The exact definition of "madness" remains elusive. There are difficulties in distinguishing the criminal from the mad or, more euphemistically, the mentally ill. Controversy has centered on the frightening potential possessed by the state to deprive of his rights the individual officially classified as mad. In this book, Wing, a psychiatrist of international repute, argues for a limited medical definition of mental illness, although he explains how even a doctor's professional judgment may often be influenced by social pressures. He compares concepts of madness prevalent in different types of society, examining, for example, the Marxist attitude towards the deviant in a socialist state. In a chapter which draws much from his own experience, he shows precisely how the apparatus of state medicine is used to suppress political dissidence in Russia. He also critically reviews the petty tyrannies prevalent in the West and tackles the difficult analytical problem of schizophrenia, a subject on which he is one of the most respected medical authorities. Reasoning about Madness is an original and important work in which the author successfully resists the temptation to erect "grand theories that explain nothing because they attempt to explain everything." Instead, he concentrates on developing a definition of madness which strikes a balance between the benefits of medical care and the preservation of human liberties.

Examines the emergence of Brazilian psychiatry during a period of national regeneration, demonstrating how sociopolitical negotiations can shape psychiatric professionalization

This book shows how an understanding of the nature and role of insanity in Hegel's writing provides intriguing new points of access to many of the central themes of his larger philosophic project. Berthold-Bond situates Hegel's theory of madness within the history of psychiatric practice during the great reform period at the turn of the eighteenth century, and shows how Hegel developed a middle path between the stridently opposed camps of "empirical" and "romantic" medicine, and of "somatic" and "psychical" practitioners. A key point of the book is to show that Hegel does not conceive of madness and health as strictly opposing states, but as kindred phenomena sharing many of the same underlying mental structures and strategies, so that the ontologies of insanity and rationality involve a mutually illuminating, mirroring relation. Hegel's theory is tested against the critiques of the institution of psychiatry and the very concept of madness by such influential twentieth-century authors as Michel Foucault and Thomas Szasz, and defended as offering a genuinely reconciling position in the contemporary debate between the "social labeling" and "medical" models of mental illness.

The New York Times bestseller “A glistening psychological history, faceted largely by the biographies of eight famous leaders . . .” —The Boston Globe “A provocative thesis . . . Ghaemi’s book deserves high marks for original thinking.” —The Washington Post “Provocative, fascinating.” —Salon.com Historians have long puzzled over the apparent mental instability of great and terrible leaders alike: Napoleon, Lincoln, Churchill, Hitler, and others. In A First-Rate Madness, Nassir Ghaemi, director of the Mood Disorders Program at Tufts Medical Center, offers a myth-shattering exploration of the powerful connections between mental illness and leadership and sets forth a controversial, compelling thesis: The very qualities that mark those with mood disorders also make for the best leaders in times of crisis. From the importance of Lincoln's "depressive realism" to the lackluster leadership of exceedingly sane men as Neville Chamberlain, A First-Rate Madness overturns many of our most cherished perceptions about greatness and the mind.

A leading interpreter of modernity argues that our culture of limitless self-fulfillment is making millions mentally ill. Training her analytic eye on manic depression and schizophrenia, Liah Greenfeld, in the culminating volume of her trilogy on nationalism, traces these dysfunctions to society’s overburdening demands for self-realization.

This book is about the Diagnostic and Statistical Manual of Mental Disorders, more commonly known as the D.S.M. The D.S.M. is published by the American Psychiatric Association and aims to list and describe all mental disorders. Within its pages can be found diagnostic criteria for types of depression, types of schizophrenia, eating disorders, anxiety disorders, phobias, sleeping disorders, and so on. Also included are less familiar, and more controversial, conditions: Mathematics Disorder, Caffeine Intoxication, Nicotine Dependence, Nightmare Disorder. It must be admitted that the D.S.M. is not an exciting read. Its pages follow a standard format: Each disorder has a numerical code. This is followed by a description of the disorder, which includes information regarding prevalence, course, and differential diagnosis. Finally explicit criteria that patients must meet to receive the diagnosis are listed. These generally include lists of the symptoms that must be present, restrictions as to the length of time that the symptoms must have been troublesome, and clauses that state that the symptoms must not be better accounted for by some other condition.

What madness meant was a fiercely contested question in Soviet society. State of Madness examines the politically fraught collision between psychiatric and literary discourses in the years after Joseph Stalin's death. State psychiatrists deployed set narratives of mental illness to pathologize dissenting politics and art. Dissidents such as Aleksandr Vol'pin, Vladimir Bukovskii, and Semen Gluzman responded by highlighting a pernicious overlap between those narratives and their life stories. The state, they suggested in their own psychiatrically themed texts, had crafted an idealized view of reality that itself resembled a pathological work of art. In their unsanctioned poetry and prose, the writers Joseph Brodsky, Andrei Siniavskii, and Venedikt Erofeev similarly engaged with psychiatric discourse to probe where creativity ended and insanity began. Together, these dissenters cast themselves as psychiatrists to a sick society. By challenging psychiatry's right to declare them or what they wrote insane, dissenters exposed as a self-serving fiction the state's renewed claims to rationality and modernity in the post-Stalin years. They were, as they observed, like the child who breaks the spell of collective delusion in Hans Christian Andersen's story "The Emperor's New Clothes." In a society where normality means insisting that the naked monarch is clothed, it is the truth-teller who is pathologized. Situating literature's encounter with psychiatry at the center of a wider struggle over authority and power, this bold interdisciplinary study will appeal to literary specialists; historians of culture, science, and medicine; and scholars and students of the Soviet Union and its legacy for Russia today.