#dissertation research.

[glassribbon]

Gabriele Taylor qtd. in Jennifer Radden, The Nature of Melancholy: From Aristotle to Kristeva

[glassribbon]

In the melancholic state, the world becomes a set of objects with no necessary function or meaning, the object world has been emptied of significance, and in this sense it has also been prepared for allegorical transformation. The melancholic state of mind, then, even as it dwells on ruins and loss, is at the same time liberated to imagine how the world might be transformed, how things might be entirely different from the way they are.

Jonathan Flatley, Affective Mapping: Melancholia and the Politics of Modernism

[glassribbon]

Jennifer Radden, The Nature of Melancholy: From Aristotle to Kristeva

[glassribbon]

Walter Benjamin: Melancholy as Method

Jonathan Flatley, “Modernism and Melancholia”, Affective Mapping: Melancholia and the Politics of Modernism

[glassribbon]

Modernity and Loss

Jonathan Flatley, “Modernism and Melancholia”, Affective Mapping: Melancholia and the Politics of Modernism

[glassribbon]

Modernity and Loss

Jonathan Flatley, “Modernism and Melancholia”, Affective Mapping: Melancholia and the Politics of Modernism

[glassribbon]

“Melancholy men, depressed women?”

Matthew Bell, Melancholia: The Western Malady

[glassribbon]

Given the pervasive cultural association of women and madness, it is not surprising that the madwoman has become as emblematic a figure for contemporary feminists as she was for Mary Wollstonecraft in 1797. Sandra Gilbert and Susan Gubar, in The Madwoman in the Attic (1979), point to the fictional character of the deranged woman who haunts the margins of nineteenth-century women writers' texts as the symbolic representation of the female author's anger against the rigidities of patriarchal tradition. The madwoman is the author's double, the incarnation of her own anxiety and rage.

Elaine Showalter, The Female Malady: Women, Madness and English Culture, 1830-1980