These are exciting times for philosophy and psychiatry. After drifting apart for most of this century, the two disciplines, if not yet fully reconciled, are suddenly at least on speaking terms. With hindsight we may wonder why they should have ignored each other for so long. As Anthony Quinton pointed out in a lecture to the Royal Institute of Philosophy a few years ago, it is remarkable that philosophers, in a sense the experts on rationality, should have had so little (...) to say about the phenomena of irrationality. There have been partial exceptions, of course. Descartes and Kant both touched on madness; and there were, notably, important philosophical influences on the development of modern psychiatry in the late nineteenth and early twentieth centuries. Yet even John Locke, who was a doctor as well as philosopher, confined himself to a fair-l y superficial distinction between what we should now call mental illness and mental defect—those with, in Locke's view, respectively too many ideas and too few. (shrink)

Why do 'maladies of the soul' such as hysteria, anxiety disorders, or depression wax and wane over time? Through a study of the history of psychiatry, Mikkel Borch-Jacobsen provocatively argues that most mental illnesses are not, in fact, diseases but the product of varying expectations shared and negotiated by therapists and patients. With a series of fascinating historical vignettes, stretching from Freud's creation of false memories of sexual abuse in his early hysterical patients to today's promotion and marketing of depression (...) by drug companies, Making Minds and Madness offers a powerful critique of all the theories, such as psychoanalysis and biomedical psychiatry, that claim to discover facts about the human psyche while, in reality, producing them. Borch-Jacobsen proposes such objectivizing approaches should be abandoned in favor of a constructionist and relativist psychology that recognizes the artifactual and interactive character of psychic productions instead of attempting to deny or control it. (shrink)

Open peer commentary on the article “A Moving Boundary, a Plastic Core: A Contribution to the Third Wave of Extended-Mind Research” by Timotej Prosen. Abstract: We explore both some novel claims made by Prosen’s account of plastic cores and some overlaps between his and other accounts of third-wave extended mind. In the first instance we discuss whether the Markov blanket formalism should be regarded as incompatible with a third-wave extended view. Secondly, we discuss whether Prosen’s proposal of a plastic core (...) quite meets the radical departure of the third wave from organism-centeredness - or whether Prosen’s contribution might be more aptly considered as a compromise between second- and third-wave extended mind. (shrink)

Context: A central motivation behind various embodied, extended, and enactive (4E) approaches to cognition is to ground our understanding of minds and cognition within the biological structures that give rise to life. Because of this, their advocates often claim a natural kinship with dynamical and developmental systems theories. However, these accounts also explicitly or implicitly privilege individual organisms in ways that contrast with many of the insights of systems and developmental systems approaches to biology. Problem: The prioritization of individual (...) organisms within 4E approaches to cognition contrasts with the default entangled structure of biological systems associated with cognitive agency. We provide means for 4E cognitive science to move beyond an individual-centred view of cognitive agency. Method: We first identify and problematize individual-centredness within various predominant 4E approaches by comparison with biological research and developmental systems theory. Subsequently, we offer conceptual resources from the field of ecological research for understanding cognitive agency beyond the predominant focus on individual organisms. Results: Cognitive agency may be understood without privileging individual organisms by reading nonequilibrium maintenance in terms of a dynamic differentiation instead of individual organismic autonomy. This form of organizational structure corresponds to the notion of sympoiesis from ecological research. Implications: Approaching cognitive agency without privileging individual organisms should be invaluable to advocates of 4E cognition seeking to ground notions of cognition and mind within contemporary biological research. Constructivist content: We seek to expand upon existing constructivist perspectives on the organizing principles of cognitive agency, such as sensorimotor embodiment and autopoiesis, arguing that meta-organismic cognitive agents (including humans) embody distributed relations beyond the privileging of individual organisms. Key words: 4E cognition, autopoiesis, cognitive agency, developmental systems theory, enactivism, extended mind thesis, holobionts, sympoeisis. (shrink)

Enactive approaches to psychiatry have recently argued for an understanding of psychiatric conditions based within relational interactions between individuals and their environments. A central motivation for these enactive approaches is the goal of social integration: the integration of a naturalistic approach to psychiatric conditions with their broader sociocultural dimensions. One possible issue, however, is whether appeals to the autonomy and authenticity of relationally constituted enactive individuals can provide a means of adjudicating between harmful and beneficial social constraints upon individual behaviour. (...) This paper seeks to provide enactive approaches to psychiatry with a possible means of evaluating normative influences of social contexts beyond direct interactions with relationally constituted individuals. Some of the most significant influences of the sociocultural dimension of psychiatric conditions consist not in direct interaction with individuals, but in setting the terms for interactions and interactants alike. Insofar as some social influences precede and predefine dyadic relations between individuals and their social context, these cannot be accounted for as features of interactions, but must be assessed as independent structures of the sociocultural dimension. I will provide one potential means for enactive models to assess social norms using Canguilhem’s distinction between health and pathology. I will argue that Canguilhem’s conceptualization of health in terms of adaptive normative structure provides a potential tool for social integration which strongly complements enactive approaches to psychiatry. (shrink)

Research in psychopathology is booming in an unprecedented way, at least, in terms of increasing number of publications. Yet, a few questions arise: Does quantity also give us quality? Are the collected data generally of sound quality? How are data typically collected in psychopathology? Are the applied methods of data collection appropriate for this particular field of study? This article explores three different methods of data collection in psychopathology, namely self-rating scales, structured interviews, and semi-structured, phenomenological interviews. To identify the (...) most adequate methodological approach, we first establish the nature of the object of psychopathology and then we critically assess each method’s appropriateness to this field of study. We emphasize fundamental issues that make self-rating scales and structured interviews unfit for the task of adequately examining psychopathology. By contrast, we propose that a semi-structured, phenomenological interview presents a more appropriate method. Finally, we describe two types of semi-structured, phenomenological interviews that can be applied to assess and explore psychopathology, respectively. (shrink)

Although tranquility is a fundamental aspect of human life, the experiential nature of tranquility remains elusive. Traditionally, many philosophical, religious, spiritual, or mystical traditions in East and West have strived to reach tranquil experiences and produced texts serving as manuals to reach them. Yet, no attempt has been made to compare experiences of tranquility and explore what they may have in common. The purpose of this theoretical study is to explore the experiential nature of tranquility. First, we present examples of (...) what we consider some of the most central experiences of tranquility in Eastern and Western traditions. For the sake of simplicity, we sort these examples into four categories based on their experiential focus: the body, emotions, the mind, and mysticism. Second, we offer an exploratory account of tranquility, arguing that the different examples of tranquility seem to share certain experiential features. More specifically, we propose that the shared features pertain both to the content or quality of the tranquil experiences, which involves a sense of presence and inner peace, and to the structure of these experiences, which seems to involve some degree of detachment and absorption. (shrink)

Exactly when Philosophy of Psychiatry started as a subfield of Philosophy is hard to say. There are several different estimates of how old psychiatry itself is, from one hundred to three hundred years, and of course there has been discussion and treatment of mental illness for at least a couple of thousand years. A host of issues which could count as belonging to the field have been discussed just within the last hundred years. For instance, a large literature on the (...) philosophy of psychoanalysis dates back to the beginning of the century, and in the last thirty years there has been discussion of amnesia and multiple personality in the philosophy of mind, bioethical debate about involuntary hospitalization and the ability of the mentally ill to give informed consent to drug trials, and recent continental philosophy has shown much interest in madness, civilization, capitalism and schizophrenia. However, I suggest that Philosophy of Psychiatry reached a sense of itself as a separate field only in the 1990s. In this time, it has gained its own association, journal, and a book series with a prestigious press. I refer to the American Association for Philosophy and Psychiatry, the associated journal, Philosophy, Psychiatry, and Psychology, and the MIT Press series, Philosophical Psychopathology: Disorders of Mind, edited by Owen Flanagan and George Graham. Jennifer Radden's Divided Minds and Successive Selves is the first book in that series. (shrink)

This paper examines the concept of hope in the epistemology and psychology of Immanuel Kant and Johann Christoph Hoffbauer (1766-1827). The decisive question is how according to Kant hope can impair the objectivity of judgements about future and what are the positive and negative effects of this impairment. While for Kant hope is not essentially considered as an affect, he admits that it could transform into an affect and in this way it can impair the mood and its cognitive faculties (...) negatively. In my paper I examine this argumentations of Kant and their reception in the psychology and psychopathology of Hoffbauer, where hope as affect is even considered as a cause of madness and where Hoffbauer seems to suggest that the clinical state of madness can be effect of inappropriate use of the cognitive faculties of the soul. (shrink)

The exchange between the philosopher Pierre Maine de Biran and the psychiatrist Antoine-Athanase Royer-Collard has been read either as an exemplary case of the influence of philosophy on medicine o...

This article reviews the development of a feminist analysis of female and male psychology from 1970 to 1990; the acceptance, rejection or indifference to feminist theory and practice by women in general and by female patients and mental health practitioners in specific. The article describes what feminist therapy ideally is and discusses the need for a Feminist Institute of Mental Health.

Psychiatry studies the human mind within a medical paradigm, exploring experience, response and reaction, emotion and affect. Similarly, writers of fiction explore within a non-clinical dimension the phenomena of the human mind. The synergism between literature and psychiatry seems clear, yet literature—and in particular, fiction—remain the poor relation of the medical textbook. How can literature be of particular relevance in psychiatry? This paper examines these issues and suggests a selection of useful texts.

This paper examines the concept of hope in the epistemology and psychology of Immanuel Kant and Johann Christoph Hoffbauer (1766-1827). The decisive question is how according to Kant hope can impair the objectivity of judgements about future and what are the positive and negative effects of this impairment. While for Kant hope is not essentially considered as an affect, he admits that it could transform into an affect and in this way it can impair the mood and its cognitive faculties (...) negatively. In my paper I examine this argumentations of Kant and their reception in the psychology and psychopathology of Hoffbauer, where hope as affect is even considered as a cause of madness and where Hoffbauer seems to suggest that the clinical state of madness can be effect of inappropriate use of the cognitive faculties of the soul. (shrink)

This book undertakes a voyage back to the colonial heritage of anthropology to investigate the connection between imperial colonialism and ethnographic research. It is a history of explorers' being “out of our minds” with alcohol, drugs, opiates, fatigue, fear, delusions, and anger in their search for knowledge. In short, it is a story about scientific “travel as tripping” .Nineteenth‐century explorers of Africa often fashioned themselves as intrepid, heroic, and courageous seekers and promoters of rational knowledge in a wild and (...) savage territory. It is this myth of science as a progressive conqueror of the unknown and the wild that Johannes Fabian destabilizes through his deconstructive literary analysis of scientists' travelogues. We learn that explorers were not self‐composed heroic solitary individuals with the ability to control others in a hostile environment. On the contrary, explorers gained knowledge when they reached out and embraced the unfamiliar by stepping outside of their preconceived, established, and rationalist framework of exploration. This experience of the ecstatic proved fertile ground for scientific results.A fascinating discussion of the role of various ecstatic experiences in the daily life of the explorer makes up most of the book. We learn about the organizational structure of scientific caravans, the character and personal desires of explorers, the role of auxiliaries and intermediaries, and the social implications of engaging unfamiliar tribal networks. Each explorer's daily struggle to survive such hardships as fever, malaria, and unknown illnesses, often with the use of foreign medicines, serves as one example of ecstasy leading to new knowledge. Opiates and alcohol were in this respect helpful in easing the encounters between locals and the explorers, and sexual and erotic relationships between them allegedly secured intimate knowledge of local cultures. Likewise did the ecstatic experience of beating and even killing Africans in order to gain access to the unknown. Fabian's account of ecstatic ways to research ends with a long chapter about the interest among anthropologists in studying African tribes familiar with cannabis.There are many valuable aspects of Fabian's critical study of early ethnographic research in Africa, including a rich description of the culture of scientific expeditions and plenty of evidence that the context of ecstatic discovery was different from the logic of explanation in scientific papers and books. Few historians now believe without qualification that imperial scientists were the once‐constructed great heroes expanding rational knowledge; Fabian admits that in this respect he is “fighting a straw man” . Another problem is that he hardly discusses those travelogues that typify the heroic narrative of modernity's march into central Africa, such as those written by David Livingston and Henry Stanley. Instead, he bases his argument on less studied diaries and material by explorers such as, for example, Jérôme Becker, Leo Frobenius, Paul Pogge, and Hermann von Wissmann. Therefore even well‐rehearsed historians of colonial exploration will find something original to enjoy . Yet since the narrative of heroic exploration is mostly known from the writings of explorers such as Livingston and Stanley, it is likely that Fabian could have made his argument stronger if he had scrutinized their journeys to make his point. This is not to say that this book is not a valuable contribution to colonial history of anthropological research—worth both time and attention. (shrink)

Western metaphysics has been distorted by Aristotle's misconception of essence and (il)logic of male homophobia. Via its inscription of female bodies, this muddled metaphysics is causing a fragmentation of self that is currently leading to eating disorders. A spirogenetic model of essence and subjectivity may solve our metaphysical and thus mental ills.

In lieu of an abstract, here is a brief excerpt of the content:Literature in MindH. G. Wells and the Evolution of the Mad ScientistAnne StilesIn 1893, H. G. Wells's article "Man of the Year Million" dramatically predicted the distant evolutionary future of mankind:The descendents of man will nourish themselves by immersion in nutritive fluid. They will have enormous brains, liquid, soulful eyes, and large hands, on which they will hop. No craggy nose will they have, no vestigial ears; their mouths (...) will be a small, perfectly round aperture, unanimal, like the evening star. Their whole muscular system will be shriveled to nothing, a dangling pendant to their minds.2The editors at Punch evidently found this prediction hilarious, publishing a poem and accompanying sketch ridiculing Wells's lopsided future humans (Figure 1, p. 318). But not everyone was laughing.As ridiculous as Wells's bodiless, large-headed "human tadpoles" may seem, they were based on the most rigorous evolutionary science of their day. Wells, a lower-middle-class academic prodigy, received a prestigious [End Page 317] Click for larger view View full resolutionFigure 1."1,000,000 A.D.," Punch, or the London Charivari, 25 November 1893, 250.[End Page 318]government scholarship to attend the Normal School of Science in South Kensington (later absorbed into the University of London). Though Wells left South Kensington in 1887 without earning his degree, he was greatly inspired by his biology teacher, famed physiologist Thomas Huxley. Wells absorbed Huxley's pessimistic take on late-Victorian evolutionary theory, particularly his emphasis on the inherent brutality of natural selection.Huxley's pessimism surfaces in Wells's dystopian scientific romances, which imaginatively probe the consequences of evolutionary theory run amok.3 Beginning with the eponymous mad-scientist villain of The Island of Dr. Moreau (1896) and continuing with alien invasion narratives like The War of the Worlds (1897–98) and The First Men in the Moon (1901), Wells depicts brains becoming steadily larger and more powerful as bodies grow smaller and more useless, emotions increasingly muted, and conscience all but silenced. Wells's nightmarish vision of the massively over-evolved brain unites these three works, as the ruthlessly intellectual biologist Moreau morphs into the amoral, top-heavy Martians and lunar inhabitants.Wells's malevolent mad scientists and extraterrestrials owe an intellectual debt not only to Huxley, but also to discussions of genius and insanity in late-Victorian issues of Mind (1876–present).4 The now-familiar trope of the mad scientist in fact traces its roots to the clinical association between genius and insanity that developed in the mid-nineteenth century. Authors like Scottish journalist and materialist philosopher John Ferguson Nisbet, English eugenicist Francis Galton, and Austrian Jewish physician Max Nordau—all of whose works were reviewed in Mind—argued that mankind had evolved larger brains at the expense of muscular strength, reproductive capacity, and moral sensibility.5 Wells drew upon these arguments in his fiction and even contributed his own article to Mind, a philosophical reflection on science entitled "Scepticism of the Instrument" (1904).In its unique role as "the first English journal devoted to Psychology and Philosophy." Mind was an ideal venue for an inherently interdisciplinary [End Page 319] subject like the clinical study of genius.6 The journal's first editor, George Croom Robertson, was particularly concerned that articles in Mind rise "above the narrowing influences of modern specialism."7 This disciplinary breadth attracted contributors from all fields, including fiction writers and literary critics like George Henry Lewes, Grant Allen, Andrew Lang, and, of course, H.G. Wells. During the same period, literary works probed ideas discussed in Mind, such as the nature of the soul, the possibility of free will, and the ramifications of biological determinism. In the four decades following its auspicious start, Mind provided a venue where scientists, philosophers and literary authors could find intellectual common ground.In this essay, the early fiction of H.G. Wells will serve as a case study of cross-fertilization between literature and scientific ideas discussed in Mind. The goals of this exploration are threefold: to gain a better understanding of the journal's history and influence; to investigate why Victorians associated genius with insanity; and to illuminate the shared... (shrink)

Madness and Modernism provides a phenomenological study of schizophrenic disorders, criticizing some standard conceptions of these disorders. Sass argues that many aspects of this group of disorders can actually involve more sophisticated (albeit dysfunctional) forms of mind and experience.

Madness is a complex and contested term. Through time and across cultures it has acquired many formulations: for some, madness is synonymous with unreason and violence, for others with creativity and subversion, elsewhere it is associated with spirits and spirituality. Among the different formulations, there is one in particular that has taken hold so deeply and systematically that it has become the default view in many communities around the world: the idea that madness is a disorder of (...) the mind. -/- Contemporary developments in mental health activism pose a radical challenge to psychiatric and societal understandings of madness. Mad Pride and mad-positive activism reject the language of mental 'illness' and 'disorder', reclaim the term 'mad', and reverse its negative connotations. Activists seek cultural change in the way madness is viewed, and demand recognition of madness as grounds for identity. But can madness constitute such grounds? Is it possible to reconcile delusions, passivity phenomena, and the discontinuity of self often seen in mental health conditions with the requirements for identity formation presupposed by the theory of recognition? How should society respond? -/- Guided by these questions, this book is the first comprehensive philosophical examination of the claims and demands of Mad activism. Locating itself in the philosophy of psychiatry, Mad studies, and activist literatures, the book develops a rich theoretical framework for understanding, justifying, and responding to Mad activism's demand for recognition. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

This book explores the relationship between schizophrenia and common sense. It approaches this theme from a multidisciplinary perspective. Coverage features contributions from phenomenology, cognitive neuroscience, philosophy of mind, psychology, and social cognition. The contributors address the following questions: How relevant is the loss of common sense in schizophrenia? How can the study of schizophrenia contribute to the study of common sense? How to understand and explain this loss of common sense? They also consider: What is the relationship of practical reasoning (...) and logical formal reasoning with schizophrenia? What is the relationship between the person with a diagnosis of schizophrenia and social values? Chapters examine such issues as rationality, emotions, self, and delusion. In addition, one looks at brain structure and neurotransmission. Others explore phenomenological and Wittgensteinian theories. The book features papers from the Schizophrenia and Common Sense International Workshop, held at New University of Lisbon, November 2015. It offers new insights into this topic and will appeal to researchers, students, as well as interested general readers. (shrink)

The Caraka Saṃhitā (ca. first century BCE–third century CE), the first classical Indian medical compendium, covers a wide variety of pharmacological and therapeutic treatment, while also sketching out a philosophical anthropology of the human subject who is the patient of the physicians for whom this text was composed. In this article, I outline some of the relevant aspects of this anthropology – in particular, its understanding of ‘mind’ and other elements that constitute the subject – before exploring two ways in (...) which it approaches ‘psychiatric’ disorder: one as ‘mental illness’ ( mānasa-roga), the other as ‘madness’ ( unmāda). I focus on two aspects of this approach. One concerns the moral relationship between the virtuous and the well life, or the moral and the medical dimensions of a patient’s subjectivity. The other is about the phenomenological relationship between the patient and the ecology within which the patient’s disturbance occurs. The aetiology of and responses to such disturbances helps us think more carefully about the very contours of subjectivity, about who we are and how we should understand ourselves. I locate this interpretation within a larger programme on the interpretation of the whole human being, which I have elsewhere called ‘ecological phenomenology’. (shrink)

Mad liberation — the former mental patient self-help movement — is characterized in this paper as a true progressive social movement. A sociology of knowledge perspective is used to account for much of the research literature that argues, to the contrary, that self-help groups do not represent a true social movement. Based on the "myth of individualism" and the "myth of simplicity," the psychological literature on self-help has defined empowerment in self-help groups as an individual-change or therapeutic orientation. This paper, (...) adopting a sociological perspective, argues that, in fact, empowerment in the mad liberation movement is typically a socio-political concept used to promote social change and the civil rights of mental patients. Accordingly, examples of social changes brought about by members of the mad liberation movement are cited in support of the claim that this movement fits the criteria of a progressive social movement. (shrink)

_A look at the philosophical underpinnings of the hit TV show, _Mad Men__ With its swirling cigarette smoke, martini lunches, skinny ties, and tight pencil skirts, Mad Men is unquestionably one of the most stylish, sexy, and irresistible shows on television. But the series becomes even more absorbing once you dig deeper into its portrayal of the changing social and political mores of 1960s America and explore the philosophical complexities of its key characters and themes. From Socrates, Plato, and Aristotle (...) to John Kenneth Galbraith, Milton Friedman, and Ayn Rand, Mad Men and Philosophy brings the thinking of some of history's most powerful minds to bear on the world of Don Draper and the Sterling Cooper ad agency. You'll gain insights into a host of compelling Mad Men questions and issues, including happiness, freedom, authenticity, feminism, Don Draper's identity, and more. Takes an unprecedented look at the philosophical issues and themes behind AMC's Emmy Award-winning show, Mad Men Explores issues ranging from identity to authenticity to feminism, and more Offers new insights on your favorite Mad Men characters, themes, and storylines Mad Men and Philosophy will give _Mad Men_ fans everywhere something new to talk about around the water cooler. (shrink)

Drawing on the latest work in cognitive neuroscience, a philosopher proposes that delusions are narrative models that accommodate anomalous experiences.

This book contains an eighteen hour seminar - given over a three day period - presented by Michael Eigen in Seoul, Korea. The seminar traces transformations of madness and faith in psychoanalysis - particularly Freud, Klein, Bion and Winnicott - emphasizing basic rhythms of experience steeped in clinical details, social issues and personal concerns, and takes up problems of madness and faith besetting the world today. It is filled with clinical portrayals and discussions of personal and social issues. (...) Eigen describes ways we live through challenging experiences in therapy relevant for how life is lived. Discussions go back and forth between clinical details and cultural dilemmas, touching the taste of life, how one feels to oneself. This work is at once personal, learned, and down-to-earth. One gets the feeling that a lifetime of dedicated work is being condensed and transmitted, mind to mind, person to person, soul to soul. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hazel E. Barnes FLAUBERT AND SARTRE ON MADNESS IN KING LEAR T'oward the end of the second volume of The Family Idiot (L'Idiot de la famille), in a section called "Exercises and Reading," Sartre discusses Flaubert's reading of Shakespeare.1 In the context Sartre describes how Flaubert spent his time during one of the rare periods when he was not even attempting to write anything; more than two years (...) elapsed between the completion of the first Sentimental Education in January 1845 and die beginning of his collaboration widi Maxime Du Camp on La Bretagne. Along with doing desultory background reading for "an oriental tale," and analyzing the plays ofVoltaire, Flaubert claimed to be studying the Greek and Roman authors and a selected few of the later "great immortals." Sartre shows that Flaubert's way of reading them was entirely different from the critical analysis which he directed on the work of his contemporaries. Essentially it was a series of"rereadings," and its purpose was not to gain knowledge or even a fuller understanding of the text. In a letter to Mlle de Chantepie, Flaubert counsels her to take one of the great writers and "study him in depth," reading from beginning to end and then starting over again: "But do not read, as children read, to amuse yourself, nor as the ambitious read, to instruct yourself. No, read so as to live. Create in your soul an intellectual atmosphere which will be compounded from the emanation of all the great minds."2 How can Flaubert both counsel his correspondent to study in depdi and not to seek instruction? The kind ofstudy he has in mind, Sartre claims, is comparable to the way in which an amateur pianist might "study" Chopin, where die aim is not to understand analytically but to perfect a particular interpretation and to evoke a certain aesdietic reaction. Flaubert resists instruction because new knowledge risks forcing change. What he wants is 211 2 1 2 Philosophy and Literature to rediscover the same eternal truths and emotions.3 It is also to find inspiration for his own dreams, an oneiric reading. In this connection Sartre makes two important points. First, in striving to cultivate for the soul "an intellectual atmosphere... compounded from the emanation of all the great minds," the artist is adding so many strings to his lyre — the laugh of Rabelais, the cosmic passions of Shakespeare, the skepticism of Montaigne. This is whyJules at the end of die first Sentimental Education plans to study die great writers, beginning with Homer — not to learn dieir technique but to enlarge the artist's sensibility. Sartre's second point is made apropos of Flaubert's rereading of Shakespeare. Flaubert fluctuates between two responses. Sometimes he is depressed at the thought of his own lack of genius in comparison with Shakespeare. "That good man will drive me mad.... All odiers seem to me children beside him."* At odier times he experiences what Sartre calls a "glorifying identification." It is as though in imagination he becomes Shakespeare. In part this is because, as he writes in this same letter, we artists "breathe in our existence by means of die sentence." Sartre notes that for Flaubert the existence in question is a literary reality, not that of die everyday world; we may breathe it in either dirough writing or through reading. At this particular moment in his life, Sartre argues, Flaubert's program of study was in bad faith. He allowed die imaginary identification to suffice. Sartre goes so far as to say, "He reads in order not to write; in diis masturbatory substitute for the act, he makes himself an aumor all at once, under anodier name, in order not to work at becoming the writer of genius he wants to be." This comment makes sense if we recall Flaubert's situation in 1845-47. After the nervous crisis at Pont-L'Evêque he knew that either he would be a writer or he would remain a feeble invalid, an object of pity, the "family idiot." "There he is, dien, paralyzed by two opposing forces: hope and die fear of being disappointed " (p. 2021). No wonder he... (shrink)

This paper sets in context the melodramatic conclusion to R. G. Collingwood’s The Principles of Art (1938) and his exceptional praise of T. S. Eliot’s The Waste Land (1922). I suggest that the background to this conclusion, with its emphasis on the role of emotion in human agency, must embrace an extraordinary series of essays composed in the mid nineteen-thirties, and which until their publication in 2005 were known as the “folktale manuscripts.” Collingwood’s critique of anthropological method in these essays, (...) with his discussions of ritual, magic and the alleged madness of the so-called “savage mind,” feed into the anxieties about civilization’s condition felt through his reception of Eliot’s poetical diagnosis, and they are developed in Collingwood’s own compelling essay of 1936, “Mad Goes Mad.” The essay is Collingwood’s account of a disease of mind which Art, in the event, proved powerless to cure. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Whom Gods Destroy: Elements of Greek and Tragic MadnessRuth ScodelRuth Padel. Whom Gods Destroy: Elements of Greek and Tragic Madness. Princeton: Princeton University Press, 1995. xviii + 276 pp. Cloth, $29.95.Readers of the author’s earlier In and Out of the Mind will not be surprised at the assumptions and style of this book. The author’s great gift lies in her ability to make the reader feel the (...) power of language, especially poetic language. So, for example, the author unforgettably points out how, in tragedy, the wandering mind inhabits the literally wandering bodies of Io or Orestes, and her treatment of the prefixes of madness-language—ek, para—is a genuinely new contribution. On the other hand, much of the argument is often predictable; anyone who has already absorbed her basic “take” on Greek views of daemonic and mental activity can guess what she is going to say about particular passages (she footnotes herself a great deal, and repeats herself within the book). Anyone familiar with the extensive literature on double motivation will find some of her argument more original in rhetoric than in substance. While she cites work on the history of madness that is likely to be unfamiliar to classicists, within the field she refers mainly to a small group of scholars (Burkert, Dawe, Stinton, Stallmach, Vernant). It is an intensely personal book. Hellenists should read it; but one will not lose much by reading it quickly.The book summarizes itself on 238: “... Greek tragedy represents madness as something temporary, come from outside... It is inner writhing, expressed externally in dancelike jerkiness. People know you are mad by how you look and move.” Madness, Padel shows, is isolating. Her stress on important differences between madness in tragedy and post-Romantic literary madness is very helpful and she makes many good observations. Greek literature does not have hidden madness; there are no normal-looking characters who turn out to be serial killers. Madness is temporary, partly, at least, because what tragedians care about is not madness itself but how its victim handles the consequences of it.Greek representations of madness emphasize sight, as the mad either see wrongly (Ajax thinks cattle are people) or see real things people are better off not seeing, such as the Erinyes. At the same time, it is associated with darkness. Madness is at once daemonic and physical, coming from inside and out. It is related to other signs of divine anger, to pollution, and skin disease. Madness is a constant presence in tragedy, mostly defined in hyperbolic language as abnormal, foolish, or self-destructive behaviors. The Greeks are not very concerned with experiences of the soul outside the body (I’m not sure whether this is true); when the mind is “out” of its place, both mind and body wander, and a bad, daemonic presence may operate where the mind should be.Madness can be the cause of actions with terrible consequences, or itself [End Page 485] the consequence of angering the gods. It thereby participates in the double nature of Homeric atê, a word which invokes a “damage-chain” that starts in the mind and results in disastrous action; because each use implies the whole sequence, it is sometimes hard to specify the reference (I tend to agree, but she should have read the commentaries on Il. 19.113). In tragedy, atê loses some of its richness of meaning, because, she suggests, tragedy’s business is representing the atê-sequence. Well, maybe; the tragedies that do not fit, she just does not mention. Aeschylus certainly represents the sequence and uses the word with all its ambiguous power.The book is much engaged with approaches that I believe to be a complete waste of time. An entire chapter is devoted to proving that the direct application of psychoanalytic structures to ancient texts is inappropriate, and to defending the genuine otherness of the Greeks. I suppose this is necessary, but I wish it were not. The author also suggests that critics might profit from remembering that “most of the mad... are desperately unhappy” (138)—a fact that Foucault’s followers, like other romanticizers of mad insight, ignore. The... (shrink)

This collection of short stories and essays call into question the medical-scientific narrative, its understandings of psychoanalysis and madness, and the identity, purpose and ethics that flow from and sustain its narrative. These stories are gathered from meetings with people on in-patient units and in private practice. Emphasis is placed on the centrality of the Freudian unconscious in the process of listening, understanding and responding in the analytic discourse. Collectively, they reintroduce the identity of the analytic practitioner as the (...) shaman of contemporary times, a mind-poet who sees the world through a magical--as opposed to a scientific--visionary experience. "With a wry humour and piercing intellect, Dr. Kavanaugh's Stories from the Bog... evokes the Celtic legacy of story-telling in psychoanalysis."--David L. Downing. "A scintillating book that dances on edges of the human mind. At once, challenging, reflective and enriched by details of therapeutic work."--Michael Eigen, author, Contact with the depths. "Dr. Kavanaugh captures the essence of the psychoanalytic enterprise.... this book is a work of psychoanalytic art by one of its most creative practitioners."--Marvin Hyman. (shrink)

In this article I take the US television series Mad Men as an exemplary ‘approximation’, a term I adopt to signal the way in which certain texts construct a changeable, fluid ‘truth’ resulting from collisions, exchange and dialectical argument. Approximations are layered, their formal layerings mirroring a layered, multifaceted argument. Mad Men integrates and represents real historical events within a fictional setting, and act that suggests that an event or action can never be finished, fixed and not open to reassessment. (...) Specifically, this article examines ‘The Grown Ups’, Episode 12 of Season 3, which charts the events of 22 November 1963, the day Kennedy was assassinated. Although we might be able to bring to mind the images and conspiracy theories that have been made available since, these images were not available at the time. Mad Men as a series always strives to represent its historical milieu as authentically as possible, so the characters re-enact 22 November 1963 as authentically as possible by watching only what was on television that day. The contemporary backdrop to these events, including the resonances of ‘9/11’ through Mad Men, inform and collide with the authenticity on the screen. (shrink)

With only a few exceptions, the literary theme of madness has long been a domain of Western cultural studies. Much of Western writing represents madness as an inquiry into the deepest recesses of the mind, while the comparatively scarce Chinese tradition is generally defined by madness as a voice of social truth. This paper looks at five works of twentieth-century Chinese fiction that draw on socio-somatic aspects of madness to reflect upon social truths, suggesting that the (...) inner voice of subjectivity is perhaps not the only true voice of the self. (shrink)

How the insane asylum became a laboratory of democracy is revealed in this provocative look at the treatment of the mentally ill in nineteenth-century France. Political thinkers reasoned that if government was to rest in the hands of individuals, then measures should be taken to understand the deepest reaches of the self, including the state of madness. Marcel Gauchet and Gladys Swain maintain that the asylum originally embodied the revolutionary hope of curing all the insane by saving the glimmer (...) of sanity left in them. Their analysis of why this utopian vision failed ultimately constitutes both a powerful argument for liberalism and a direct challenge to Michel Foucault's indictment of liberal institutions. The creation of an artificial environment was meant to encourage the mentally ill to live as social beings, in conditions that resembled as much as possible those prevailing in real life. The asylum was therefore the first instance of a modern utopian community in which a scientifically designed environment was supposed to achieve complete control over the minds of a whole category of human beings. Gauchet and Swain argue that the social domination of the inner self, far from being the hidden truth of emancipation, represented the failure of its overly optimistic beginnings. Madness and Democracy combines rich details of nineteenth-century asylum life with reflections on the crucial role of subjectivity and difference within modernism. Its final achievement is to show that the lessons learned from the failure of the asylum led to the rise of psychoanalysis, an endeavor focused on individual care and on the cooperation between psychiatrist and patient. By linking the rise of liberalism to a chapter in the history of psychiatry, Gauchet and Swain offer a fascinating reassessment of political modernity. (shrink)

An exploration of the greatest minds and how they have struggled to find the deepest truths about the human condition.

Book reviewed in this article: Mystical Bedlam: Madness, Anxiety, and Healing in Seventeenth Century England. By Michael MacDonald. Making It Crazy: An Ethnography of Psychiatric Clients in an American Community. By Sue E. Estroff. Mind, Mood, and Medicine: A Guide to the New Biopsychiatry. By Paul H. Wender, M.D. and Donald F. Klein, M.D.

Unreal City: a zany cartoon megalopolis where towers are built of cotton candy, facts scatter like pixie dust, and the truth is whatever you feel it to be. And it's no fantasy. It's where we live. We dwell in Unreal City. We believe in un-being. With saber-like wit, poet and professor Anthony Esolen leads readers on a tour through the ruins of their own Western world--through king-size bookstores, manicured college campuses, strobe-lit choir lofts, mechanized farms, divorce courts, drag-queen libraries, and (...) beyond. This hilarious guide to a culture gone mad with sex and self-care minces no words and spares no egos. We the people of Unreal City are no better, and certainly no smarter, than our fathers. But fear not. Sex and the Unreal City insists there's no need to settle down in the ninth circle of unreality. Esolen lights a torch and heads up the well-trod path back to our cleaner, kinder, truer homeland: earth. Along the way, the author sings the songs of masters somehow long forgotten--Shakespeare, Dante, Milton, the evangelists--and asks us to chant along. Readers of essayists like George Weigel, George Rutler, Malcom Muggeridge, and Walker Percy will enjoy this rollicking, intelligent book."--Amazon. (shrink)

In the second half of the 19th-century, a group of psychiatric experts discussed the relation between brain malfunction and moral misconduct. In the ensuing debates, scientific discourses on immorality merged with those on insanity and the brain. This yielded a specific definition of what it means to be immoral: immoral and insane due to a disordered brain. In this context, diverse neurobiological explanations for immoral mind and behavior existed at the time. This article elucidates these different brain-based explanations via five (...) historical cases of immoral persons. In addition, the article analyses the associated controversies in the context of the period’s psychiatric thinking. The rendering of the immoral person as brain-disordered is scrutinized in terms of changes in moral agency. Furthermore, a present immoral person is discussed to highlight commonalities and differences in past and present reasoning. (shrink)