Display Of Insanity

The insanity defense debate has come full circle, again. The current round began when John Hinckley opened fire; in 1843, it was Daniel M'Naghten who pulled the trigger; the "acts" of both would-be "insanity acquittees" provoked the press, the populace, a President, and a Queen to expressions of outrage, and triggered Congress, the House of Lords, judges, jurists, psychologists, and psychiatrists to debate this most maddening matter. "Insanity" -which has historically been surrounded by defenses, defen ders, and detractors-found itself once again under siege, on trial, and undergoing rigorous cross-examination. Treatises were written on the sub ject, testimony was taken, and new rules and laws were adopted. The dust has settled, but it has not cleared. What is clear to me is that we have got it wrong, once again. The "full circle" analogy and historical parallel to M'Naghten (1843) warrant some elaboration. Hinckley's firing at the President, captured by television and rerun again and again, rekindled an old debate regarding the allegedly insane and punishment (Caplan, 1984; Maeder, 1985; Szasz, 1987), a debate in which the "insanity defense" is centrally situated. The smolderings ignited anew when the Hinckley (1981) jury brought in its verdict-"not guilty by reason of insanity" (NGRI).

In the mid-1800s, a utopian movement to rehabilitate the insane resulted in a wave of publicly funded asylums—many of which became unexpected centers of cultural activity. Housed in magnificent structures with lush grounds, patients participated in theatrical programs, debating societies, literary journals, schools, and religious services. Theaters of Madness explores both the culture these rich offerings fomented and the asylum’s place in the fabric of nineteenth-century life, reanimating a time when the treatment of the insane was a central topic in debates over democracy, freedom, and modernity. Benjamin Reiss explores the creative lives of patients and the cultural demands of their doctors. Their frequently clashing views turned practically all of American culture—from blackface minstrel shows to the works of William Shakespeare—into a battlefield in the war on insanity. Reiss also shows how asylums touched the lives and shaped the writing of key figures, such as Emerson and Poe, who viewed the system alternately as the fulfillment of a democratic ideal and as a kind of medical enslavement. Without neglecting this troubling contradiction, Theaters of Madness prompts us to reflect on what our society can learn from a generation that urgently and creatively tried to solve the problem of mental illness.

For fans of Louise Rennison, Sarah Mlynowski, and Stephanie Perkins comes a laugh-out-loud, bittersweet debut full of wit, wisdom, heart, and a hilarious, unforgettable heroine. It's kind of crazy how you can pay so much attention to yourself and still not see a thing. Izzy is a hypochondriac with enormous boobs that won't stop growing, a mother with a rare disease who's hiding something, a best friend who appears to have undergone a personality transplant, and a date with an out-of-her-league athlete who just spilled Gatorade all over her. Yes, Izzy Skymen has a hectic life. But what Izzy doesn't realize is that these are only minor symptoms of life's insanity. When she discovers that the people she trusts most are withholding from her the biggest secrets, things are about to get epic -- or is it epidemic?

Reprint of the original, first published in 1882.

While much has been written on the history of psychiatry, remarkably little has been written about psychiatric collections or curating. Exhibiting Madness in Museums offers a comparative history of independent and institutional collections of psychiatric objects in Australia, New Zealand, Canada and the United Kingdom. Leading scholars in the field investigate collectors, collections, their display, and the reactions to exhibitions of the history of insanity. Linked to the study of medical museums this work broadens the study of the history of psychiatry by investigating the significance and importance of the role of twentieth-century psychiatric communities in the preservation, interpretation and representation of the history of mental health through the practice of collecting. In remembering the asylum and its different communities in the twentieth century, individuals who lived and worked inside an institution have struggled to preserve the physical character of their world. This collection of essays considers the way that collections of objects from the former psychiatric institution have played a role in constructions of its history. It historicises the very act of collecting, and also examines ethical problems and practices which arise from these activities for curators and exhibitions.

What madness meant was a fiercely contested question in Soviet society. State of Madness examines the politically fraught collision between psychiatric and literary discourses in the years after Joseph Stalin's death. State psychiatrists deployed set narratives of mental illness to pathologize dissenting politics and art. Dissidents such as Aleksandr Vol'pin, Vladimir Bukovskii, and Semen Gluzman responded by highlighting a pernicious overlap between those narratives and their life stories. The state, they suggested in their own psychiatrically themed texts, had crafted an idealized view of reality that itself resembled a pathological work of art. In their unsanctioned poetry and prose, the writers Joseph Brodsky, Andrei Siniavskii, and Venedikt Erofeev similarly engaged with psychiatric discourse to probe where creativity ended and insanity began. Together, these dissenters cast themselves as psychiatrists to a sick society. By challenging psychiatry's right to declare them or what they wrote insane, dissenters exposed as a self-serving fiction the state's renewed claims to rationality and modernity in the post-Stalin years. They were, as they observed, like the child who breaks the spell of collective delusion in Hans Christian Andersen's story "The Emperor's New Clothes." In a society where normality means insisting that the naked monarch is clothed, it is the truth-teller who is pathologized. Situating literature's encounter with psychiatry at the center of a wider struggle over authority and power, this bold interdisciplinary study will appeal to literary specialists; historians of culture, science, and medicine; and scholars and students of the Soviet Union and its legacy for Russia today.