réel, avec le risque psychique de dériver vers un point non représentable. Quel choix fera le sujet, face à ce hors sens, celui de la folie ou celui de la création ? La folie, en tant que Kairos, moment de rupture mais aussi surgissement, serait alors un passage nécessaire vers la création qui engage un remaniement subjectif majeur. Le processus qui permet ce passage est fondamentalement la pulsion de mise enforme que Hans Prinzhorn nomme Gestaltung et qui ouvre la question de la trace signifiante. La Gestaltung pousse à la création et relève d’une organisation du réel par un signifiant souple qui n’est pas exclusivement un mot mais peut aussi faire appelle à la figurabilité telle que nous la rencontrons dans la création artistique en ce qui nous intéresse et notamment dans la peinture, l’architecture ou encore l’écriture. La Gestaltung s’appuie alors sur la fabrique d’objets. Le vouloir de forme est le premier pas qui oriente le sujet vers sa trouvaille signifiante en place et fonction de sinthome mais encore plus impulse chez lui un mouvement vers le sinthome appelé sinthomation. Le sujet, à cette condition d’être engagé dans ce processus de Gestaltung, trouverait à exister et à réinventer du lien socialCreating, which initiates an opening into which can slip an anchor point, is a writing of the subject that we link to the sinthome as being an original solution aiming at keeping together the psychic structure. The act of creating is then determined by a subjective choice which operates by reaching the dimension of the real as closely as possible, with the psychic risk of drifting towards an unrepresentable point. What will the subject choose when confronted with that meaninglessness? Madness or creation? Madness, in thesense of Kairos, moment of rupture but also emergence, would then be a necessary phase towards creation whichprompts a major subjective reworking. The process which allows this phase is a fundamental urge to shaping that Hans Prinzhorn calls Gestaltung and which raises the question of the signifier, which is not exclusively a word but can also call for figurability as we find it in artistic creation, with regard to what interests us, notably in painting, architecture or writing. Gestaltung then draws on the making of objects. The drive for shaping is the first step that leads the subject to his signifying find acting both for and as a sinthome, but even more triggering an impulse towards the sinthome calls sinthomation. As long as he would be involved in that process of Gestaltung, the subject would find a way to exist and reinvent a social link
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Franco, Stéfanie Gil. "22 Dezembro 1938 - Arthur Bispo do Rosário: um estudo antropológico sobre arte e loucura." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-25052012-100620/.
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Esta pesquisa busca, a partir de uma série de controvérsias, descrever como se constitui a relação entre arte e loucura tendo o caso de Arthur Bispo do Rosário como meio reflexivo. Em suma, trata-se de uma série de enunciados que vão se constituindo no entendimento da expressão artística dos loucos; e de como certas variâncias possibilitam pensar Arthur Bispo do Rosário como um artista contemporâneo. Considerando que só temos arte na loucura a partir das preocupações da psicologia em desvendar a universalidade da mente humana, vemos surgir um movimento que busca diferenciar a arte dos normais da expressão dos primitivos e insanos. Com a ascendência da arte contemporânea e das novas fronteiras entre o saber artístico e o saber psicológico, um novo debate se abre pensando a arte não mais como uma expressão universal e inerente ao homem, mas como uma linguagem possível em todos os homens e não intrínseco a ele. Com isso, as obras de Bispo do Rosário por sua linguagem se tornam um dos principais objetos de dissociação da estreita relação entre arte moderna, psicanálise e loucura no Brasil. Propus pensar na Missão de Bispo do Rosário como um discurso potente, que culminou em três caminhos paralelos: o primeiro, o da própria reconstrução do mundo, um mundo transgressivo e pouco legível, mas interessante para compor um modo de existência; o segundo, o da loucura, que tem na Missão o elemento do diagnóstico de esquizofrênico; e o terceiro, da arte contemporânea, que se apropria do discurso missionário, conformando-o em performance do artista. PThis investigation is in search of, from a series of controversies, describing how to build a relationship between art and madness using the case of Arthur Bispo do Rosário as a reflexive environment. In short, work a series of headlines that are going to constitute at the understanding of the artistic expression of the mad, and how certain variations make possible to think Arthur Bispo do Rosário as a contemporary artist. Considering that we only have art in madness from the preoccupation of the psychology to unveil the universally of the human mind, we see the arising of a movement in search of differentiate the art of the Normal of the expression of the Primitive and Insane. With the ascendancy of the contemporary art and the new frontiers between the artistic knowledge and the psychological knowledge, a new debate is open thinking the art, not anymore like an universal expression and inherent to man, but as a language possible in all men and not intrinsic to him. With that, the work of Bispo do Rosário for its language became one of the main objects of the dissociation of the narrow relationship among Modern Art, Psychoanalysis and Madness in Brazil. I proposed to think of the Mission of the Bispo do Rosário as a powerful speech, which culminated on three parallel paths: the first, the reconstruction of the world itself, a transgressive world and little legible, but, interesting for composing a way of existence; the second, the madness, that has a Mission the element of diagnosis of the schizophrenic; and the third, the contemporary art, that appropriates itself of the missionary speech, conforming it in the artists performance.
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Santos, Adriana Rosa Cruz. "Heterotopias menores: delirando a vida como obra de arte." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4631.
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Esta tese se propõe a explorar as relações entre arte, loucura e polis a partir da aposta de que a vida possa ser permanentemente criada como obra de arte aberta às variações e diferenciações inerentes ao viver. Tal procedimento estético demanda a constituição de espaços-tempo heterotópicos, capazes de simultaneamente engendrar e abrigar contraposicionamentos às políticas de sujeição e controle contemporâneos. Para tanto, problematizamos as instituições arte, loucura e polis, extraindo, dessas formas estratificadas, virtualidades que possibilitem a emergência de modos menores, fazendo-as variar. Partimos da polis, dimensão imaterial e coletiva das cidades, ao mesmo tempo máquina abstrata de engendramento das formas que a habitam, a deslocam, a produzem e forma que a vida assume nesses territórios, para visibilizar como se engendram loucuras e artes de viver. Partimos de fragmentos históricos, literários e biográficos para pensar outros modos de habitar e tecer trajetórias na cidade, instando a tessitura de relações de criação de si e do mundo, por meio da invenção de espaços outros entre a loucura e a arte. Da loucura pensada por Foucault como positividade domesticada pelo saber médico, instauramos séries da experiência trágica ao fora e, deste, ao fluxo esquizo, proposto por Deleuze e Guattari para finalmente chegar a uma loucura menor, loucura que é antes dissolução das formas identitárias e estabilizadas e que materializa o delírio como dispositivo estético de criação de mundos. Finalmente, chegamos à arte, deslocando-a da dimensão de criação de objetos estéticos, para pensá-la como dimensão imanente ao próprio viver. Neste ponto nos valemos de Nietzsche, Deleuze e Foucault para pensar a vida como experimentação que resiste às armadilhas que a aprisionam em modelos préestabelecidos, vida que se cria a cada instante como obra de arte. Ativando, portanto, uma arte menor, arte de viver, damos corpo à proposição foucaultiana de uma estética da existência, procedimento por meio do qual se cria a si mesmo ao criar-se outro nas relações com o mundo. Procedimento, portanto, estético, ético e político. Instabilizadas e problematizadas as formas iniciais polis, loucura e arte , tomamos os casos Bispo do Rosário e Moacir para investigar, em suas trajetórias, como é possível do entrelaçamento entre elas, se constituírem estilizações da existência, de forma a fazer derivar o real e ficcionar modos de viver. Por fim, recorremos à poesia, delírio das palavras para ensaiar possibilidades de criação de espaços-tempo singulares, heterotopias menores, espécies de utopias efetivamente realizadas, como afirma Foucault, que nos permitam fazer da vida obra de arte.This thesis aims to explore the relationship between art, madness and polis from the bet that life may be permanently established as a work of art opened to variations and differences inherent in living. This cosmetic procedure demands the constitution of heterotopic space/time, able to simultaneously engender and shelter counterstance to the contemporary control and subjection policies. For this we discuss the institutions art, madness and polis, extracting of these stratified or stored forms, virtualities that make possible the emergence of minor modes, making them vary. We start with polis, immaterial and collective dimension of the cities, at the same time abstract machine of engendering forms that inhabit it, moving it and producing the way life take over these territories, to make visible how madness and art of living engender each other. We started from biographical, historical and literary fragments, to think about other ways of inhabiting and weaving trajectories in the city, urging a fabric of relations of self and word creation through the invention of other spaces between madness and art. From madness thought by Foucault as domesticated positivity by medical knowledge, we established series from tragic experience from outside, and, from this to the schizo flow, proposed by Deleuze and Guattari -to finally get a minor madness, madness that is first dissolution of identity and stabilized forms and that materializes delirium as aesthetic device of word creation. Finally, we get the art, moving it from the aesthetic object creation dimension, to think of it as an immanent dimension of self-living. At this point we make use of Nietzsche, Deleuze and Foucault to think life as experimentation that resists the traps that imprison it in pre-established models, life that create itself every moment as a work of art. Activating therefore, a minor art, art of living, embodying foucaultian proposition of an aesthetics of existence, procedure whereby it creates itself when creates another one in the world relationships. Therefore, aesthetics, ethical and political procedure. Unstabilized and discussed inicial forms polis, madness and art -, we take cases of Bispo do Rosário e Moacir, to investigate their trajectories, how it may be possible from their interlace, constituting stylizations of existence so that it makes derive from real and put ways of living into fiction. Finally, we turn to poetry, delirium of words, to rehearse possibilities of singular space/time creation, minor heterotopics, effectively performed utopia species, like Foucault says, allow us to make life a work of art.
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Damato, Flávia de Paiva Paula. "Arteloucura na criação artística de Alceu Rodrigues." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/8064.
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O que se propõe neste estudo é desenvolver uma reflexão sobre Arteloucura que possibilite outras formas de olhar as obras de pessoas com sofrimento psíquico, sem categorizar ou diferenciar o que é loucura (patologia) e o que é arte institucional. O objetivo maior desse trabalho é a criação de um espaço de interlocução entre arte, loucura e vida, espaço fértil para analisar e fruir as obras, em sua técnica e poética. Além disso, apresentaremos a obra do artista Juizforano Alceu Rodrigues dos Santos, diagnosticado esquizofrênico, amante da cultura, música e artes plásticas. Artista que teve uma produção pictórica potente, utilizando os espaços da saúde mental de Juiz de Fora para desenvolver sua obra. Para desenvolver essa reflexão sobre a potência criativa de Alceu Rodrigues, utilizaremos como suporte teórico autores como Peter Pál Pelbart, Michael Foucault, Patrícia Burrowes, Suely Rolnik, Gilles Deleuze, Rosa Dias, Viviane Mosé, dentre outros; além de entrevistas com amigos e profissionais que acompanharam a trajetória artística de Alceu, visto que há poucos registros acerca do artista e sua produção pictórica.
What is proposed in this study is to develop a reflection on Arteloucura that allows other ways of looking at the works of people with psychic suffering, without categorizing or differentiating what is madness (pathology) and what is institutional art. The main objective of this work is the creation of a space of interlocution between art, madness and life, fertile space to analyze and enjoy the works, in his technique and poetics. In addition, we will present the work of the artist Juizforano Alceu Rodrigues dos Santos, diagnosed as a schizophrenic, lover of culture, music and fine arts. Artist who had a potent pictorial production, using the spaces of mental health of Juiz de Fora to develop his work. To develop this reflection on the creative power of Alceu Rodrigues, we will use as theoretical support authors such as Peter Pál Pelbart, Michael Foucault, Patrícia Burrowes, Suely Rolnik, Gilles Deleuze, Rosa Dias, Viviane Mosé, among others; as well as interviews with friends and professionals who followed Alceu's artistic trajectory, since there are few records about the artist and his pictorial production.
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Neubarth, Barbara Elisabeth. "No fim da linha do bonde, um tapete voa-dor : a Oficina de Criatividade do Hospital Psiquiátrico São Pedro (1990-2008): inventário de uma práxis." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/22513.
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Esta tese é o resultado do levantamento sistemático, como um inventário documental comentado, sobre o Núcleo de Atividades Expressivas Nise da Silveira, sua Oficina de Criatividade e seu acervo, no período de 1990 a 2008. O núcleo, um dispositivo da rede de saúde mental coletiva, faz parte do Centro de Reabilitação Psicossocial São Pedro, setor do Hospital Psiquiátrico São Pedro de Porto Alegre/ RS. Este inventário cultural é um primeiro organizador da história da Oficina de Criatividade - sua práxis cuidadora e o material artístico produzido - e do seu Acervo - cerca de 100 mil documentos, entre material artístico, produtos e produção técnico-científica. As coleções de Cenilda Ribeiro, Natália Leite, Luiz Guides e Frontino Vieira, cujo trabalho tem o reconhecimento no campo da Arte e Loucura, representam o conjunto das obras ali produzidas. Além disto, o resultado de uma pesquisa com profissionais das artes plásticas, do programa de residência integrada em saúde, ênfase saúde mental coletiva (RIS/ ESP/ HPSP/ SES/ RS) é contribuição inovadora no sentido de estabelecer competências e responsabilidades do profissional/ oficineiro, em termos de seu núcleo e campo de saber. Autores como Balbo e Bèrges, Campos, Ceccim, Foucault, Freud, Jung, Lacan, Quinet e Silveira estão entre os teóricos que fundamentam esta tese.This thesis is the outcome of a survey, as a commented documental inventory, about Nise da Silveira Expressive Activities Group (Núcleo de Atividades Expressivas Nise da Silveira), its Creativity Workshop and its collection, between 1990 and 2008. This Group, a device of the collective mental health net, belongs to the São Pedro psychosocial center in Porto Alegre, Rio Grande do Sul, Brazil. This cultural inventory is a first Creativity Workshop history initiative - its preservation praxis and the artistic material produced - and of the collection – of around 100 thousand documents, among artistic material and other technical and scientific products. The collections of Cenilda Ribeiro, Natália Leite, Luiz Guides e Frontino Vieira, who have the acknowledgement in the fields of Insanity and Art, represent the entirety of the works produced at the workshop. Besides, the result of a research with professional artists, of the integrated health residency programme, with emphasis in collective mental health (RIS/ ESP/ HPSP/ SES/ RS), is an innovative contribution in the sense of establishing competences and responsibilities of the professionals, in terms of this group and knowledge area. This thesis is based on the ideas of authors such as Balbo e Bèrges, Campos, Ceccim, Foucault, Freud, Jung, Lacan, Quinet and Silveira.
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Cazaux, Alice. "De l'idiot au fou dédoublé : recherches sur les interprétations de la folie dans l'art actuel russe." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30015.
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Ce travail propose une lecture de la création artistique russe actuelle – 1990-2010 – au regard de l’histoire qu’elle entretient avec la folie grâce à l’analyse de personnages qui émaillent son paysage culturel. Que ces derniers soient jugés fous – fols-en-Christ ou jurodivye, artistes romantiques, dissidents internés en Union soviétique – ou qu’il s’agisse de figures traditionnelles d'idiots – Ivan le simple, le prince Mychkine de Dostoïevski –, un pont sera créé qui reliera ces archétypes et certaines pratiques de l’extrême contemporain, allant jusqu’à la prière-punk des Pussy Riot. Cette étude porte sur le concept d’une idiotie comme posture artistique permettant à l’artiste de se faire le médiateur d’une vérité – politique, religieuse ou sociale. Avançant masqué, il révèle ainsi les glissements sémantiques opérés entre les notions de « folie » et de « norme », en parallèle des rapports qu’entretiennent « art » et « politique ». L’histoire de la folie en Russie sera par ailleurs abordée à travers diverses formes d’envol – compris d’un point de vue métaphysique comme un escapisme de la raison. La littérature servira de socle à une première analyse de la figure romantique de l’artiste maudit à la raison vacillante, celle-ci ensuite mise à mal par les créateurs postmodernes qui déconstruisent aussi bien le mythe du saint idiot que celui du génie artistique, par l’incarnation d’un créateur sot reproduisant des formes sans en saisir le sens. Certains en appellent de surcroît, directement ou non, à la figure ancestrale du jurodivyj afin d’élaborer des postures critiques, parfois scandaleuses, envers les pouvoirs politique et religieux. Considérant les réactions virulentes que peuvent susciter les pratiques actuelles, et grâce à l’étude d’œuvres problématiques représentatives, les causes de leur rejet deviendront explicites. Il sera ainsi permis d’envisager ces créations, paraissant en rupture avec l’ordre établi, dans leur ancrage au sein d’une tradition historique et littéraire de la folieThis work proposes an interpretation of the current Russian artistic creation – 1990-2010 – with regard to his links with history of madness, through the analysis of characters that punctuate Russian cultural landscape. The latter characters are deemed insane – holly fools, Romantic artists, dissidents interned in the Soviet Union - or whether are traditional idiots figures - Ivan the fool, Dostoevsky’s Prince Myshkin. A bridge will be created linking these archetypes and certain contemporary practices, up to Pussy Riot’s punk prayer. This study focuses on the concept of idiocy as an artistic position which allows the artist to become a mediator of a political, religious or social truth. The creator, moving forward hidden, reveals semantic shifts made by the concepts of "madness" and "norm", in parallel with relations held between "art" and "politics." The history of madness in Russia will also be depicted through various forms of soaring - understood in a metaphysical point of view as an escapism of reason. Literature will be used as a base for a first analysis of the romantic image of the damned artist with flickering reason. This picture will then be undermined by postmodern creators who both deconstruct the myths of the holy fool and the artistic genius, by their incarnation of a stupid creator reproducing forms without understanding their meaning. Moreover, some of them require, directly or not, to the ancestral figure of the holly fool to develop critical postures, sometimes scandalous, against political and religious powers. Considering the violent reaction that can generate the current artistic practices, and through the study of representative problematic works, the causes of their rejection shall become explicit. This will make it possible to consider these creations – apparently breaking with the established order – in their anchor within a historical and literary tradition of madness
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Samacher, Jean-Yves Olivier. "Le statut de l'œuvre chez Antonin Artaud et David Nebreda." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC029/document.
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A quelle(s) logique(s) répondent les dispositifs de création réalisés par Antonin Artaud et David Nebreda ? Quel statut attribuer à leurs « œuvres », si tant est que l’on puisse accoler cette appellation à leurs travaux ? Pour répondre à ces questions, nous mènerons une réflexion d’ordre esthétique et nous nous interrogerons parallèlement sur la spécificité du processus de création dans la psychose. Nous étudierons les productions d’Artaud et de Nebreda sous l’angle de la mise en scène et de la performativité. Nous mettrons également en lumière l’abolition de la représentation, l’effondrement de la scène et les limites du jeu / je. Nous montrerons ainsi la prédominance des registres Réel et Imaginaire conçus par Jacques Lacan. Chez ces « artistes » transgressant les frontières des genres et de l’art, les manifestations incontrôlées du corps et les conflits intrapsychiques donnent lieu à des recréations simultanées du monde et du langage, qui, en même temps qu’elles s’apparentent au déroulement d’une cérémonie de mise à mort, tracent des signes inédits, forment d’étranges parcours et s’orientent vers l’horizon d’une nouvelle naissanceWhich logic is guiding the multimodal creations proposed by Antonin Artaud and David Nebreda ? What kind of status can be applied to their “(art)works” ? In order to answer these questions, we will lead an esthetical research and study concurrently the specificities of the creative process in psychosis. We will examine Artaud’s and Nebreda’s productions through the notions of setting and performativity. We will underline the abolition of representation and the crumbling of the stage as well as the limits of play / subjectivity. We will show the predominance of the Real and Imaginary registers as they have been conceived by JacquesLacan. By Artaud and Nebreda, the uncontrolled corporal manifestations and the intra-psychicconflicts generate simultaneous recreations of the body and language as, in the same time, they achieve a sort of sort killing ceremony, tracing unseen signs, outlining strange trails and pointing toward the horizon of a new birth
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Zahedi, Haleh. "Du Moi au Dessin : l'expression plastique de la folie." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC017/document.
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La création artistique est souvent associée injustement à la folie, à ce trou noir où la souffrance règne. Ce travail de recherche se construit à partir de l’expression « la folie, l’absence d’œuvre » de Michel Foucault et se penche sur la notion de folie en tant qu’entrave à la création. Loin de tout éloge immérité qu’on a attribué à cette notion vaste et équivoque tout au long de l’histoire, d’Erasme au surréalisme, cette thèse entreprend de réfléchir sur la fonctionnalité du travail créatif en cas de démence. Un regard historique sur la représentation de la folie dans l’art occidental éclaircira la prise de position de l’artiste à l’égard de l’aliénation mentale ou collective. Ainsi, à travers une étude approfondie de différents parcours artistiques ébranlés par des troubles mentaux, cette thèse s’engage à esquisser le trajet de l’artiste depuis le trouble psychotique jusqu’à sa tentative de guérison par la création. Considérant des liens entre l’état psychique et le dessin au sein de mon propre travail plastique, je m’interroge également sur la responsabilité sociale d’une œuvre troublante dans le monde contemporainArtistic creation is often associated unjustly with madness, this black whole where suffering reigns. This research is based on the expression of “The madness, the absence of artwork" by Michel Foucault and studies the notion of madness as an obstacle to creation. Far from any undeserved compliments which have been attributed to this vastand equivocal notion throughout the history, from Erasmus to Surrealism, this thesis is undertaken to reflect on the features and functions of creative artwork in case of insanity. A historical look at the representation of madness in Western art will shed light on the artist's position regarding his mental or collective alienation. Thus, through an in-depth study of different artistic paths influenced by mental disorders, this thesis sketches the artist’s path from the psychotic disorder to his attempt at recovery through creation. Considering the links between psychic state and drawing in my own artwork, I raise question of the social responsibility of a troubling work in the contemporary world
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Gonçalves, Tatiana Fecchio da Cunha. "A representação do louco e da loucura nas imagens de quatro fotógrafos brasileiros do Sec. XX = Alice Brill, Leonid Streliaev, Cláudio Edinger, Cláudia Martins." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284961.
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Orientador: Claudia Valladão de MattosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-17T05:59:50Z (GMT). No. of bitstreams: 1 Goncalves_TatianaFecchiodaCunha_D.pdf: 15934035 bytes, checksum: afa8628c48b9d193a001ddb1e5f7d750 (MD5) Previous issue date: 2010
Resumo: Esta tese discute a forma com a qual a representação do "louco" e da loucura foi construída nas imagens de quatro fotógrafos que realizaram ensaios fotográficos em Hospitais Psiquiátricos brasileiros no século XX - Alice Brill (1950), Leonid Streliaev (1971), Claudio Edinger (1989-90) e Claudia Martins (1997) - com o objetivo de explicitar a concepção de loucura subjacente às imagens, bem como pontuar elementos naturalizados nestas construções. Partindo da análise de conteúdo e iconográfica, da pesquisa sobre a tradição de representação do "louco" e da loucura na produção cultural imagética do ocidente, do estudo das implicações que a técnica fotográfica por si suscita, da análise história de veiculação e recepção das imagens, bem como de seus contextos culturais de produção; foi possível pontuar conceitos e pressupostos subjacentes à construção formal da representação do "louco" e da loucura nas imagens de cada um dos fotógrafos estudados. Este estudo permitiu identificar que elementos tradicionais de representação foram acessados pelos fotógrafos estudados, num movimento de perpetuação de formas tipificadas de compreender o diverso. Por outro lado, foi possível verificar que novos elementos compositivos surgiram relacionados com contextos específicos. Assim, este estudo, contribuindo para o desvelamento de formas tipificadas de representação do "louco" e da loucura, almeja representar um esforço no sentido de ampliar as possibilidades de crítica às construções imagéticas que circulam na sociedade, bem como para o questionamento de formas naturalizadas de apreensão destes sujeitos.
Abstract: This thesis discusses ways in which the representation of madmen and madness was built on images taken by four photographers who created photographic essays in Brazilian psychiatric hospitals during the twentieth-century - Alice Brill (1950), Leonid Streliaev (1971), Claudio Edinger (1989 -90) and Claudia Marshall (1997) - in order to unveil underlying social concepts about madness, while also highlighting specific elements that were naturalized in these constructions. The method was based on content analysis and iconographic research, We studied the traditional ways Western culture represents the insane in visual productions, and the implications raised by photographic techniques. We examined the history of transmission and reception of the images and the cultural contexts in which they emerged, so as to understand concepts and assumptions underlying the formal construction of the representation of the mad in the images of the photographers that were selected for this study. The results showed that traditional elements were accessed by the photographers, as a means of perpetuating characteristic modes of understanding diversity. Nevertheless, we observed that new compositional elements emerged, related to specific contexts. By questioning the naturalized ways that society has come to apprehend madness, by critically discussing the construction of images of madmen that circulate in society, our aim was to contribute to the unveiling of typified forms of representation of the mad and madness.
Doutorado
Artes
Doutor em Artes
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Gassin, Alexia. "L’œuvre de Vladimir Nabokov dans le contexte de la culture et de l’art allemands à l’époque de l’expressionnisme." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040225.
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Les études nabokoviennes témoignent de la tendance à laisser de côté la possibilité de l’influence de la culture allemande sur l’œuvre de Nabokov. Ce principe est surtout né des propos mêmes de l’écrivain qui insista à maintes reprises sur le fait que, bien qu’il vécût en Allemagne, il ne savait pas parler allemand et évitait tout contact avec l’univers allemand. Il est vrai que l’émigration russe à Berlin représentait un État dans l’État. Cependant, les frontières entre les mondes russe et allemand n’étaient pas si étanches. Nabokov passa quinze ans à Berlin et ses livres furent traduits et publiés en allemand par une maison d’édition allemande. Des projets d’adaptation à l’écran de ses œuvres se présentèrent plusieurs fois, en particulier pour le roman Roi, dame, valet. Parmi ses œuvres composées à Berlin se trouvent au moins deux romans, Roi, dame, valet et Chambre obscure ainsi qu’une série de nouvelles décrivant l’univers allemand. Tout cela contribue à supposer que le principe établi au sujet de l’ignorance de l’influence allemande sur son œuvre n’est pas si incontestable. Notre travail a pour objectif de lire l’œuvre de Nabokov dans le contexte de l’art allemand contemporain, notamment de l’esthétique expressionniste dont nous étudions trois thèmes majeurs : la déformation du psychisme humain conduisant au dédoublement de soi, l’ambivalence de l’image féminine et la représentation de la grande ville. Un examen approfondi permet de découvrir des liens avec le cinéma muet et la peinture. Le présent travail vise à introduire un nouveau niveau de lecture des œuvres de Nabokov et à reconstruire le contexte culturel berlinois dans lequel ces dernières furent crééesThe Nabokov studies have tended to ignore the possible influence of the German culture on Nabokov’s works. This position springs from the writer’s often quoted words, which stress that, although he lived in Germany, he could not speak German and avoided any intercourse with the German world. Russian emigration certainly constituted a state within the state but the borders between the Russian and German worlds were not so impenetrable. Nabokov spent fifteen years in Berlin and his books were translated and published in German by a German publishing house. There were several projects for screen adaptations of his works, in particular for the novel King, Queen, Knave. While in Berlin, he wrote at least two novels, King, Queen, Knave and Kamera Obskura (Laughter in the Dark for the revisited version by Nabokov), and a series of short stories which describe the German world. All this undermines the principle established about the ignorance of German influence.Our thesis aims at reading Nabokov’s works in the context of the German contemporary art, in particular Expressionist aesthetics. We consider three major issues, namely the distortion of the psyche, which leads to an inner division of the self, the ambivalence of the female figure and the representation of the big city. Thus an extensive analysis allows us to reveal links with German silent cinema and with painting which had eluded researchers so far. The present work aims at introducing a new dimension in the reading of Nabokov’s works and at restoring them to the cultural context of Berlin in which they were created
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Camden, Pratt Catherine Eileen. "Daughters of Persephone : legacies of maternal 'madness' /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030808.104619/index.html.
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Wallace, Nathaniel R. "H.P. Lovecraft's Literary "Supernatural Horror" in Visual Culture." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1417615151.
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Borges, Viviane Trindade. "Do esquecimento ao tombamento : a invenção de Arthur Bispo do Rosário." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/22989.
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Esta tese conta uma história de Arthur Bispo do Rosário (1909-1989), procurando problematizar sua trajetória através de uma análise enunciativa, mostrando a maneira como o personagem se delineia de diferentes formas, conforme o olhar de quem o apreende, de quem o toma e o institui como objeto. Loucura e arte se entrelaçam para compor a capacidade artística e a genialidade de um sujeito tido como único, que engendraria, em suas criações, todas as referências da arte contemporânea. Bispo não é o produtor central dos acontecimentos que perpassam estas páginas, mas sim o resultado da batalha discursiva aqui problematizada. Objetivou-se mostrar que não existe um único Bispo anterior às tramas discursivas que buscam representá-lo, um sujeito fundante, um ponto de partida que inauguraria seus gestos e palavras. O que existe são diferentes Bispos, produzidos pelos discursos que o apreenderam. Para isso, estudos acadêmicos, documentos institucionais, entrevistas, poemas, sambas enredo, fotografias, reportagens, inventários, bem como as peças por ele produzidas, hoje tidas como obras de arte, foram tomadas como monumentos que procuram dizer quem foi Arthur Bispo do Rosário. O olhar que norteou o presente estudo foi direcionado pelas noções foucautianas de “práticas discursivas e não discursivas”, “sujeito”, “enunciado” e “invenção de si”, além de outros conceitos como “enquadramento da memória” e “monumentalização”, e seus resultados apresentam-se em cinco partes, as quais tentam dar conta da intriga proposta: o período anterior à internação, sua vivência da Colônia Juliano Moreira (RJ), sua versão de si, sua incursão pelo mundo das artes plásticas e sua monumentalização.This thesis tells the story of Arthur Bispo do Rosário (1909-1989), looking to investigate and problematize his history through an analysis of enunciation, showing how the character outlines in different ways, depending on the look of someone who understands him, who takes him and who instituting him as an object. Madness and art intertwine to compose the artistic capacity and geniality of a unique man that would engender in his creations, all references in contemporary art. Bispo is not the producer of the central events that run through these pages, but the result of the discursive struggle herein analyzed. This work aimed to show that there isn‟t just one Bispo before the discursive intrigues that looking to represent him, a founding subject, a starting point to inaugurate his gestures and words. What exists are different Bispos, produced by the discourses that had apprehended him. To this end, academic studies, institutional documents, interviews, poems, sambas storyline, photographs, reports, inventories, and documents produced by him, now regarded as works of art were taken as monuments that tell who was looking for Arthur Bispo do Rosário. The look that guided the present study was directed by Foucault‟s notions of "discursive and non-discursive practices," "subject", "utterance" and "self-invention", and other concepts such as "classification of memory" and "monumentalization". Their results are presented in five parts, which try to account for the intriguing proposal: the period prior to his internment, his life experience in Juliano Moreira colony (RJ), his version of himself, his foray into the world of plastic arts and his monumentalization.
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Sadowsky, Jonathan Hal. "Imperial Bedlam : institutions of madness in colonial southwest Nigeria /." Berkeley : University of California press, 1999. http://catalogue.bnf.fr/ark:/12148/cb38803980j.
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Keirnan, Elizabeth Carole. "Medicine, money and madness : conversations with psychiatrists - a postmodern perspective /." View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051020.135947/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2004."A thesis presented to the School of Management, College of Law and Business, University of Western Sydney for the degree of Doctor of Philosophy" Bibliography : leaves 202-230.
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Hershkowitz, Debra. "The madness of epic : reading insanity from Homer to Statius /." Oxford (GB) : Clarendon press, 1998. http://catalogue.bnf.fr/ark:/12148/cb37085594r.
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Fox, Stacey Jade. "The idea of madness in Dorothy Richardson, Leonora Carrington and Anais Nin." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0194.
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Cousineau, Anna Desiree. "“Madness” in the Media: How Can Print Journalists Better Report on Mental Illnesses?" Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700042/.
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Stereo types and stigmas of individuals with mental illnesses have proved to be a major roadblock preventing these individuals from seeking help. The news media, despite having a responsibility to accurately inform the public, has played a significant role in portraying individuals with mental illness as violent, unpredictable, dangerous, and unfit to live with the rest of “normal” society. This happens through the words journalists choose to use and the information they choose in included, and excluded, when reporting on mental health issues. This study attempts to establish a guideline that journalists can follow that will hopefully reduce the stigma of mental illness in the media, and eventually in society. This study used a 2 x 2 ANCOVA to test two independent variables (amount of labeling terms and amount of corrective information). The variables were manipulated by modifying a news article four times to produce articles with varying levels of labeling terms and corrective information. A control article was also be used. The articles were randomized and passed out to 220 undergraduate college students at the University of North Texas who completed a questionnaire, read their assigned article, and then completed a second questionnaire to determine the impact the article had on their attitudes about individuals with mental illnesses.
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Gagneret, Diane. "Explorer la frontière : folie et genre(s) dans la littérature anglophone contemporaine." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN056/document.
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Souvent conceptualisée comme l’envers ou l’opposé de la raison, la folie, presque toujours synonyme de débordement, semble vouée à outrepasser toute limite définitoire ou conceptuelle posée par la pensée rationnelle. Cette pulsion de délimitation ou de classification inhérente à la rationalité, trouve dans le genre l’une de ses expressions les plus représentatives. Partant du constat que la folie ne cesse de transgresser les frontières traditionnelles de genre, ce travail étudie les liens entre les représentations littéraires de la maladie mentale et les questions de genre sexué (« gender ») comme littéraire, dans un corpus composé de romans, nouvelles et pièces de théâtre de six auteurs (Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson et Will Self), publiés entre 1951 et 2004. Animées par une dynamique toujours renouvelée de subversion des catégories établies, ces oeuvres invitent à une réflexion sur le rapport particulier qu’entretient la folie à la frontière, qui de simple ligne de démarcation ou de séparation se fait point de contact, puis espace à part entière. À travers leurs représentations de la folie, les récits étudiés privilégient le plus souvent, en effet, une esthétique et une épistémologie de l’entre. Cette réflexion s’articule donc principalement autour des images et des usages de la liminalité dans ces histoires de fous et de folles qui, au fil de leur (re)définition de l’appartenance et de l’identité des textes et des individus, esquissent une cartographie mobile des « contrées à venir » dont Deleuze et Guattari font la destination de toute écritureTraditionally conceptualised as the underside or the outside of reason, madness most often rhymes with excess; as such, it continually threatens to transgress all definitional or conceptual limits set by rational thought. Indeed, at the core of rationality is an impulse to delimit and classify, of which categories of genre and gender are quintessential examples. Starting from the observation that depicting madness regularly entails crossing, questioning and redefining genre and gender boundaries, this work investigates how literary representations of madness relate to the classification and conceptualisation of gender and genre in a selection of novels, short stories and plays by six different writers – Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson, and Will Self – published between 1951 and 2004. With the subversion of established categories as their central aim and dynamics, these works call for an exploration of the specific way in which depictions of madness, by using the border as one of their core motifs, impact the conceptualisation of borders. No longer a mere demarcation or dividing line between spaces, or simply a meeting point, the border becomes a full-blown space for individuals and texts to inhabit. Indeed, through their representations of madness, the borderline stories under study seem to embrace and promote both an aesthetics and an epistemology of the in-between. This work therefore focuses on the images and uses of liminality in stories of madmen and madwomen that, by remapping textual and sexual identities, have begun to chart these “lands to come” which, according to Deleuze and Guattari, are the true destination of all writing
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Mickey, Samuel Robert. "Sounding sacred: Interpreting musical and poetic trances." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5261/.
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This essay investigates the relationship between trance and various musical and poetic expressions that accompany trance when it is interpreted as sacred. In other words, the aim of this investigation is to interpret how experiences of the entrancing power of the sacred come to expression with the sounds of music and poetry. I articulate such an interpretation through the following four sections: I) a discussion of the basic phenomenological and hermeneutic problems of interpreting what other people experience as sacred phenomena, II) an account of the hermeneutic context within which modern Western discourse interprets trance as madness that perverts the rational limits of the self, III) an interpretation of the expressions of trance that appear in the poetry of William Blake, and IV) an interpretation of expressions of trance that appear in the music of Afro-Atlantic religions (including Vodu in West Africa, Santería in Cuba, and Candomblé in Brazil).
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Helmicki, Soni. "Evolution and Devolution of Inpatient Psychiatric Services: From Asylums to Marketing Madness and Their Impact on Adults and Older Adults with Severe Mental Illness." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984274/.
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I examined the factors that led to the rise and fall of psychiatric hospitals and its impact on two select groups of individuals: adults and older adults with severe mental illness. To explore the reasons behind these fluctuations, the State of Texas was used as a case study. Additionally, the fluctuations occurred for different reasons in public vs. for-profit investor-owned psychiatric hospitals. Using an investor-owned psychiatric hospital organization as a case study, I investigated the differences in factors that influenced the growth and/or demise in public vs. investor-owned psychiatric hospitals. Evolution and devolution of psychiatric hospitals was assessed during select time periods: 1700 to1930, 1940 to1970, 1980 to 2000, and 2000 to present. Time period selections were relevant to the important drivers of the span of time that influenced the psychiatric hospitals. Historical review and trend analysis was used to identify the total number of psychiatric hospitals and/or total number of psychiatric hospital beds and psychiatric hospitals by type. Analysis showed there was a cyclical pattern of evolution and devolution of psychiatric hospitals and each cycle altered the form, function, and role of the psychiatric hospital along with altering the location of care for adults and older adults with severe mental illness. The research results suggest a long-stay residential facility, specializing in evidence-based treatment for adults and older adults with severe mental illness, to counter the dire shortage of psychiatric hospital beds.
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Shocklee, Miceala Marie. "The Art of Madness." Thesis, 2014. https://thesis.library.caltech.edu/8256/3/Shocklee%20The%20Art%20of%20Madness.pdf.
Full textAbstract:
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.
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Pillay, Ivan Pragasan. ""Could it be madness - this?" : bipolar disorder and the art of containment in the poetry of Emily Dickinson." Thesis, 2007. http://hdl.handle.net/10413/827.
Full textAbstract:
This dissertation engages in a critical analysis of the poetry of Emily Dickinson which, to me, suggests that the poet suffered from a type of manic-depression known specifically in psychiatric parlance as bipolar disorder. I argue that although Dickinson experienced much pain and suffering she learnt, through time, to address, understand and contain adversity - that ultimately, she transformed these experiences into the raw materials for poetic creation. Dickinson's poetic achievements are often obscured by a misunderstanding of her mental and emotional constitution. This thesis provides an alternative to the views of those commentators who maintain that Emily Dickinson was insane, neurotic or delusional. I intend, ultimately, to offer the reader a fresh insight into Emily Dickinson's poetry by reading it from the assumption that she suffered from bipolar disorder.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2007.
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Franco, Stefanie Gil. "Os imperativos da arte: encontros com a loucura em Portugal do século XX." Doctoral thesis, 2019. http://hdl.handle.net/10362/79560.
Full textAbstract:
Esta pesquisa tem como objetivo principal estudar a formação do debate acerca da arte dos
loucos, ou das expressões artísticas dos alienados, em contexto português do século XX.
Nestes termos, procura-se desenrolar uma série de enunciados que qualificam tais obras, de
uma forma ou de outra, como arte ou como loucura. Sabe-se que, a partir da virada do século
XIX para o XX, uma série de artistas e teóricos passaram a se interessar pelas formas
expressas dos pacientes de instituições psiquiátricas por conta da capacidade que elas tinham
de desvendar um mundo interno, hermético e de difícil compreensão. Assim, pela Europa
foram criadas diversas coleções com obras de pacientes em Hospitais Psiquiátricos, como
também coleções particulares iniciadas por artistas interessados nas características estéticas
e simbólicas de tais obras. Portugal é o foco desta pesquisa, mas sem estar nele limitado:
propõem-se ir para todos os lados da história e do tempo, a fim de construir uma espécie de
traçado sobre a relação entre arte e loucura no país.This research aims to study the formation of a debate about the art of the insane or artistic expressions of the alienated, in the portuguese context of the twentieth century. Accordingly, it is proposed to develop a series of statements that qualify the works in one form or another, as art or as a result of madness. It is known that from the turn of the nineteenth century to the twentieth century, a number of artists and theorists began to be interested in the ways expressed by the patients of psychiatric institutions due to their abilities of unraveling an inner world, airtight and difficult to understand. Thus, in Europe, were put together several collections showing the visual work of the patients in psychiatric hospitals, as well as private collections initiated by artists interested in the aesthetic and simbolic characteristics of such a work. Portugal is the focus of the research but, without being limited: it is proposed to go to all possible sides of the story and time, in order to outline the relationship between art and madness in that country.
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Jonczyová, Michaela. "Surrealismus surového psaní: konfrontace poetiky šílenství u André Bretona a Jeanne Tripier." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-351895.
Full textAbstract:
This dissertation is focused on phenomenon of madness in French surrealism and genre called "écrits bruts". The main theme is confrontation of surrealism aesthetics madness with written production of psychotic and mostly schizophrenic patients. The primary outcome is presented by analysis and interpretation of two chosen literary works, which are collection of experimental poetry by André Breton and Paul Éluard called L'Immaculée conception (Immaculate Conception, 1930) and diary entries, known as Premier Cahier: de l'ordre des messages, mai 1935, written by one of the most significant French women representatives Jeanne Tripier,. The aim of this analysis is on one hand to identify and characterize forms through which simulated and "real" madness in texts presented are, and on the other hand to describe its poetic function. The methodology part is based on structural and genre analysis of both aforementioned movements and moreover is formed on outcomes of the phenomenologically oriented psychiatry and psychoanalysis.
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Ashrafi, Shah Jehan Begum. "The self and its complicated relationship with writing in The Diary." Thèse, 2017. http://hdl.handle.net/1866/19348.
Full textAbstract:
My thesis presents my novella, The Diary. I explore psychological conflicts that arise in a person when he is not at ease with his way of thinking and acting. My plot depicts the main character Shadi’s inferiority complex, his guilt and his conscience. The twin sister, Shadia, is the other or feminine self in which Shadi, the male writer, mirrors himself since his childhood. Shadi becomes a con man in order to explore themes for his plays through a fraudulent business plan in real life. Shadi’s male ego is something constructed by patriarchy. My approach, in analyzing The Diary, is primarily psychoanalytical. I use The Mad Woman in the Attic by Sandra Gilbert and Susan Gubar, to support my story’s main theme. The male writer in my story imprisons his sister Shadia in his plays as he wants to fight his inferiority complex resulting from his twin sister’s intelligence. Shadia steps out of the male writer’s text to talk to the male author in a state of dissociation. Sigmund Freud’s works contribute in explaining Shadi’s madness. The female writer is the unconscious part of Shadi’s mind. She is his super-ego as she is his conscience. I also use Louis A. Sass’s Madness and Modernism to delve into my male protagonist’s psychosis. Thus, I portray him as someone who seeks “a wakening” (Sass 3) through the loss of reason. Simone de Beauvoir states that the woman is considered to be the Other in The Second Sex. I use the Other in psychosis as a positive concept although it invokes feelings of terror. Harold Bloom’s The Anxiety of Influence helps me to depict my male protagonist’s rebellion against his precursors. Helene Cixous’s “The Laugh of Medusa” explains the importance of l’écriture feminine in Shadi’s poems written in a state of madness.Ma mémoire présente ma nouvelle «The Diary». J’explore les conflits psychologiques qui surgissent chez une personne lorsqu'il n'est pas à l'aise avec sa façon de penser et d'agir. Mon histoire représente le complexe d'infériorité de Shadi, sa culpabilité et sa conscience. Sa soeur jumelle, Shadia, est le soi de l'écrivain, Shadi. Il se cherche en elle depuis son enfance. Shadi devient un escroc pour explorer des thèmes pour sa nouvelle pièce de théâtre. L'ego de Shadi est une résultante du patriarcat. Dans l'analyse de «The Diary», mon approche est principalement psychanalytique. J'utilise The Mad Woman in the Attic par Sandra Gilbert et Susan Gubar pour soutenir le thème principal de mon histoire. Shadi emprisonne sa soeur Shadia dans ses écrits car il veut se battre contre son complexe d'infériorité provenant de l'intelligence de sa soeur jumelle. Shadia sort du texte de l'écrivain pour parler à l'auteur. Les travaux de Sigmund Freud contribuent à expliquer la démence de Shadi. La soeur est la partie inconsciente de l'esprit de Shadi. Elle est son super-ego alors qu'elle est sa conscience. J'utilise aussi Madness and Modernism de Louis A. Sass pour la étudier la démence de mon protagoniste, Shadi. Simone de Beauvoir déclare que la femme est considérée comme l'autre. J'utilise l'autre en psychose comme un concept positif bien qu'il invoque des sentiments de terreur. The Anxiety of Influence de Harold Bloom m'aide à décrire la rébellion de mon protagoniste masculin contre ses précurseurs. «The Laugh of Medusa» d’Hélène Cixous explique l'importance de l'écriture féminine dans les poèmes de Shadi qui les écrits dans un état de démence.