In this rich, exciting new book, Gregg Camfield explores nineteenth-century American humor from the perspective of gender and domestic ideology, challenging recent theory asserting a broad gulf between men's and women's humor during the period and contributing vital new insights to the study of humor in general. Capturing in part I a vision of humor unique to the era, Camfield examines the period's faith in what was called "amiable humor," a genial and supple comic mode whose non- aggression makes it resist easy assimilation to theories stressing humor's basis in hostility, negation, rage, and other combative or displaced energies. Seeking to illuminate this distinct comedy, Camfield probes a related, central cultural strand--the domesticity ideal--that so often is a subject of this humor, carefully tracking contact between the two discourses and identifying their common social and intellectual roots. Turning next to four literary case-studies powerfully revealing of this contact, Camfield in part II pairs male and female humorists--Washington Irving and Fanny Fern; Harriet Beecher Stowe and Herman Melville; Mark Twain and Marietta Holley; and George Washington Harris and Mary Wilkins Freeman--not only to demonstrate the way these influential writers approach domesticity with genial humor, but also to support his claim that gender difference does not always correlate to differences in viewpoint and practice within this common style. Where many argue nineteenth- century women's humor constitutes a genre unto itself, Camfield finds that like women, men filtered reaction to the constraints and opportunities of home life through genial comedy, and that women, like their male counterparts, wrote humor marked by extravagance, expansion, caricature, fantasy, and posturing. Broadening out to an intriguing consideration of humor theory in part III, Camfield draws on recent work in psychology, culture studies, neo-pragmatist philosophy, and neuroscience to model a compelling alternative view of humor capable of negotiating both the complexities of nineteenth-century American humor and the comic art of periods before and since. Students and scholars of humor, nineteenth-century American literature and culture, and women's writing, will find Necessary Madness to be a provocative, essential achievement.

Power and love can both lead to madness. Nineteen-year-old Kyle sees visions of disasters, visions that tear his world apart. Everyone assumes he is schizophrenic, but Rob, the cop who picks him up off the street, knows better. Rob's own experience has taught him that psychic powers are real, and potentially devastating. Since his telepathic sister's brutal murder, Rob wants nothing to do with 'gifted' individuals like Kyle. Yet he can't deny his attraction to the beautiful, tortured young man - an attraction that appears to be mutual. When a brilliant, sadistic practitioner of the black arts lures Kyle into his clutches, Rob faces the possibility that once again he may lose the person he loves most to the forces of darkness.

Voices inside Ebrielle's head pull her into one bad situation after another. When her father, the governor, is at his wits end, she is sent away with a group of craftsmen, including her childhood friend and blacksmith, Wesley, to act as the governor's ambassador to the country over the mountain. As she discovers that the strange whispers that caused her so much trouble back home may be the key to uncovering a plot to destroy her homeland, she realizes they could prove her loyalty to her people...or lead to her undoing.

Turning next to literary case studies powerfully revealing of this contact, Camfield in part II pairs male and female humorists - Washington Irving and Fanny Fern; Harriet Beecher Stowe and Herman Melville; Mark Twain and Marietta Holley; and George Washington Harris and Mary Wilkins Freeman - not only to demonstrate the way these influential writers approach domesticity with genial humor, but also to support his claim that gender difference does not always correlate to differences in viewpoint and practice within this common style.

Neo-Victorian Madness: Rediagnosing Nineteenth-Century Mental Illness in Literature and Other Media investigates contemporary fiction, cinema and television shows set in the Victorian period that depict mad murderers, lunatic doctors, social dis/ease and madhouses as if many Victorians were “mad.” Such portraits demand a “rediagnosing” of mental illness that was often reduced to only female hysteria or a general malaise in nineteenth-century renditions. This collection of essays explores questions of neo-Victorian representations of moral insanity, mental illness, disturbed psyches or non-normative imaginings as well as considers the important issues of legal righteousness, social responsibility or methods of restraint and corrupt incarcerations. The chapters investigate the self-conscious re-visions, legacies and lessons of nineteenth-century discourses of madness and/or those persons presumed mad rediagnosed by present-day (neo-Victorian) representations informed by post-nineteenth-century psychological insights.

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.

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 book is divided into sections with seminal papers from each decade. The preface of each section, written by the editor, places each paper in it's historical context and making for a fascinating story of an aspect of the history of psychoanalysis and psychiatry in America.

In what will be a tour de force in the field of psychiatry in all its complexity and depth, this important new volume explores the essential paradox of psychiatry—and offers a balanced understanding of its history and development in the medical world. Much is written about psychiatry, but very little that describes psychiatry itself. Why should there be such a need? For good or ill, psychiatry is a polemical battleground, criticized on the one hand as an instrument of social control, while on the other the latest developments in neuroscience are trumpeted as lasting solutions to mental illness.Which of these strikingly contrasting positions should we believe? This is the first attempt in a generation to explain the whole subject of psychiatry. In this deeply thoughtful, descriptive, and sympathetic book, Tom Burns reviews the historical development of psychiatry, throughout alert to where psychiatry helps, and where it is imperfect. What is clear is that mental illnesses are intimately tied to what makes us human in the first place. And the drive to relieve the suffering they cause is even more human.Psychiatry, for all its flaws, currently represents our best attempt to discharge this most human of impulses. It is not something we can just ignore. It is our necessary shadow.

Girl, Interrupted meets Best Kept Secret in this riveting, redemptive coming-of-age story about a young woman who overcomes a troubled adolescence, only to lose custody of her daughter when her mental health history is used against her. On the surface, sixteen-year-old Lesley Holloway is just another bright new student at Hawthorn Hill, a posh all-girls’ prep school north of London. Little do her classmates know that she recently ran away from home, where her father had spent years sexually abusing her. Nor does anyone know that she’s secretly cutting herself as a coping mechanism...until the day she goes too far and ends up in the hospital. Lesley spends the next two years in and out of psychiatric facilities, where she overcomes her traumatic memories and finds the support of a surrogate family. Eventually completing university and earning her degree, she is a social services success story—until she becomes unexpectedly pregnant in her early twenties. Despite the overwhelming odds she has overcome, the same team that saved her as an adolescent will now question whether Lesley is fit to be a mother. And so she embarks upon her biggest battle yet: the fight for her unborn daughter.