In her latest contribution to the growing field of emotion studies, Deidre Pribram makes a compelling argument for why culturalist approaches to the study of emotional "disorders" continue to be eschewed, even as the sociocultural and historical study of mental illness flourishes. The author ties this phenomenon to a tension between two fundamentally different approaches to emotion: an individualist approach, which regards emotions as the property of the individual, whether biologically or psychologically, and a culturalist approach, which regards emotions as collective, social processes with distinctive histories and meanings that work to produce particularized subjects. While she links a strong preference for the individualist construct in Western culture to the rise of the psychological and psychiatric disciplines at the turn of the twentieth century, Pribram also engages with a diverse set of case studies tied to psychological and aesthetic discourses on emotions. These range from Van Gogh’s status as emotionally disordered to the public, emotional aesthetics of 19th century melodrama to the diagnostic categories of the DSMs and the fear of "globalizing" emotional disorders in the 21st century. This genuinely interdisciplinary approach makes for a text with potential application in a wide range of disciplines within cultural studies, including sociocultural and historical analysis of psychiatry and psychology, gender theory, subject and identity theory, popular culture studies, and history and theory of the arts.

"Being crazy" is generally a negative characterization today, yet many celebrated artists, leaders, and successful individuals have achieved greatness despite suffering from mental illness. This book explores the many different representations of mental illness that exist—and sometimes persist—in both traditional and new media across eras. Mental health professionals and advocates typically point a finger at pop culture for sensationalizing and stigmatizing mental illness, perpetuating stereotypes, and capitalizing on the increased anxiety that invariably follows mass shootings at schools, military bases, or workplaces; on public transportation; or at large public gatherings. While drugs or street gangs were once most often blamed for public violence, the upswing of psychotic perpetrators casts a harsher light on mental illness and commands media's attention. What aspects of popular culture could play a role in mental health across the nation? How accurate and influential are the various media representations of mental illness? Or are there unsung positive portrayals of mental illness? This standout work on the intersections of pop culture and mental illness brings informed perspectives and necessary context to the myriad topics within these important, timely, and controversial issues. Divided into five sections, the book covers movies; television; popular literature, encompassing novels, poetry, and memoirs; the visual arts, such as fine art, video games, comics, and graphic novels; and popular music, addressing lyrics and musicians' lives. Some of the essays reference multiple media, such as a filmic adaptation of a memoir or a video game adaptation of a story or characters that were originally in comics. With roughly 20 percent of U.S. citizens taking psychotropic prescriptions or carrying a psychiatric diagnosis, this timely topic is relevant to far more individuals than many people would admit.

The publication of the Cultural Formulation Outline in the DSM-IV represented a significant event in the history of standard diagnostic systems. It was the first systematic attempt at placing cultural and contextual factors as an integral component of the diagnostic process. The year was 1994 and its coming was ripe since the multicultural explosion due to migration, refugees, and globalization on the ethnic composition of the U.S. population made it compelling to strive for culturally attuned psychiatric care. Understanding the limitations of a dry symptomatological approach in helping clinicians grasp the intricacies of the experience, presentation, and course of mental illness, the NIMH Group on Culture and Diagnosis proposed to appraise, in close collaboration with the patient, the cultural framework of the patient's identity, illness experience, contextual factors, and clinician-patient relationship, and to narrate this along the lines of five major domains. By articulating the patient's experience and the standard symptomatological description of a case, the clinician may be better able to arrive at a more useful understanding of the case for clinical care purposes. Furthermore, attending to the context of the illness and the person of the patient may additionally enhance understanding of the case and enrich the database from which effective treatment can be planned. This reader is a rich collection of chapters relevant to the DSM-IV Cultural Formulation that covers the Cultural Formulation's historical and conceptual background, development, and characteristics. In addition, the reader discusses the prospects of the Cultural Formulation and provides clinical case illustrations of its utility in diagnosis and treatment of mental disorders. Book jacket.

Leading therapists and researchers have come to understand that many psychological disorders share common features and respond to common therapeutic treatments. This deepened understanding of the nature of psychological disorders, their causes, and their symptoms has led to the development of new, comprehensive treatment programs that are effective for whole classes of disorders. Unified Protocol for Transdiagnostic Treatment of Emotional Disorders is one such program. Designed for individuals suffering from emotional disorders, including panic disorder, social anxiety disorder, generalized anxiety disorder, posttraumatic stress disorder, obsessive compulsive disorder, and depression, this program focuses on helping you to better understand your emotions and identify what you're doing in your responses to them that may be making things worse. Throughout the course of treatment you will learn different strategies and techniques for managing your emotional experiences and the symptoms of your disorder. You will learn how to monitor your feelings, thoughts, and behaviors; confront uncomfortable emotions; and learn more effective ways of coping with your experiences. By proactively practicing the skills presented in this book-and completing the exercises, homework assignments and self-assessment quizzes provided in each chapter, you will address your problems in a comprehensive and effective way so you can regulate your emotional experiences and return to living a happy and functional life.

This international collection discusses how the individualised, reflexive, late modern era has changed the way we experience and act on our emotions. Divided into four sections that include studies ranging across multiple continents and centuries, Emotions in Late Modernity does the following: Demonstrates an increased awareness and experience of emotional complexity in late modernity by challenging the legal emotional/rational divide; positive/negative concepts of emotional valence; sociological/ philosophical/psychological divisions around emotion, morality and gender; and traditional understandings of love and loneliness. Reveals tension between collectivised and individualised-privatised emotions in investigating ‘emotional sharing’ and individualised responsibility for anger crimes in courtrooms; and the generation of emotional energy and achievement emotions in classrooms. Debates the increasing mediation of emotions by contrasting their historical mediation (through texts and bodies) with contemporary digital mediation of emotions in classroom teaching, collective mobilisations (e.g. riots) and film and documentary representations. Demonstrates reflexive micro and macro management of emotions, with examinations of the ‘politics of fear’ around asylum seeking and religious subjects, and collective commitment to climate change mitigation. The first collection to investigate the changing nature of emotional experience in contemporary times, Emotions in Late Modernity will appeal to students and researchers interested in fields such as sociology of emotions, cultural studies, political science and psychology. Chapter 2 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This volume provides an exploration of the manifold ways pedagogy is enacted in cultural studies practice. Pedagogy in the book comes to stand as far more than simply the "art of teaching"; contributors explore how pedagogy defines and shapes their practice as cultural studies scholars. Chapters variously highlight the role of pedagogy in cultural studies practice, including formal, classroom situations where cultural studies is deployed to teach as part of degree or coursework programs, but importantly also as something removed from the formal classroom, as situated within the research act via public engagement or through social activism as a public pedagogy. In so doing, the book chart a course for understanding cultural studies as an active and engaged discipline interested in understanding cultural flows and production as sites of learning and exchange.

In Emotional Expressionism: Television Seriality, the Melodramatic Mode, and Socioemotionality, E. Deidre Pribram examines emotions as social relations through the lens of dramatic television serials as contemporary melodrama. She develops the concept of socioemotionality, addressing sociocultural forms of felt experience and exploring the role of emotions in forging narrative worlds. Through detailed analyses of serials like Killing Eve, How to Get Away with Murder, and The Marvelous Mrs. Maisel, Pribram argues that the prominent role emotions play in popular mediated narratives demonstrates the crucial impact of collective emotions—activated through aesthetic attributes—on cultural storytelling. Scholars of television, communication, media, and cultural studies will find this book of particular relevance.

This book delves into humanity’s compulsive need to valorize criminals. The criminal hero is a seductive figure, and audiences get a rather scopophilic pleasure in watching people behave badly. This book offers an analysis of the varied and vexing definitions of hero, criminal, and criminal heroes both historically and culturally. This book also examines the global presence, gendered complications, and gentle juxtapositions in criminal hero figures such as: Robin Hood, Breaking Bad, American Gods, American Vandal, Kabir, Plunkett and Macleane, Martha Stewart, Mary Read, Anne Bonny, Ocean’s 11, Ocean’s Eleven, and Let The Bullets Fly.

This is a major international textbook for psychiatrists and other professionals working in the field of mental healthcare. With contributions from opinion-leaders from around the globe, this book will appeal to those in training as well as to those further along the career path seeking a comprehensive and up-to-date overview of effective clinical practice backed by research evidence. The book is divided into cohesive sections moving from coverage of the tools and skills of the trade, through descriptions of the major psychiatric disorders and on to consider special topics and issues surrounding service organization. The final important section provides a comprehensive review of treatments covering all of the major modalities. Previously established as the Essentials of Postgraduate Psychiatry, this new and completely revised edition is the only book to provide this depth and breadth of coverage in an accessible, yet authoritative manner.