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

In this brilliant work, a clinical psychologist offers a startling new vision of schizophrenia, comparing it with the works of modern writers such as Kafka and philosophers such as Nietzsche. "Refreshingly different from customary writings on mental illness . . . highly original and profoundly disquieting insights".--New York Times Book Review.

This book shows that a distinct form of technological madness emerged within modernist culture, transforming much of the period's experimental fiction.

"A stunning revelation of the eerie likeness between schizophrenic insanity and the sensibility of modern art, literature, and thought, Madness and Modernism presents a vivid and highly original portrait of the world of the madman, along with a provocative commentary on modernist and postmodernist culture. Sass, a clinical psychologist, explores the bizarre experiences of schizophrenia (and related conditions) through a comparison with the works of various artists and writers, including Franz Kafka, Paul Valery, Samuel Beckett, Alain Robbe-Grillet, Giorgio de Chirico, and Marcel Duchamp, and by considering the ideas of philosophers such as Friedrich Nietzsche, William James, Martin Heidegger, Michel Foucault, and Jacques Derrida." "The similarities between madness and modernism are striking: defiance of authority and convention; an extreme, often dizzying relativism, which can culminate in paralysis; nihilism and all-embracing irony; a tantalizing, uncanny, but always frustrating sense of revelation; obliteration of standard forms of time and narrative; pervasive dehumanization; and disappearance of external reality in favor of the omnipotent ego or, alternatively, dissolution of all sense of selfhood." "This rigorously argued, gracefully written book offers a startlingly new vision of schizophrenia, an illness long recognized as the greatest challenge to psychiatric or psychological understanding. Conventionally seen as a loss of rationality, perhaps involving a return to some infantile or bestial condition, schizophrenia, according to Sass, is better understood as, in a sense, a disease of hyperrationality, with detachment from action, emotions, and the body and entrapment in forms of acute self-consciousness and heightened awareness. Sass refuses to romanticize the schizophrenic as a heroic rebel, mystic, or passionate Wildman, arguing instead that this condition echoes many of the most alienating aspects of modern life. In an epilogue and appendix, he considers whether modern culture might actively contribute to the genesis or shaping of schizophrenic forms of pathology, and he discusses the possible role of abnormalities of the brain."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

With its focus on a specific place and time (Vienna in 1900) and on a specific theme (madness), Madness and Modernity sets out to explore artistic, social and psychological themes which provide insights into the madness-modernity nexus that manifested itself in Vienna at the turn of the twentieth century.

‘A riveting tale, brilliantly told' Philippe Sands The little-known story of Hitler’s war on modern art and the mentally ill.

Throughout the history of European modernism, philosophers and artists have been fascinated by madness. Something different happened in Brazil, however, with the “art of the insane” that flourished within the modernist movements there. From the 1920s to the 1960s, the direction and creation of art by the mentally ill was actively encouraged by prominent figures in both medicine and art criticism, which led to a much wider appreciation among the curators of major institutions of modern art in Brazil, where pieces are included in important exhibitions and collections. Kaira M. Cabañas shows that at the center of this advocacy stood such significant proponents as psychiatrists Osório César and Nise da Silveira, who championed treatments that included painting and drawing studios; and the art critic Mário Pedrosa, who penned Gestaltist theses on aesthetic response. Cabañas examines the lasting influence of this unique era of Brazilian modernism, and how the afterlife of this “outsider art” continues to raise important questions. How do we respect the experiences of the mad as their work is viewed through the lens of global art? Why is this art reappearing now that definitions of global contemporary art are being contested? Learning from Madness offers an invigorating series of case studies that track the parallels between psychiatric patients’ work in Western Europe and its reception by influential artists there, to an analogous but altogether distinct situation in Brazil.