Women and Madness

The present article examines the depiction of female corporeality in Michel Faber's neo-Victorian novel The Crimson Petal and the White (2002), focusing on the construction and perception of female bodies, trauma, and agency. Through an analysis of two female characters, Sugar and Agnes, the article explores how each woman contends with her own corporeality within an oppressive environment that perpetuates the commodification and objectification of female bodies. The analysis reveals that the trauma of both women is intrinsically linked to their gendered body and reflects the prevalent societal notions regarding femininity and womanhood. The article further demonstrates that Sugar strategically uses her body as a means of reclaiming control, while Agnes reflects the tragic consequences of women's confinement within oppressive structures.

En este ensayo se analizan los temas que definen la locura en la novela Misiá señora de Albalucía Ángel. Estos temas son la sexualidad, la religión y la identidad.  Albalucía Ángel se sitúa como precursora dentro de las narradoras que iniciaron la escritura con conciencia corporal, desde la cual se inscribe una nueva sintaxis que desafía las estructuras dominantes. El artículo explora la  forma como la autora convierte la escritura en un mecanismo de liberación desde la transgresión de normas, la alteración de la sintaxis y la fragmentación lingüística como reflejo del discurso desquiciante que atraviesa la narración.

We examine women’s rights and freedoms using a comprehensive framework that includes
all races, ethnicities, and socioeconomic categories and is based on a systematic, conceptual, and
theoretical approach. However, during the late nineteenth and early twentieth centuries, it was
difficult to speak of a well-established and comprehensive feminist movement. In addition to the
fact that there are many limits on movement and the need for reliable and fair sharing of information
across different countries, social classes, racial groups, and genders, the orientalist view of the
Western world has also affected the quality of feminist literature. Some major Western studies on
women have portrayed Turkish women in a negative light, suggesting that they are oblivious to
feminist principles. However, upon retrospective examination of British, American, and Turkish
literary works created in the late nineteenth and early twentieth centuries, it becomes evident that
each society has exhibited analogous quests for women’s rights and freedoms. This article aims to
reveal the collective experiences of women, irrespective of their race, socioeconomic class, or
ethnicity. It also aims to show how male-dominated discourse and orientalist perspectives obscure
these experiences, revealing similarities in areas like education, work rights, representation, and
violence, from the past to the present. Accordingly, this article provides a comparative examination
of following literary works from feminist orientalist perspective: “When the Door Opened” (1908)
by Sarah Grand, “The Yellow Wallpaper” (1892) by Charlotte Perkins Gilman, and “For May 1”
(1923) by Yaşar Nezihe Bükülmez.

Throughout the centuries, madness has been viewed as a historical label applied to female resistance, power and liberation. Pioneering voices in feminist thought, including Elaine Showalter, Jane M. Ussher, Phyllis Chesler, and Shoshana Felman, have explored how the concept of female madness has evolved throughout history and how it is associated with the societal norms. They have aimed at illustrating how women’s experiences gain meaning within a social context. According to them, in a patriarchal society, the phenomenon of madness has often been emphasized in relation to womanhood, with this relationship being reinforced by various discourses. It has often been noted that women who challenge patriarchal ideology through their lifestyles have, at times, been labelled as mad and confined to psychiatric institutions. These institutions have been viewed as tools used by the patriarchal system to restrict women’s freedoms and their personal development. During the twentieth century, when the feminist movement came to life, many feminist playwrights turned to examine and write about mental illness and mental institutions as tools of patriarchal oppression directed at women. These playwrights were primarily motivated by a desire to interrogate the social and historical dynamics that label women as mad and confine them to psychiatric hospitals. Award- winning playwright Charlotte Jones (1968-), one of the towering names of contemporary British theatre, focuses on two women confined in a psychiatric hospital, called St. Dymphna’s Hospital, in her first play Airswimming (1997). Jones features women whom she perceives as ‘victims of patriarchal hegemony’, highlighting their experiences and difficult conditions within the psychiatric institutions to emphasize the importance of ‘female solidarity’ in resisting patriarchal oppression. This paper aims to explore the image of the ‘mad woman’ in Airswimming, specifically through the characters of Dora and Persephone, examining the systematic pressures they face in the psychiatric hospital and the solidarity that Jones presents as a potential response to this oppression.

This article looks at Margaret Atwood’s postmodernist Neo-Victorian novel Alias Grace through the lens of Elizabeth A. Flynn, Patricia Sotirin, and Ann Brady’s theories on feminist  resilience.  In  seeing  Grace  Marks’  resilience  as  rhetorical,  relational,  and contextual, this paper provides a deep analysis of feminine vulnerability in the novel and establishes silence as a mechanism for resilience at its center, one which allows Grace to persist and subvert her position as a madwoman through the power of knowledge.

The concept of psychiatric genetics, the notion of a “family history” or “genetic loading” of so-called mental illness, has a long history in the conception, scientific status, and practice of psychiatry. There is much that is contested about this concept, including the effects of putting it to use and the construction of human-ness it assembles, the historical contingency of the concept, and its scientific validity. The consequences of this construction of human-ness can lead to less livable lives. When there is a history of psychiatric diagnosis in a family, there are alternative interpretations and practices that can contribute to more livable lives, or lives where individual, familial, and collective knowledge, as well as complexity, is honoured.

The study examines the uncompleted novel ,The Book of Franzaʻ (,Das Buch Franzaʻ, 1965–1966) written by the Austrian writer Ingeborg Bachmann. The attention is focused on the specifics of the topographical paradigms „center“ and „province“, categories „fictional“ and „real“, which form dichotomous pairs and reconstruct the space. The article investigates three main topoi, which, at the level of form, correspond to three chapters of ,The Book of Franzaʻ. The chapter ,Return to Galicienʻ presents the Carinthian province, ,Jordanian timeʻ – the Austrian post-war metropolis and ,The Egyptian darknessʻ – the desert of North Africa that balances the space specifics of the text.

At the end of her response speech to Aeneas (A. 4.380-387), Dido directs a "first" curse against him, which will then be "replaced" by the more articulated and formal one at 4.607-629. The passage presents various problems of interpretation, which have given rise to age-old discussions. Recent commentators tend to gloss over these difficulties, keeping silent about alternative possibilities or invoking the ambiguity inherent in all prophecy and the mystery of poetry. In this paper, the problems of the passage are analysed, and a history of its exegesis is traced, with particular attention to lines 384-387, in which Dido announces that she will first persecute Aeneas with black torches and then, after her death, she will haunt him everywhere as a ghost; he will pay his penalty, and news of his punishment will reach Dido in the Underworld.

Madness can be turned into a concept that is used by system in order to produce the stability of state. Social madness is related to fitting the social order than a pathological problem. The discursive construction of madness (especially as a female) is a common subject of the literary works of the Victorian Age. This paper tries to explain how a woman suffers because of not adapting to the social order, being defined as mad while she is not, how she becomes actually insane because of all these and old traditional treatments, the effects of gender roles on the imposed madness upon women, and inner conflicts of women by giving some examples from The Yellow Wallpaper of Charlotte Perkins Gilman,1899.

The pantheon of Egyptian gods was deeply embedded within the framework of family dynamics, with child deities playing a pivotal role as a member of a divine triad. Throughout much of ancient Egyptian history, these child deities were essential components of the divine familial unit, only gaining broader sacred and secular influence from the late New Kingdom. Subsequently, during the Graeco-Roman period, their veneration spread widely across the Mediterranean world, significantly together with the prevalence of Isiac worship. My research mainly compares and interprets the temple reliefs from the Upper Egypt and figurines excavated around the Mediterranean, which aims to delve into the multicultural aspects of the complicate iconography, religious functions, and cultic practices associated with child deities or the general Hellenistic term Harpocrates, and also analyzes how these elements relate to the context of familial triads. In addition, it is noteworthy that child deities not only assimilated diverse characteristics of other civilizations, but also inherited the divine functions of their parental deities within the triads.It will shed light on how these Egyptian child deities, rooted in divine families, were propelled by underlying political and cultural dynamics which promoted and shaped this narrative, and finally managed to transcend cultural boundaries in the Graeco-Roman world.

La menade è una figura complessa, sfuggente e mutevole: né
mortale né divina, né umana né animale, né morale né immorale.
La sua natura per così dire semanticamente stratificata fa sì
che la menade sia non solo oggetto di studio nelle varie discipline
– dalla storia delle religioni alla sociologia, dalla psicologia
all’arte – ma anche fonte inesauribile di ispirazione per poeti, artisti,
registi e scrittori. La menade è come argilla: si lascia plasmare, adeguandosi
a sempre nuove narratività. Non è un caso se la menade è stata di
volta in volta ardente devota di Dioniso e instancabile cacciatrice, vittima
e carnefice, sacerdotessa e prostituta, casta e ninfomane, madre e
mostro. Tali caratteristiche hanno permesso alla menade di muoversi tra
le pieghe del rito e del mito, della Storia e delle storie e di continuare a
vivere nel corso dei secoli. Ma al contempo, tale malleabilità rende arduo
ricostruire il complesso mosaico della menade, in cui ogni tessera – dai
contorni indefiniti e dai colori sfumati – si fonde e confonde con l’altra.

This research studies the specific analysis of power relations and feminist stylistic reading as explored by Burton in the context of The Bell Jar. Sylvia Plath's novel, The Bell Jar (1963), stands as a literary testament to the complexities of the human psyche, offering a profound portrayal of its protagonist's descent into mental illness. This research paper employs a stylistic approach to delve into the intricate web of language, symbolism, and narrative techniques employed by Plath in crafting this seminal work. By examining elements such as imagery, tone, syntax, and narrative structure, this paper aims to illuminate the stylistic intricacies that contribute to the thematic depth and emotional resonance of The Bell Jar. By analyzing the semantic components of sentences in the extract, Burton explores the linguistic representations of power relations and what is affecting who through a transitivity model in order to question the construction of the female character in that situation and highlight the feminist stylistic reading of Plath's novel. In the extract analyzed by the researchers, it can be thence concluded that Burton successfully manages to demonstrate the persona's powerless position while receiving electroshock therapy through focusing on Plath's representation of Esther as a character who is unable to affect her reality, a mere recipient of processes.

I’ve had psychiatric disabilities for much of my life. Life changes caused me to reflect on who I was in the world and to accept them. I began to identify myself as Disabled, and then as Mad, and to unpack the meaning of Madness and neurodivergence in neoliberal culture. I wondered what emerging Mad Studies activism and scholarship might look like. Here, I’ll write about my Mad identity, and my vision of what Mad Studies scholarship might become in a society dominated by psychiatrism, saneism, and the psy-complex. I’ll deploy a performative, poetic narrative to understand and push back against linear, rational discourses to which Mad Studies is naturally opposed, as it offers new ways of thinking and being in a Mad Mad Mad world.

Imprecise conceptualizations of dissociation hinder understanding of traumarelated dissociation. An heuristic resolution for research and clinical practice is proposed. Method: Current conceptualizations of dissociation are critically examined. They are compared with a new theory that incorporates classical views on dissociation with other contemporary theories related to traumatization, viewing dissociation as a lack of integration among psychobiological systems that constitute personality, that is, as a structural dissociation of the personality. Results: Most current views of dissociation are overinclusive and underinclusive. They embrace non-dissociative phenomena-rigid alterations in the level and field of consciousness-prevalent in non-traumatized populations, and which do not require structural dissociation. These views also largely disregard somatoform and positive symptoms of dissociation and underestimate integrative deficiencies, while emphasizing the psychological defensive function of dissociation. They do not offer a common psychobiological pathway for the spectrum of trauma-related disorders. Structural dissociation of the personality likely involves divisions among at least two psychobiological systems, each including a more or less distinct apperceptive centre, that is, a dissociative part of the personality. Three prototypical levels of structural dissociation are postulated to correlate with particular traumarelated disorders. Conclusions: Limitation of the concept of dissociation to structural dividedness of the personality sets it apart from related but non-dissociative phenomena and provides a taxonomy of dissociative symptoms. It postulates a common psychobiological pathway for all trauma-related disorders. Trauma-related dissociation is maintained by integrative deficits and phobic avoidance. This conceptualization advances diagnosis, classification, treatment and research of trauma-related disorders.

Imprecise conceptualizations of dissociation hinder understanding of traumarelated dissociation. An heuristic resolution for research and clinical practice is proposed. Method: Current conceptualizations of dissociation are critically examined. They are compared with a new theory that incorporates classical views on dissociation with other contemporary theories related to traumatization, viewing dissociation as a lack of integration among psychobiological systems that constitute personality, that is, as a structural dissociation of the personality. Results: Most current views of dissociation are overinclusive and underinclusive. They embrace non-dissociative phenomena-rigid alterations in the level and field of consciousness-prevalent in non-traumatized populations, and which do not require structural dissociation. These views also largely disregard somatoform and positive symptoms of dissociation and underestimate integrative deficiencies, while emphasizing the psychological defensive function of dissociation. They do not offer a common psychobiological pathway for the spectrum of trauma-related disorders. Structural dissociation of the personality likely involves divisions among at least two psychobiological systems, each including a more or less distinct apperceptive centre, that is, a dissociative part of the personality. Three prototypical levels of structural dissociation are postulated to correlate with particular traumarelated disorders. Conclusions: Limitation of the concept of dissociation to structural dividedness of the personality sets it apart from related but non-dissociative phenomena and provides a taxonomy of dissociative symptoms. It postulates a common psychobiological pathway for all trauma-related disorders. Trauma-related dissociation is maintained by integrative deficits and phobic avoidance. This conceptualization advances diagnosis, classification, treatment and research of trauma-related disorders.

stößt man oft auf das Motiv des Opfers. Aus welchem Grund mag die Autorin dieses Bild so oft heraufbeschwören? Was alles verbirgt sich in ihrer Interpretation hinter dem Begriff Opfer? Welche Assoziationen kommen bei ihr in diesem Zusammenhang vor? Ich möchte in meinem Beitrag nach Antworten auf diese Fragen suchen, und zwar am Beispiel des Romans Malina. Um in Ingeborg Bachmanns Konzept tiefer eindringen zu können, sind zunächst einige Erläuterungen zum Opferbegriff notwendig. Das Wort Opfer hat drei Grundbedeutungen. Im ursprünglichen Sinn bedeutet es jemandes Gabe an eine Gottheit, die immer von einer kultischen Handlung begleitet ist. Zweitens bezeichnet man mit ihm einen persönlichen Verzicht zugunsten eines Anderen, und drittens versteht man, vor allem heutzutage, unter diesem Begriff eine Person, die durch etwas oder durch jemanden vernichtet wird bzw. zu Schaden kommt. Im Verlauf der Geschichte haben sich dann, bedingt durch religiöse, kulturelle, historische und philosophische Faktoren, verschiedene weitere Bedeutungsvarianten des Opferbegriffes herausgebildet. Hier

Close consideration of several passages in Book 11 of Virgil's Aeneid reveals the influence of Aristophanes' depiction of his comic heroine Lysistrata on the characterization of the Volscian warrior maiden Camilla. Virgilian appropriation of Aristophanic lore is shown to elucidate and to offer a commentary on certain aspects of Camilla's elusive, enigmatic nature, not least with respect to the poet's presentation of the problem of civil war and of the status of women in Roman public life.

The late antique commentator Servius asserts that Book 4 of Virgil's Aeneid displays a marked influence from comedy, a judgment that has been largely ignored in scholarly criticism. Close study of the Virgilian depiction of the amatory affair of Aeneas and Dido from its inception in Book 1 through its tragic culmination in Book 4 and its underworld coda in Book 6 reveals the pervasive influence of Plautus in particular, confirming Servius' analysis and allowing for a more nuanced reading of Virgil's presentation of Rome's rival Carthage.

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The critical component of my thesis focuses on two works by Janet Frame: Faces in the Water and An Autobiography.
My critical research is situated in the emerging field of mad studies and examines the literary treatment of the lived experience of madness and psychiatrisation. Mad studies has a simple premise: the study of madness should include the mad perspective—let the mad speak of themselves. Mad is a broad term that includes anyone who is “mentally ill,” a psychiatric survivor, a psychiatric consumer, or who identifies as mad. Madness narratives, including the two texts by Janet Frame mentioned above, invite readers inside the walls of psychiatry as well as inside the experience of madness itself. However, few studies to date have focused on these narratives from the perspective of those who live with a psychiatric illness, or those who identify as mad.
This thesis argues that the Frame scholarship tends to uphold ableist and sanist notions of mad literature. Further, the biographical research on Frame often treats the author’s psychiatric history as good material for a writer who is sane, rather than formative, educative, or the foundation for a life informed by the state of being a psychiatric survivor. My research addresses these gaps by studying Frame’s madness narratives and her life through the lens of mad studies. My project builds on the pioneering mad studies work of scholars such as PhebeAnn Wolframe and Bren LeFrançois, and critically engages with Janet Frame scholars such as Jan Cronin, Sylvie Gambaudo, Susan Schwartz, and Mark Williams. By drawing on my own experience of forced psychiatrisation and living with madness, I locate mad realities that have thus far gone unacknowledged in these texts and I consider the following questions: what insights can we gain by approaching Janet Frame’s mad narratives—and the scholarship on those works—from a perspective that not only acknowledges but indeed privileges the author’s lived experience of psychiatric incarceration? And in so doing, can we counter claims that language cannot capture madness and the mad experience?

Mad matters: A critical reader in Canadian Mad Studies is useful for university students, researchers and educators who are interested in understanding and examining issues related to mental health and madness in Canadian and international contexts. Mad Studies is a growing, evolving, multi-voiced and interdisciplinary field of activism, theory, praxis and scholarship. As the authors state, 'Mad Studies can be defined in general terms as a project of inquiry, knowledge production, and political action devoted to the critique and transcendence of psy-centred ways of thinking, behaving, relating, and being' (13). This book details the history, perspectives, struggles and activist pursuits of Mad people in Canadian contexts. It discusses madness in relation to the dominance of medical models and asserts a need for the voices and knowledge of Mad people/mental health service users, consumers, survivors, ex-patients (c/s/x) to develop a platform for critiquing biomedical-psychiatric-clinical-power-knowledge systems. It is written for academic scholars, researchers, policy developers, activists and allies interested in mental health and Mad-related issues. Additionally, this book can be extended to anyone with interest in critically examining mental health issues in society. The book has 23 chapters and is divided into five parts. Part I: Mad people's history, evolving culture and language; Part II: Mad engagements; Part III: Critiques of psychiatry: practice and pedagogy; Part IV: Law, public policy and media madness; and Part V: Social justice, madness and identity politics. Part I offers an overview of the historical and contemporary significance of the Mad people's movement in Canadian and international contexts. Concepts such as psychological oppression, asylums as instruments of social control, survivor activism, c/s/x narratives, language politics, resistance to domination and critical community formation are discussed. The role of social actors and activists is highlighted in challenging conventional medicalizing paradigms and discourses of mental illness and psychiatric power to expose 'systemic and symbolic violence' at the core of the psychiatric system (3). The Mad people's movement is also connected to intersecting experiences of gender, race, poverty, class, sexuality and disability. Part II examines the epistemic fissures between psychiatric power and Mad activism to discuss psychiatrization as a form of epistemic violence where 'certain persons or groups within society are disqualified as legitimate knowers at a structural level through various institutional processes and practices' (123). The lived experiences of psychiatric survivors are highlighted using narrative and biographical accounts to discuss issues such as Mad grief as a way to contest medicalization of bereavement. Experiences of coercion,

Peter Lehmann speaks from his life, when he, in 1977, went mad for the first time, as he tried to manoeuvre himself through an increasingly stressful situation. All the bad experiences which he had silently swallowed but apparently not digested, was breaking out of him. He was displaced in a madhouse, treated with neuroleptics, developed a tardive dyskinesia in the form of a rabbit syndrome (compulsive nibbling) and other drug-caused diseases, but when he was released from the institution, he was so apathetic that he even forgot to continue swallowing the neuroleptics prescribed for the long term, whereupon he recovered from the treatment and got healthy again. From all these experiences, he developed his concept of Humanistic Antipsychiatry, which differs significantly from the primitive, the academic and the patriarchal antipsychiatry. In the meantime, he wrote, edited and published a series of books also on alternatives to psychiatry, on low-risk withdrawal from prescribed psychotropics and much more.

Oppression results in persistent and intersecting impacts on women's health, including their spiritual, psychological and biophysical health. Although the concepts of oppression and stress have been discussed extensively in the literature, there is relatively little discussion of the complex interplay among the body's biophysical stress handling systems and the everyday impacts of oppression. This article focuses on the root causes of women's mental health struggles, with emphasis on the nature and impacts of intersecting oppressions and the social determinants of health. Violence against women is highlighted as a key foundation for women's stress across the lifecourse. Oppression has a profound and long-lasting impact on the body's stress handling system. These pathways are detailed with a focus on mental health and biophysical health consequences of oppression. The article concludes with a discussion of the new drivers of medicalization, and psychiatrization in particular, in the context of oppression and women's mental health. Root Causes of Women's Mental Health Struggles Critical perspectives, particularly in the area of the SDH, have illuminated the root causes of compromised health outcomes-the causes-of-the-causes. Public policy approaches, particularly the neoliberal ideologies, continue to shift the locus of responsibility from the state (i.e. maintenance of strong social safety nets) to the realm of the individual or family unit (Raphael, 2012). The primary onus for solution is thus placed on the women themselves, rather than on collective societal efforts to look after the most vulnerable among us. As the following discussion emphasizes, intersections of inequities in the SDH are of central importance in understanding these root causes. Oppression & the Social Determinants of Women's Mental Health The social determinants of women's mental health are foundational to understanding the pathways that create mental health struggles. These persistent inequities create ongoing, significant disadvantage and material deprivation for women oppressions related to SDH, including mental health, are powerful predictors of health and social outcomes across the lifecourse. There has been extensive work in

This dissertation examines the portrayals of unconventional and “unruly” female characters in two American operas of the late-twentieth and early-twenty-first centuries, Clair de Lune (1984) by Libby Larsen and Patricia Hampl, and Amelia (2010) by Daron Hagen, Gardner McFall, and Stephen Wadsworth. I explore how these recent works variously reflect, embody, and undermine the art form’s historically problematic depictions of such women. Although one of opera’s central pillars is its adoration and exhibition of the feats achievable by the female voice, female opera characters, particularly those who threaten the societal conventions depicted onstage, are consistently manipulated, sabotaged, and often violently removed before the final curtain falls. As my case studies demonstrate, the figure of the transgressive operatic heroine continues to captivate composers and librettists as they choose to center such a figure in their works.

Clair de Lune and Amelia are each set in the twentieth-century United States and comprise largely historical and realistic plots. Both operas also feature an aviatrix as a major character. The presence of an aviatrix allows me to examine an atypical operatic character and an operatic portrayal of an exceptional kind of woman, as well as differing representations of flight in each work. These operas celebrate women who reject external attempts to control them; more importantly, perhaps, the women emerge from their respective plots alive and in some state of self-possession. Although each opera depicts a heroine who transgresses societal pressures, the ways in which the two operas treat her and the resolution she reaches by the final curtain articulate differing perspectives on the genre’s historical treatment of women. These two works demonstrate an art form continuing to wrestle with its legacy, with differing degrees of success.

Clair de Lune and Amelia reflect numerous ways in which opera’s past casts a long shadow. Each opera reckons with inherited conventions, variously commenting upon, critiquing, or embracing them as a model. Each enacts self-conscious references to opera’s history through quotation, satire, and structure. I focus particularly on how each opera engages with the operatic convention of the mad scene, and I explore how these portrayals are tied to a complex medicocultural history of female hysteria. Within these sites of inquiry, I question the ways in which contemporary opera is still beholden to legacies of the past, and I explicate how these works speak to opera’s potential and future as a vibrant and empowering art form that variously challenges or embraces the traditional roles of its women.

Highlighting the work taking place at the crossroads of sociology, sexuality studies, gender studies, cultural studies, and performance studies, this series offers a platform for scholars pushing the boundaries of gender and sexuality studies substantively, theoretically, and stylistically. The authors draw on insights from diverse scholarship and research in popular culture, ethnography, history, cinema, religion, performance, new media studies, and technoscience studies to render visible the complex manner in which gender and sexuality intersect and can, at times, create tensions and fissures between one another. Encouraging breadth in terms of both scope and theme, the series editors seek works that explore the multifaceted domain of gender and sexuality in a manner that challenges the taken-for-granted. On one hand, the series foregrounds the pleasure, pain, politics, and aesthetics at the nexus of sexual practice and gendered expression. On the other, it explores new sites for the expression of gender and sexuality, the new geographies of intimacy being constituted at both the local and global scales.

This research examined Borderline Personality Disorder, gender differences and socioeconomic status as predictors of deviant behaviours among students of Borstal Training Institute. The age baseline for the assessment of borderline personality disorder is 18years and for that reason, this study used, seventy six males (67.00%) and thirty seven (33.00%) females who were 18 years and above for the study. The participants were selected using purposive sampling technique. Three instruments were used; Demographic questionnaire, MacLean Screening Instrument for borderline personality disorder and Deviant Behaviour Variety Scale to collect data for the study while simple linear regression, t-test and analysis of variance (ANOVA) was used in the analysis. The results showed that Boderline Personality Disorder predicted deviant behavior and there was a significant gender difference in deviant behavior among students of the Borstal Training Institute. There was no significant difference in deviant behaviour by socioeconomic status among students of the Borstal Training Institute. Based on the result, the first and second alternate hypotheses were accepted while the third hypothesis was rejected. Limitations of the study were stated; and recommendations made for further studies.

The Female Gothic, as coined by Ellen Moer in her celebrated novel Literary Women, presents women's domestic roles through the supernatural to express the horrors of their docility. Narratives pertaining to this literary canon are frequently considered reflective of a woman's journey toward liberation. By analyzing current film and television narratives alongside a classic short story, this paper reveals reveals a neglected aspect of the Female Gothic mode. The conversation centered on the characteristics of the Female Gothic, while fitting in its observations, disregards the medium that realizes such familiar themes as female entrapment and a suppressive male antagonist. Through fastidious analyses of Charlotte Perkins Gilman's "The Yellow Wallpaper," along with Netflix's miniseries The Haunting of Bly Manor (2020) and Universal Picture's The Invisible Man (2020), this essay demonstrates how the act of looking effectuates women's doubts over domestic confinements.

Considering Vera Caspary's Bedelia as a reimagining of Mary Elizabeth Braddon's Lady Audley's Secret allows for a new critical interpretation that refutes the typical view of Bedelia as reinforcing traditional gender roles. Instead, Caspary critiques World War II America by bringing Victorian concerns with female roles into the twentieth century. A scandalous success during its own time, Mary Elizabeth Braddon's 1863 novel Lady Audiey's Secret was an inspiration for many writers who borrowed both its piot and sensational elements. 1 One adaptation that has not received sustained critical attention in this regard is Vera Capsary's 1944 novel Bedelia. Considering Bedelia as a reimagining of Lady Audley's Secret allows one to read against the grain of critical interpretation of Caspary's novel, which tends to see it as reinforcing traditional gender roles. On the contrary, in rewriting Bradd on's novel , Caspary brings Victorian-era concerns with female identity and women's limited opportunities into the twentieth century, providing a social critique of World War II America. In addition, the genres in which each author was working-nineteenth-century sensation fiction and twentieth-century crime fiction-were especially suited to questioning the cultural hegemonies of their respective time periods, particularly with regard to gender. Although Lady Audley's Secret has garnered much critical attention in recent yea rs, Bedelia, recently reissued by the Feminist Press, is likely less familiar to readers. Caspary's novel focuses on the relationship of a newly married couple, Charlie and Bedelia Horst. The novel is set in a Connecticut country house over a few days in 1913, as Charlie slowly discovers that his perfect wife has not only attempted to poison him but has killed several previous husbands as well. The novel ends with Charlie pressing Bedelia to commit suicide by drinking the very poison she had given him. Although there is no direct evidence that Caspary read Lady Audley's Secret, she was

Foucault'nun "uysal bedenler"ini yorumlayan Rosemarie Garland-Thomson, haklı olarak "normatif standarttan en çok ayrılanların en fazla bağımlı olduğunu" öne sürer. Bu kural Lord of the Flies'da Simon, Piggy ve mor bir doğum lekesi taşıyan küçük bir çocuk için de geçerlidir. Simon'ın epilepsisi, Piggy'nin astımı, şişmanlığı ve miyopluğu, ve küçük çocuğun yüzündeki doğum lekesi onları adadaki toplumda damgalar. Aslında onlar Foucaultcu "norm"a yani gelişimle ilgili "modern toplum yasası"na karşı gelirler. "Patolojik bedenler"e sahip olduklarından disiplin altına alınamazlar. Bu yüzden adada ortadan kaldırılan yegâne insanlar, onlardır. Hem demokratik liderliği temsil eden Ralph hem de zorba liderliği temsil eden Jack, "sistematik yaratma, özdeşleşme, sınıflandırmayı kolaylaş"tıran ve her türlü anomaliyi kontrol altına alan "normalleştirme teknolojilerini" kullanarak toplumu yönetmeye çalışmaktadır. Bu nedenle damgalanmış çocuklar ötekilerden ayrılır. Bu çalışma, Nobel ödüllü William Golding'in Lord of the Flies'ını engellilik üzerine Foucaultcu sosyokültürel bakış açısına göre çözümlemeyi amaçlamaktadır.

Highlighting the work taking place at the crossroads of sociology, sexuality studies, gender studies, cultural studies, and performance studies, this series offers a platform for scholars pushing the boundaries of gender and sexuality studies substantively, theoretically, and stylistically. The authors draw on insights from diverse scholarship and research in popular culture, ethnography, history, cinema, religion, performance, new media studies, and technoscience studies to render visible the complex manner in which gender and sexuality intersect and can, at times, create tensions and fissures between one another. Encouraging breadth in terms of both scope and theme, the series editors seek works that explore the multifaceted domain of gender and sexuality in a manner that challenges the taken-for-granted. On one hand, the series foregrounds the pleasure, pain, politics, and aesthetics at the nexus of sexual practice and gendered expression. On the other, it explores new sites for the expression of gender and sexuality, the new geographies of intimacy being constituted at both the local and global scales.

Exposure to violence, vulnerability due to lack of shelter, alienation due to stigma, the experiences of severe mental illness (SMI) and subsequent institutionalization, make homeless persons with SMI uniquely susceptible to trauma exposure and subsequent mental health consequences. This study aims to contribute to the development of culturally sensitive interventions for identifying and treating trauma in a population of homeless persons with SMI in Tamil Nadu, India by understanding the manifestations of trauma and its associated consequences in this population. Free-listing exercises followed by in-depth interviews were conducted with a convenience sample of 26 user-survivors who have experienced homelessness or were at risk of homelessness, and suffered from SMI. Topics explored included events considered to be traumatic, pathways to trauma, associated emotional, physical and social complaints, and coping strategies. Results indicate discrepancies in classification of traumatic ...

Der folgende Beitrag ist die Erweiterung eines Kurzvortrags, den ich bei der ESWTR-Konferenz in Salzburg nach den Vorträgen von Lucy Tatman, " Western European-American Feminist Christian Theologians: What Might It Mean to Take Ourselves Seriously?", und von Marcella Althaus Reid, "Queer I stand" gehalten habe. Monika Walus Die Frau als locus theologicus? Für Narcyza und viele andere Ich möchte gerne die mitteleuropäische ESWTR-Konferenz, die im Jahr 2000 Jahr in Polen stattfand, zum Anlass nehmen, meine Erfahrungen nun bei der internationalen Konferenz in Salzburg darzustellen. Wir haben heute 1 die energischen Bekenntnisse der amerikanischen Quäkerin Lucy Tatman und der argentinischen ehemaligen 'queer'-Theologin Marcella Althaus-Reid gehört. Sie waren voller Kraft und Gefühl. Ich zweifle nicht daran, dass sie wirklich dem entspricht, was sie in ihrem Alltag erfahren. Hier aber, bei dieser Konferenz wie auch in meinem eigenen feministischen Milieu in Polen, herrscht eine andere Situation. Deshalb möchte auch ich ein Coming Out wagen und mein Bekenntnis ablegen: Ich bin Mitteleuropäerin, genauer gesagt, Polin, verheiratet und deshalb bin ich 'queer'. Diskussionsthemen der Konferenz in Lublin Vom 13.-16. August 2000 fand an der Katholischen Universität Lublin eine regionale mittel-und osteuropäische Konferenz der ESWTR (die erste in Polen) statt. Das Thema lautete: "Mutterschaft als locus theologicus". Es war ein einmaliges feministisches Ereignis in Polen, da es die erste Begegnung dieser Art war. Über 60 Frauen aus 14 Ländern waren zu dieser Konferenz von Frauen für Frauen gekommen. Die anwesenden Frauen repräsentierten verschiedene Religionen, Konfessionen und Traditionen. Wir haben vor allem unsere Verschiedenheit, aber auch unsere Gemeinsamkeiten entdeckt. Obwohl dank des Buches von Elzbieta Adamiak, "Die schweigende Anwesenheit", in Polen feministische Themen öffentlich diskutiert werden, war diese Konferenz das erste öffentliche Treffen von Frauen, die an feministischer Theologie Forum 132 2 Bilder und Texte der Konferenz in Polen waren im Konferenzsaal ausgestellt. interessiert sind. Wir haben bei der Konferenz mehr Themen 'eröffnet' als 'abgeschlossen' und mehr Fragen gestellt als beantwortet. Im folgenden will ich auf ein paar davon näher eingehen. Sie gehen weit über den Rahmen der dortigen Diskussion hinaus und erweisen sich im Kontext der Salzburger Konferenz als hochaktuell. 2 Es ist üblich, von Früchten einer Konferenz zu reden. Ich möchte eher von entdeckten Mängeln und Bedürfnissen sprechen. Eines der heißesten Diskussionsthemen in Lublin war die Frage nach der Erfahrung der Mutterschaft, besonders im religiösen und theologischen Kontext. Nicht nur in der römisch-katholischen Kirche in Polen, der ich angehöre, hören wir oft, Mutterschaft sei eine typisch weibliche Erfahrung. Als sichersten Weg zu Gott, der den Vorzug verdient, stellt man jedoch vor allem das Priesteramt und das Ordensleben in den Vordergrund. Beide werden als besondere Berufung verstanden. Eine Mutter zu sein, ist hingegen etwas Normales und Natürliches, das ganz einfach die Mehrheit der Frauen betrifft. Für die Berufung zur Nonne wird ein spezielles Charisma, eine besondere Gnadengabe vorausgesetzt. Um Mutter zu sein, genügt es einfach, Frau zu sein. Oft wird gesagt, eine Nonne verzichte auf ihre natürliche Neigung zur (biologischen) Mutterschaft und werde statt dessen zur geistigen Mutter. Man geht folglich davon aus, dass eine Mutter einfach ihren natürlichen Instinkten, ihrer Natur als Frau folge. Was die Berufung einer Frau zur Nonne angeht, so werden hier oft Ausdrücke verwendet wie: 'sich Gott ganz opfern', 'sich vollkommener Gott hingeben', 'näher bei Gott stehen', 'ein Leben der Vollkommenheit führen'. In offiziellen Dokumenten habe ich noch nie die Aussage gefunden, dass sich eine Frau als Mutter oder als Ehefrau ganz Gott hingeben könne, oder dass Ehe oder Mutterschaft besondere, gnadenvolle Wege zu Gott seien. Natürlich ist es die Berufung der Frau. Ist es dies aber, um näher bei Gott zu stehen oder nur deshalb, um Kinder zu gebären und zu erziehen? Mutter zu sein ist natürlich, Ordensfrau-geweihte Jungfrau-zu sein hingegen übernatürlich. Dazu habe ich ein paar Fragen. Ist die Mutterschaft (k)eine Berufung? Gibt es für Frauen nur eine einzige Berufung, nämlich die zur Nonne? Wenn dies der Fall ist, weshalb wird Mutterschaft dann derart gepriesen? Diese Frage darf nicht einfach abgewunken werden. Denn: Wozu sollen Frauen Mutter werden, wenn das Ordensleben quasi ex opere operato doch höher steht und näher zu Gott bringt? Wir wissen alle, dass Mutterschaft allzu leicht zu anderen Zwecken missbraucht werden kann-ich möchte nur an das Lob der Mutterschaft in Kriegszeiten erinnern, wenn Vater Staat gerade viele Söhne braucht.

In this paper I try to demonstrate that in his Argonautica Velarius Flaccus treats some episodes in a way that could be interpreted as a commentary on relevant passages of Virgil’s Aeneid. More particularly, I focus on cases the are presented as prequels to the Aeneid and I argue that this is a strategy that allows Valerius to safeguard his originality and at the same time reinforces his suggestion (with metaliterary implications) that Argo is the first ship.

Viel, sehr viel ist schon über die Behandlung der Geschlechterdifferenzen bei Ingeborg Bachmann gesagt und geschrieben worden 1. Spätestens bei der Veröffentlichung der vierbändigen Ausgabe von Christine Koschel und Inge von Weidenbaum (1978) entdeckten die InterpretInnen erstmals Bachmanns Auseinandersetzung mit der untergeordneten Stellung der Frau in der patriarchalischen Gesellschaft. Ihr Werk hat aber den feministischen Bachmann-Inter-pretInnen immer große Schwierigkeiten bereitet, indem es sich jeder Theorie, jeder Festlegung entzog. Man konnte ihr zum Beispiel in den siebziger, achtziger Jahren vorwerfen, hilflos leidende oder leidenschaftlich liebende Frauenfiguren dargestellt zu haben, die sich mit ihrem Opferstatus abfinden, das heißt dadurch die Geschlechterpolarität und die Rollenverteilung des 19. Jahrhunderts zu reproduzieren. Später neigte man dazu, ihr Werk theoretisch auf den französischen Poststrukturalismus undifferenziert zu beziehen. Ich möchte hier zeigen, wie sehr Bachmann immer wieder zwischen Konstruktion und Dekonstruktion der Geschlechterdifferenzen, das heißt auch zwischen einem kritischrealistischen und einem utopischen Bild der Gesellschaft und gesellschaftlichen Realität hin und her pendelt. Meines Erachtens sollte man die österreichische Schriftstellerin und ihr Werk an keiner festen, eindeutigen Stelle geisteswissenschaftlicher Entwicklung verorten, mit keiner »Schule« verbinden; vielmehr wird hier festgestellt, daß sie etliche Entwicklungen vorausgenommen, vieles antizipiert hat, ohne jemals mit einer Bewegung identifiziert werden zu können. Was natürlich nicht ausschließt, daß sie von einigen vereinnahmt werden mochte. Das Wort Dekonstruktion soll hier nicht oder nicht genau im Sinne Derridas verstanden werden, sondern im allgemeineren Sinne als Aufhebung der Kategorisierung bzw. Dichotomisierung der Geschlechter-wobei noch näher bestimmt werden muß, ob eine solche Aufhebung im physischen, sexuellen oder bloß im gesellschaftlichen Bereich gemeint ist. Der vorliegende Aufsatz stellt sich gerade zur Aufgabe, Bachmanns Auffassung der Dekonstruktion der Geschlechter in ihrem schillernden, facettenhaften Charakter näher zu bestimmen.

Zum Thema Mutterschaft entstand nach der Publikation der Studie #regrettingmotherhood (Donath 2015) eine öffentliche Diskussion um ambivalente Gefühle in Zusammenhang mit Mutterschaft. Der Beitrag verfolgt die These, dass diese Ambivalenz lange tabuisiert worden ist und es an entsprechendem Vokabular und an Ausdrucksmöglichkeiten fehlt. Eine sprachliche Annäherung findet indessen in der aktuellen Literatur statt. Daher werden Schilderungen der Mutterschaftserfahrung in drei europäischen Romanen untersucht: Still leben (2018) von Antonia Baum, Sight (2019) von Jessie Greengrass und Toucher la terre ferme (2022) von Julia Kerninon. Eine Analyse der literarischen Erzählungen geschieht vor dem Hintergrund des kanonischen Texts der feministischen Mutterschaftsforschung Of Woman Born von Adrienne Rich aus dem Jahr 1976 und mit Rückgriff auf Richs Methode einer Kombination aus phänomenologischer Beschreibung und theoretischer Reflexion. Aus der Interpretation der literarischen Schilderunge...

Synopsis

The very opening sequence of the movie ensures that the viewers are made conscious of the disturbed filmic world of Kotoko (2011). Metaphorically communicated through jittery camera movements and a devilish cacophony (cinematic techniques which will recur throughout the span of the movie) is the trajectory of Kotoko’s motherhood. It is made evident that Kotoko (played by Coco) has abandoned her career in music and devoted herself to being a full-time mother to her new born son, Daijiro. There is no mention of a father, but it is only Kotoko and her son Daijiro against a cruel world, made even crueler in Kotoko’s persistent delusions where she constantly sees herself and her child being attacked by strangers. While Kotoko clearly comes across as clinically deranged, it is hard not to sympathize and feel for her. Paralleling Kotoko’s psychological breakdown is the harsh social reality surrounding single-motherhood. Poverty, alienation, perils of single-motherhood, ever-increasing instances of violence against women and children, and stigmatization of mental health issues are always on the periphery, making life even more difficult for Kotoko. Compounding all her existential woes is the constant fear about being a bad mother that plagues her every waking hour. In the movie, Kotoko barely speaks, but the viewers are made privy to her thoughts which are mostly self-accusatory, full of self-doubts, and bordering on paranoia.

The movie brilliantly captures the (m)othering of Kotoko, as she is incapable of tackling the newly acquired duties of motherhood, and is dehumanized for the monster she becomes as her paranoia convinces her that committing filicide is the only surefire way of saving Daijiro from suffering in a cruel world. The ending of the movie shows a fateful end awaiting Kotoko as she spends her final days incarcerated within the stark white walls of an asylum whose efficaciousness is questionable to say the least. In doing so the movie questions not only the socially sanctified standards of motherhood, the pressure of which Kotoko could not psychologically bear, but also critically interrogates the failure of society in protecting the marginalized.

C Co om mi in ng g i in n J Ju ul ly y ♦ ♦ Focus on affective disorders: six research reports ♦ ♦ Two studies of outcomes for residents of supported housing ♦ ♦ Features of effective programs for treating co-occurring disorders ♦ ♦ A national survey of strategies to manage Medicaidcovered behavioral health care

Summary of research .............................................................................................. 1 Acknowledgements ............................................................................................................... 3 Glossary of Definitions and Abbreviations ............................................................................. 4 1. Chapter One: Introduction ................................................................................................. 6 1.