What is depression? An “imagined sun, bright and black at the same time?” A “noonday demon?” In literature, poetry, comics, visual art, and film, we witness new conceptualizations of depression come into being. Unburdened by diagnostic criteria and pharmaceutical politics, these media employ imagery, narrative, symbolism, and metaphor to forge imaginative, exploratory, and innovative representations of a range of experiences that might get called “depression.” Texts such as Julia Kristeva’s Black Sun: Depression and Melancholia (1989), Andrew Solomon’s The Noonday Demon (2000), Allie Brosh’s cartoons, “Adventures in Depression” (2011) and “Depression Part Two” (2013), and Lars von Trier’s film Melancholia (2011) each offer portraits of depression that deviate from, or altogether reject, the dominant language of depression that has been articulated by and within psychiatry. Most recently, Ann Cvetkovich’s Depression: A Public Feeling (2012) has answered the author’s own call for a multiplication of discourses on depression by positing crafting as one possible method of working through depression-as-“impasse.” Inspired by Cvetkovich’s efforts to re-shape the depressive experience itself and the critical ways in which we communicate this experience to others, Re/Imagining Depression: Creative Approaches to “Feeling Bad” harnesses critical theory, gender studies, critical race theory, affect theory, visual art, performance, film, television, poetry, literature, comics, and other media to generate new paradigms for thinking about the depressive experience. Through a combination of academic essays, prose, poetry, and interviews, this anthology aims to destabilize the idea of the mental health “expert” to instead demonstrate the diversity of affects, embodiments, rituals and behaviors that are often collapsed under the singular rubric of “depression.”

What is depression? An "imagined sun, bright and black at the same time?" A "noonday demon?" In literature, poetry, comics, visual art, and film, we witness new conceptualizations of depression come into being. Unburdened by diagnostic criteria and pharmaceutical politics, these media employ imagery, narrative, symbolism, and metaphor to forge imaginative, exploratory, and innovative representations of a range of experiences that might get called "depression." Texts such as Julia Kristeva's Black Sun: Depression and Melancholia (1989), Andrew Solomon's The Noonday Demon (2000), Allie Brosh's cartoons, "Adventures in Depression" (2011) and "Depression Part Two" (2013), and Lars von Trier's film Melancholia (2011) each offer portraits of depression that deviate from, or altogether reject, the dominant language of depression that has been articulated by and within psychiatry. Most recently, Ann Cvetkovich's Depression: A Public Feeling (2012) has answered the author's own call for a multiplication of discourses on depression by positing crafting as one possible method of working through depression-as-"impasse." Inspired by Cvetkovich's efforts to re-shape the depressive experience itself and the critical ways in which we communicate this experience to others, Re/Imagining Depression: Creative Approaches to "Feeling Bad" harnesses critical theory, gender studies, critical race theory, affect theory, visual art, performance, film, television, poetry, literature, comics, and other media to generate new paradigms for thinking about the depressive experience. Through a combination of academic essays, prose, poetry, and interviews, this anthology aims to destabilize the idea of the mental health "expert" to instead demonstrate the diversity of affects, embodiments, rituals and behaviors that are often collapsed under the singular rubric of "depression." Julie Hollenbach (NSCAD University) is a material culture scholar, independent curator, and arts writer whose work addresses contemporary and historic queer and feminine everyday domestic creative cultures using a queer femininist, critical race, and decolonial methodology. Robin Alex McDonald (Nipissing University / OCAD University) is an academic, independent curator, and arts writer whose research spans queer and trans contemporary art, art and social justice, museum studies and alternative curatorial methodologies, affect theory; madness and disability studies, and theories of love, collectivity, and "the social.".

Taking a critical and radical approach, this book calls for a return to mental health social work that has personal relationships and an emotional connection between workers and those experiencing distress at its core. The optimism that underpinned the development of community care policies has dissipated to be replaced by a form of bleak managerialism. Neoliberalism has added stress to services already under great pressure and created a danger that we could revert to institutional forms of care. This much-needed book argues that the original progressive values of community care policies need to be rediscovered, updated and reinvigorated to provide a basis for a mental health social work that returns to fundamental notions of dignity and citizenship.

This book maps the intersections between sociology and feminism in the Indian context. It retrieves the lives and work of women pioneers of and in sociology, asking crucial questions of their feminisms and their sociologies. The chapters address the experiential realities of women in the field, pedagogical issues, methodological frameworks, mentoring processes and artistic engagements with academic work. The volume’s strength lies in bringing together Indian scholars from diverse social backgrounds and regions, reflecting on the specificity of the Indian social sciences. The chapters cover a range of key areas, including sexuality, law, environment, science and medicine. This volume will greatly interest students, teachers, researchers and practitioners of sociology, women’s studies, gender studies and feminism, politics and postcolonial studies.

This book challenges the current child protection culture and calls for family-minded humane practice where children are understood as relational beings, parents are recognized as people with needs and hopes and families as carrying extraordinary capacities for care and protection.

Artists plumb the depths of soul which Jung calls the collective unconscious, the inheritance of our ancestors' psychic responses to life's drama. In this sense the artist is priest, mediating between us and God. The artist introduces us to ourselves by inviting us into the world of image. We may enter this world to contemplate briefly or at length. Some paintings invite us back over and over again and we return, never tiring of them. It is especially these that lead us to the Great Mystery, beyond image. Re-Imagining Mary: A Journey through Art to the Feminine Self is about meeting the Cosmic Mary in image and imagination, the many facets of the Mary image that mirror both outer reality and inner feminine soul. Jungian analyst Mariann Burke offers personal reflections and suggests symbolic meanings in works by several artists including: Fra Angelico, Albrecht Durer, Henry Ossawa Tanner, Nicolas Poussin, Parmigianino, Duccio di Buoninsegna, Salvador Dali, Andy Warhol, and Frederick Franck. Aspects of Mary explored include: Mary not only as Mother of God, a title from the Judeo-Christian tradition, but as Mother God, a title reaching back to an ancient longing for a Female Divinity. In western Christianity this Mary bears the titles and the qualities worshipped for thousands of years in the Female images of God and Goddess. These titles include Mary as Sorrowful One and as Primordial Mother. Recovering Mary both as light and dark Madonna plays a crucial role in humanity's search for a divinity who reflects soul. Also discussed is Mary as the sheltering Great Mother that Piero della Francesca suggest in the Madonna del Parto and Mater Misericodia. Frederick Franck's The Original Face and the Medieval Vierge Ouvrante also suggest this motif of Mary as Protector of the mystery of our common Origin. Franck's inspiration for his sculpture of Mary was the Buddhist koan-"What is your original face before you were born?" What is spirituality? What does it mean to grow spiritually and psychologically closer to the Feminine Self? How can we begin to see the "outer" image as a manifestation, a projection of the psyche? Can we be challenged by being "betwixt and between" a male dominated Church without a recognized female divinity where God is generally imagined external to the soul and a more feminine depth psychological approach to the Marian mystery and to the Feminine Self? Will we answer the call of the mystic within us? If so, how will we be changed?

Re-imagining Social Work provides a unique perspective on how social work can evolve for the future.