This thesis examines the theme of women’s madness in the 1960s and 1970s through the works of four English and French writers and film-makers: Chantal Akerman, Emma Santos, Jane Arden and Mary Barnes. It examines how these four writers and film-makers inscribe madness into their texts from a sociological angle, presenting the texts and films discussed as socio-historical artefacts while analysing each writer and film-maker’s representation of women’s madness. Inspired by psychologist Phyllis Chesler, who argues that madness is tied to socially defined gender roles and used to demarcate violations of expected gendered behaviour, this research analyses various manifestations of ‘madness’ from the everyday madness of Chantal Akerman, to psychiatrically incarcerated madness in the texts of Emma Santos, to madness influenced by anti-psychiatry through the works of Jane Arden, to complete immersion in anti-psychiatry with Mary Barnes. The interdisciplinary and cross-cultural nature of this thesis combines fields from both English and French studies, from the study of female writers and film-makers, psychoanalytic theory, the history of psychiatry and how they intersect with gender combined with contemporary feminist writings of philosophy, psychology, and theology.

‘The Ethics, Aesthetics and Politics of Carlyle’s French Revolution’ examines the work of Thomas Carlyle as a crucial aesthetic intervention in the modern reception of the French Revolution in Europe. It interrogates the prevalent critical constructions of Carlyle’s work and finds them to proceed predominantly from the Whig historical agenda, structured around such key nineteenth-century concepts as utilitarianism and civilisational and moral progress. Within this critical framework, Carlyle’s largely conservative cultural stance and Christian spirituality are hardly allowed any creative potential and, ever since the famous fabrication of James Anthony Froude who depicted Carlyle as ‘a Calvinist without the theology’, they have been perceived as artistically-stunted, irrational, and out of touch with the nineteenth-century political, social and cultural realities. In examining Carlyle’s involvement with German Romanticism on the one hand, and with contemporary British periodical press on the other, this thesis proposes a more comprehensive reading of Carlyle’s politics, aesthetics and spirituality in an attempt to represent his radically open, catholic and indeed cosmopolitan artistic agenda which taps into the Scottish Enlightenment concept of rationality, Calvinist scepticism towards nineteenth-century progressivism and acute perception of evil in this world, and post-Burkean Romantic aesthetics of the sublime. We chart the aesthetic movement from Carlyle’s early dialogue with Schiller and Goethe to ‘The Diamond Necklace’, Carlyle’s first artistic rendition of the French pre-revolutionary scene, delivered as a (Gothic) moral tale and anticipating The French Revolution (a historical work that uniquely employs the Gothic genre within historical narrative, arguably unparalleled in British post-Burkean Romanticism). The critical reception of The French Revolution in Britain is examined, with special attention paid to the highly unfavourable review by Herman Merivale in The Edinburgh Review, in order to challenge the Whig line in Carlylean criticism and to expose the fundamental artistic, political and moral disagreement between Carlyle and Merivale. Carlyle’s Calvinist stance sees both Merivale’s and Thomas Babington Macaulay’s facile exorcism of the categories of good and evil from their historical agendas as irrational given the recent French terror (which, in Carlyle’s reading, released its demons precisely through such a botched ethical deal). Similarly, I highlight Carlyle’s close dialogue with John Stuart Mill both in their correspondence, and in the publications in the London and Westminster Review, while I argue that this intellectual exchange is crucial for the reading of The French Revolution as a text challenging Mill’s utilitarianism, and written within the institutional framework of the contemporary periodical press. Finally, Carlyle is seen to make capital of the concepts of Gothic and sublime, introduced by Edmund Burke and popularised by the Anti-Jacobin Review in Britain, by applying them directly to the French mob in search of a new spiritual tongue for his times (a move that even a nineteenth-century radical liberal thinker such as Mill sees as politically, if not artistically, far too subversive and revolutionary). Creative non-conclusiveness and playful deconstruction of the prevalent post-revolutionary narratives of 1789 characterise Carlyle’s deeply spiritual and artistically-sophisticated text, which, in an orthodox Christian reading, rejoices in the messy, dark and complex residue of human history, through which Christian providence acts in mysterious and unexpected ways that do not allow for any simple, de-mythologised reading.