The Depth of Madness Essay

Foucault’s work, for all intents and purposes, was staunchly antil establishment. Better known as PostModernist in its attempt to preserve  classic     definitions while subverting and elaborating upon them.

      “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. ” (http://www.routledge-philosophy.com/books/History-of-Madness-isbn9780415477260)

      Foucault’s asks his readers to understand mental illness as a hypothesis created and recreated throughout history to satisfy the powers  that be, and to justify the reasoning of their minds. He asks profound questions, disturbing the status quo of the times. Basic questions such as:      Why were     the lepers freed  to have their place in history taken by the insane? Questions upsetting for those    having       attempted, and in most cases succeeded, in     silencing the upset and outraged      sick.

      In terms of historical approaches, Foucault views the timeline creatively, with shifts and breaks. With leaps of learning and  completely, if not  totally non linear; much, it appears, like the misunderstood minds of the mad.

      Foucault’s voice spoke to a generation. His PostModernist views alleviate a burden of guilt belonging to the practitioners        within the field of Psychiatry. With a sympathetic ear and a passion in his area of expertise, Foucault freed, in thought, many ailing      and   captive minds     bordering on      psychosis due, in part, to the barbarics of a system with a history of violence towards its     patience.

      Words, for Foucault, were the means to identify something. Not the means to address the thing itself the way it truly exists but the way to label and   project meaning onto said person or thing. Beneath the “discourse” lay the true identity. Devoid of hype, beneath the surface,      lay the     simplified facts. He felt the interaction spoke to the mechinations of the individual.

      Foucault prefers the term “author function” believing that discourses speaks through us and that language is alive. He further asserts that   the author speaks in depth, where he intended to speak lightly. That is to say the role of language is to express more than the   vehicle intends. His    work with the     mentally ill has provided him with the proof that profound discourse within the   misunderstood       expressions of the mentally ill, exists where one   might otherwise not suspected. One might go further in making the assumption that the patient is misdiagnosed or essentially misunderstood because    the patient uses a seemingly strange language where the truth lies beneath the maze of madness he/she expresses.

      Foucault remarks that “in every society the production of discourse is at once controlled, selected, organised and redistributed according      to a certain      number of procedures, whose role is to avert its power and its dangers, to cope with chance events, to evade its ponderous, awesome materiality”      (216) Hence the number of mental institutions with the aims of subverting power posessed by a minority whose language is unguarded   by censor   and unhinged in the minds of the masses

            “there is a tendency today to understand the body and disease in terms of the discourses of genetics and Darwin’s theories    of evolution. Even when the evidence suggests that genetics doesn’t explain everything–as, for instance, when clones do not turn out exactly     the same as       the genetically-identical parent, or when not all females are “feminine,” or when creatures who are nearly    genetically identical   develop     differing behaviors or social structures–geneticists tend to continue to look for explanations in genetics rather than       developing a      new theory      (discourse) that would credit a combination of agents (genetics plus environment, for instance). Furthermore, genetics is seen to   explain all       behavior. Hence the field of sociobiology, which attempts to account for    all human       behaviors, including moral and ethical thinking      as well as social roles and structures (subordinate females and dominanat males)   through     genetics. The limits of the discourse–the very discursive nature of the discourse–are obscured, and its truths seem to exist independent of    the discourse” (http://www.ic.arizona.edu/ic/mcbride/theory/539fou.htm)

      Every discourse, of its age claims reason.     And in retrospect every discourse may be discredited and found depraved. This is       like the    language of madness. Non linear,       making sense      in isolation, perhaps even in the grander scheme of things but when   immediately       examined, appearing non sensical. A sense of         certainty   prevailing over the ages, as it does in the minds of the mad.    One piece       here sound, another there unfounded.

      Being a student of PostModernist thought, Foucault experienced madness, albeit as a physician, as a vertical archealogical       equation. With    depths assigned to the language of madness. Like in the work of Paul Austers, in The New York Trilogy, the author,     Paul Austers,           writes of an      author, for example Quinn. They perhaps exist to experience the same environment. But with blurred boundaries       between     author      and   character this is an example of what can be proclaimed psychosis in literature, albeit from the PostModernist     perspective. The        author, Paul      Austers, becomes indistinguishable from God. He acts all powerful in the creation and destruction of his characters. His   characters,       writers like      he, and the       reader not aware of  where the truth is beginning and ending in life.  Foucault’s premise of the   author       function leads one to question     Auster’s    sanity. He speaks volumes, perhaps unintentionally. When the idea of saying what is unintended is addressed in  literature, we turn a fresh   eye to a    work of depth, like this one that borrows     from other well known oeuvres. A collage of greatness where a word like ‘i”reverberrates for archealogical     depths,     perhaps as it might sound, upon analysis, coming from the mouths of the mad.

Beginning in the work of St Augustine, who’s work The City of God  gives birth to the first in the Trilogy: The City of Glass. We perceive depth. Like       a stone in a lake, at first    causing a   ripple on the surface, then slicing the waters before reaching the deep, the mind though full of madness   must be     examined from     a non       linear perspective, with the intent to find the something in the archealogical deep.

      In Auster’s first installement of the New York Trilogy one might question the necessity for depth of understanding, and  misunderstanding it misread the deeper meanings, thus finding the work “insane” however with a mind to see, we then do.

            “The term held a triple meaning for Quinn. Not only was it the letter “i,” standing for “investigator,” it was “I” in the upper case, the tiny life-bud buried in the body of the breathing self. At the same time, it was also the physical eye of the writer, the eye of the man who looks out from himself into the world and demands that the world reveal itself to him. (p 4 The City of Glass)

      The mad speak a supposed language of linear gibberish. When art is the mode of expression the sentiment or presentiment becomes     crystal clear in its non linear beauty.   Art, to be dissected, to be examined in depth, to be   valued and prized in the eyes of the most civilized, when the artist is silenced is   worthless without a medium and misunderstood.  The truest artists are the mad, censored for they speak out, unashamed of ridicule. A thing of beauty, a   joy forever, becomes a distraught tangled mess of miscommunication, when not given the right language to speak. Worse yet when no attempt is made to understand what they have been saying. Foucault believing that where power exists, struggle follows has seen that the freedom of speech allotted to the  madman or artist is at first challenged, then quieted.

      There is a depth of beauty in a VanGogh. A deeper meaning in his art, giving reason for his celebrated greatness. Foucault has aimed to       mine the    depths of the minds of the mad, like posterity has found a gift in VanGogh’s demise. Foucault embraced the darkness, in order to see   the light. He     was searching for  truth in the dark nights of the mad soul; finding in it a language, where ignorance had heard but       strange utterances.

References

http://www.ic.arizona.edu/ic/mcbride/theory/539fou.htm

http://foucault.info/Foucault-L/archive/msg05956.shtml

http://www.routledge-philosophy.com/books/History-of-Madness-isbn9780415477260

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