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Rhetorics of Mental Disability and Academic Life
A very important study that will appeal to a disability studies audience as well as scholars in social movements, social justice, critical pedagogy, literacy education, professional development for disability and learning specialists in access centers and student counseling centers, as well as the broader domains of sociology and education. ---Melanie Panitch, Ryerson University "Ableism is alive and well in higher education. We do not know how to abandon the myth of the 'pure (ivory) tower that props up and is propped up by ableist ideology.' . . . Mad at School is thoroughly researched and pathbreaking. . . . The author's presentation of her own experience with mental illness is woven throughout the text with candor and eloquence." ---Linda Ware, State University of New York at Geneseo Mad at School explores the contested boundaries between disability, illness, and mental illness in the setting of U.S. higher education. Much of the research and teaching within disability studies assumes a disabled body but a rational and energetic (an "agile") mind. In Mad at School, scholar and disabilities activist Margaret Price asks: How might our education practices change if we understood disability to incorporate the disabled mind? Mental disability (more often called "mental illness") is a topic of fast-growing interest in all spheres of American culture, including popular, governmental, aesthetic, and academic. Mad at School is a close study of the ways that mental disabilities impact academic culture. Investigating spaces including classrooms, faculty meeting rooms, and job searches, Price challenges her readers to reconsider long-held values of academic life, including productivity, participation, security, and independence. Ultimately, she argues that academic discourse both produces and is produced by a tacitly privileged "able mind," and that U.S. higher education would benefit from practices that create a more accessible academic world. Mad at School is the first book to use a disability-studies perspective to focus specifically on the ways that mental disabilities impact academic culture at institutions of higher education. Individual chapters examine the language used to denote mental disability; the role of "participation" and "presence" in student learning; the role of "collegiality" in faculty work; the controversy over "security" and free speech that has arisen in the wake of recent school shootings; and the marginalized status of independent scholars with mental disabilities. Margaret Price is Associate Professor of English at Spelman College.
A History of Resurgent Rabies in Southern Africa
In South Africa, rabies has been on the rise since the latter part of the twentieth century despite the availability of postexposure vaccines and regular inoculation campaigns for dogs. In Mad Dogs and Meerkats: A History of Resurgent Rabies in Southern Africa, Karen Brown links the increase of rabies to the HIV/AIDS epidemic. Her study shows that the most afflicted regions of South Africa have seen a dangerous rise in feral dog populations as people lack the education, means, or will to care for their pets or take them to inoculation centers. Most victims are poor black children. Ineffective disease control, which in part depends on management policies in neighboring states and the diminished medical and veterinary infrastructures in Zimbabwe, has exacerbated the problem.
This highly readable book is the first study of rabies in Africa, tracing its history in South Africa and neighboring states from 1800 to the present and showing how environmental and economic changes brought about by European colonialism and global trade have had long-term effects.
Mad Dogs and Meerkats is recommended for public health policy makers and anyone interested in human-animal relations and how societies and governments have reacted to one of the world’s most feared diseases.
The Final Testament of a Huichol Messiah from Northwest Mexico
This is the story of an anthropologist's encounter with a Huichol Indian known as "Mad Jesus." Jesús was an artisan, a shaman, a self-styled prophet, a mad messiah, and a murderous mystic. Timothy J. Knab was a young anthropologist soliciting life histories from Huichols in Mexico City when they met. The life story of Jesús may have been the ravings of a madman, but it also embodied the Huichol anticipation of the return of Santo Cristo, the savior who will restore the Huichol to their place as masters of the world around them. Neither Knab's studies in anthropology nor his experiences in the world of counterculture prepared him to understand this strange Indian and his violent history and behavior.
Those who are mad like Antonin Artaud, are they just as mad as he was? Madness, like the plague, is contagious, and everyone, from his psychiatrists to his disciples, family, and critics, everyone who gets close to Artaud, seems to participate in his delirium. Sylvère Lotringer explores various embodiments of this shared delirium through what Artaud called “mental dramas”—a series of confrontations with his witnesses or “persecutors” where we uncover the raw delirium at work, even in Lotringer himself. Mad Like Artaud does not intend to add one more layer of commentary to the bitter controversies that have been surrounding the cursed poet’s work since his death in 1948, nor does it take sides among the different camps who are still haggling over his corpse. This book speaks of the site where “madness” itself is simmering.
Women and Music in Offenbach's "Les Contes d'Hoffmann"
In a lively exploration of Jacques Offenbach's final masterpiece, Heather Hadlock shows how Les Contes d'Hoffmann summed up not only the composer's career but also a century of Romantic culture. A strange fusion of irony and profundity, frivolity and nightmare, the opera unfolds as a series of dreamlike episodes, peopled by such archetypes as the Poet, the Beautiful Dying Girl, the Automaton, the Courtesan, and the Mesmerist. Hadlock shows how these episodes comprise a collective unconscious. Her analyses touch on topics ranging from the self-reflexive style of the protagonist and the music, to parallels between nineteenth-century discourses of theater and medical science, to fascination with the hysterical female subject.
Les Contes d'Hoffmann is also examined as both a continuation and a retraction of tendencies in Offenbach's earlier operettas and opéra-comiques. Hadlock investigates the political climate of the 1870s that influenced the composer's vision and the reception of his last work. Drawing upon insights from feminist, literary, and cultural theory, she considers how the opera's music and libretto took shape within a complex literary and theatrical tradition. Finally, Hadlock ponders the enigmas posed by the score of this unfinished opera, which has been completed many times and by many different hands since its composer's death shortly before the premiere in 1881. In this book, the "mad loves" that drive Les Contes d'Hoffmann--a poet's love, a daughter's love, erotic love, and fatal attraction to music--become figures for the fascination exercised by opera itself.
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Charles Ives, the Nostalgic Rebel
Mad Music is the story of Charles Edward Ives (1874-1954), the innovative American composer who achieved international recognition, but only after he'd stopped making music. While many of his best works received little attention in his lifetime, Ives is now appreciated as perhaps the most important American composer of the twentieth century and father of the diverse lines of Aaron Copland and John Cage. Ives was also a famously wealthy crank who made millions in the insurance business and tried hard to establish a reputation as a crusty New Englander. To Stephen Budiansky, Ives's life story is a personification of America emerging as a world power: confident and successful, yet unsure of the role of art and culture in a modernizing nation. Though Ives steadfastly remained an outsider in many ways, his life and times inform us of subjects beyond music, including the mystic movement, progressive anticapitalism, and the initial hesitancy of turn-of-the-century-America modernist intellectuals. Deeply researched and elegantly written, this accessible biography tells a uniquely American story of a hidden genius, disparaged as a dilettante, who would shape the history of music in a profound way.
Making use of newly published letters--and previously undiscovered archival sources bearing on the longstanding mystery of Ives's health and creative decline--this absorbing volume provides a definitive look at the life and times of a true American original.
A History of Mental Disorder in Early Modern Italy
Based on three hundred civil and criminal cases over four centuries, Elizabeth W. Mellyn reconstructs the myriad ways families, communities, and civic and medical authorities met in the dynamic arena of Tuscan law courts to forge pragmatic solutions to the problems that madness brought to their households and streets. In some of these cases, solutions were protective and palliative; in others, they were predatory or abusive. The goals of families were sometimes at odds with those of the courts, but for the most part families and judges worked together to order households and communities in ways that served public and private interests.
For most of the period Mellyn examines, Tuscan communities had no institutions devoted solely to the treatment and protection of the mentally disturbed; responsibility for their long-term care fell to the family. By the end of the seventeenth century, Tuscans, like other Europeans, had come to explain madness in medical terms and the mentally disordered were beginning to move from households to hospitals. In Mad Tuscans and Their Families, Mellyn argues against the commonly held belief that these changes chart the rise of mechanisms of social control by emerging absolutist states. Rather, the story of mental illness is one of false starts, expedients, compromise, and consensus created by a wide range of historical actors.
Shimao Toshio and the Margins of Japanese Literature
Hailed by the noted critic Karatani Kojin as a more important and lasting writer than Mishima, Shimao Toshio (1917-1986) remains almost unknown in the West. Several of his short stories have appeared in English translation, yet it is only now, with the publication of Philip Gabriel's comprehensive and searching study, that Shimao's work is being introduced to the worldwide audience it deserves. Mad Wives and Island Dreams not only is a thorough assessment of the literary legacy of a highly original and influential writer, but also represents a significant contribution to the consideration of much broader issues relating to the emergence and nature of the postwar Japanese sense of identity. Shimao's fiction covers a wide range of topics: the war and its aftermath, the unconscious, the nuclear family, madness, the position of women, the culture of Japan's southern islands. Shimao's experiences as a survivor of a "kamikaze" unit underscore much of his literature and resulted in a series of compelling short stories unique in modern fiction. Many of these early, critically acclaimed works, including the classic "Everyday Life in a Dream," are based on the narrative logic of the unconscious. Mad Wives and Island Dreams contextualizes these "dream stories" as a literary expression of wartime trauma and argues that Shimao's powerful narration of guilt and victimization challenges standard readings of Japanese war literature. Shimao's most popular works are the byosaimono (literally "stories of a sick wife"), which chronicle the real-life crisis of his wife's madness in the mid-1950s. Among these is the writer's best-known work, the 1977 novel Shi no toge (The sting of death), widely recognized as one of the masterpieces of Japanese literature. The novel further explores Shimao's "literature of the victimizer" and wartime experience while revealing a feminist perspective that explores links between the suppressed aspirations of women and madness. Perhaps, most importantly, just as the novel examines the relationship between the wife, Miho, and her southern island roots, Shi no toge parallels Shimao's growing concern over the culture of marginalized regions and notions of cultural diversity-a concern that would eventually result in the Yaponesia essays. In Mad Wives and Island Dreams, Gabriel succeeds in linking all of the seemingly disparate strands within Shimao's oeuvre--the war stories, the byosaimono, the dream stories, the Yaponesia writings-categories all too often discussed in isolation. He shows convincingly that together they represent a consistent and concerted attempt to depict the existence of "the Other," the significant periphery of a less than homogenous whole. This volume will prove fascinating and important reading for those interested in questions of cultural identity and marginalization as well as Japanese literature and culture.