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Madness ... the mystery beyond reason.

Reflecting on the folly means reflect on the notion of identity, how we perceive things, on what is the reality.
Madness is not just discomfort or illness: with its categories, it provokes and challenges our worldview. To say that what true madness is quite an arduous task, yet many have tried to give a valid meaning and the term.
In the past and present, the madness has manifested itself in many of its small ways: through the genius scientists, the verses of poets, the melodies of the musicians, the bright colors on the canvas of the artists, the rash of powerful.

But today the term "madness" has a more common simply to indicate who rebels against the order of social life to give vent to the passions, feelings, instinct, the pure irrationality. This term is entered then become part of everyday language and can no longer be kept out of the real world as a manifestation of diversity, as an enemy that threatens the identity of ognuno.Dalla reality of today can be seen as the ' Man is born from the encounter between truth and madness, and how the world runs tirelessly to something that is not moved by the unbridled desire for power, conquest and victory.

"From the depths of the Middle Ages the insane is he whose speech may not operate as that of others, understood that his word is considered as null and void, having neither truth nor importance ... (" From 'order of discourse " )

With these words, spoken in 1970 at the College de France, Foucault explained one of the procedures' s exclusion of discourse: the partage (partition and rejection of the insanity) or the opposition between reason and madness.

"It 's interesting to note that for centuries in Europe or the word of the crowds was not intended, or if it was, was heard as a word of truth. '(' From 'order of discourse ").

The words of the crowds were, and are the manifestation of his madness, the place in which you reach the partition between the sensible el'insensatezza. Even today, for Foucault, there are mechanisms of partition, but they are operated on the basis of new institutions, with new effects. The crowds will listen and decipher through a network of psychologists, psychoanalysts and doctors ("armor of knowledge") sanctioned in places such as psychiatric hospitals.
Michel Foucault, who was born in 1926 in Poitiers, he studied philosophy and psychology at the Ecole Normale Superieure Paris. He then worked at French cultural institutes and in 1970 he was appointed professor of the history of systems of thought at the Collège de France. He died in Paris in 1984. The interest of Foucault, in principle, focus on epistemology: the problem is to identify the historical conditions under which the disease and madness have been set up as objects of science, giving rise to psychopathology and clinical medicine, closely related to the construction of indoor (the clinic and the asylum), which establishes a relationship of domination between doctor and patient. And these are precisely the issues that Foucault addresses in his first successful works, History of Madness in the Classical (1961) and Birth Clinic (1963).
"Madness is the exclusive language - that against the code of the tongue pronounced words without meaning (the" senseless ", the" imbeciles, "the" insane "), or speak words that sanctify (the" violent ", the "furious"), or what passes banned meanings (the "libertines", the "stubborn").
The changes are not really produced only with Freud, when the experience of madness has shifted to the final form of the language ban. He then ceased to be errors of language, uttered blasphemy, or meaning intolerable (In this sense, psychoanalysis is really the great removal of disqualifications, as saying Freud himself) appeared as a word that wraps itself up, saying, below what it says, other things of which the same time, the only possible code: esoteric language, if you will, because it retains its language into a word that in the end does not say other things that this implication.
must therefore take Freud's work for what it is, it does not discover that the madness has taken over a network of meanings in common with the language every day, thus allowing to talk about the flatness of everyday psychological vocabulary. It displaces the experience European folly to be located in that region dangerous, transgressive always (and therefore still prohibited, but in a particular mode) is that of languages \u200b\u200bthat involve themselves, in their statement stating that the language in which it lay down. Freud did not discover a sense of lost identity; irruptive has interpreted the figure of a signifier that is absolutely not like the others. This thing should have been sufficient to protect his work from all the psychologizing interpretations with which they covered the last fifty years in the name (mocking) of the "human sciences" and their units asexual. "

In this reading, taken from "History of madness in the classical age, "Michel Foucault is concerned with certain features of European history of madness, with particular emphasis on the contribution given by Freud to the problem.


It 'important to understand, all this talk of the Treaty, like the crowd does not deter the individual from himself but gives him a share of a reality that is outside the rules and canons of decency, it is a reality that hides in the depths of the soul is the essence of the spirit.

Valentina Iannuzzi.

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Le plaisir du texte

Roland Barthes, author of "Le plaisir du texte " (title Italianate in "The pleasure of the text"), affirms the existence of a science of the pleasures of language, that is writing, but first it is necessary to reveal a difference between enjoyment and pleasure. Pleasure is a fulfillment, and enjoyment is as a sort of faintness, loss. If you judge a text according to the pleasure, you can not say that it is good or bad, you can not make no criticism and no list, because "for me" is neither subjective nor essistenziale but is Nietzschean. A text is never a dialogue, then there is no risk of possible attacks, blackmail, it establishes only a kind of island, displays the asocial nature of pleasure and enjoyment of the shocking glimpse of the truth. Behind a text are not passive figures (readers) and active figures (writers), much less a subject and an object. The text has a human form, is a part of our erotic body. It chooses us, we want, through a series of invisible patterns (such as vocabulary, readability, etc.). And communicates to us was a calm and excluded. In the midst of it there is always the author, like his presence and I need his figure. The pleasure is not an element of the text, but it is a drift, that is something revolutionary and asocial that can not be adopted by any community. E ' outrageous as it is atopic, not because it is immoral. The pleasure of the text is outrageous and atopic eczema, is not spoken, a fiction. All the lyrics I write have to want, should give me proof of want, and it is the writing, the science of the pleasures of language, its Kama Sutra. But remember that a French person in two does not read and therefore deprived of reading not only renounces those canons of ideal beauty and perfection expressed by greek and Roman civilization, but especially one devoid of pleasure.

"If it were possible to imagine an aesthetic pleasure of the text, include: writing out loud" (Roland Barthes, The pleasure of the text, p. 65).

"Writing aloud is not expressive scope is not the dramatic inflections, intonations malignant accents complacent, but the grain of the voice, which is a mixture of erotic tone and language, and therefore may be too 'it, like the diction, the field of art: the art of conducting his own body "(p. 65).

Writing aloud is phonological and phonetic but his goal is obviously the language, a text that has a chance to feel the grain of the voice with all the sensuality of consonants and vocali.Bisogna ensure that feel the breath, we see the magnificent movement of the lips in order that the voice and writing is fresh. For Barthes, "the voice, the embodiment of speaking, lies in the articulation of body and speech." The task of heading is to act as an intermediary, from articulation of body and speech. Each report is necessarily love his voice, because there is no science that can exhaust our voice. The grain of the voice is that indefinable quality that makes each item unique because it brings track of the body that produces it, of our lives. The words must be spoken and understood especially, listen, without passing through the ear.
ancient rhetoric included a forgotten part: the actio, given the dominant factor in the efficacy of expression of the speaker. Cicero, in the world of Latin, is the greatest theorist of saying. The purpose of oratory, are probate, the delectare and Flectar , for which prefigures the purposes of the research of persuasion and consensus may be, from a social point of view and political agreement as a true instrument of domination, that is, as the technique of manipulation of consensus and persuasion. The rhetoric is two operzioni through the mind and the soul of the audience: to convince (fidem facere ) and move ( animun movere ). In fact, with the probe the speaker tends to prove the truth of his thesis, in short, tends to convince the listener, and the means of communication best suited to perform this action is to adopt a simple style, floor, resigned and discursive. The delectare , however, is designed to delight for which the speaker tends to captivate the listener with aesthetic messages, and then to produce conivolgimento consent. For this reason, the speaker tends to use an ornate, that is rich in figures of speech. With Flectar, Finally, the speaker tends to bend the minds arousing strong emotions in the audience using a style sublime, pathetic, engaging and captivating. In addition, a speaker, in addition to holding these styles and know how to use it appropriately, it must be in possession of a large culture. Cicero was a master in the art of modulating the tone of voice and gestures change, which appeared spontaneous, but that had been studied carefully.

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