Madness and Literature

Questo articolo si propone di ricostruire le circostanze reali su cui è fondata la trama del racconto “War Years” tratto dalla raccolta The Refugees (2017) e parte del romanzo The Sympathizer (2015) di Viet Thanh Nguyen. In “War Years”, Nguyen dà infatti vita a una versione romanzata del cosiddetto movimento di Restaurazione della Patria (Y T. Nguyen 2018), un ampio ventaglio di fronti anticomunisti nati dalle ceneri delle forze armate sudvietnamite dopo la sconfitta del 1975. Questi fronti furono responsabili di vari e infruttuosi tentativi di infiltrare la madrepatria allo scopo di rovesciare il governo di Hanoi nel corso degli anni Ottanta. La sezione iniziale di questo articolo è quindi concepita come un’analisi dal taglio prettamente storiografico, basata su un campione di fonti tratte dalla stampa dell’epoca, supportate da contributi accademici. La seconda parte indaga invece come – e in quale misura – questi stessi eventi storici abbiano influenzato il romanzo e il racconto di Nguyen. Da un lato, il saggio esamina la duplice strategia narrativa (realismo vs. satira) attraverso cui l’autore trasforma in grande letteratura una piccola storia sommersa sconosciuta ai più; se il romanzo riformula la storia del movimento di Restaurazione della Patria come una narrazione quasi surreale, “War Years” indaga l’impatto del movimento sulla vita quotidiana dei rifugiati vietnamiti nella San José dell’era Reagan, restituendo così umanità a figure e personaggi tradizionalmente esclusi dalle narrazioni canoniche della Guerra del Vietnam. Infine, il saggio dimostra come i riferimenti alla storia americana (la Guerra civile, il genocidio dei nativi americani, ecc.), presenti sia in “War Years” che in The Sympathizer, debbano essere letti come indizi testuali che evidenziano come i rifugiati possano adottare i miti fondativi dei paesi ospitanti al punto di arrivare a replicarne inconsciamente le dinamiche.

This paper reinterprets William Shakespeare's Hamlet through the lenses of psychoanalysis and performance theory, positing that Hamlet's soliloquies function as staged therapy sessions-dramatic enactments of his unconscious conflicts. Rather than treating them as literary constructs, the analysis views these soliloquies as acts of self-analysis, with Hamlet, assuming both the roles of patient and analyst, performing his mourning, guilt, and repressed desires before a silent witness: the audience. Drawing on Freudian and Lacanian discourse, the paper examines how Hamlet's feigned madness, Oedipal tensions, and philosophical ambivalence are theatrically embodied in his speech, transforming the stage into a metaphorical mental landscape. By interpreting the soliloquies as psychoanalytic performances, the research offers a fresh perspective on Hamlet's psychological depth and Shakespeare's intuitive understanding of the human psyche. Ultimately, this study proposes that Hamlet's soliloquies are not merely introspective monologues but performative enactments of psychoanalysis, where the stage becomes a site of psychic revelation and dramatic introspection.

This study offers a close reading of al-Shaḥḥādh by the Egyptian novelist Naguib Mahfouz. It aims to demonstrate that Mahfouz, in this novel, succeeds in breaking the norms of the classic realistic novel to create a new literary style heralding modernism in the Arabic novel. Behind the façade of a simple story there is a complexity of style and a thematic profundity. Features of modernism are shown in this paper by examining the techniques Mahfouz uses to present the protagonist's existential suffering in his quest to find a solid meaning of life, and portraying his thoughts and feelings in a language that sometimes seems poetic. Reading this novel in its sociopolitical context reveals the collapse of traditional values, including artistic values, and hints at the "absurdity" of revolution in Egypt and the Arab world.

La locura es el territorio donde se pierden no solo las personas sino las sociedades. La conexión entre locura y literatura ha sido una constante a través de la historia, desde las grandes obras clásicas como Hamlet y Don Quijote, pasando por el romanticismo europeo, los surrealistas del siglo veinte, hasta las narrativas postmodernas del cruce de milenio. Dicha asociación encuentra su cauce en Latinoamérica con el advenimiento de una narrativa contestataria, atrevida y divergente en las letras femeninas contemporáneas. Este ensayo explora tres novelas latinoamericanas que utilizan la irracionalidad para transmitir mensajes sobre lo oculto, lo impensable y lo no dicho en los conflictos sociales y políticos del continente. En los textos analizados la locura tiene como objetivo presentar una realidad desde una óptica diferente. Se establece así una correlación entre locura, mirada y literatura, como si la locura fuera el resultado de aprehender realidades desde una mirada alternativa para transmitir un mensaje que cuestiona o redefine una realidad. Las novelas que analizo son La nave de los locos (1984) de la uruguaya Cristina Peri Rossi, Nadie me verá llorar (1999) de la mexicana Cristina Rivera Garza y Delirio (2004) de la colombiana Laura Restrepo. En cada caso, la locura actúa como el código a través de la cual se propone una mirada alterna a las categorías fijas. Este análisis se enfoca en la mirada de la locura como focalización, símbolo y analogía para cuestionar, denunciar y reflejar la irracionalidad del mundo circundante. Michel Foucault en su obra Historia de la locura en la época clásica, demostró que la razón no puede existir sin la sinrazón, y como consecuencia, las diferentes formas de comprender, expresar y ver la locura a través de la historia humana revelan más acerca de la sociedad que de la propia enfermedad propiamente dicha. 2 Esto explica porque la figura del insano mental se ha convertido en un símbolo de un mundo en crisis y en ocasiones, en el espejo que refleja una conciencia crítica de la humanidad. Lilian Feder ha señalado que el estudio de las representaciones literarias de personajes con una experiencia mental diferente a la mayoría, ayuda a comprender los fenómenos complejos de una sociedad propiamente dicha. En su libro Madness in Literature, esta crítica llama -impairments of symbolization‖ a estos fenómenos complejos que conjugan identidad y experiencia mental (6). Feder explica que, -al emplear símbolos tales como metáforas y analogías, el personaje irracional se convierte en el intérprete de los mensajes aparentemente indescifrables de los locos‖ (mi traducción 7). El presente análisis sigue la perspectiva antropológica cultural, que define la locura como una forma diferente de ver y entender el mundo circundante y examina los comportamientos -irracionales‖ condenados por la sociedad que se derivan de esta divergencia. Mi análisis se centra entonces en las técnicas y recursos literarios usados en las obras mencionadas para demostrar la dinámica entre razón y sinrazón. El estudio de la literatura revela una conciencia crítica de los períodos históricos y de las sociedades en que éstos se producen. Las dos grandes obras de la literatura universal que utilizan la figura del loco y la locura, Don Quijote y Hamlet, moldearon una nueva forma de mirar el mundo y la sociedad. A lo largo de cinco siglos, lectores de todas las procedencias se han identificado con estos

This article analyzes the multiple forms of violence that have affected Chiapas between 2004 and 2024, understanding this phenomenon as part of a long-term historical process that combines structural, political, criminal, symbolic, and cultural dimensions. Drawing on human rights reports, community testimonies, and critical theoretical frameworks (Galtung, Bourdieu, Fanon, Segato, Foucault, Valencia, Jelin, Erikson, and Sousa Santos), it examines how violence has transformed Indigenous community culture, generating forced displacement, internal fractures, collective silences, and the normalization of fear. At the same time, it highlights the responses of resistance and reorganization emerging from below: autonomous governments, collective rituals, pedagogies of memory, and processes of cultural reconstruction. It argues that a just and lasting peace in Chiapas cannot be imposed from above or reduced to public security, but must be built by recognizing the autonomy, memory, and dignity of Indigenous peoples.

This article analyzes the multiple forms of violence that have affected Chiapas between 2004 and 2024, understanding this phenomenon as part of a long-term historical process that combines structural, political, criminal, symbolic, and cultural dimensions. Drawing on human rights reports, community testimonies, and critical theoretical frameworks (Galtung, Bourdieu, Fanon, Segato, Foucault, Valencia, Jelin, Erikson, and Sousa Santos), it examines how violence has transformed Indigenous community culture, generating forced displacement, internal fractures, collective silences, and the normalization of fear. At the same time, it highlights the responses of resistance and reorganization emerging from below: autonomous governments, collective rituals, pedagogies of memory, and processes of cultural reconstruction. It argues that a just and lasting peace in Chiapas cannot be imposed from above or reduced to public security, but must be built by recognizing the autonomy, memory, and dignity of Indigenous peoples.

Ciudad Lineal today is nothing more than the name of a neighborhood in Madrid whose footprint bears witness to an original urban idea that has almost completely lost its primigenial architectural components. The late 19th century project was initiated by entrepreneur Arturo Soria y Mata and his joint-stock company, with the aim of building a new urban prototype: the linear city. Perfectly aligned with the culture of the time, Soria y Mata observed the problematic industrial city and outlined an alternative to be built from scratch in order to remedy the systemic issues. With an empirical attitude, Soria y Mata proposed a simple plan: a main axis of networked services, flanked by two strips of low-density building fabric. The company’s house organ promoted the ideal housing model by drawing inspiration from international journals. Despite the intention, the adherence to an entrepreneurial rather than a scientific urban planning process was one of the factors that led the failure of this experiment.

This paper investigates the personality of so-called “Dr. Harrison” whose short stories were immensely popular in the early nineteenth century Russian media. The use of historical and bibliographical sources helps us to solve this puzzle as well as to restore the history of a literary game that was a reason why these stories came to life. 

В статье проводится небольшое расследование того, кем был таинственный «доктор Гаррисон», рассказы которого получили широкую популярность в русской прессе первой половины XIX века. Различные библиографические и исторические источники помогают разрешить эту загадку, а также восстановить историю одной литературной игры, в результате которой эти рассказы появились на свет.

This review focuses on the new book by the renowned German scholar Heinz-Günter Nesselrath on Lucian of Samosata, an author whom Nesselrath has been studying for over 40 years.
The review gives a brief overview of the preface, the nine chapters and the afterword. Among the undoubted merits of this book is that Nesselrath has succeeded in presenting his view and his understanding of Lucian’s rich legacy, which have developed over many years of work- ing with the texts. This is what distinguishes Nesselrath’s book from the companions popular nowadays, where a plurality of opinions and approaches of the authors of the articles naturally arises. On the one hand, the author perfectly shows that the genre and content diversity of the works, the heterogeneity of literary masks are quite amenable to comprehensive consideration.
There is no reason to speak of “the comedy of nihilism” or “the palimpsestic evanescence of author’s voice” (T. Whitmarsh). Through Nesselrath’s book, a distinct, consistent portrait of Lucian as a writer is created. On the other hand, this book once again confirms the unfounded and biased judgements of J. Bernays, R. Helm, who regarded Lucian as a mere epigone and a mediocre writer. The book’s shortcomings may include the fact that the author speaks of the division of rhetoric and philosophy and notes that there is another opinion, but does not elab- orate on it. Equally neglected is the manuscript tradition of Lucian. Nonetheless, the unified concept, the well-thought-out structure, the lively and lucid presentation of the material allow us to say that this book is the long-awaited basic study that has been sorely lacking for Lucian.

İstanbul Seririyatı (Cliniques de Stamboul) is one of the pioneering, long-standing, and most comprehensive journals published in the field of neuropsychiatry in Türkiye. Published regularly and monthly for 33 years between 1919 and 1952, the journal comprises a total of 389 issues and over 10.000 pages, with its final issue serving as a farewell to Dr. Mazhar Osman Uzman. We are delighted and honored to announce that this extensive collection has now been made accessible through a comprehensive project. This article will briefly discuss İstanbul Seririyatı, one of the most significant periodicals in the history of Ottoman-Turkish medicine, particularly in the field of neuropsychiatry. Additionally, we will introduce the final product of our project (1)-www.istanbulseririyati. com-which includes the digitalization of all journal issues, the creation of a detailed index and keyword system, and the provision of open access to the archive.

The following monographs are specially helpful for scholars interested in pursuing literary studies based on chaos theory: Turbulent Mirror (Briggs and Peta) and Chaos: Making a New Science (Gleick), two monographs aimed at the non-specialist; Does God Play Dice? (Stewart); The Beauty of Fractals: Images of Complex Dynamical Systems (Peitgen-Richter), a visually amazing scientific treatise; and Computers, Pattern, Chaos and Beauty: Graphics from an Unseen World (Pickover), a hands-on manual for advanced computer aficionados. But before putting pen to paper, or turning your computer on, refer to Clark, an excellent and sobering commentary from a scientist's point of view on the critical pitfalls literary scholars may fall when applying chaos theory to literary studies.

Spain in the 15th century is the setting for this story. Combining romance with historic fact Eliza recounts the life of Juana  La Beltraneja;  reputedly illegitimate and so named after her putative father. She rose to fame as a  claimant to the throne but was surpassed by Isabel the First.

Après Papa, Régis Jauffret poursuit ses incursions dans la mémoire parentale avec Maman. L'entretien révèle un écrivain confronté simultanément aux secrets familiaux et aux bouleversements technologiques qui remettent en question l'acte même d'écrire. Entre révélations posthumes sur une mère au double visage et interrogations sur l'avenir de la littérature face à l'intelligence artificielle, Jauffret explore les territoires où l'authenticité humaine résiste encore aux algorithmes.

This article intends to analyze the choices made in some of the editorial procedures that culminated in the publication of Lima Barreto's Diário do hospício (Asylum's Diary). This choices often conflict with some of the characteristics of the text itself, which destabilizes the generic parameters suggested by the edition creating a tension that makes it difficult for the reader to decide on whether he should or should not accept the autobiographical pact. This tension potentializes the dialogues between literature, life, writer and character that take place in this diary.

This paper reads Toni Morrison’s Paradise (1998) as a revision of prior harem narratives to investigate how Morrison’s novel contests the patriarchal ideologies of space through her incorporation of the Convent as a site of radical feminist resistance. Morrison’s Paradise re-imagines the African American doubles of the Islamic hijab (veil) and the harem (forbidden space), historically patriarchal facets of female seclusion. In fact, I would argue that Paradise strategically relies on madness to configure patriarchal forms of oppression. In particular, Paradise defines masculinist monomania as a form of patriarchal insecurity—both gendered and sexist—that uses nationalism and racial chauvinism to justify itself, intensifying the stigmatization of women.  Ultimately, Morrison narrativizes a female-oriented revolt through the novel’s imaginative reproduction of the subversive structure of tales in the classical Alf Laylah Wa Laylah (Arabian Nights). Morrison’s literary text incorporates a cryptic architecture based on Shahrazadian tropes and elliptical framing, simultaneously integrating the closure of the labyrinth with a temporal open-endedness fundamental to the harem’s structure. Ultimately, what results is that Morrison’s complex novel cultivates, from the forbidden space of female madness as literary experimentation, a transgressive harem narrative based on women’s sociopolitical exclusion, solidarity, and ultimate empowerment.
References:
Atieh, Majda. “The Revelation of the Veiled in Toni Morrison’s Paradise: The Whirling Dervishes in the Harem of the Convent.” MELUS 36.2 (2011):89-107

Atieh, Majda. “Another Night, Another Story: the Frame Narrative in Alf Laylah Wa Laylah (Arabian Nights) and Morrison’s Paradise.” Contemporary African American Fiction: New Critical Essays. Ed. Dana A. Williams. Columbus: Ohio State UP, 2009.119-135.

Atieh, Majda. “Shahrazade’s Sisters and the Harem: Reclaiming the Forbidden as a Site of Resistance in Toni Morrison’s Paradise.” Madness in Black Women’s Diasporic Fictions:
Aesthetics of Resistance. Ed. Caroline Brown and Johanna Garvey. New York: Palgrave Macmillan, 2017. 201-224.

Atieh, Majda. “Activating Continuity in Post-Conflict Environments for African and African American Communities in Toni Morrison’s Paradise and Chimamanda Ngozi Adichie’s Half of a Yellow Sun.” Tishreen University Journal 41.5 (2019).

L’article examine le personnage littéraire de l’artiste femme à travers cinq études de cas qui s’inscrivent dans une même catégorie d’œuvres littéraires, les romans de l’artiste : Béatrix (1839), d’Honoré de Balzac ; Elle et Lui (1859), de George Sand ; Madame Sourdis (1880), d’Émile Zola ; Vers le phare (1927), de Virginia Woolf ; et Les Suaires de Véronique (1978), de Michel Tournier. Dans un premier temps, il s’agira d’interroger le roman de l’artiste en tant que récit situé entre la fiction et le document historique. Ensuite, nous allons nous pencher sur la femme artiste, qui, dans les rares récits où elle est le personnage principal, est souvent dépeinte comme une créature monstrueuse. Enfin, à partir d’une approche comparatiste des cinq œuvres, il s’agira d’analyser les registres de monstruosité sous lesquels le personnage de l’artiste femme est placé : le registre pathologique de l’anomalie et de l’androgynie, le mythologique et celui de la « déféminisation ». En conclusion, nous constatons l’actualisation de la représentation féminine dans le roman de l’artiste contemporain, en particulier celle de l’artiste femme, dont la singularité n’est plus marquée par la monstruosité.

This study investigates the portrayal of psychiatry and mental health treatment in Sylvia Plath’s The Bell Jar, focusing on how these institutions function not as sources of healing, but as mechanisms of discipline used to suppress women who challenge societal norms. Through a feminist literary analysis, the research examines how Plath critiques the medicalization of female resistance and the gendered dynamics of psychiatric power. The novel’s depiction of Esther Greenwood’s institutionalization, electroshock therapy, and clinical encounters reveals a system more invested in enforcing conformity than in addressing emotional suffering. Drawing on feminist theorists such as Jane Ussher, Phyllis Chesler, and Elaine Showalter, the study situates The Bell Jar within a tradition of feminist criticism that exposes psychiatry as complicit in maintaining patriarchal order. The analysis also considers the broader social expectations surrounding femininity, sexuality, and ambition, and how deviation from these norms is pathologized. Rather than presenting madness as a romanticized form of rebellion, the novel illustrates the material and psychological consequences of being labeled “mentally ill.” Ultimately, the study argues that The Bell Jar reveals psychiatry as a system of social regulation that punishes women for nonconformity, positioning mental illness not as an individual failure but as a response to a deeply misogynistic culture.

Conflictos, paces y violencias contemporáneas: una mirada desde las ciencias sociales En un mundo complejo, cambiante y caracterizado por la incertidumbre, las amenazas distópicas y los desastres apocalípticos parecen volverse cada vez más comunes, representándose a diario en nuestras pantallas. Así, asteroides como el 2024YR4 aparecen acompañados de anuncios sobre misiles hipersónicos, como el Oreshnik, mientras se suceden invasiones y destrucciones inesperadas entre naciones. Al mismo tiempo, emergen con fuerza líderes populistas, abusivos y autoritarios que amenazan con arrastrar al mundo con sus decisiones erráticas e inhumanas, sin mencionar los efectos sociales, políticos, culturales y psicológicos desencadenados tras la pandemia del H5N1.

This paper explores the aestheticization and othering of insanity in modern and contemporary literature through a comparative and gendered lens. By analyzing key texts such as The Yellow Wallpaper, No Longer Human, The Bell Jar, and Diary of a Madman, the study traces how madness is both romanticized and alienated in literary portrayals. Drawing on Judith Butler’s theory of gender performativity and Frantz Fanon’s insights on othering and identity, the essay categorizes representations of madness into feminized and masculinized expressions, examining how these are shaped by sociopolitical power structures. The paper argues that literary madness is not merely a psychological phenomenon but a cultural narrative deeply intertwined with gender, class, and colonial discourse. Ultimately, the study reclaims madness as both a site of resistance and a tool of silencing in literary traditions.

Este texto analiza la relación entre mujer y locura en Memorias de abajo (1943) de Leonora Carrington, escritora inglesa en México. Situada en el contexto de la Segunda Guerra Mundial, la obra revela el impacto del internamiento de Carrington en un hospital psi- quiátrico en Santander, relacionado con la conmoción causada por la invasión nazi en Europa. Presenciar el arresto y envío a un campo de concentración de su pareja, el pintor surrealista Max Ernst, fue devastador. Este trabajo explora cómo su experiencia como mujer y las tensiones de la guerra la llevaron a ser etiquetada como “loca”, desvelando conexiones entre género, locura y literatura como mecanismos de supervivencia.

We’ve all seen the page that states “this page intentionally left blank” or heard an authority figure declare “nothing to see here, folks,” and yet the so-called blank page has writing on it, and folks definitely have something to see. From the entry point of these and other paradoxical declarations of absence, KJ Cerankowski applies the aesthetics of asexuality to theorize silences, nothings, and emptiness. In the process, he explores new ways of making meaning out of the supposedly meaningless.

Throughout this investigation into absences, Cerankowski moves intuitively and idiosyncratically, taking readers along a series of waypoints that include Border, the acclaimed horror film about a customs officer who can smell fear; Jenny Hval’s discomfiting novel Paradise Rot; and disabled artist Finnegan Shannon’s iconic benches. Experimental in form as well as content, Nothing Wanting offers an innovative and mischievous reading experience that plays with structural elements like redaction, erasure, supertext, and repetition. With a deeply anticapitalist, anticolonial motivating ideology, it pushes to the limits of language, subverting commonplace notions of books, knowledge, and what it is to be human.

Moving beyond identity and representation, Nothing Wanting is playful, fascinating, and provocative as it conceives asexuality as additive and expansive rather than lacking. As it reveals the vibrant lifeworlds that hum in silences and thrum in stillnesses, Nothing Wanting pivots from the imposition of wanting nothing to the craving of nothing wanting: satisfied, yet always yearning for more worlds of thriving—for everything and everyone.

Cuando recibí invitación a participar en este volumen sobre los orígenes de la picaresca, tuve algunas dudas sobre la conveniencia de aceptar. Sin embargo, tras superar mis primeras reticencias, pensé que algo podría aportar y que el punto de partida habrían de ser dos interrogantes que el profesor Darnis ya me planteaba: ¿tenía yo noticias del proceso o inspección sufrida por el sevillano autor, a semejanza de Cervantes, según en su día comentara el archivero Tomás González? ¿Qué relación había tenido Mateo Alemán con el marqués de Poza, objeto de la dedicatoria del Guzmán de Alfarache?

This paper critically engages with Saadat Hasan Manto’s Toba Tek Singh through the lens of disability studies and Swayam MOOC lectures, invoking the inclusive, anti-fanatic humanism of Guru Nanak. It challenges the dominant medicalized perception of madness as an individualized, pathological condition, shaped by colonial modernity and Enlightenment rationality. Instead, it foregrounds a cultural and political understanding of psychosis and cognitive difference as shaped by socio-economic conditions, trauma, and ideological violence. The protagonist, Bishan Singh, a Partition-displaced inmate in a lunatic asylum, resists the arbitrary communal divisions of the time through his non-linear, poetic madness. Far from being defective, his so-called insanity becomes a site of resistance and spiritual insight. The story critiques societal norms of normalcy and exclusion while the asylum emerges as a space of interfaith peace in contrast to the madness of Partition outside. The paper advocates a radical, context-aware rethinking of madness and marginality through Manto’s narrative.

Artikkelissa tutkitaan amatöörikirjoittajien roolia kolmen suomalaisen tieteellisen seuran julkaisusarjoissa 1840-luvulta vuoteen 1939. Amatöörien tekstejä toivottiin lehtiin 1800-luvulla – toisaalta tiedeyhteisön (respublica literaria) tasa-arvoisuutta korostavien perinteiden takia toisaalta seurojen isänmaallisuuden ansiosta, sillä seuroissa pidettiin tärkeänä mobilisoida kansan syviä rivejä tutkimuksen tekoon. Akateemisten tutkijoiden määrä oli vielä 1800-luvun alkupuolella vähäinen, mutta vuosisadan vaihteessa tiede ammatillistui, kun professuureja ja tutkimuslaitoksia perustettiin. Amatöörien osuus kirjoittajakunnassa väheni, kun seurat kehittivät julkaisusarjoihinsa vertaisarviointia. Tieteelliset seurat pyrkivät ohjaamaan amatöörit aineiston keräilijöiksi, mutta amatöörit itse kokivat tämän roolin vähempiarvoisena kuin kirjoittajuuden. Tässä artikkelissa amatöörien määrää ja osuutta kirjoittajakunnasta tarkastellaan tilastollisen aineiston valossa. Lisäksi kolmen henkilön kautta hahmotetaan amatöörien suhdetta tiedeyhteisöön.

Given the historical tension between disability and educational institutions, this project centers disability in its rearticulation of social justice-oriented college pedagogy. Rooted in critical disability studies, this thesis proposes a pedagogical framework for teaching critical disability studies in ways that embody the discipline’s values. Chapter 1 sets up critical disability studies pedagogy (CDSP) by offering background of the contentious relationship between education and disability. That is, as formalized education looks to shape students into compliant workers, disabled students are discarded, and disability is thus positioned as incompatible with education. In conversation with recent scholarship on trauma-informed education, disability pedagogy, and mental illness and the classroom, I propose CDSP. While not an exhaustive list, in our effort to resist ableist, white supremacist academic meritocracy, CDSP looks to: 1) make the classroom accessible; 2) deconstruct classroom hierarchies; 3) alleviate student unwellness; 4) alleviate faculty unwellness; 5) honor lived experience and expertise; and 6) center the intersection of disability and other structures. In Chapter 2, I offer a model of what it might look like to implement CDSP by analyzing a college-level syllabus I have created. This syllabus, “Digital Disability Activism,” offers a potential mode of employing CDSP through critical citation practices and radical policy choices. These two angles offer us modes through which to focus on accessible, transformative instruction. Ultimately, a CDSP approach acknowledges the role of the educator in fostering an equitable, accessible educational environment as well as the harm perpetuated by the institution of higher education and the culture of academia.

This chapter examines One Thousand and One Nights through an ecocritical lens, analyzing how the tales reflect human-nature relationships and environmental themes. Ecocriticism, as a theoretical framework, is used to explore the interconnected narratives, which mirror ecological systems, as well as the text’s engagement with ecofeminist and ecosocialist ideas. The study highlights Scheherazade’s storytelling as a metaphor for ecological balance and resistance to exploitation, while tales such as The Fisherman and the Jinni and Sinbad the Sailor illustrate themes of environmental harmony and displacement. The chapter argues that the collection’s pre-industrial perspectives offer valuable insights into sustainable coexistence, challenging anthropocentric worldviews. By integrating ecocritical analysis, the study positions One Thousand and One Nights as a significant literary work for understanding historical and cultural environmental consciousness.

This paper analyses the relation between the authorial and textual subject of Ode I 9, Vides ut alta, and Ode II 19, Bacchum in remotis, as a means of transition from a figurative represented world to an author's experience of the creative process, understood as Horace's attempt to capture the creator's natural need to transform this key experience into an act of poetic communication. As a starting point for analysis, the construction of the subject-bard (vates) and the topics of poetic frenzy (ingenium, insania, mania) shaping the poet's image as a medium between the divine sphere of inspiration and the poetic communication turned towards the sender were adopted.

“For I will consider my cat Jeoffry” is an extract of a long poem
called “Jubilate Agno” by Christopher Smart. The extract is unique,
as it is written about a cat, and one may call this poem a lament,
since it describes the afterlife of Jeoffry the cat. The poem is one of
the few poems, not only in English but in world literature, that depicts a cat in the afterlife alongside God. The 74-line work is considered to be popular among animal lovers, especially those who
adore cats. It is even said that the poem is the most popular cat poem
in the entire English literature. Neil Curry, in his book Christopher
Smart (2004), states that Jeoffry the cat is the “most famous cat in
the whole history of English literature” (Curry, 2004, p. 18). Smart’s
piece on Jeoffry is simply one element of his wider aim to give nature a “voice,” and Smart feels that nature, like his cat, is always
praising God, but needs a poet to express it, states Curry in the same
book (2004, p. 8). Thus, with Jeoffry, “Jubilate Agno” combines the
themes of animals and words, and Jeoffry becomes a representation
of God’s creativeness in nature, and poets like Smart showcase this
nature.

Title: Las voces del 'loco': La representación ambigua de la conciencia en Pido la muerte al rey, de Ramón Hernández English title: The Voices of the 'Madman': The Ambiguous Representation of Consciousness in Pido la muerte al rey, by Ramón Hernández

Several archaeologists have studied the management of Dr. Bagherzadeh at the Iranian Archeological Center and have been focusing on his valuable activities. Most of the work done by Dr. Bagherzadeh during the presidency of the Iranian Centre for Archaeological Research is worthwhile. Preventing the exodus of ancient objects from Iran, preventing commercial Excavation, and the regular holding of archaeological conferences, are some of the important actions of Dr. Bagherzadeh. Farr-e Firouz includes scientific Archaeology articles in Honor of Firouz Bagherzadeh.

A tanulmány a „Párhuzamos történetek” regényszerkezetét elemzi. Első fele Madzar Alajos és Szemzőné Arnót Irma párbeszédére, második fele a Carl Maria Döhring folytatásos álmát elbeszélő két fejezetre összpontosít. De górcső alá veszi a szerző, Nádas Péter diskurzusát is. Megjelent: Műút, 2025. máj., https://muut.hu/archivum/47353.

Cuerpos resilientes y disidentes analiza las oscuras cicatrices que dejaron las dictaduras de Argentina, Chile, Uruguay y España en el siglo XX. Las obras de teatro abordadas en este estudio buscan descentralizar la retórica de los roles de género y los discursos políticos e históricos que, a pesar de haberse logrado el reconocimiento de la especificidad de la violencia político-sexual como una violación de los derechos humanos, continúan inscribiendo en la memoria del pasado reciente una victimización generalizada y genérica de la mujer. Cada capítulo revive historias de mujeres silenciadas por la represión, cuyas experiencias de violencia político-sexual fueron, durante mucho tiempo, relegadas al olvido. El teatro ha permitido que estas experiencias se tejan nuevamente, confrontando al público con la cruda realidad del pasado y la necesidad imperiosa de recordar para no repetir, así como de fomentar una consciencia activa de denuncia y lucha por una reparación integral con perspectiva de género en la justicia transicional. Uno de los objetivos de este libro es mostrar cómo la memoria, ese campo de batalla que los dictadores y la democracia neoliberal intentaron borrar, ha resurgido con fuerza a través del arte y la palabra en busca de una reformulación sobre los futuros de la memoria en clave femenina.
https://www.iberoamericana-vervuert.es/FichaLibro.aspx?P1=248064

Dans l'immensité des textes de Leibniz qui nous sont parvenus et connus, on ne trouve presque aucune ligne sur la folie, si ce n'est, parfois, quelque exemple de fou au détour d'une phrase, comme ce portrait de quelque intrigant mégalomane, « homme assez connu dans une certaine cour » 1 . Cette quasi-absence textuelle de la folie, au coeur même d'une oeuvre qui a voulu refléter expressément tous les aspects du savoir et tous les plis de la vie, semble confirmer ce que Michel Foucault a appelé le « silence de la folie » à partir de la deuxième moitié du XVII e siècle. C'est en effet à cette époque, affirme Michel Foucault, que la rationalité classique s'affirme en excluant la folie. Alors que le murmure de la folie parcourait encore les rues et les esprits de la Renaissance, la conquête de la raison la fait désormais taire. D'un côté on enferme les fous, et l'on confine leurs paroles et leurs cris aux enceintes de l'Hôpital Général (1656). De l'autre, cette exclusion constitutive de la définition que la raison se donne d'elle-même va progressivement déterminer la folie en maladie mentale et conjurer ce dehors inquiétant de la déraison en le soumettant au discours scientifique : la folie alors se tait définitivement sous le monologue de la raison 2 . Si en 1509 Erasme pouvait encore ouvrir son Éloge de la folie (Moriae Encomium) en écrivant : « C'est la folie qui parle », plus d'un siècle après il semble que l'on n'entende plus que le logos de la raison dans le silence de la folie. C'est « l'archéologie de ce silence » que Michel Foucault a voulu retracer dans son Histoire de la folie, qui est une histoire de l'exclusion de la folie et des fous 3 . Il semble donc que l'on ne doive pas s'étonner du silence de Leibniz sur la folie. Il serait simplement le fils d'une époque qui a enfermé les fous, qui a brandi comme un étendard le rationalisme le plus radical, cherchant au fond de chaque chose leur raison dans une exigence d'intel-

This article connects mobility studies and disability studies in analysing the short story "Bukan Yem" (in English, "Maybe Not Yem") written by Etik Juwita. The story depicts the journey of Indonesian women migrant workers returning to their hometowns. Juwita, who is also a migrant worker, presents the character Yem, a seemingly mad woman who accompanies the protagonist along the treacherous journey to her village through the coastal north route along the Java Island. This paper analyses the main character in the story, her movement as she makes her journey home, and the "mad" woman character who accompanies her. The paper argues that the story "Maybe Not Yem" reconfigures madness as literary aesthetics in two ways: first, by disturbing the binary between sanity and insanity, and second, by asserting the character's agency via her mobility. This paper reveals the interconnection between mobility studies and disability studies to reassess madness as literary aesthetics and to reinforce ideas of agency of the mobile subject.

In Meditation I of Meditations on First Philosophy, René Descartes introduces the “evil genius” hypothesis—a thought experiment in which a supremely powerful and cunning deceiver systematically manipulates his perceptions and reasoning. Descartes does not suggest that such a being exists; rather, he uses it as a methodological tool to push doubt to its furthest limit. By doing so, he hopes to discard all uncertain beliefs and uncover a foundation for knowledge that is immune to even the most radical skepticism.

In this paper, I will argue that the evil genius argument plays a crucial role in Descartes’ project of epistemic foundationalism, despite significant criticisms regarding its coherence and philosophical usefulness. First, I will reconstruct Descartes’ argument and explain how it builds upon earlier stages of doubt, such as sensory deception and the dream argument. Next, I will analyze major criticisms of the evil genius hypothesis—especially concerns about the self-defeating nature of doubting reason and the overly demanding standard of certainty. Then, I will defend the usefulness of the evil genius device as a clarifying methodological step rather than a final skeptical stance. Finally, I will suggest that the enduring relevance of Descartes’ thought experiment lies in its capacity to engage with contemporary questions about trust, deception, and information in the digital age.

Bachelor of Arts Degree Programme Performing Arts Specialisation option Drama Instructor Instructor Selja Ahava This thesis consists of two different parts: of an artistic work and a study in the form of a report. The artistic work is a play called Grunge, with the screenplay included. I have written it keeping in mind two different possibilities of a performance: theater or a film. The art work combines the two aforementioned options of narration. Grunge is a story of childhood and youth, located in a small town in Finland. The story is situated around the 1980-1990's. The other timespan takes the reader to the 1960-1990's United States, to a small city called Aberdeen, as well as Seattle and a MTV Unplugged concert in New York. The main characters of the story are Elina, Ilpo and Kurt Cobain, and they cannot adapt to the conditions at hand, and neither to the narrow roles which the surroundings push against them. This puts forth an alternation of adaptation and rebellion. Music eases, comforts, unites and gives meaning to life. Playing music as well as creating art strengthen the self-esteem of the characters, which leads to Elina, Ilpo and Kurt Cobain to strive toward a life that looks like their own. The main goals of my thesis are finding my own voice as a writer as well as describing and understanding the time period between 1980-1990. There are a lot of things going on in the world simultaneously. According to my observations, the combining factor of the state of Washington and Nurmijärvi is the ambiance of bleakness amongst the youth. In this thesis, I aim at reaching the world view of grunge: what it was and against what it was born. I ask, what is grunge as an outlook on life, as a paradigm. In the written part of this thesis, I reflect upon the writing process. I give background information to the world, of which the script tells about. I ponder the content of my art work from the grunge point of view. I specify my focus on the features of Kurt Cobain, the singer-guitarist of the band Nirvana during the years 1987-1994, and I examine them in relation with the characters and events of the script.

Itinatala sa sanaysay ang mahabang tradisyon ng pagsulat o pagsasatinig ng mga personal na alaala ng kabaklaan sa ilang mga nakalap na tekstong pampanitikan, etnograpiko, at awtografikal. Kung papansinin, karamihan sa mga naisulat ay nasa wikang Ingles. Kalaunan na lamang higit na dumami ang naratibo ng karanasang bakla sa Filipino nang mas naging demokratisado noong dekada nobenta ang pagsulat ng alaala lalo na sa pagdami ng blogs o sites na maaaring maging lunan ng alaala. Inilalahad at ipinupunto ang relasyon ng mundo at sarili sa mga personal na karanasan ng isang bakla. Ang personal na karanasan ay lunan din ng malalaking kontradiksyon sa lawas ng tunggalian. Mula rito’y maaaring paunlarin ang politika at pag-aaral ng tekstong pampanitikang queer o bakla lalo na sa mga karanasang hindi naririnig o nasasabi samantalang naikukubli lamang sa silid ng kani-kanilang mga tahanan. May malaking potensyal ang pag-akda ng mga ‘di-kathang bakla sa pagbabago ng pagturing sa mga bakla. Kapu...

Quelques préalables sont nécessaires, pour limiter mon propos. Dans le roman antérieur au milieu du xix e siècle, bien des effets de vérité résultent de la complexité même de l'énonciation dans ce genre, en rapport avec les possibilités dialogiques et critiques analysées par Bakhtine 1 . Mais les effets de vérité dont je parlerai sont d'une autre nature, en une époque de l'histoire du roman où l'autonomisation du personnage par rapport à la narration est à son sommet, et où de surcroît le romancier sait devoir éclairer quelque chose qui, au-delà du non-conscient, relève de l'inconscient. Ce n'était pas le cas à l'époque de La Princesse de Clèves, pour prendre un repère commode. Par contre, dans la littérature moderne, à partir du milieu du xix e siècle, s'affirme une représentation du moi où font défaut l'unité, la rationalité et la centralité royale que lui attribuerait une philosophie du Sujet. On pourrait citer, à des dates voisines, Edgar Poe, Baudelaire, et surtout Dostoïevski, qui, dès Le Sous-Sol 2 , bouleverse la perspective sur la conscience. Par ailleurs, si l'écriture permet sublimation et élaboration de contenus psychiques, ce n'est pas nécessairement par l'invention de personnages, car d'autres signifiants littéraires pourraient s'y prêter. Mais, inversement, on rencontre à l'époque moderne des exemples dans lesquels le projet de saisir un pan de réalité échappant à la conscience exclut la création de personnages comme contraire à l'analyse recherchée : c'est le cas dans Tropismes de Nathalie Sarraute,

Cet entretien a eu lieu en France, à l’Université Denis Diderot - Paris 7 (aujourd’hui Université de Paris), le 22 juin 2019. Sa transcription au français et sa traduction à l’espagnol ont été faites par Bruno Carignano. Elles ont cherché à maintenir le plus fidèlement possible le registre de la transmission orale. Lors de l’entretien, Paul-Laurent Assoun traite divers sujets qui se rapportent à la discipline universitaire qu’il a introduit sous le nom d’anthropologie psychanalytique : sa liaison particulière à la psychanalyse freudienne et lacanienne ; la recherche en psychanalyse et l’Université dans la contemporanéité française ; les spécificités de la clinique psychanalytique et les phénomènes sociaux ; les relations du sujet de l’inconscient au collectif et la condition contemporaine ; le style borderline et autres phénomènes cliniques de la contemporanéité ; l’approche du féminin par la psychanalyse et le rapport de celle-ci avec les idéologies dans la considération du mouveme...

Το κατεξοχήν μελόδραμα του ιταλικού ρομαντισμού συγκεντρώνει όλα τα βασικά χαρακτηριστικά του είδους: μία υπόθεση που διαδραματίζεται στον σκοτεινό και υγρό βορρά, χλωμά φεγγαρόφωτα, πυκνά δάση, νεκροταφεία. Στο επίκεντρο βρίσκεται μία ευαίσθητη ηρωίδα με αγνά αισθήματα, την οποία οι πατριαρχική κοινωνία της εποχής της οδηγεί στην απόγνωση και τελικά στην τρέλα. Μουσικά, όλα αυτά μεταφράζονται αριστουργηματικά καθώς ο Ντονιτσέττι δημιουργεί την βαριά ατμόσφαιρα και βρίσκει μοναδικές λύσεις. Η πρώτη άρια της Λουτσίας υποψιάζει τον θεατή για την ασταθή κατάστασή  της, το σεξτέτο κατά τη διάρκεια του γάμου είναι ένα «στοπ καρέ» μοναδικό στην ιστορία του λυρικού θεάτρου, η «σκηνή της τρέλας» εξίσου μοναδική στον τρόπο με τον οποίο αποδίδει την ψυχική κατάσταση της ηρωίδας ενώ η τελική σκηνή του τενόρου είναι σπάνια ποιητική, ειδικά στον τρόπο με τον οποίο ο συνθέτης αξιοποιεί δραματουργικά το βιολοντσέλο, καθώς ο πρωταγωνιστής του εκπνέει.