scholarly journals Confusions about ‘Inner’ and ‘Outer’ Voices: Conceptual Problems in the Study of Auditory Verbal Hallucinations

2021 ◽  
Author(s):  
Franz Knappik ◽  
Josef J. Bless ◽  
Frank Larøi
Keyword(s):  
Twentieth Century ◽  
Clinical Assessment ◽  
Empirical Studies ◽  
Diagnostic Value ◽  
Assessment Tools ◽  
Auditory Verbal Hallucinations ◽  
Early Twentieth Century ◽  
Conceptual Problems ◽  
The Mind

AbstractBoth in research on Auditory Verbal Hallucinations (AVHs) and in their clinical assessment, it is common to distinguish between voices that are experienced as ‘inner’ (or ‘internal’, ‘inside the head’, ‘inside the mind’, ...) and voices that are experienced as ‘outer’ (‘external’, ‘outside the head’, ‘outside the mind’, ...). This inner/outer-contrast is treated not only as an important phenomenological variable of AVHs, it is also often seen as having diagnostic value. In this article, we argue that the distinction between ‘inner’ and ‘outer’ voices is ambiguous between different readings, and that lack of disambiguation in this regard has led to flaws in assessment tools, diagnostic debates and empirical studies. Such flaws, we argue furthermore, are often linked to misreadings of inner/outer-terminology in relevant 19th and early twentieth century work on AVHs, in particular, in connection with Kandinsky’s and Jaspers’s distinction between hallucinations and pseudo-hallucinations.

Revaluations through Dance: Friedrich Nietzsche's Thought in Isadora Duncan's Speech The Dance of the Future

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Eternal Recurrence ◽  
Early Twentieth Century ◽  
Starting Point ◽  
The Future ◽  
The Mind

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.

The theory of symptom complexes, mind and madness

2019 ◽  
Vol 30 (2) ◽  
pp. 227-239 ◽  
Author(s):  
Mauricio V Daker
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Mental Disorders ◽  
Clinical Manifestations ◽  
World War ◽  
Mental Symptom ◽  
Early Twentieth Century ◽  
Disease Entities ◽  
The Mind

Kahlbaum’s seminal approach to symptom complexes, as opposed to disease entities, is still relevant. Many psychopathologists have approached mental symptom complexes without prejudging them as necessary physical deficits or diseases, favouring a broader dimensional and anthropological view of mental disorders. Discussions of symptom complexes gained prominence in psychiatry in the early twentieth century – through Hoche – and in the period leading up to World War II – through Carl Schneider. Their works, alongside those of Kraepelin, Bumke, Kehrer, Jaspers and others, are reviewed in relation to the theme of symptom complexes, the mind, and mental disorders. A particular feature of symptom complexes is their relationship to aspects of the normal mind and how this affects clinical manifestations. It is further suggested that symptom complexes might offer a useful bridge between the psychic and the biological in theories of the mind.

Querulous behaviour: vexatious litigation, abnormally persistent complaining and petitioning

2012 ◽  
pp. 1977-1981
Author(s):  
Paul E. Mullen
Keyword(s):  
Twentieth Century ◽  
Clinical Features ◽  
Clinical Assessment ◽  
Historical Overview ◽  
Early Twentieth Century ◽  
Civil Courts

The querulant pursue their vision of justice through litigation in the court, through petitions to the powerful, and finally through the various agencies of accountability. In practice all three avenues are often explored. In the nineteenth and early twentieth century it was the civil courts in which these dramas were usually played out. Today the main burden falls on the complaints organizations. After a brief historical overview, this chapter addresses clinical features, clinical assessment, and management.

scholarly journals “It was one’s body feeling, not one’s mind”

2019 ◽  
Author(s):  
Chloe Leung
Keyword(s):  
Twentieth Century ◽  
Virginia Woolf ◽  
Close Reading ◽  
The Novel ◽  
Bloomsbury Group ◽  
To The Lighthouse ◽  
Early Twentieth Century ◽  
Physical Gestures ◽  
The Aesthetic ◽  
The Mind

The Russian ballet was celebrated amongst the Bloomsbury group in the early twentieth-century. Throughout 1910s-1930s, Virginia Woolf enjoyed Russian ballets such as Petrushka, Le Spectre de la Rose and Scheherazade staged by Michel Fokine and Sergei Diaghilev. The expressivity of the dancing body rectifies words which, as Woolf delineates in “Craftsmanship,” are dishonest in articulating emotions (Selected Essays 85). This paper thus divulges an oppositional thinking that belies Woolf’s modernist aesthetics – a compulsion to give words to emotions that should be left unsaid. In To the Lighthouse (1928), this “silence” is communicated in the dancing gestures that populate the novel. Juxtaposing the context of Woolf’s attendance at the ballet with her concurrent composition of Lighthouse, I shall argue that the aesthetic convergence between Woolf’s prose and the Russian ballet is not a coincidence – that Woolf very much had the ballet in mind when she wrote. Woolf’s and the Russian ballet’s shared aesthetics however, do not characterise this paper as a study of influence the Russian ballet had on Woolf. Rather, Woolf involuntarily deploys the language of dance/ballet in articulating ineffable emotions. I will offer a close reading that scrutinizes the underexplored physical gestures of Mr and Mrs Ramsay with a perspective of dance. In projecting emotions, Woolf’s novel sketches a reciprocal network between the dancing body and the mind. I conclude by suggesting that the communicational lapses do not sentence the failure of but sustain human kinship. By extension, the Russian balletic presentation of the dancing body will also reanimate the mind-body conundrum that has haunted academia for centuries.

On Being Present to the Mind: A Sketch for the History of an Idea

Dialogue ◽  
1975 ◽  
Vol 14 (3) ◽  
pp. 373-388 ◽  
Author(s):  
John W. Yolton
Keyword(s):  
Twentieth Century ◽  
Theory Of Knowledge ◽  
Early Twentieth Century ◽  
The World ◽  
History Of ◽  
The Mind

I want to discuss a doctrine and a concept in theory of knowledge which has various manifestations from at least the seventeenth to the early twentieth century. The concept is that of direct or immediate cognition, the doctrine says that only what is like mind can be directly or immediately present to mind. This doctrine raises the question of how we can know things other than ourselves and our experiences: the concept of direct presence most usually had the consequence of making our knowledge of the world indirect, uncertain, or impossible. The directly present must in some way inform us about the indirectly present.

scholarly journals ‘Close confinement tells very much upon a man’: Prison Memoirs, Insanity and the Late Nineteenth- and Early Twentieth-Century Prison

2019 ◽  
Vol 74 (3) ◽  
pp. 267-291
Author(s):  
Hilary Marland
Keyword(s):  
Twentieth Century ◽  
Mental Illness ◽  
Prison System ◽  
Early Twentieth Century ◽  
Late Nineteenth ◽  
Prison Chaplains ◽  
The Mind ◽  
Prison Memoirs ◽  
Manage Mental ◽  
Poor Management

Abstract This article explores prisoners’ observations of mental illness in late nineteenth- and early twentieth-century British prisons, recorded in memoirs published following their release. The discipline of separate confinement was lauded for its potential to improve prisoners’ minds, inducing reflection and reform, when it was introduced in the 1840s, but in practice led to high levels of mental breakdown. In order to maintain the integrity of the prison system, the prison authorities played down incidences of insanity, while prison chaplains lauded the beneficent influence of cellular isolation. In contrast, as this article demonstrates, prisoners’ memoirs offer insights into the prevalence of mental illness in prison, and its poor management, as well as inmates’ efforts to manage mental distress. As the prison system became more closed, uniform and penal after the 1860s, the volume of such publications increased. Oscar Wilde’s evocative prison writings have attracted considerable attention, but he was only one of many prison authors criticizing the penal system and decrying the damage it inflicted on the mind. Exploration of prison memoirs, it is argued, enhances our understanding of experiences of mental disorder in the underexplored context of the prison, highlighting the prisoners’ voice, agency and advocacy of reform.

Some Polish Composers of To-Day

Tempo ◽  
1948 ◽  
pp. 25-28
Author(s):  
Andrzej Panufnik
Keyword(s):  
Twentieth Century ◽  
Fertile Soil ◽  
Early Twentieth Century ◽  
Progressive Group ◽  
Karol Szymanowski

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.

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