'The Patients' Perspective in the History of Psychiatry

精神病学史上的“病人”视角

• 批准号: 2096470
• 金额: --
• 依托单位: University of Edinburgh
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2096470
• 关键词: Patients; Perspective; History; Psychiatry

From Aristotle's claim that "no great mind has ever existed without a touch of madness" to the nineteenth-century romantic obsession with the 'mad genius', the alleged relationship between creativity and madness has captured both the popular imagination and the interest of scholars alike. Biographies of 'mad' artists, writers and musicians, exceptional creative individuals, have flooded the literary market, whilst numerous psychiatric, neurological, and psychological studies have grounded the creativity-madness debate in scientific theory, systematically documenting the clinical links between illnesses such as schizophrenia, bipolar disorder and depression with extraordinary artistic and creative production. The historical field, too, has offered considerable potential in the exploration of the connections between madness and creativity. The relationship between psychiatry, patient artwork and the asylum experience, for example, has been explored in the British context by scholars such as Allan Beveridge and Maureen Park, whilst further afield, Benjamin Reiss, Catherine Coleborne and Dolly MacKinnon have explored notions of 'culture' within the American and Australian contexts with reference to objects, sound and performance. More recently, a completely independent field of research termed 'Mad Studies' has emerged. Led by social activists and scholars, Mad Studies aims to "challenge medical paradigms of mental illness" by drawing upon history and applying it to the present-day context. Through championing patient voice, proponents of Mad Studies seek to demonstrate that it is possible "to write a history of mad cultures" in which patients, and their imagination, ingenuity and creativity, are firmly at the centre of their own stories. Through adopting new concepts, methodologies and sources with which to evaluate the history of madness and society, increased attention has thus been paid to the ways in which patients themselves have made sense of their illness and treatment.However, an examination of madness and creativity using new approaches to patient subjectivity and experience arguably requires further scholarly investigation. Accordingly, my PhD project aims to explore the relationship between creativity, madness and experience within the changing landscape of psychiatric therapy in Britain, examining the perspectives of both medical practitioners and patients/clients. Through an exploration of the use, purpose and experience of creativity within the history of psychiatry, I hope not only to shed new light on continuity and change in alternative approaches to madness and healing across time, but also challenge conventional narratives which dichotomise the boundaries of the doctor-patient relationship, the asylum and the community, sanity and normality. By shifting away from a reliance on documentary evidence and of stories told through a solely clinical lens, I aim to construct a history of madness and creativity that emphasises patient perspectives, experiences and expression as a central part of the story. This line of research offers a ripe opportunity for the use of interdisciplinary methods and collaboration across the arts, humanities, and even medical sciences, with implications for current debates in mental health policy.

从亚里士多德声称“没有一个伟大的头脑是不带着一点疯狂的”，到19世纪浪漫主义者对“疯狂天才”的痴迷，所谓的创造力和疯狂之间的关系吸引了大众的想象力和学者的兴趣。“疯狂”的艺术家，作家和音乐家，杰出的创造性个人的传记充斥着文学市场，同时许多精神病学，神经学和心理学研究将创造性疯狂的辩论建立在科学理论上，系统地记录了精神分裂症，双相情感障碍和抑郁症等疾病与非凡的艺术和创造性生产之间的临床联系。历史领域也为探索疯狂与创造力之间的联系提供了相当大的潜力。例如，艾伦·贝弗里奇（Allan Beveridge）和莫琳·帕克（Maureen Park）等学者在英国的背景下探索了精神病学、患者艺术品和庇护体验之间的关系，而更远的地方，本杰明·赖斯（Benjamin Reiss）、凯瑟琳·科尔伯恩（Catherine Coleborne）和多莉·麦金农（Dolly MacKinnon）在美国和澳大利亚的背景下探索了“文化”的概念，涉及对象、声音和表演。最近，出现了一个完全独立的研究领域，称为“疯狂研究”。由社会活动家和学者领导的“疯狂研究”旨在通过借鉴历史并将其应用于当今背景来“挑战精神疾病的医学范式”。通过支持病人的声音，疯狂研究的支持者试图证明，有可能“写一部疯狂文化的历史”，在这部历史中，病人及其想象力、独创性和创造力牢牢地处于他们自己故事的中心。通过采用新的概念、方法和来源来评估疯癫和社会的历史，人们越来越关注病人自己如何理解他们的疾病和治疗。然而，用病人的主观性和经验的新方法来检查疯癫和创造力，可以说需要进一步的学术研究。因此，我的博士项目旨在探索创造力，疯狂和经验之间的关系，在英国不断变化的精神病治疗景观，检查医生和病人/客户的观点。通过对精神病学历史中创造力的使用、目的和经验的探索，我希望不仅能对不同时间的疯狂和治愈方法的连续性和变化有新的认识，而且还能挑战传统的叙述，这种叙述将医患关系、庇护所和社区、理智和正常的界限一分为二。通过摆脱对文献证据的依赖和通过纯粹的临床透镜讲述的故事，我的目标是构建一个疯狂和创造力的历史，强调病人的观点，经验和表达作为故事的中心部分。这条研究路线为跨学科方法的使用和跨艺术，人文，甚至医学科学的合作提供了一个成熟的机会，并对当前心理健康政策的辩论产生了影响。