FOR 1120: Cultures of Madness. The Liminal Phenomena of Urban Modernity, 1870-1930

这个研究单位的目标是对疯狂作为现代城市的一个领域的历史作出贡献。疯狂，因为它是接近这个项目，包括文化形象，地形和现代另类类型学。这为主体性和个性化的重新定义提供了可能性，这种重新定义发生在德意志赖希建立和国家社会主义前夕之间，标志着“城市现代性”的开始。运用阈限空间的概念，我们试图分析现代疯狂作为一种城市机器的表现形式、规则和话语。过渡或阈现象标志着几个非常不同的知识空间以及生活和经验的社会文化领域的谈判领域：从传记上看，对于受影响者及其家人来说，它们可以作为一种失代偿、对正常生活的入侵来经历和处理;在政治上，援助和社会机构在干预和支持策略中将它们官僚化;在体制上，它们由保健设施及其规章制度管理;在医学上，它们是从精神病理学的角度来概念化的。然而，城市疯狂的边缘现象也在文学、绘画和其他视觉艺术中被描绘出来，并在美学标准的基础上进行谈判。在戏剧、电影和音乐中，它们被搬上舞台，以表演的方式传播;它们同样在波希米亚文化和行为方式中被表达出来，或者被解释为神秘学中超感知的神秘实例，或者被投射到艺术家的形象上。基于这些界限领域的价值观和运作的模型和系统，分析包括患者，亲属，承诺的外行人，参与的公众，援助组织的代表，公务员，知识分子，艺术家，文化批评家，最后，医生和科学家之间的所有互动。这种多视角的方法重建了现代性的现象，并允许它作为一种疯狂的城市变体在其所有的文化工作能力。有条不紊地，研究单位专注于这些阈现象的历史地形，揭示疯狂作为一种城市现象-在其所有的话语，认识论，制度和媒体层面。这就允许进入主体与文化历史之间、知识与错觉之间、可见与不可见之间的干扰--从而揭示出解释、解释、再现和意义的非常不同的模式--这些模式在大都会展开的文化中，从文化环境的差异中发展出来，形成疯狂的解释空间。

The goal of this Research Unit is a contribution to the history of madness as a field of modern urbanity. Madness, as it is approached in this project, includes cultural figurations, topographies and typologies of modern alterity. These open up the possibility for the redefinition of subjectivity and individuation, that was taking place in the years between the founding of the German Reich and the eve of National Socialism, and that marks the beginning of an "urban modernity". Applying the concept of liminal space we seek to analyse the forms of expression, regulation and discursivation of modern madness as an urban apparatus. Transition or liminal phenomena mark the realms of negotiation of several very different spaces of knowledge and socio-cultural areas of life and experience: biographically, for the affected and their families, they can be experienced and processed as a decompensation, an intrusion into normal life; politically, they are bureaucratised by the aid and social institutions in their intervention and support strategies; institutionally, they are administered by health care facilities and their systems of regulations; and medically, they are conceptualised in terms of psychopathology. The liminal phenomena of urban madness however are also portrayed in literature, painting and other visual arts and negotiated on the basis of aesthetic criteria. In theatre, film and music they are put on stage and transmitted performatively; they are likewise articulated in bohemian culture and in styles of behaviour, or accounted for as uncanny instances of the extrasensory in the occult, or projected onto the figure of the artist. Based on the models and systems of values and operation in these liminal areas, the analysis includes all the interactions between patients, relatives, committed lay people, participating public, representatives of aid organisations, civil servants, intellectuals, artists, cultural critics and, finally, doctors and scientists. This multi-perspective approach reconstructs the phenomena of modern alterity and allows it to be examined as an urban variation of madness in all its cultural working power. Methodically, the Research Unit focusses on the historical topography of those liminal phenomena that reveal madness as an urban phenomenon - in all its discursive, epistemological, institutional and medial dimensions. This allows access to the interferences between subject and cultural history, between knowledge and delusion, between visibility and invisibility - consequently disclosing very different models of explanation, interpretation, representation and sense - developing out of the differences between cultural milieus and forming the interpretative space of madness, in the unfurling culture of the metropolis.