Journal articles: 'Madness in Art'

1

Morton, Brian. "The Madness of Art." Dissent 59, no. 2 (2012): 81–82. http://dx.doi.org/10.1353/dss.2012.0033.

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Araoz, Gonzalo. "Madness in the Arts and the Art of Madness." International Journal of the Arts in Society: Annual Review 4, no. 4 (2009): 153–60. http://dx.doi.org/10.18848/1833-1866/cgp/v04i04/35700.

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Williams, Tony. "Art In Spite of Madness." Film International 14, no. 3 (December 1, 2016): 182–87. http://dx.doi.org/10.1386/fiin.14.3-4.182_5.

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Bastos, Othon. "Camille Claudel: a revulsion of nature. The art of madness or the madness of art?" Jornal Brasileiro de Psiquiatria 55, no. 3 (2006): 250–53. http://dx.doi.org/10.1590/s0047-20852006000300012.

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Caughey, Meghan. "Personal Accounts: Making Art, Exploring Madness." Psychiatric Services 62, no. 2 (February 2011): 126–27. http://dx.doi.org/10.1176/ps.62.2.pss6202_0126.

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6

Riley, Alexis. "Madness, Art and Society: Beyond Illness." Contemporary Theatre Review 29, no. 1 (January 2, 2019): 97–98. http://dx.doi.org/10.1080/10486801.2018.1561018.

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7

Shaw, Michael M. "Madness, Art, and the End of History." Philosophy Today 52, no. 9999 (2008): 158–67. http://dx.doi.org/10.5840/philtoday200852supplement65.

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Hessling, Gabriele. "Madness and art in the Prinzhorn collection." Lancet 358, no. 9296 (December 2001): 1913. http://dx.doi.org/10.1016/s0140-6736(01)06868-4.

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Swain, Gloria. "The Healing Power of Art in Intergenerational Trauma." Canadian Journal of Disability Studies 8, no. 1 (February 21, 2019): 15–31. http://dx.doi.org/10.15353/cjds.v8i1.469.

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Throughout this paper, I use a political and activist lens to think about disability arts and its potential role in opening up a necessary conversation around how madness is produced by experiences of racism, poverty, sexism, and inter-generational trauma within the Black community. I begin by explaining how the Black body has a history of being the site of medical experimentation. From the perspective of my own experience, I suggest that this history of medical abuse has caused Black people to be suspicious and wary of the healthcare system, including the mental healthcare system, which forecloses discussions around the intersection of Blackness and mental health. I go on to argue that this discussion is further silenced through the trope of the ‘strong Black woman,’ which, in my experience works to perpetuate the idea that Black women must bear the effects of systemic racism by being ‘strong,’ rather than society addressing this racism, and she must not admit the toll that this ‘resilience’ might have on her mental health. I close with a discussion of how my art practice seeks to open up a conversation about madness in the Black community by suggesting that madness is political.

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Hardman, Malcolm, and Jay Fellows. "Ruskin's Maze: Mastery and Madness in His Art." Yearbook of English Studies 15 (1985): 321. http://dx.doi.org/10.2307/3508611.

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11

Bendheim, Paul E. "Taking art and madness off the coffee-table." Lancet 349, no. 9056 (March 1997): 961. http://dx.doi.org/10.1016/s0140-6736(97)25013-0.

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12

Pillow, Kirk. "Habituating Madness and Phantasying Art in Hegel's Encyclopedia." Owl of Minerva 28, no. 2 (1997): 183–215. http://dx.doi.org/10.5840/owl199728211.

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13

O'Connor, John. "Madness of the Mind." Ata: Journal of Psychotherapy Aotearoa New Zealand 22, no. 1 (October 15, 2018): 63–84. http://dx.doi.org/10.9791/ajpanz.2018.06.

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The art of psychotherapy has been defined as the capacity of the psychotherapist’s mind to receive the psyche of the patient, particularly its unconscious contents. This deceptively simple definition implies the enormously complex art of receiving the most disturbed, dissociated, maddening, often young and primitive, frightening, and fragmented aspects of the patient’s multiple ages and selves, in the hope perhaps that we might make available to our own mind, to the patient’s mind, and within the therapeutic relationship, whatever it is that we discover together, perhaps with the possibility that this may allow that these dissociated, fragmented, lost, and potentially transformative aspects of self might become more accessible to both therapist and patient. The complexity of this process is further intensified when cultural difference is an important aspect of therapeutic engagement. This paper will explore this rich and complex art. It will include exploration of psychoanalytic, relational, and transpersonal psychotherapeutic perspectives as they inform the potentials and mysteries of this deeply receptive process. The paper will consider the potential this receiving of the other might have for the growth of both the therapist and patient within the life span of clinical engagement and will include consideration of implications for cross cultural clinical work. Clinical vignettes illustrating and informing the ideas explored in this paper will be woven throughout the paper. Whakarāpopotonga Kua tautuhia te toi whakaora hinengaro ko te kaha o te hinengaro o te kaiwhakaora hinengaro ki te pupuri i te hinengaro o te tūroro, mātuatua nei ko ngā matū maurimoe. E tohu ana te tautuhinga ngāwari nei i te kaha uaua o te mahi pupuri i ngā maramara tirohanga, ngā tau, ngā whaiaro tini o ngā tūroro arā noa atu te wairangi, te noho wehe, te kārangirangi, he taiohi, he māori, whakawehiwehi, i runga i te wawata tērā pea ka tuwhera ki ō tātau ake hinengaro, ko tō te tūroro ki waenga hoki i te whakapiringa haumanu. E kene pea mā te mea ka kitea, e tuku ēnei tirohanga pūreirei, kongakonga, ngaro, ā, ngā tirohanga hurihanga whaiaro e whakamāmā ake ki te kaiwhakaora me te tūroro. Ka kaha ake te auatanga o tēnei hātepe i te mea ko te rerekētanga o te ahurea te wāhanga nui o te mahi haumanu. Ka wheraina e tēnei tuhinga te tirohanga toitaurea mōmona nei. Ka whakaurua te wherawherahanga o te wetewetenga hinengaro, te tātanga, me ngā tirohanga whakaoranga hinengaro wairua i te mea ko ēnei ngā kaiwhakamōhio i ngā pirikoko o tēnei hātepe toropupū tino hōhonu. Ka whakaarohia e te pepa nei te ēkene pea o te whakaurunga mai o tētahi kē atu mō te whakatipuranga o te kaihaumanu me te tūroro i roto i te wā huitahi ai. Ka whakaarohia ake anō hoki ngā hīkaro mō te mahi haumanu ahurea whakawhiti. Ka rarangahia ngā kōrero haumanu e whakaahua e whakaatu ana i ngā whakaaro tūhuraina i roto i tēnei tuhinga.

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Jenkins, Gareth. "Framing Madness: Anthony Mannix and the Art of Schizophrenia." International Journal of the Arts in Society: Annual Review 5, no. 6 (2011): 243–54. http://dx.doi.org/10.18848/1833-1866/cgp/v05i06/35932.

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15

Nemerov, Alexander. "The Madness of Art: Georgia O'Keeffe and Virginia Woolf." Art History 34, no. 4 (August 25, 2011): 818–37. http://dx.doi.org/10.1111/j.1467-8365.2010.00848.x.

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16

ATKINSON, ROLAND. "Art and Madness: New Riffs on an Old Theme." Clinical Psychiatry News 34, no. 4 (April 2006): 18. http://dx.doi.org/10.1016/s0270-6644(06)71326-1.

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17

Haeseler, Martha P. "Creativity and Madness: Psychological Studies of Art and Artists." Art Therapy 13, no. 4 (October 1996): 300–301. http://dx.doi.org/10.1080/07421656.1996.10759243.

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18

Wax, Murray L. "Method As Madness Science, Hermeneutics, and Art in Psychoanalysis." Journal of the American Academy of Psychoanalysis 23, no. 4 (December 1995): 525–43. http://dx.doi.org/10.1521/jaap.1.1995.23.4.525.

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19

Netchitailova, Ekaterina. "The mystery of madness through art and Mad Studies." Disability & Society 34, no. 9-10 (June 2, 2019): 1509–15. http://dx.doi.org/10.1080/09687599.2019.1619236.

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20

Zakharov, Vladimir. "THE POETICS OF MADNESS IN PUSHKIN, GOGOL, DOSTOEVSKY (POLEMIC NOTES)." Проблемы исторической поэтики 19, no. 2 (May 2021): 92–106. http://dx.doi.org/10.15393/j9.art.2021.9642.

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The article attempts to analyze the semantic structure of the “God’s fool” concept in the essay Pepiniere by I. A. Goncharov. As a term, this concept is interpreted from the point of view of culturology. The essay reveals the basic structural components of the “God's fool” concept, as well as its core and additional semantic features. The author of the article believes that the religious component is embodied in the structure of the concept one way or another, but is not reflected directly in the word usage. The “God's fool” lexeme mainly comprises various secular meanings that are expressed via metaphors, repetitions and comparisons. The specific nature of the “God's fool” concept in I. A. Goncharov's Pepiniere is revealed in its periphery, which is formed by certain artistic techniques and categories (intertextual exchanges, comic elements). For instance, the function of the quote of Friday's nomination from Daniel Defoe's The Life and Strange Surprising Adventures of Robinson Crusoe; Written by Himself, as well as the comparative quote from Boris Godunov by A. S. Pushkin are considered in this article. Furthermore, quoting is an artistic technique that creates the game motive, to which I. A. Goncharov resorts indirectly. The gaming component not only creates and emphasizes the comical element, but also serves as one of the writer's artistic principles that contributes to the creation of the harmonious, negentropic worldview. The study of I. A. Goncharov's sphere of concepts allows to identify not so much the variability of the writer's worldview as its invariability.

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HIRSHFELD, ALISSA J., and JOSEPH J. SCHILDKRAUT. "Madness and Art: The Life and Works of Adolf Wölfli." American Journal of Psychiatry 152, no. 7 (July 1995): 1094—a—1095. http://dx.doi.org/10.1176/ajp.152.7.1094-a.

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22

Giderer, Hakkı Engin. "Two aspects of art: Suicide mental illness and therapy." Global Journal of Arts Education 6, no. 3 (May 31, 2017): 77–82. http://dx.doi.org/10.18844/gjae.v6i3.1700.

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Examining the life stories of some productive artists; it is seen that they struggle with mental illnesses, intensely deal with the thought of death and they even commit suicide. On the other hand, we believe that art has a curative power. Art therapy is known by physicians, therapists and trainers. Art is also used in various ways for treatment. If the process of creation pulls an artist into a mental illness and thoughts about death, then how does it possibly cure? This text tries to explain the dilemma in question. Keywords: art, mental illness, therapy, suicide, madness.

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23

Alvarez, Natalie. "Introduction: Madness Manifest: Creativity, Art, and the Margins of Mental Health." Brock Review 10, no. 2 (August 27, 2009): i—iv. http://dx.doi.org/10.26522/br.v10i2.433.

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24

Anne Marie Oomen. "Nola: A Memoir of Faith, Art, and Madness (review)." Fourth Genre: Explorations in Nonfiction 1, no. 1 (1999): 166–67. http://dx.doi.org/10.1353/fge.2013.0454.

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Oates, Joyce Carol. "The Madness of Art: Henry James's "The Middle Years"." New Literary History 27, no. 2 (1996): 259–62. http://dx.doi.org/10.1353/nlh.1996.0024.

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Thomas, Neil. "The Celtic Wild Man Tradition and Geoffrey of Monmouth's Vita Merlini: Madness or Contemptus Mundi?" Arthuriana 10, no. 1 (2000): 27–42. http://dx.doi.org/10.1353/art.2000.0017.

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27

Fauziah, Ekky Ulfah, Yanti Setianti, and Yustikasari Yustikasari. "Personal Branding of Hana Madness as an Mental Disability Doodle Artist." JCommsci - Journal of Media and Communication Science 1, no. 3 (August 7, 2019): 132. http://dx.doi.org/10.29303/jcommsci.v1i3.52.

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Nowadays, there are still many people who consider that people with mental disabilities are helpless and tends to endanger for the other. Lack of information and education for the community still causes a lot of negative stigma to emerge. Hana Madness, who is a doodle artist with a mental disability background named schizoaffective, then emerged and tried to change the stigma by doing personal branding. The purpose of this study was to find out how the Hana Madness figure then tried to do personal branding activities to change the stigma that still exists. The method used in this study is a type of narrative study with qualitative data. The results of the study show that Hana has a good characteristic in terms of the work she made and also the figure of Hana as an artist. There are not many types of pictures made by Hana in Indonesia, as an artist Hana also focuses more on social impact than money and popularity. Hana has been consistent with the vision and mission that she has, which is to change the stigma that still exists in society towards people with mental disabilities. The conclusion of this study is that personal branding carried out by Hana Madness is based on the abilities she has and with distinctive characteristics from other artists with mental disability backgrounds. Keywords: Personal branding; mental disability; Hana Madness; Doodle art

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Betts, Gregory. "Just Playing Mad: Irrationalism in Automatism via Claude Gauvreau." Brock Review 10, no. 2 (June 15, 2009): 10–25. http://dx.doi.org/10.26522/br.v10i2.49.

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With particular attention paid to three plays by Claude Gauvreau, my study will address the aesthetics of madness as it arose in one substantial node of Canadian avant-gardism – the French-Canadian Automatist movement. The Automatists shared the European Surrealist’s strong spirit of unbridled, irrational psychological utopianism, but believed they had surpassed the Surrealists in rejecting representationalism in art (including dream representation). This paper demonstrates how and why the work of one Automatist artist struggled to enact and unleash an irrational art on an unsuspecting Québécois public.

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Bobrowska, Ewa. "Rhetoric of shown truth performance art." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 86–106. http://dx.doi.org/10.5604/01.3001.0012.9885.

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This paper is focused on the phenomenon of the art of performance and happening, in particular by Allan Kaprow, as well as the forms of self-torture in the art of Chris Burden and Günter Brus. In their expression, performance is sincerity, the moment of truth, bringing out to light what, by the immersion in the stream of life, could remain undiscovered and veiled. The rhetoric of truth in this art is presented, inter alia, in the context of Heidegger’s statements on the essence of art and the function of the process. Performance is a peculiar, modern form of aestheticism, challenging time and the temporary dimension of existence, the limitations of one’s body and the psyche. In this way, the madness of this art comes close to the experience, which Kant describes as the sublime. The form of self-torture in this art discloses the need to escape from the suffering inflicted by being and the Self’s escape from itself in the philosophy of Emmanuel Levinas.

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JANG, Moon-Jeung. "The madness and the art through the unconscious and repression in Freud." Journal of the Daedong Philosophical Association 78 (March 31, 2017): 95–124. http://dx.doi.org/10.20539/deadong.2017.78.05.

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JANG, Moon-Jeung. "The madness and the art through the unconscious and repression in Freud." Journal of the Daedong Philosophical Association 78 (March 31, 2017): 95–124. http://dx.doi.org/10.20539/deadong.2017.78.05.

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Tischler, Victoria. "The Roving Diagnostic Unit– art, madness, fun and the potential for change." Arts & Health 11, no. 2 (October 3, 2018): 174–82. http://dx.doi.org/10.1080/17533015.2018.1443949.

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Kundaliya, Ms Sanjana, and Dr M. S. Saritha. "A Reconnoitre of The Fascination with Psychosis in Literature and Film - A Study in Archetypes." SMART MOVES JOURNAL IJELLH 8, no. 1 (January 28, 2020): 15. http://dx.doi.org/10.24113/ijellh.v8i1.10356.

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Literature and art in all their forms have done well in representing man’s mental disorders and afflictions in various ways, consecutively resulting in educating its consumers, moving its connoisseurs and inspiring future authors. “Psychosis” is a mental disorder, wherein reality is distorted, and “madness” denotes insanity, dementia; rash or irrational conduct. In this paper, these terms will be treated as such but, with an essential connotation toward heroism and eccentricity- both of which are character attributes that are of typical intrigue to readers. The aim of this study is to recognize, explore and expose the presence of a certain kind of fascination that the characters in literature and films embodying or representing certain kinds of madness have upon individuals. Recently, Todd Phillips’s Joker (2019), a movie featuring mental illness witnessed an extraordinary box-office turnout. Upon examination, it can be established that this appeal or inclination towards eccentric characters bordering on madness is not a recent phenomenon but an ongoing trend since the Greek plays of Euripides (c.315 BC) and Seneca, the younger (1 BC). The theory of Archetypes is employed to streamline the recurrence of characters embodying psychosis, and have an appeal among the targeted consumers.

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Welsch, Martin. "Kant über den Selbstbetrug des Bösen." Kant-Studien 110, no. 1 (March 1, 2019): 49–73. http://dx.doi.org/10.1515/kant-2019-0002.

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Abstract In Kantian philosophy, the evil heart is constituted as a system of self-degrading and self-deranging freedom by the coordination of two voluntary acts: the act of establishing radical evil and the act of a voluntary lie to oneself. The consequence is a kind of “madness of freedom”, which characterises the self-deception of evil. By discussing Kantian rhetoric as an elaborate art of writing, this structure will be explored via a new approach to reading ‘On Radical Evil in Human Nature’. The result is that it is the mere possibility of a lie to oneself originating in freedom that makes it impossible to cognise whether one’s heart is good or systematically evil.

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Misler, Nicoletta, and John E. Bowlt. "Catherine’s Icon: Pavel Filonov and the Orthodox World." Religions 12, no. 7 (July 6, 2021): 502. http://dx.doi.org/10.3390/rel12070502.

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The authors discuss the Orthodox icon which Pavel Filonov (1883–1941) painted in 1908 or 1909 for his sister, Ekaterina, placing it within the broader context of his oeuvre, his family and his understanding of ‘religiosity’. Making reference to Filonov’s system of Analytical Art and to what he called ‘madness’, the authors focus on the particular technical devices which he used in the icon and on the podlinnik (or primer) from which he copied the main elements. Reference is also made to other religious motifs in Filonov’s art such as the Magi, Flight into Egypt and Crucifixion.

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Chandler, Eliza. "Introduction: Cripping the Arts in Canada." Canadian Journal of Disability Studies 8, no. 1 (February 21, 2019): 1–14. http://dx.doi.org/10.15353/cjds.v8i1.468.

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Disability arts are political. Disability arts are vital to the disabled people’s movement for how they imagine and perpetuate both new understandings of disability, Deafhood, and madness/Mad-identity and create new worldly arrangements that can hold, centre, and even desire such understandings. Critically led by disabled, mad, and Deaf people, disability art is a burgeoning artistic practice in Canada that takes the experience of disability as a creative entry point.

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Peraica, Ana. "Self-Portrait Hanging between Personal and Social Grimace." Grimace, Vol. 2, no. 1 (2017): 86–89. http://dx.doi.org/10.47659/m2.086.art.

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The article argues that contemporary selfie culture is fully organized around grimaces, one type of face succeeding the other. After being recorded plenty of times, the “duck face” and “fish face” have become almost natural and socially acceptable. Article questions this assumption asking if these types of faces have not in fact already existed before. Grimace can be a result of an inner input, such as pain or madness, distorting our natural face, which then covers up the natural grimace as clothes do our intimate body parts. Thus, there are funny and less funny, socially communicative and mirror grimaces, there are meaningful ones and completely meaningless distortions of one’s face. Discussing the works of both artists and scientists, such as (among others) Anton Joseph Trčka, Alphonse Bertillon, Jean-Martin Charcot, Duchenne de Boulogne, Hannah Wilke and Sanja Iveković the article deals with the notion of the grimace as the posing in the intersection between public and private sphere. Keywords: burgeoisation of art, grimace, physiognomical science and art, selfie

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Bobrowska, Ewa. "Retoryka prawdy uwidocznionej: Sztuka performansu." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 86–106. http://dx.doi.org/10.5604/01.3001.0012.9865.

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This paper is focused on the phenomenon of the art of performance and happening, in particular by Allan Kaprow, as well as the forms of selftorture in the art of Chris Burden and Günter Brus. In their expression, performance is sincerity, the moment of truth, bringing out to light what, by the immersion in the stream of life, could remain undiscovered and veiled. The rhetoric of truth in this art is presented, inter alia, in the context of Heidegger’s statements on the essence of art and the function of the process. Performance is a peculiar, modern form of aestheticism, challenging time and the temporary dimension of existence, the limitations of one’s body and the psyche. In this way, the madness of this art comes close to the experience, which Kant describes as the sublime. The form of self-torture in this art discloses the need to escape from the suffering inflicted by being and the Self’s escape from itself in the philosophy of Emmanuel Levinas.

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Eysenck, H. J. "Madness and modernism: Insanity in the light of modern art, literature, and thought." Personality and Individual Differences 17, no. 2 (August 1994): 302. http://dx.doi.org/10.1016/0191-8869(94)90038-8.

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Goldberg, Carl. "Madness and Modernity: Insanity in the Light of Modern Art, Literature, and Thought." American Journal of Psychotherapy 47, no. 3 (July 1993): 455–56. http://dx.doi.org/10.1176/appi.psychotherapy.1993.47.3.455.

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BARGLOW, PETER. "Madness and Modernism: Insanity in the Light of Modern Art, Literature, and Thought." American Journal of Psychiatry 152, no. 6 (June 1995): 943–44. http://dx.doi.org/10.1176/ajp.152.6.943.

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Perelshtein, Roman Maksovich. "«Drowning by Numbers» by Peter Greenaway in light of surrealism." Journal of Flm Arts and Film Studies 5, no. 1 (February 15, 2013): 70–77. http://dx.doi.org/10.17816/vgik5170-77.

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The surrealism, while creating superreality for a superman, has overlooked reality and an personality, considering them used materials. But when the superman started conquering the world, wiping off the map cities and peoples, the enthusiasts of surrealism were appalled. The auteur can hardly cope with this madness game, when it is played by politicians. If Peter Greenaway in his Drowning by Numbers (1988), had betaken himself to countdown, he could have made much better use of decomposing reality idea. However, real art, and Drowning by Numbers is a work of art indeed, no matter what manifestoes it is hiding behind, always amasses the reality.

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Cabañas, Kaira M. "Toward a Common Configurative Impulse." MODOS: Revista de História da Arte 5, no. 1 (January 30, 2021): 115–27. http://dx.doi.org/10.20396/modos.v5i1.8664006.

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Brazilian art critic Mário Pedrosa’s theorization of art’s affective power, whereby the relational contract with the spectator is neither rational nor purely visual but is infused with feeling, was decisive for understandings of geometric abstraction as expressive in the 1950s. “Toward a Common Configurative Impulse” turns to another modernism, nestled alongside the geometric ones that would come to define the aesthetic of artists associated with Concrete Art in these years. Beyond Concrete Art, Pedrosa’s modernism also encompassed the creative production of diverse practitioners, among them, popular artists, self-taught artists and psychiatric patients (the latter is the subject of my book Learning from Madness: Brazilian Modernism and Global Contemporary Art). With this in mind, this essay tracks the historical and discursive origins for such an inclusive modernism and how Pedrosa’s embrace of different artistic subjectivities calls for a necessary shift in the historiography of Brazilian modernism at mid-century.

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Cabañas, Kaira M. "Learning from Madness: Mário Pedrosa and the Physiognomic Gestalt." October 153 (July 2015): 42–64. http://dx.doi.org/10.1162/octo_a_00226.

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What does looking to the art produced by psychiatric patients bring to our understanding of modernism and the rise of geometric abstraction in Rio de Janeiro in the mid-twentieth century? This article explores Brazilian critic Mário Pedrosa's early theses on the psychology of form in relation to his reception of psychiatric patients' creative production. In his early writings on Gestalt, Pedrosa insisted on the autonomy of form and on a modern global, or comprehensive, perception and critiqued bourgeois rationality for its exclusion of the mentally ill. To understand the historical and cultural specificity of Pedrosa's aesthetics of reception, I turn to Rio-based psychiatrist Dr. Nise da Silveira—it is in large measure her work and that of her patients, which stand at the center of this competing account of mid-century aesthetics in Brazil.

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van der Leeuw, Sander E. "Whispers from the context of real life." Archaeological Dialogues 1, no. 2 (August 1994): 133–64. http://dx.doi.org/10.1017/s1380203800000210.

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‘We live in the dark, we do what we can, the rest is the madness of art.’ (Truman Capote, Music for Chameleons)‘We must again become a people making our own history. To be able to make our own history is to be able to mould our own future, to build our society that preserves the best of our past and our traditions, while enabling us to grow and develop as a whole people.’ (Robert Andre)

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Pettinari, Giulia. "The ‘Art and Madness’ debate in Italy and the life story of Antonio Tolomei." Epidemiology and Psychiatric Sciences 28, no. 04 (May 9, 2019): 369–70. http://dx.doi.org/10.1017/s2045796019000258.

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Cinque, Toija. "David Bowie: dancing with madness and proselytising the socio-political in art and life." Celebrity Studies 4, no. 3 (November 2013): 401–4. http://dx.doi.org/10.1080/19392397.2013.831621.

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Mankovskaya, Nadezhda B. "Maurice Maeterlinck’s Philosophy of Art." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 76–90. http://dx.doi.org/10.17816/vgik10176-90.

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In the article the key ideas of Maurice Maeterlincks philosophy of art, inspired by the spirit of German idealism, European Romanticism and also mysticism and occultism are considered. On this basis his own original philosophical-aesthetic and artistic views which have laid down in a basis of philosophy of art of symbolism crystallize. The main problems interesting for Maeterlinck in this sphere are metaphysics of art and its philosophical-aesthetic aspects: silence, hidden, destiny, external and internal, madness, mystical ecstasy; essence of artistic image and symbol in art; aesthetic categories of beauty, sublime, tragical, comic; aesthetic ideal; nature of art novelty; relations between aesthetics and ethics. Artisticity, symbolization in art, suggestion, idealization, spirituality as the main attributes of authentic art, stylized poetic generalizations, laconism of a plot - these are the basis of Maeterlincks poetic world and his art-aesthetic principles which have become the art base for symbolist philosophy. Maeterlinck paid special attention to the art-aesthetic aspects of the art of theatre connected with creative credo of the playwright, his skill. He was also deeply engaged into exploration of the art influencing power as well as questions of aesthetic perception, empathies, and art hermeneutics. The major thrust of his philosophical-aesthetic research was that of an expectance of the approaching era of great spirituality and supreme mission of the artist-theurgist in it - in this respect Maeterlinck going his way, had a lot of common with the ideas of Paul Claudel, let alone representatives of Russian theourgistic aesthetics. In his poeticized meditations over the future of artistic culture Maeterlinck quite often acts as a teacher of life and, like described by him bees, collecting honey of hopes.

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Borggreen, Gunhild. "The Myth of the Mad Artist: Works and Writings by Kusama Yayoi." Copenhagen Journal of Asian Studies 15 (March 10, 2001): 10–46. http://dx.doi.org/10.22439/cjas.v15i1.2126.

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Kusama Yayoi has been active as an artist for more than 50 years, and is highly acclaimed both in her native Japan and in the United States, where she spent more than a decade of her career. A large corpus of critical reviews, catalogue texts, interviews and autobiographical writings by and about Kusama has been published over the years, and this paper investigates a specific topic in these texts concerning the discourse of madness. A persistent myth of Kusama as a'mad' artist emerged in the early and mid-1980s, but has influenced the interpretations of her whole oeuvre. Based on three texts written by Kusama, this paper shows that the artist herself did not describe her artistic processes in psychopatholocial terms at the early stages of her art production. I shall argue for more accurate interpretations of Kusama's art, based on the artist's own accounts as well as trends on the contemporary internatinoal art scene.

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Beveridge, Allan. "Book Review: Maureen Park, Art in Madness. Dr W.A.F. Browne’s Collection of Patient Art at Crichton Royal Institution, Dumfries (Allan Beveridge)." History of Psychiatry 22, no. 4 (November 29, 2011): 501–3. http://dx.doi.org/10.1177/0957154x11423888a.

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Journal articles on the topic 'Madness in Art'

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