Love's Madness is an important new contribution to the interdisciplinary study of insanity. Focusing on the figure of the love-mad woman, it presents a significant reassessment of the ways in which British medical writers and novelists of the nineteenth century thought about madness, femininity, and narrative convention. The book centers around studies of novels by Jane Austen, Sir Walter Scott, Charlotte Bront , Wilkie Collins, and Charles Dickens, as well as of previously neglected writings by Charles Maturin, Lady Caroline Lamb, and Edward Bulwer-Lytton, among others.

The most burning love poems of Bedrettin Simsek are combined with his novel, a masterpiece of irony and dark humor! Bedrettin Simsek, the heterodox author of Turkish literature, whose first work 'The Sermon Book Of The False Prophet' came out in 1996, combines his identity as a poet with his identity as a novelist in his book 'Is Love a Madness?' in which he addresses an even more bizarre situation that arises as a result of a bizarreness of the human soul. By making the poem a part of the novel and with his ability to create situations that can be both tragic and funny at the same time, he reveals a unique work in literary fiction.

Marion Milner introduces this edited collection of her papers from 1942 to 1977 with a fascinating biographical account of her development in psychoanalysis.

This book explores the relationship between subjective experience and the cultural, political and historical paradigms in which the individual is embedded. Providing a deep analysis of three compelling case studies of schizophrenia in Turkey, the book considers the ways in which private experience is shaped by collective structures, offering insights into issues surrounding religion, national and ethnic identity and tensions, modernity and tradition, madness, gender and individuality. Chapters draw from cultural psychiatry, medical anthropology, and political theory to produce a model for understanding the inseparability of private experience and collective processes. The book offers those studying political theory a way for conceptualizing the subjective within the political; it offers mental health clinicians and researchers a model for including political and historical realities in their psychological assessments and treatments; and it provides anthropologists with a model for theorizing culture in which psychological experience and political facts become understandable and explainable in terms of, rather than despite each other. Meaning, Madness, and Political Subjectivity provides an original interpretative methodology for analysing culture and psychosis, offering compelling evidence that not only "normal" human experiences, but also extremely "abnormal" experiences such as psychosis are anchored in and shaped by local cultural and political realities.

Ferit Güven illuminates the historically constitutive roles of madness and death in philosophy by examining them in the light of contemporary discussions of the intersection of power and knowledge and ethical relations with the other. Historically, as Güven shows, philosophical treatments of madness and death have limited or subdued their disruptive quality. Madness and death are linked to the question of how to conceptualize the unthinkable, but Güven illustrates how this conceptualization results in a reduction to positivity of the very radical negativity these moments represent. Tracing this problematic through Plato, Hegel, Heidegger, and, finally, in the debate on madness between Foucault and Derrida, Güven gestures toward a nonreducible, disruptive form of negativity, articulated in Heidegger's critique of Hegel and Foucault's engagement with Derrida, that might allow for the preservation of real otherness and open the possibility of a true ethics of difference.

Art, Crime and Madness explores the relationship between creative innovation, deviance and morbidity. To innovate, one has to be able to view the medium and the object of creativity in a different, hitherto unexplored manner. The essence of art is creative innovation, coupled with an ability, in varying degrees, to transcend the boundaries of consciousness. But this 'ability' is also the prerogative of the mentally deranged. Likewise, the criminal and the deviant are more likely to transcend normative barriers while creating, hence the wide range of criminal and deviant behaviour in society. Although the inverse hypothesis does not hold -- the mere existence of deviance or morbidity does not predispose the individual to creativity -- nevertheless criminal and mad behaviour are often very innovative. This thesis is illustrated by historical case histories of creative deviance and genius madness, and contemporary observations. The painter Michelangelo Merisi Caravaggio killed a man while still a teenager, and a second victim during a ball game. In his lifetime he was considered degenerate, but today he is considered the greatest painter of the Italian Settecento, and his portrait adorns the Hundred-Thousand Lira note. Jean Genet the homosexual thief was born out of wedlock and as a teenager he transgressed almost all the paragraphs of the French criminal code. But he became a famous French playwright, the mouthpiece for criminals and deviants. His plays built up a philosophical apology for the raison d'etre of the criminal group.

Standing right in front of the sight yet he was out of her reach. Staying right beside yet miles apart. Having him yet couldn't call him soley hers. Once the only person who lights up her dark way was now no where to be seen. May be the sweet yet understanding him was just a illusion she thought. It was a bitter-sweet moment that now laced in her memory. It hangs in her mind rent free yet no complaints, no grudges held. Holding hands, entangling them with his, all she felt complete yet incomplete within. Knowing this was the safest place that ever exist yet she wavered. Reaching far, very far from where there is no return she finally realised it's just that "she was loved yet not loved"

The volume presents an innovative set of researches featuring theoretical and practical discussions of the proverb in cognition and culture. To date, there seems to be a need for state-of-the-art research into this subject matter. This volume aims at responding to this need. The chapters contribute, from a Cognitive Linguistics interdisciplinary perspective, to the existing body of literature on the proverb. The book begins with a first part containing three chapters concerned with theoretical discussions of proverbs in cognition and culture. The three chapters in the second part ponder proverbs within a cognitive-cross-cultural perspective. The third part of the volume includes three chapters that deal with the proverbs of individual languages and cultures. The three chapters in the fourth part study proverbs and/or related phenomena from a cognitive and cultural perspective: snowclones, idioms, and proverbial phrases. This book will be of interest to academics interested in proverbs within a cognitive linguistic framework and to scholars in the areas of language studies, applied linguistics, language teaching and learning, and Cognitive Linguistics in general, and to those researchers who wish to refine their knowledge about the cognitive activities featuring proverb use and their interaction with sociocultural contextual variables.

Featuring a new emphasis on how to be awake in the world and how to better see the patterns we use to make sense of our own lives, this fifth edition of Jodi O’Brien’s popular book introduces the major theories, concepts, and perspectives of contemporary social psychology in a uniquely engaging manner. Compelling, original essays that introduce relevant concepts are followed by a wide-ranging, eclectic, enjoyable set of readings. By grounding social psychology in student experiences and explaining theories through stories and narratives, this one-of-a-kind book is a fascinating read that helps students understand the forces that shape their feelings, thoughts, and actions.