A SCHOLARLY BOOK REPOSITORY
• W. B. Yeats, “Swedenborg, Mediums and the Desolate Places”
• Gary Lachman, “The Spiritual Detective: How Baudelaire invented Symbolism, by way of Swedenborg, E. T. A. Hoffmann and Edgar Allan Poe”
• Adelheid Kegler, “Elements of Swedenborgian Thought in Symbolist Landscapes: with reference to Sheridan Le Fanu and George MacDonald”
• Richard Lines, “Eros and the Unknown Victorian: Coventry Patmore and Swedenborg”
• Gary Lachman, “Space: the Final Frontier. O. V. de Lubicz Milosz and Swedenborg”
• Arthur Conan Doyle, “The Story of Swedenborg”
Also included are a preface by Stephen McNeilly, a chronology of Swedenborg, biographies of the essay subjects, and an index.
This book looks at Sankara's political philosophies and legacies and their relevance today. Analyses of his synthesis of Pan-Africanism and humanist Marxist politics, as well as his approach to gender, development, ecology and decolonisation offer new insights to Sankarist political philosophies. Critical evaluations of the limitations of the revolution examine his relationship with labour unions and other aspects of his leadership style. His legacy is revealed by looking at contemporary activists, artists and politicians who draw inspiration from Sankarist thought in social movement struggles today, from South Africa to Burkina Faso.
In the 30th anniversary of his assassination, this book illustrates how Sankara's political praxis continues to provide lessons and hope for decolonisation struggles today.
The anthology opens with "Smarra, or the Demons of the Night," Nodier's 1821 tale of nightmare, vampirism, and compulsion, acclaimed as the first work in French literature to explore in depth the realm of dream and the unconscious. Other stories include Balzac's "The Red Inn," in which a crime is committed by one person in thought and another in deed, and Mérimée's superbly crafted mystery, "The Venus of Ille," which dramatizes the demonic power of a vengeful goddess of love emerging out of the pagan past. Gautier's protagonist in "The Dead in Love" develops an obsessive passion for a woman who has returned from beyond the grave, while the narrator of Maupassant's "The Horla" imagines himself a victim of psychic vampirism.
Joan Kessler has prepared new translations of nine of the thirteen tales in the volume, including Gérard de Nerval's odyssey of madness, "Aurélia," as well as two tales that have never before appeared in English. Kessler's introduction sets the background of these tales—the impact of the French Revolution and the Terror, the Romantics' fascination with the subconscious, and the influence of contemporary psychological and spiritual currents. Her essay illuminates how each of the authors in this collection used the fantastic to articulate his own haunting obsessions as well as his broader vision of human experience.
Though he initially felt Americans would see “the folly and the madness” of going to war, Orlando enlisted as a private in what would become Company H of the First (later Fifteenth) Arkansas Infantry, informing his sister that he had volunteered “not for position, not for a name, but from patriotic motivation.” However, he was ambitious enough to secure an appointment as Maj. Gen. William Joseph Hardee’s personal secretary; he then rose to become his regiment’s sergeant major, his company’s first lieutenant, and later captain and brigade adjutant. Soldier letters typically report only what can be observed at the company level, but Palmer’s high-ranking position offers a unique view of strategic rather than tactical operations.
Palmer’s letters are not all related to his military experience, though, and the narrative is enhanced by his nuanced reflections on courtship customs and personal relationships. For instance, Palmer frequently attempts to entertain Missie with witticisms and tales of his active romantic life: “We have so much to do,” he quips, “that we have no time to do anything save to visit the women. I am in love with several dozen of them and am having
a huge time generally.”
The Folly and the Madness adds depth to the genre of Civil War correspondence and provides a window into the lives of ordinary southerners at an extraordinary time.
Greg Eghigian has compiled a unique anthology of readings, from ancient times to the present, that includes Hippocrates; Julian of Norwich's Revelations of Divine Love, penned in the 1390s; Dorothea Dix; Aaron T. Beck; Carl Rogers; and others, culled from religious texts, clinical case studies, memoirs, academic lectures, hospital and government records, legal and medical treatises, and art collections. Incorporating historical experiences of medical practitioners and those deemed mentally ill, From Madness to Mental Health also includes an updated bibliography of first-person narratives on mental illness compiled by Gail A. Hornstein.
"This is an astonishing accomplishment which not only tells the reader about a neglected historical figure, but about myriad neglected dimensions of both Mormon history and the history of religion in general." -- Jan Shipps, author of Mormonism: The Story of a New Religious Tradition
"This will stand alone as a biography of David H. Smith. . . . But it is also an insightful look at the times and environment from which the Smith family, and its ideas, emerged." -- Paul M. Edwards, author of Our Legacy of Faith: A Brief History of the Reorganized Church
In September of 1838, a few months after Ralph Waldo Emerson delivered his controversial Divinity School address, a twenty-five-year-old tutor and divinity student at Harvard named Jones Very stood before his beginning Greek class and proclaimed himself “the second coming.” Over the next twenty months, despite a brief confinement in a mental hospital, he would write more than three hundred sonnets, many of them in the voice of a prophet such as John the Baptist or even of Christ himself—all, he was quick to claim, dictated to him by the Holy Spirit.
Befriended by the major figures of the Transcendentalist movement, Very strove to convert, among others, Elizabeth and Sophia Peabody, Bronson Alcott, Nathaniel Hawthorne, and most significantly, Emerson himself. Though shocking to some, his message was simple: by renouncing the individual will, anyone can become a “son of God” and thereby usher in a millennialist heaven on earth. Clark Davis’s masterful biography shows how Very came to embody both the full radicalism of Emersonian ideals and the trap of isolation and emptiness that lay in wait for those who sought complete transcendence.
God’s Scrivener tells the story of Very’s life, work, and influence in depth, recovering the startling story of a forgotten American prophet, a “brave saint” whose life and work are central to the development of poetry and spirituality in America.
Jay Neugeboren and his brother, Robert, grew up in Brooklyn in the years following World War II. Both brothers—smart, talented, and popular—seemed well on the way to successful lives when, for reasons that remain ultimately mysterious to this day, Robert had a mental breakdown at age nineteen. For the past forty years Jay has been not only his brother’s friend and confidant, but his sole advocate, as Robert continues to suffer from the ravages of the illness that has kept him institutionalized for most of his adult life.
Imagining Robert tells the story of these two brothers and how their love for one another has enabled both to survive, and to thrive in miraculous, surprising ways. It is the most honest book yet on what it is like for the millions of families that must cope, day-by-day and year-by-year over the course of a lifetime, with a condition for which, in most cases, there is no cure. By never giving up hope and by valuing his brother’s uniqueness and humanity, Jay Neugeboren reveals how even the grimmest of lives can be sustained by the power of love.
A film based on Imagining Robert aired on PBS nationally in 2003. With a new afterword that brings readers up to date on Robert’s life, Rutgers University Press is pleased make this highly praised book with its inspiring story available once more to the public.
Focusing on typically marginalized historical actors, including municipal functionaries and the urban poor, The Invention of Madness shifts our attention from the elite desire for modern medical care to the ways in which psychiatric discourses were implemented and redeployed in the midst of everyday life. New meanings and practices of madness, Baum argues, were not just imposed on the Beijing public but continuously invented by a range of people in ways that reflected their own needs and interests. Exhaustively researched and theoretically informed, The Invention of Madness is an innovative contribution to medical history, urban studies, and the social history of twentieth-century China.
Knot of the Soul moves from the experience of psychosis in psychiatric hospitals, to the visionary torments of the soul in poor urban neighborhoods, to the melancholy and religious imaginary of undocumented migration, culminating in the liturgical stage of the Qur’anic cure. Demonstrating how contemporary Islamic cures for madness address some of the core preoccupations of the psychoanalytic approach, she reveals how a religious and ethical relation to the “ordeal” of madness might actually allow for spiritual transformation.
This sophisticated and evocative work illuminates new dimensions of psychoanalysis and the ethical imagination while also sensitively examining the collective psychic strife that so many communities endure today.
The Last Asylum is Taylor’s breathtakingly blunt and brave account of those years. In it, Taylor draws not only on her experience as a historian, but also, more importantly, on her own lived history at Friern— once known as the Colney Hatch Lunatic Asylum and today the site of a luxury apartment complex. Taylor was admitted to Friern in July 1988, not long before England’s asylum system began to undergo dramatic change: in a development that was mirrored in America, the 1990s saw the old asylums shuttered, their patients left to plot courses through a perpetually overcrowded and underfunded system of community care. But Taylor contends that the emptying of the asylums also marked a bigger loss, a loss of community. She credits her own recovery to the help of a steadfast psychoanalyst and a loyal circle of friends— from Magda, Taylor’s manic-depressive roommate, to Fiona, who shares tips for navigating the system and stories of her boyfriend, the “Spaceman,” and his regular journeys to Saturn. The forging of that network of support and trust was crucial to Taylor’s recovery, offering a respite from the “stranded, homeless feelings” she and others found in the outside world.
A vivid picture of mental health treatment at a moment of epochal change, The Last Asylum is also a moving meditation on Taylor’s own experience, as well as that of millions of others who struggle with mental illness.
Kaira M. Cabañas shows that at the center of this advocacy stood such significant proponents as psychiatrists Osório César and Nise da Silveira, who championed treatments that included painting and drawing studios; and the art critic Mário Pedrosa, who penned Gestaltist theses on aesthetic response. Cabañas examines the lasting influence of this unique era of Brazilian modernism, and how the afterlife of this “outsider art” continues to raise important questions. How do we respect the experiences of the mad as their work is viewed through the lens of global art? Why is this art reappearing now that definitions of global contemporary art are being contested?
Learning from Madness offers an invigorating series of case studies that track the parallels between psychiatric patients’ work in Western Europe and its reception by influential artists there, to an analogous but altogether distinct situation in Brazil.
Dale Peterson has compiled twenty-seven selections dating from 1436 through 1976. He prefaces each excerpt with biographical information about the writer. Peterson's running commentary explains the national differences in mental health care and the historical changes that have take place in symptoms and treatment. He traces the development of the private madhouse system in England and the state-run asylum system in the United States. Included is the first comprehensive bibliography of writings by the mentally ill.
As relevant and entertaining now as it was when it was first published, this lively translation brings this fantastic piece of literature to new, modern audiences while drawing parallels with some of the 19th century’s greatest English language writers such as Charles Dickens and Thomas Hardy.
Madness and Enterprise reveals the economic norms embedded within psychiatric thinking about mental illness in the North Atlantic world. Over the course of the nineteenth century, various forms of madness were subjected to a style of psychiatric reasoning that was preoccupied with money. Psychiatrists across Western Europe and the United States attributed financial and even moral value to an array of pathological conditions, such that some mental disorders were seen as financial assets and others as economic liabilities. By turning to economic conduct and asking whether potential patients appeared capable of managing their financial affairs or even generating wealth, psychiatrists could often bypass diagnostic uncertainties about a person’s mental state.
Through an exploration of the intertwined histories of psychiatry and economic thought, Nima Bassiri shows how this relationship transformed the very idea of value in the modern North Atlantic, as the most common forms of social valuation—moral value, medical value, and economic value—were rendered equivalent and interchangeable. If what was good and what was healthy were increasingly conflated with what was remunerative (and vice versa), then a conceptual space opened through which madness itself could be converted into an economic form and subsequently redeemed—and even revered.
Research tells us that when most people suffer from a mental health crisis, the first person they turn to for help is not a physician, a psychiatrist, or a social worker, but a pastor, a priest, or a minister. In other words, a leader in their church. Unfortunately, many church leaders are not trained to recognize mental illness and don’t know when to refer someone to a mental health professional. The consequence—unintended yet tragic—is continued and unnecessary suffering.
Madness and Grace is a comprehensive guide for church ministry to alleviate this situation. Written by Dr. Matthew Stanford, the book is carefully constructed to help build competency in detecting a wide spectrum of mental disorders, such as knowing when a person is contemplating suicide based on telltale patterns of speech. It also explodes common discriminatory myths that stigmatize people with mental illness, such as the myth that they are more prone to violence than others.
Dr. Stanford has treated clients throughout his career who were afflicted with all manner of mental disorders. In Madness and Grace, he takes the full extent of his experience and makes it accessible and actionable for the lay reader. He begins by explaining what constitutes a mental illness and how these disorders are classified according to science. He next teaches how to notice the presence of a mental illness by listening carefully to phraseology, observing behavior, and asking discerning questions. He goes on to discuss methods of treatment, common religious concerns about mental health, and ways church communities can support people on the road to recovery.
As a Christian, Dr. Stanford wants his fellow believers to know that acknowledging and seeking help for a mental illness is not a sign of weak faith. That’s why, in addition to sharing his medical expertise with church leaders, he commends pertinent biblical passages that underscore God’s concern for our mental wellbeing. These passages provide strength and comfort as complements to clinically-derived treatment and are essential to Dr. Stanford’s approach. “When working with those in severe psychological distress,” he writes, “compassion and grace are always the first line of pastoral care.”
Perceiving an enigmatic relationship between madness, language, and literature, French philosopher Michel Foucault developed ideas during the 1960s that are less explicit in his later, more well-known writings. Collected here, these previously unpublished texts reveal a Foucault who undertakes an analysis of language and experience detached from their historical constraints. Three issues predominate: the experience of madness across societies; madness and language in Artaud, Roussel, and Baroque theater; and structuralist literary criticism. Not only do these texts pursue concepts unique to this period such as the “extra-linguistic,” but they also reveal a far more complex relationship between structuralism and Foucault than has typically been acknowledged.
In an age of artificial intelligence, alternative facts, and mistrust of truth, The Madness of Knowledge offers an opulent, enlarging, and sometimes unnerving psychopathology of intellectual life.
WINNER, Russell P. Strange Memorial Book of the Year Award from the Illinois State Historical Society, 2007!
University Press Books for Public and Secondary Schools 2013 edition
In 2005, historian Jason Emerson discovered a steamer trunk formerly owned by Robert Todd Lincoln's lawyer and stowed in an attic for forty years. The trunk contained a rare find: twenty-five letters pertaining to Mary Todd Lincoln's life and insanity case, letters assumed long destroyed by the Lincoln family. Mary wrote twenty of the letters herself, more than half from the insane asylum to which her son Robert had her committed, and many in the months and years after.
The Madness of Mary Lincoln is the first examination of Mary Lincoln’s mental illness based on the lost letters, and the first new interpretation of the insanity case in twenty years. This compelling story of the purported insanity of one of America’s most tragic first ladies provides new and previously unpublished materials, including the psychiatric diagnosis of Mary’s mental illness and her lost will.
Emerson charts Mary Lincoln’s mental illness throughout her life and describes how a predisposition to psychiatric illness and a life of mental and emotional trauma led to her commitment to the asylum. The first to state unequivocally that Mary Lincoln suffered from bipolar disorder, Emerson offers a psychiatric perspective on the insanity case based on consultations with psychiatrist experts.
This book reveals Abraham Lincoln’s understanding of his wife’s mental illness and the degree to which he helped keep her stable. It also traces Mary’s life after her husband’s assassination, including her severe depression and physical ailments, the harsh public criticism she endured, the Old Clothes Scandal, and the death of her son Tad.
The Madness of Mary Lincoln is the story not only of Mary, but also of Robert. It details how he dealt with his mother’s increasing irrationality and why it embarrassed his Victorian sensibilities; it explains the reasons he had his mother committed, his response to her suicide attempt, and her plot to murder him. It also shows why and how he ultimately agreed to her release from the asylum eight months early, and what their relationship was like until Mary’s death.
This historical page-turner provides readers for the first time with the lost letters that historians had been in search of for eighty years.
Christine Buci-Glucksmann’s The Madness of Vision is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material world, actually dazzles and distorts the perception of reality.
In each of the nine essays that form The Madness of Vision Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s Saint Teresa and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s Judith Beheading Holofernes, the Paris arcades, and Arnulf Rainer’s self-portrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s El Criticón; Monteverdi’s opera Orfeo; the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts.
From those two components, Laure Murat embarks on an exploration of the surprising relationship between history and madness. She uncovers countless stories of patients whose delusions seem to be rooted in the historical or political traumas of their time, like the watchmaker who believed he lived with a new head, his original having been removed at the guillotine. In the troubled wake of the Revolution, meanwhile, French physicians diagnosed a number of mental illnesses tied to current events, from “revolutionary neuroses” and “democratic disease” to the “ambitious monomania” of the Restoration. How, Murat asks, do history and psychiatry, the nation and the individual psyche, interface?
A fascinating history of psychiatry—but of a wholly new sort—The Man Who Thought He Was Napoleon offers the first sustained analysis of the intertwined discourses of madness, psychiatry, history, and political theory.
Kim E. Nielsen explores a life at once irregular and unexceptional. Historical and institutional structures, like her whiteness and laws that liberalized divorce and women's ability to control their property, opened up uncommon possibilities for Ott. Other structures, from domestic violence in the home to rampant sexism and ableism outside of it, remained a part of even affluent women's lives. Money, Marriage, and Madness tells a forgotten story of how the legal and medical cultures of the time shaped one woman—and what her life tells us about power and society in nineteenth century America.
Contributors. Hubertus Büschel, Raphaël Gallien, Matthew M. Heaton, Richard Hölzl, Nancy Rose Hunt, Richard C. Keller, Sloan Mahone, Nana Osei Quarshie, Jonathan Sadowsky, Romain Tiquet
In 1833 Alexander Pushkin began to explore the topic of madness, a subject little explored in Russian literature before his time. The works he produced on the theme are three of his greatest masterpieces: the prose novella The Queen of Spades, the narrative poem The Bronze Horseman, and the lyric "God Grant That I Not Lose My Mind." Gary Rosenshield presents a new interpretation of Pushkin’s genius through an examination of his various representations of madness.
Pushkin brilliantly explored both the destructive and creative sides of madness, a strange fusion of violence and insight. In this study, Rosenshield illustrates the surprising valorization of madness in The Queen of Spades and "God Grant That I Not Lose My Mind" and analyzes The Bronze Horseman’s confrontation with the legacy of Peter the Great, a cornerstone figure of Russian history. Drawing on themes of madness in western literature, Rosenshield situates Pushkin in a greater framework with such luminaries as Shakespeare, Sophocles, Cervantes, and Dostoevsky providing an insightful and absorbing study of Russia’s greatest writer.
Singing the Chaos: Madness and Wisdom in Modern Poetry combines both a historical and a critical approach toward the works of major British, American, French, German, and Russian poets. Comprehensive in scope and arranged chronologically to survey a century of high poetic achievement, the study is unified by Pratt's overriding argument that "modern poets have endowed a disintegrating civilization with humane wisdom by 'singing the chaos' that surrounds them, making ours a great age in spite of itself."
In developing this central theme, Pratt brings alive the energy, the freshness, and the originality of technique that made Baudelaire, Pound, Yeats, Rilke, Eliot, and others the initiators of the revolution in poetry. He brings a more complete, clearer perspective to other major themes: modernism as an age of irony; poets as both madmen and geniuses; the modern poet as tragic hero; the dominance of religious or visionary truths over social or political issues; and the combination of radical experiments in poetic form with an apocalyptic view of Western civilization. His detailed treatment of the Fugitive poets and his recognition of their prominent role in twentieth-century literature constitute an important historical revision.
Brilliantly informed, insightful, and, above all, accurately sympathetic to the points of view of the poets Pratt presents, Singing the Chaos is that rare book that belongs on all shelves devoted to modernist poetry.
Paul McCarthy
"Though madness has been a consistent topic in considerations of Melville's work, this is the first full-scale treatment of the subject. It is in a sense, then, a pioneering work that will no doubt receive widespread attention."
—William B. Dillingham
Daniel Burston chronicles Laing's meteoric rise to fame as one of the first media psychogurus of the century, and his spiraling decline in the late seventies and eighties. Here are the successes: Laing's emergence as a unique voice on the psychiatric scene with his first book, The Divided Self, in 1960; his forthright and articulate challenges to conventional wisdom on the origins, meaning, and treatment of mental disturbances; his pioneering work on the families of schizophrenics, Sanity, Madness and the Family (coauthored with A. Esterson). Here as well are Laing's more dubious moments, personal and professional, including the bizarre experiment with psychotic patients at Kingsley Hall. Burston traces many of Laing's controversial ideas and therapeutic innovations to a difficult childhood and adolescence in Glasgow and troubling experiences as an army doctor; he also offers a measured assessment of these ideas and techniques.
The R. D. Laing who emerges from these pages is a singular combination of skeptic and visionary, an original thinker whose profound contradictions have eclipsed the true merit of his work. In telling his story, Burston gives us an unforgettable portrait of an anguished human being and, in analyzing his work, recovers Laing's achievement for posterity.
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