Bibliografie tematiche / Melancholia

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Letteratura scientifica selezionata sul tema "Melancholia"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 22 giugno 2024

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Articoli di riviste sul tema "Melancholia"

1

Parker, G., D. Hadzi-Pavlovic, I. Hickie, H. Brodaty, P. Boyce, P. Mitchell e K. Wilhelm. "Sub-typing depression, III. Development of a clinical algorithm for melancholia and comparison with other diagnostic measures". Psychological Medicine 25, n. 4 (luglio 1995): 833–40. http://dx.doi.org/10.1017/s003329170003508x.

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Abstract (sommario):
SYNOPSISWe describe the development of a clinical algorithm to differentiate melancholic from non-melancholic depression, using refined sets of ‘endogeneity’ symptoms together with clinician-rated CORE scores assessing psychomotor disturbance. Assignment by the empirically developed algorithm is contrasted with assignment by DSM-III-R and with several other melancholia subtyping indices. Both the numbers of ‘melancholies’ assigned by the several systems and their capacity to distinguish ‘melancholics’ on clinical, demographic and a biological index test (the DST) varied across the systems with the algorithm being as ‘successful’ as several systems that include inter-episode and treatment response variables. Analyses provide information on the criteria set developed for DSM-IV definition of ‘melancholia’.
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2

PARKER, G., K. ROY, D. HADZI-PAVLOVIC, K. WILHELM e P. MITCHELL. "The differential impact of age on the phenomenology of melancholia". Psychological Medicine 31, n. 7 (ottobre 2001): 1231–36. http://dx.doi.org/10.1017/s0033291701004603.

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Abstract (sommario):
Background. We pursue an observation that age may influence the clinical features of melancholia and, in particular, psychomotor disturbance.Methods. Two large clinical databases were amalgamated allowing the clinical features of 124 depressed subjects meeting DSM-III-R and clinical criteria for melancholia to be contrasted with 218 subjects diagnosed as having a non-melancholic depression by both criteria sets. Psychomotor disturbance was assessed by the CORE measure and by seven classical endogeneity symptoms of melancholia which, when summed, created a ENDOG score.Results. There was no impact of age on ENDOG scores in either the melancholics or non-melancholics. In the melancholics, increasing age was associated with increasing CORE scores and with agitation scale scores in particular. In a set of discriminant function analyses seeking to identify the comparative utility of a set of predictors of melancholic (versus non-melancholic) groups, age was significant, and while CORE and ENDOG scores were individual predictors, their combined entry established that the CORE score alone made the ENDOG score redundant, and that the addition of age then made little impact.Conclusions. Melancholia appears to have a later age of onset than non-melancholic depression, while its phenotypic expression appears to change with age, with psychomotor disturbance being more distinct in older subjects. Such an effect may have a number of clinical implications, including possible differential effects of varying antidepressant treatments.
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3

Sobczyk, Agata. "Deuil et mélancolie de Narcisse : Le joli buisson de jeunesse de Jean Froissart (1373)". Studia Litteraria 17, n. 1 (2 giugno 2022): 37–48. http://dx.doi.org/10.4467/20843933st.22.005.15305.

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Abstract (sommario):
Żałoba i melancholia Narcyza: Le joli buisson de jeunesse Jeana Froissarta (1373) Narcyz ukazuje się jako figura przepojona melancholią zarówno w Metamorfozach Owidiusza, jak i w poezji XVI i XVII wieku. W średniowieczu można dostrzec związek tej postaci z melancholią w różnych jej przedstawieniach. Ale Narcyz, który wydaje się najbardziej melancholijny, to ten, którego Jean Froissart przedstawia w Joli buisson de jeunesse, głęboko modyfikując mit Owidiusza. Badacze uważają, że reprezentuje on tu archetyp kochanka. Autorka artykułu sugeruje jednak, że Froissart wykracza poza sferę miłości i temat miłości dworskiej – nie chodzi już o niedostępność obiektu miłości czy też o jego utratę, ale o jakąkolwiek stratę nieodłącznie związaną z upływem czasu. W tym skojarzeniu narcyzmu z żałobą objawia się nostalgia, która wydaje się charakterystyczna dla twórczości Froissarta, ponieważ jest obecna w różnych formach zarówno w jego Kronikach, jak i w jego dziełach lirycznych. Mourning and Melancholia of Narcissus: Jean Froissart’s Le joli buisson de jeunesse (1373). Narcissus appears as imbued with melancholy both in Ovid’s Metamorphoses and in the poetry of the sixteenth and seventeenth centuries. In the Middle Ages, the association between this figure and melancholy can be perceived in its various uses. But the Narcissus who seems the most melancholic is the one that Jean Froissart includes in Joli buisson de jeunesse, profoundly modifying the Ovidian myth. The researchers consider this one to represent the archetype of the lover. However, the author of the paper suggests that Froissart goes beyond the domain of love and the theme of courtly love: it is no longer the question of the inaccessibility of the object, nor exclusively of the loss of the object, but of any loss inherent in the passage of time. The association of narcissism with mourning entails the nostalgia that seems specific to Froissart’s work since it is found, in different forms, both in his Chronicles and in his lyrical work.
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4

Rasmussen, Keith G., Susanna R. Stevens, Simon Kung e Amit Mohan. "Melancholic symptoms as assessed by the Hamilton Depression Rating Scale and outcomes with and without electroconvulsive therapy on an in-patient mood disorders unit". Acta Neuropsychiatrica 22, n. 1 (febbraio 2010): 21–25. http://dx.doi.org/10.1111/j.1601-5215.2009.00425.x.

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Abstract (sommario):
Rasmussen KG, Stevens SR, Kung S, Mohan A. Melancholic symptoms as assessed by the Hamilton Depression Rating Scale and outcomes with and without electroconvulsive therapy on an in-patient mood disorders unit.Background:We investigated whether 24-item Hamilton Rating Scale for Depression (HamD24)-based melancholia ratings correlated with treatment outcome, with special focus on whether electroconvulsive therapy (ECT) was used in depressed patients treated on an in-patient mood disorders unit.Methods:We analysed the data on ECT- versus non-ECT-treated patients' outcomes relative to melancholia subscale scores. Two HamD24-based melancholia rating scale scores were computed for 201 depressed in-patients at admission and discharge. Baseline melancholia ratings were analysed to see if they correlated with improvement in total HamD24 scores. We also tested to see if the melancholia subscales followed unimodal or bimodal distributions.Results:Melancholic symptoms as assessed by one of the HamD24-based subscales directly correlated with overall improvement. Although ECT treatment was associated with greater improvement than was noted in non-ECT-treated patients, severity of melancholia ratings did not affect this relationship. Finally, both melancholia subscale scores followed approximately unimodal distributions.Conclusions:HamD24-based methods to assess severity of melancholic symptoms have limited clinical utility on an in-patient mood disorders unit in general, and for predicting ECT response in particular. Furthermore, these methods do not seem to identify bimodal populations of depressed patients (i.e. melancholic vs. non-melancholic).
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5

Seiler, Thomas. "Ting, minne og identitet hos Inghill Johansen II". Studia Scandinavica, n. 7(27) (15 dicembre 2023): 48–60. http://dx.doi.org/10.26881/ss.2023.27.04.

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Abstract (sommario):
In the second part of my article on Inghill Johansen’s short prose, the focus is on the conception of body memory. Past and present are merged in the body, and hence the narrator’s melancholy, if we follow Sigmund Freud’s conception of melancholy in his famous “Mourning and Melancholia” from 1917. According to Freud, a melancholiac is a person who identifies with the object he or she has lost. Furthermore, as Johansen’s narrator compares her life and writing with a black hole, she can be interpreted as a melancholiac who uses the black hole metaphor to formulate a poetology. The last part of this article tries to explain Johansen’s enigmatic texts as part of her poetological strategy.
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Snochowska-Gonzalez, Claudia. "Od melancholii do rozpaczy. O prozie Andrzeja Stasiuka". Studia Litteraria et Historica, n. 2 (30 giugno 2014): 298–330. http://dx.doi.org/10.11649/slh.2013.013.

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From melancholy to despair. About Andrzej Stasiuk’s prose worksIn Moja Europa, Jadąc do Babadag and Fado Andrzej Stasiuk describes his travelling to the countries of the East-Central Europe: its diminished, forgotten part, lying on the margins of History and Progress. It is a land of melancholy, of the eternal emptiness and lack. To praise it means to give an ironic response to the enthusiasm of a “return to the West”, to the attempts to meet East-European stigma and to the West’s fear of East-European ferocity. What is the source of this melancholy? Stasiuk refers to Cioran, his philosophy of history, his resignation and his belief in the bankruptcy of the European civilization. We know, however, that in the case of Cioran melancholy covers the memory of philosopher’s commitment to Romanian fascism; his subsequent melancholy replaces responsibility. What are the wounds and silenced victims hiding in Stasiuk’s melancholic landscape? What kind of responsibility does he not want to accept? In his next book, Dziennik pisany później, Stasiuk comes back to the same countries, this time not trying to escape the hell of questions about the East-European ethnic carnage. The author of the article analyses his turning point, using the terminology developed in Peter Hallward’s Absolutely Post-colonial to describe the dynamics between two tendencies: singular and specific. Od melancholii do rozpaczy. O prozie Andrzeja StasiukaW Mojej Europie, Jadąc do Babadag i Fado Andrzej Stasiuk podróżuje po krajach Europy Środkowo-Wschodniej. To Europa pomniejsza, zapomniana, na marginesie Historii i Postępu. Jest to kraina melancholii, pustki i wiecznego braku. Opiewanie jej staje się ironiczną odpowiedzią na entuzjazm „powrotu do Zachodu”, na próby sprostania wschodnioeuropejskiemu piętnu i na zachodnie przerażenie wschodnioeuropejską dzikością. Skąd się jednak bierze spowijająca ją melancholia? Stasiuk powołuje się na Ciorana, na jego filozofię historii, rezygnację i przekonanie o bankructwie cywilizacji europejskiej. Wiemy jednak, że w przypadku Ciorana melancholia przykrywa pamięć o przemilczanym romansie filozofa z faszyzmem, który miał się stać radykalnym wyrwaniem się ku nowemu światu i nowej historii. Jakie rany i przemilczane ofiary kryją się w melancholijnym krajobrazie u Stasiuka? Jakiej odpowiedzialności nie chce przyjąć? W kolejnej książce, Dzienniku pisanym później, Stasiuk wraca w te same miejsca, by tym razem nie umknąć przed pytaniami o wschodnioeuropejskie piekło etnicznej jatki. Autorka przedstawia ten zwrot, korzystając z terminologii Petera Hallwarda i opisanej przez niego dynamiki między tendencjami singular i specific.
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Quinn, Candice, Anthony Harris e Andrew Kemp. "The Interdependence of Subtype and Severity: Contributions of Clinical and Neuropsychological Features to Melancholia and Non-melancholia in an Outpatient Sample". Journal of the International Neuropsychological Society 18, n. 2 (3 febbraio 2012): 361–69. http://dx.doi.org/10.1017/s1355617711001858.

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Abstract (sommario):
AbstractMajor depressive disorder is often considered to be a homogenous disorder that changes in terms of severity; however, the presence of distinct subtypes and a variety of presenting symptoms suggests much heterogeneity. Aiming to better understand the relationship between heterogeneity and diagnosis we used an exploratory approach to identify subtypes of depression on the basis of clinical symptoms and neuropsychological performance. Cluster analysis identified two groups of patients distinguished by level of cognitive dysfunction with the more severe cluster being associated with melancholic depression. While the relationship between cluster and subtype was significant, only 58% of melancholic patients were assigned to cluster 1 (the more severe cluster) and 66% of non-melancholic patients assigned to cluster 2. Subtypes also displayed a distinctive profile of impairment such that melancholic patients (n = 65) displayed more variability in attention while non-melancholic patients (n = 59) displayed memory recall impairment. While melancholia and non-melancholia are associated with a more severe and less severe form of depression respectively, findings indicate that differences between melancholia and non-melancholia are more than simple variation on severity. In summary, findings provide support for the heterogeneity of depression. (JINS, 2012, 18, 361–369)
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8

Parker, Gordon. "Pseudo-melancholia". Australasian Psychiatry 28, n. 3 (11 marzo 2020): 339–41. http://dx.doi.org/10.1177/1039856220908167.

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Abstract (sommario):
Objective: An incorrect false positive diagnosis of melancholia can lead to inappropriate treatment and illness prolongation. This paper therefore seeks to introduce the concept of ‘pseudo-melancholia’ to capture such instances and provide clinical examples of contributing at-risk scenarios. Methods: The author draws on clinical experience to provide exemplars of circumstances most risking a false positive diagnosis of melancholia. Results: Pseudo-melancholia can result from invalid measures of melancholia and from several functional and organic conditions presenting with suggested melancholic features. Conclusions: Recognising high-risk pseudo-melancholia scenarios has the potential to advance a change in diagnostic formulation, provide a more diagnosis-specific intervention and so avert a secondary diagnosis of ‘treatment resistant depression’.
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Amsterdam, Jay D. "Selective serotonin reuptake inhibitor efficacy in severe and melancholic depression". Journal of Psychopharmacology 12, n. 4_suppl (luglio 1998): S99—S111. http://dx.doi.org/10.1177/0269881198012003061.

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Abstract (sommario):
Depression with melancholic features appears to be a discrete affective syndrome characterised by profound psychomotor, cognitive and mood disturbances that are qualitatively different from other forms of depression. Some investigators have hypothesised that melancholia may have a neurological basis with psychomotor disturbances associated with selective alterations in dopamine neurotransmission and disturbances in basal ganglia function. A number of studies have examined the role of selective serotonin reuptake inhibitors (SSRIs) in the treatment of melancholia. Although relatively few prospective trials have focused on melancholic depression, several retrospective meta-analyses and trials in populations that are likely to include a high proportion of melancholic patients have provided a wealth of data. While some early studies suggested that SSRIs might be less effective in the treatment of melancholia, the results of these may have been biased and confounded by several side-effects of tricyclic antidepressants (TCAs), which might contribute to their apparent efficacy It appears, however, that the SSRIs may vary among themselves in their apparent efficacy in melancholia. In this regard, sertraline may be more efficacious than other SSRIs and similar to TCAs in the treatment of patients with melancholia. Several studies have suggested that the presence of melancholic features may predict a good response to sertraline, and it has been hypothesised that this may be the result of the relatively potent dopaminergic activity of sertraline, compared with other SSRIs.
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Toth, Roland, e Tobias Dienlin. "Bittersweet Symphony: Nostalgia and Melancholia in Music Reception". Music & Science 6 (gennaio 2023): 205920432311556. http://dx.doi.org/10.1177/20592043231155640.

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Listening to music can cause experiences of nostalgia and melancholia. Although both concepts are theoretically related, to date they have not been analyzed together regarding their emotional and cognitive profiles. In this study, we identify their theoretical underpinnings and determine how they can be measured empirically. We analyze how listening to music causes nostalgia and melancholia, and whether both experiences are related to different behavioral intentions. To this end, we conducted an online experiment with 359 participants who listened to music they considered either nostalgic, melancholic, or neutral. Afterward, participants answered 122 questionnaire items related to nostalgia and melancholia. Using Structural Equation Modeling, and more specifically Multiple Indicators and Multiple Causes Modeling, we first developed two new scales: the Formative Nostalgia Scale and the Formative Melancholia Scale. Both scales consist of five items each. Results showed that listening to music indeed increased nostalgia and melancholia. Although considerably different, the concepts are related. Listening to nostalgic music increases melancholia, whereas listening to melancholic music does not increase nostalgia. Also, both experiences are related to different behavioral intentions. Whereas experiencing nostalgia was associated with a stronger intention to share the music and to listen to it again, experiencing melancholia revealed the exact opposite relation.
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Più fonti

Tesi sul tema "Melancholia"

1

Newton, Michael William. "Mark making and melancholia in painting : a language for visual representation of the melancholic". Thesis, Bath Spa University, 2014. http://researchspace.bathspa.ac.uk/5164/.

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What are the elements (marks) that support a melancholic narrative in painting and in particular how can they be harnessed to heighten the feeling and create an 'authentic' melancholic work from a painting of simple and natural motifs? summarise the changes in the meaning of the term melancholia, especially in the last two centuries, and discuss the validity of melancholy painting today. I summarise the key developments to the debate in the 1980s between the artists and the theoretical art critics and hypothesise that paintings that refer to this 'death of painting' are inherently melancholic. I seek out the "language of marks" for expressing melancholy by extrapolating from an examination of 100 paintings but fail in my attempt to quantify them objectively. The assumption that feeling is grounded in the formal properties is tested through detailed examination and subjective analysis of key extant works, concentrating specifically on how colour and expressive mark-making can be used by the artist to enhancing the emotional content. I use examples of extant paintings to show that it is possible to use context as a way of adding to the melancholic content of a contemporary painting. Practical Study The practical research takes the form of painted samples, copies of extant contemporary works, explorations of melancholic motifs (metaphors) and finally a body of work testing the integration of the theoretical analysis with the practical work. Conclusions In addition to melancholic meaning being grounded in the formal properties of a painting, expressive marks can be appropriated and re-presented but the requirement for them to be authentic is open to conjecture. However, referencing the 'death of painting' can enhance melancholic content without the use of irony or becoming kitsch.
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2

Buzková, Petra. "Čtení". Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232407.

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3

Semper, Samantha. "Conversion : melancholia, masculinity, and psychic change". Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33734.

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Abstract (sommario):
This study chooses three representations of conversion and asks whether these might challenge or ‘talk back’ to discourse about conversion, or whether they simply transfer a deeply problematic melancholic attachment structure? This analysis considers three primary case studies: the religious conversion of St. Augustine as represented in his Confessions; John Howard Griffin’s white racial conversion narrative, Black Like Me; and the Hip-Hop conversion testimony of Caesar L. Willis, Rude Awakening, and his associated spiritual-autobiographical dance practice of krumping. The first two chapters specifically deal with religious conversion: Chapter One offers a reinterpretation of the role of the maternal and paternal object in religious conversion, and Chapter Two proposes a rereading of the conversion of St. Augustine using this model. The remaining chapters analyze conversion discourse in relation to, and from embedded stances within, the dynamics of racialized oppression and legacy of slavery in the United States of America. The philosopher and psychoanalyst Julia Kristeva carefully distinguishes between “revolt”, from the Latin, revolvere, a productive ‘return’ and ‘rolling’ over of psychic structures, and the conversion, or conversio, turning, of the Christian man. She argues that religious conversion, the turn to religious faith, that ends in “reconciliation” or “unification” is a compromise: “a primary identification with a loving and protective agency” that is compensatory (24). It is a “fusion” with a “nourishing, loving, and protective” “breast” that is “transposed from the mother’s body to an invisible agency located in another world” (24). Building from this, my analysis argues that this compromise is a specifically melancholic compromise marked by the splitting and fusion with the maternal part-object, which is retained in a dynamic of “rejection, yet attachment to”. Because religious conversion is built on a drive toward ‘wholeness’ that is achieved through the fusion with a part-object, it does not represent an ethical relation or productive revolt. However, this analysis asks whether there are examples of conversion that do not end in a melancholic compromise, but instead open up to what Ranjana Khanna calls “critical melancholia” (22).
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Fong, Chung-yan, e 鄺頌欣. "Melancholia and autobiography in Roland Barthes". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31951259.

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Brisley, Lucy Anne. "Beyond melancholia : Algeria and its spectres". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:237deb07-8961-4532-b19b-2507e7135b68.

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Abstract (sommario):
This thesis problematizes the recent transdisciplinary turn to melancholia by grounding the concept within the literature of three contemporary Algerian authors: Assia Djebar, Yasmina Khadra, and Boualem Sansal. If Freud figured melancholia as a pathological response to loss, much recent scholarship has reconceptualized it as an ethico-political model of remembrance that safeguards the memory of the lost or marginalized other. Yet the recent and ubiquitous depathologization of melancholia is only possible insofar as theorists overlook its more insidious elements. By analyzing how melancholia emerges within the postcolonial novels of Djebar, Khadra, and Sansal, this thesis reveals how melancholia in fact undermines an ethico-politics of remembrance, further displacing those lost others that theorists of melancholia would recuperate. Divided into two sections, the first part of the thesis thus challenges the ethico-political viability of melancholia as a mnemonic model. Through close readings of the texts, the first four chapters reveal postcolonial melancholia in Algeria to be imbricated in amnesia, immobility, repetition, victimhood, apolitical retrospection, and the unethical appropriation of the lost object. Part II investigates how the authors imagine different models of remembrance that move beyond the limits of the mourning and melancholia dyad. If melancholia has been depathologized, it nonetheless remains ensnared within a binary system in which the subject either forgets (mourns) or engages in a putative act of hyper-remembrance (melancholia). Building upon the recent theory of Dominick LaCapra, Mireille Rosello, and Judith Butler, the final two chapters explore the critical potential of ‘working upon’ the past. As an on-going and conscious model of remembrance, ‘working upon’ actively resists the closure inherent to mourning but it also circumvents the melancholic (re)appropriation of the past and its lost others. Ultimately, then, this thesis signals the need for emergent models of memorialization that move beyond the restrictions of the Freudian binary of mourning and melancholia.
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Fong, Chung-yan. "Melancholia and autobiography in Roland Barthes". Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18685523.

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7

Hawkes, Percy. "Complicated Grief and Melancholia| Identity-Questioning Issues". Thesis, Pacifica Graduate Institute, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076222.

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Through hermeneutic and heuristic research this thesis looks at melancholia or complicated grief with the contributing factor of identity questioning. From a depth psychological perspective, normal grief is differentiated from melancholia or complicated grief, which involves the unconscious. This exploration employs the theory of Allan Hugh Cole Jr., whose work on melancholia draws on that of Donald Capps, Erik Erikson, and Sigmund Freud. A disposition to melancholia, particularly in men, comes from the first abandonment by a primary parent, resulting in identity loss and resistance to resolution of grief. Factors such as trauma, sexual orientation, religion, or marginalized race can have exacerbating effect on melancholia and were found to have treatment implications. Ritual, art, play, humor, and dreams can be identity-conferring and restorative resources. The author proposes that melancholia with identity issues should be understood as a psychological problem that is distinct from, although it can prolong and complicate, grief.

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Dzika-Jurek, Kamila. "Problem ciężaru : melancholia w twórczości Magdaleny Tulli". Doctoral thesis, Katowice : Uniwersytet Śląski, 2014. http://hdl.handle.net/20.500.12128/5562.

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The basic aim of this dissertation is to describe the melancholic dimension (with a particular focus on the source of this emotion) of Magdalena Tulli’s works – one of the most interesting contemporary Polish writers. At the same time, it is a completely new look at the prose of the Warsaw writer because up to now researchers and critics dealing with Tulli’s writings have pointed out their far from melancholic – even provocatively “light,” postmodern character. To the works of the Warsaw prose writer stuck, among others, the stigmatizing term of “the literature made of literature” that simultaneously denied these novels referential abilities. The author of dissertation, on the contrary, already at the beginning of her paper formulates the research hypothesis, according to which all novels of the Warsaw writer – from the debut novel Dreams and Stones to the latest, published in 2014 Noise – have the same bitter, melancholic tone and carry a “burden” of a real (autobiographical?) story. Most researchers seemed not to notice that self-referential stories from Tulli’s writings may refer to a specific reality. They wrote about them that they are merely a “technique exercise in fictionalization”, and motifs of this prose that they found obscure, described as “writing eccentricity.” Only the publication in 2011 of autobiographical (“easy” – according to the author) Italian High Heels, as it turned out, finally allowed Tulli to “communicate” with readers – as she described in one of interviews – in “the issue that was important to her.” This “issue” is the trauma of war and concentration camp which the writer’s mother somehow survived as well as the entire, as Tulli writes in Italian High Heels,” “energy of violence” and contempt which resulted from this and long after the war still destroyed people’s lives, unfortunately, including the life of the author of Moving Parts, just at its beginning – the writer’s childhood. Therefore, the sad background of the author’s life, as it turns out the source of melancholy in her works, became in some way the background of this dissertation. Before the publication of autobiographical Italian High Heels, when reading Tulli’s novels I wondered about remarkable consistency with which the writer uses certain metaphors in her prose and the presence of recurring motifs in these writings. Since even if – I thought at this time – assuming that the fundamental lack of plot in the works of the author of Dreams and Stones justifies their “postmodern” reading, why such talented and after all appreciated author would continuously write books about the same thing? Thus, the most important question to me seemed to be: what is the reason behind the Warsaw writer’s persistence in the style – in the “letter” of the novel, its constructions, means of imagery. Autobiographical character of Italian High Heels confirmed my previous assumptions and inclined me to the deeper insight into this artistic offering which at its sources turned out to be profoundly melancholic. The writing of Magdalena Tulli was literally simply built on the trauma, on the early (childhood) experience of lack and loss. Revealed by the writer in Italian High Heels and in the latest novel Noise painful facts from her biography (above all a toxic relationship with her mother) turned out to be this “burden” – the figure that consistently from the debut appeared in Tulli’s writings, and which with some intuition and interest I followed from my first reading of these texts. At the same time, becoming familiar with the state of research on the topic of melancholy, allowed me to formulate the assumption about the constant presence of the figure of burden in melancholy: from the moment of the appearance of the famous Hippocrates’ humoural theory till the present day (for instance, in Antoni Kępiński’s psychiatric works). Therefore, although melancholy can be described from many different perspectives (aesthetic, anthropological, existential, philosophical, etc.) in many different terms and languages (Latin – acedia, Greek – splen and English – spleen, ennui, Danish – Tungsind, etc.) – in every case they contain the element of gravity or burden. That is why the starting point of my dissertation and “research background” to interpret selected Tulli’s writings is the synthetic look at the melancholy presented throughout the centuries by artists and scientists, with special emphasis on the significance (“rank”) of the figure of burden and synonymous figures. In essence, the entire prose of the Warsaw writer (what I note scrupulously in every analytical part of my dissertation) is steeped in the imagery of burden. Why? This question is answered by the author of In Red herself, since in the centre of her two last novels (Italian High Heels and Noise) she puts her mother – former prisoner of concentration camps. Simultaneously, in this way Tulli reveals that at the foundation of the world in which she lives (and which is the prototype for the world of her novel) lies her toxic relationship with her mother. The Warsaw prose writer writes literally about the “burden” of suffering which her mother bears since the war and the part of which she always tried to “transfer” onto her child (Tulli). This issue reveals in the depiction of melancholy as a posttraumatic disease. Its main cause is the "touch" of history, sensual experience the trauma of war that was marked the writer’s mother so painfully. That is why the author of Flaw metaphorizes melancholy in her writings also as “an infection” of memory which contaminates consecutive generations of the Shoah (the second, third etc.) and which has become the experience of the Warsaw writer. As a result, we are born into a reality which already carries a certain “burden”. The space of Central Europe, once the epicenter of the Shoah, is a special example thereof. It is a space where the “burden” of the substance of the Shoah can sometimes be felt through the senses. The matter building the contemporary world still contains elements of the war, a material trace of the war – ashes of human bodies, “fat” clay in which the victims of the war were buried. That is why the tangibility of the world after the Shoah is so important in the works of the author of The Lottery. The most important representation of this landscape destroyed by the war is, literally, the mother from Italian High Heels whom her daughter describes as “the empire”. It is her who carries the biggest burden in this world, attempting to pass on some of the “weight” to the child. Her particular, cold attitude towards the world and people close to her, the cold “icy blue” stare and “stiffened” poses she assumes are to metaphorize this coldness and emptiness of the post-war (post-concentration camp) world where long after the war bonds between people will still be undermined by the floating “energy of suffering, sorrow and hatred”. This energy is absorbed by the children, consecutive generations “poisoned” in a metaphorical and literal (via genes) sense by the Shoah. When read from this perspective, the works of Magdalena Tulli reveal their extremely interesting rhythm. They emerge as an example of a mature, “full” literary structure, planned by the author herself to the tiniest details in which some aspects of a melancholic's life resurface in a compulsive (unconscious) manner. This indicates a special meaning of the interpretation of these works, which, for insightful readers, discloses new possibilities of literary study of these writings: penetrating the “areas” which no science apart from philology feels competent to access, studying today (what the author of In Red seems to be especially aware of) the text as “an adventure of the body and signs”.
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Paul, Haajra. "Rituals of Mourning and Melancholia in Dubliners". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21346.

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Sorensen, Eli Park. "Postcolonial melancholia : theory, interpretation and the novel". Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1446117/.

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In my doctoral dissertation, I discuss and explore notions of the literary and literary form in postcolonial studies. Beginning with a focus on recent expressions of unease about the theoretical paradigms through which the postcolonial perspective responds to literary texts, I discuss the emergence of what I call postcolonial melancholia, an atmosphere induced by the increased institutionalisation in academia in recent years. Using Freud's notion of melancholia, as a form of ghostly identification with an absent object, I explore what leading critics have seen as a loss of contemporary postcolonial criticality, and which I see as intimately related to the problematic ways in which the dimension of the literary has been used. In the second part of my dissertation, I analyse and discuss various literary strategies as formulated in three formally different postcolonial novels---Ousmane Sembene's Xala, J.M. Coetzee's Foe, and Rohinton Mistry's A Fine Balance---in order to map the contradictions, limitations but also possibilities of novelistic representation in postcolonial space. My overall critical perspective will be informed by the works of Georg Lukacs, and in particular his notion of a utopian-interpretive realist ideal, developed in the early work Theory of the Novel. My argument is that this utopian-interpretive realist ideal can also be seen as a particularly useful notion in connection with what I see as the literary dimension in many postcolonial novels, as it is situated in between complex socio-political agendas and aesthetic-representational problematics. Lukacs's formal-literary ideal is repeated in his later writings on realism from the thirties, but notably in a transfigured way---as an extra-literary, authoritative norm. The dynamic of this trajectory, one that moves from idealism to dogmatism, can (with certain modifications) be seen as similar to the development of the field of postcolonial critical discourse---moving from an early, idealistic beginning, to an increasingly dogmatic, prescriptive and authoritarian academic discourse. By using the trajectory of Lukacs's realist ideal as a comparative background, I attempt explore alternative ways of conceiving postcolonial literariness ways that may help the field of postcolonial studies to come to terms with what I see as the symptom of postcolonial melancholia, haunting the contemporary discipline.
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Libri sul tema "Melancholia"

1

Kiefer, Anselm. Melancholia. Tokyo: Sezon Museum of Art, 1993.

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Tóth, József. Melancholia. Budapest: Lupus, 2005.

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Galvagni, Bettina. Melancholia. Salzburg: Residenz, 1997.

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Enderwitz, Anne. Modernist Melancholia. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137444325.

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Fosse, Jon. Melancholia: Roman. Oslo: De Norske samlaget, 1995.

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Kakolewski, I. Melancholia wladzy. Warszawa: Neriton, 2007.

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7

Postcolonial melancholia. New York: Columbia University Press, 2005.

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Murakami, Ryū. Merankoria =: Melancholia. Tōkyō: Shūeisha, 1996.

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Federspiel, Jürg. Melancholia americana: Porträts. Zürich: Limmat, 1994.

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Iacono, Carla. Carla Iacono: Melancholia. Albissola Marina (SV): Vanilla edizioni, 2019.

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Capitoli di libri sul tema "Melancholia"

1

Christen, Felix, e Erik Schilling. "»Melancholie« (I) / »Leise« / »Melancholia« (1912)". In Trakl-Handbuch, 457–63. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67323-2_78.

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Bigotti, Fabrizio. "Melancholia". In Encyclopedia of Early Modern Philosophy and the Sciences, 1–6. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-20791-9_385-1.

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Carlin, Nathan. "Melancholia". In Encyclopedia of Psychology and Religion, 1457–60. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_419.

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Carlin, Nathan. "Melancholia". In Encyclopedia of Psychology and Religion, 1102–5. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-1-4614-6086-2_419.

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Pettis, Jeffrey B., Mark Popovsky, Annette Peterson, Lee W. Bailey, Fredrica R. Halligan, Daniel J. Gaztambide, Regina A. Fredrickson et al. "Melancholia". In Encyclopedia of Psychology and Religion, 562–65. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71802-6_419.

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Bigotti, Fabrizio. "Melancholia". In Encyclopedia of Early Modern Philosophy and the Sciences, 1283–88. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-31069-5_385.

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Elbeshlawy, Ahmed. "Besides Melancholia and Beyond Gender: Melancholia". In Woman in Lars von Trier’s Cinema, 1996–2014, 154–76. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40639-8_8.

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Wicht, Helmut. "Melancholia hippocratica". In Andere anatomische Anekdoten, 121–23. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-45003-7_24.

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Hook, Derek. "Mimed Melancholia". In (Post)apartheid Conditions, 147–69. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137033000_7.

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Butler, Sally. "Facing Melancholia". In The Persistence of Melancholia in Arts and Culture, 163–75. New York : Routledge, 2019. | Series: Routledge research in art history: Routledge, 2019. http://dx.doi.org/10.4324/9780429468469-10.

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Atti di convegni sul tema "Melancholia"

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Shi, Jian-Jun, Qing-Wu Yuan e La-Wu Zhou. "Melancholia EEG classification based on CSSD and SVM". In 2011 International Conference on Graphic and Image Processing. SPIE, 2011. http://dx.doi.org/10.1117/12.913271.

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2

Bhatia, Shalini, Munawar Hayat, Michael Breakspear, Gordon Parker e Roland Goecke. "A Video-Based Facial Behaviour Analysis Approach to Melancholia". In 2017 12th IEEE International Conference on Automatic Face & Gesture Recognition (FG 2017). IEEE, 2017. http://dx.doi.org/10.1109/fg.2017.94.

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Huang, Yo-Ping, e Wen-Lin Kuo. "Using fuzzy data mining to diagnose patients' degrees of melancholia". In SPIE Defense, Security, and Sensing, a cura di Sos S. Agaian, Sabah A. Jassim e Yingzi Du. SPIE, 2011. http://dx.doi.org/10.1117/12.883606.

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4

Zhang, Sheng, e Shini Qiao. "Analysis of EEG in Melancholia Based on Wavelet Entropy and Complexity". In 2010 4th International Conference on Bioinformatics and Biomedical Engineering (iCBBE). IEEE, 2010. http://dx.doi.org/10.1109/icbbe.2010.5515955.

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Bhatia, Shalini, Munawar Hayat e Roland Goecke. "A multimodal system to characterise melancholia: cascaded bag of words approach". In ICMI '17: INTERNATIONAL CONFERENCE ON MULTIMODAL INTERACTION. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3136755.3136766.

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Huang, Yo-Ping, Hong-Wen Chiu, Wei-Po Chuan e Frode Eika Sandnes. "Discovering fuzzy association rules from patient's daily text messages to diagnose melancholia". In 2010 IEEE International Conference on Systems, Man and Cybernetics - SMC. IEEE, 2010. http://dx.doi.org/10.1109/icsmc.2010.5642378.

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PETERS, UWE HENRIK. "THE FAMILY OF THE DEPRESSIVE PATIENT: FROM MELANCHOLIC TYPE OF MELANCHOLIC FAMILY". In IX World Congress of Psychiatry. WORLD SCIENTIFIC, 1994. http://dx.doi.org/10.1142/9789814440912_0081.

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Hewlett, Jamie, Pete Candeland e Kim Strobl. "Gorillaz 'On Melancholy Hill'". In SA '11: SIGGRAPH Asia 2011. New York, NY, USA: ACM, 2011. http://dx.doi.org/10.1145/2077356.2425745.

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Saksono, Suryo Tri. "The Melancholy and Gloomy Atmosphere in Dickinson’s Poems". In 1st International Conference on Folklore, Language, Education and Exhibition (ICOFLEX 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201230.040.

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KRAUS, ALFRED. "DO MELANCHOLICS AND MANIC-DEPRESSIVES HAVE A PERSONALITY DISORDER?" In IX World Congress of Psychiatry. WORLD SCIENTIFIC, 1994. http://dx.doi.org/10.1142/9789814440912_0066.

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Rapporti di organizzazioni sul tema "Melancholia"

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Behrend, Wendy. The Birth of Tragedy in Lars von Trier's "Melancholia". Portland State University Library, giugno 2014. http://dx.doi.org/10.15760/honors.99.

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Yang. Melancholy. Ames: Iowa State University, Digital Repository, novembre 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1240.

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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, dicembre 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.
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