What is ‘creativity’? And what is ‘madness’? How far can we interpret an artist’s work through our knowledge of his or her mental state, and how far can we infer a mental state from a work of art? When does a work of art cease to be a personal statement by the artist and become a matter of public concern? The contributions to this book attempt to answer some of these questions. They come from a wide range of disciplines and experiences – a practising psychiatrist, a practising artist suffering from reactive depression, and critics working in literature, film, music and the visual arts. The essays include discussions of the ‘myth of creativity’, the music of Robert Schumann, the borders of sanity in the writing of Lawrence Durrell, the ‘insane truth’ of Virginia Woolf, the meeting of doctor and patient in the poetry of Anne Sexton, mood disorders in the fiction of David Foster Wallace, love and madness in the poetry of Hafiz of Shiraz, and the paintings of Adolf Wölfli. Central to this discussion of creativity, madness and civilisation is the difficulty of establishing an appropriate and effective vocabulary and mindset between critics and clinical psychiatrists, which would enable them to work together in understanding mental disturbance in creative artists.

Originally published: London: Thames & Hudson Ltd, 2015.

Michel Foucault examines the archeology of madness in the West from 1500 to 1800 - from the late Middle Ages, when insanity was still considered part of everyday life and fools and lunatics walked the streets freely, to the time when such people began to be considered a threat, asylums were first built, and walls were erected between the "insane" and the rest of humanity.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

In the 1960s and 1970s, a popular diagnosis for America’s problems was that society was becoming a madhouse. In this intellectual and cultural history, Michael E. Staub examines a time when many believed insanity was a sane reaction to obscene social conditions, psychiatrists were agents of repression, asylums were gulags for society’s undesirables, and mental illness was a concept with no medical basis. Madness Is Civilization explores the general consensus that societal ills—from dysfunctional marriage and family dynamics to the Vietnam War, racism, and sexism—were at the root of mental illness. Staub chronicles the surge in influence of socially attuned psychodynamic theories along with the rise of radical therapy and psychiatric survivors' movements. He shows how the theories of antipsychiatry held unprecedented sway over an enormous range of medical, social, and political debates until a bruising backlash against these theories—part of the reaction to the perceived excesses and self-absorptions of the 1960s—effectively distorted them into caricatures. Throughout, Staub reveals that at stake in these debates of psychiatry and politics was nothing less than how to think about the institution of the family, the nature of the self, and the prospects for, and limits of, social change. The first study to describe how social diagnostic thinking emerged, Madness Is Civilization casts new light on the politics of the postwar era.

Explores how historical, artistic, and technological developments and cross-cultural exchange have altered our conceptions of creativity.

When it was first published in France in 1961 as Folie et Déraison: Histoire de la Folie à l'âge Classique, few had heard of a thirty-four year old philosopher by the name of Michel Foucault. By the time an abridged English edition was published in 1967 as Madness and Civilization, Michel Foucault had shaken the intellectual world. This translation is the first English edition of the complete French texts of the first and second edition, including all prefaces and appendices, some of them unavailable in the existing French edition. History of Madness begins in the Middle Ages with vivid descriptions of the exclusion and confinement of lepers. Why, Foucault asks, when the leper houses were emptied at the end of the Middle Ages, were they turned into places of confinement for the mad? Why, within the space of several months in 1656, was one out of every hundred people in Paris confined? Shifting brilliantly from Descartes and early Enlightenment thought to the founding of the Hôpital Général in Paris and the work of early psychiatrists Philippe Pinel and Samuel Tuke, Foucault focuses throughout, not only on scientific and medical analyses of madness, but also on the philosophical and cultural values attached to the mad. He also urges us to recognize the creative and liberating forces that madness represents, brilliantly drawing on examples from Goya, Nietzsche, Van Gogh and Artaud. The History of Madness is an inspiring and classic work that challenges us to understand madness, reason and power and the forces that shape them.