This paper asks questions about 'trauma' and its cultural representation specifically, trauma's representation in the cinema. In this respect, it compares and contrasts the work of Robert Bresson, in particular his 1967 masterpiece, Mouchette , with contemporary Hollywood film. James Mangold's 1999 'Oscar-winning' Girl, Interrupted offers an interesting example for cultural comparison. In both Mouchette and Girl, Interrupted the subject matter includes, amongst other traumatic experiences, rape, childhood abuse and suicide. The paper ponders the question of whether such aspects of (...) trauma can ever be authentically represented on film; or, whether, on the contrary, through the deployment of cultural stereotypes, cinematic representation tends rather to reproduce the very forms of structural power which are, in the first place, trauma's primary cause. Bresson emerges from this analysis in a favourable light for, whereas Mangold stereotypes victims of trauma and represents traumatic experience itself as inevitable and over-determined, Bresson always retains for the victim a sense of critical agency. By contrasting key scenes from both films, the paper suggests that contemporary popular cinema (the 'Hollywood-ized' form), working in tandem with institutions of social control, such as psychiatry, does not subvert but, in fact, reproduces patterns of structural power. This argument has particular significance for the cultural representation of women. The paper is theoretically framed by Simone Weil's reflections on both 'representation' and 'structural power'. (shrink)

It is a matter of some irony that psychiatry's most trenchant critic for over four decades is himself a psychiatrist. I refer to Thomas S. Szasz. Szasz's core thesis may be succinctly rendered: mental illness is a “myth”, a “metaphor” which serves only to obscure the social and ethical “problems in living” we face as human beings. This paper reconsiders the conceptual bases of Szasz's assault on psychiatry and assesses recent counter-arguments of his critical interlocutors. It presents a defence of (...) the Szaszian conception and emphasises the continuing relevance of his earliest work. Additionally, the paper discusses Szasz's thesis in light of the work of the influential French philosopher of medicine, Georges Canguilhem. (shrink)

ABSTRACTThis article engages Bhaskar's category of absence and Foucault's notion of problematization in the context of explaining an example of the historical emergence of political activism. Specifically, it considers the emergence of the ‘psychiatric survivors’ social movement in the UK, with a focus on the ‘politics of self-harm’. The politics of self-harm refers to acts of self-injurious behaviour, such as drug over-dosage or self-laceration, which do not result in death and which bring individuals to the attention of psychiatric services. For (...) many years survivors have protested about the harmful treatment they receive from such services and have campaigned for their reform and for new, non-psychiatric understandings of the meaning of self-harm. The article explains how such activism emerged in the late 1980s. Its contribution is at the interface of critical realism and social movement studies. (shrink)

This article critiques R. Keith Sawyer’s theory of social causation from his 2005 book Social Emergence. It considers his use of analogy with the philosophy of mind, his account of individual agency, the legacy of Emile Durkheim, the concepts of supervenience, multiple realization, and wild disjunction, and the role of history in social causation. Sawyer’s theory is also evaluated in terms of two examples of empirical research: his own micro-sociological studies into group creativity; and Margaret Archer’s macro-sociology of education systems.