Although the theme of madness has been of concern to writers of all ages, there is a perceptible change in the madness of the dramatic character of the twentieth century from that of the past. This thesis is an attempt to analyse that phenomenon as it is manifested in a number of characters of twentieth century drama. The introduction contains a brief outline of the history of madness in society, and a general discussion as to how it is reflected in literature, from Biblical times to the present. It is found that writers make little attempt to explain the madness of a literary character, other than by attributing to him specific personal reasons for his behaviour; i.e. disappointment in love. The characters of twentieth century drama however, are found to be not "mad" in the same way; their madness is linked to their relationship with the rest of society. Thus, a character who considers the rest of society mad, and acts in a way which counteracts that society, is considered mad by those around him. However, to the audience or reader, who are made to recognize the motives for his behaviour, the character is not necessarily mad, and in fact it may be, the playwright implies, that the people who accept the values of the society as absolute who are "mad." By discussing principally "madmen" of four recent dramas: Romulus der Große (1956) and Die Physiker (I962) by Friedrich Düirrenmatt, Graf Öderland (final version 196l) by Max Frisch, and Albert Camus' Caligula (1944), as well as making peripheral references to other dramas in the Conclusion, definite patterns of behaviour emerge. The "madman" is judged in ways which are not understood by his contemporaries. He is generally more intelligent, more perceptive than the other members of his society, and has perceived a truth which is hidden from others. In revolting against a society whose values he cannot accept, he is making what he considers a positive step towards improving in some way the quality of life. (In this respect he is perhaps different from "madmen" of previous literature who are presented as having chosen to opt out.) In each case the revolt fails, leading to chaos or a reimposition of the old system. Despite the failure of the revolt to achieve permanent change, each hero is found to be an idealist oblivious to the reality around him rather than a "madman." The breakdown of traditionally accepted norms such as religion, has meant that in the twentieth century there are no absolute standards of behaviour. Sanity thus becomes a relative concept. This thesis attempts to explore that nebulous and shifting area between madness and sanity as it is reflected in modern drama. / Arts, Faculty of / English, Department of / Graduate

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Much of Tennessee Williams' work features mentally ill characters; his devotion to and interest in the subject has led to the composition of many plays that highlight the humanity of the insane, rather that caricaturize them with the usual stereotypes. In Suddenly Last Summer, Williams challenges the social stigmas most "normal" people attach to madness. Throughout the course of the action, the lines dividing sane and insane, normate and non-normate, gradually blur disrupting the audience's social equilibrium. By undermining presumed viewer prejudices toward the mentally ill, Williams creates the opportunity for redrawing the social boundaries of exclusion and inclusion. / by Kathleen Rush. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

The present study establishes a more full and accurate understanding of the importance of mysticism in the art and life of Emily Dickinson, and shows that because of the physiological changes endured by the mystic and the unique relationship between mysticism and madness, what might be read literally as madness (psychosis) in Dickinson's poems should be seen as a metaphor for the dark counterpoint of the mystical cycle.Chapter One establishes a necessary background on mysticism and discusses the effects of mystical experience on the mind and body of the mystic. As the mystic undergoes spiritual purification, she will be changed physiologically because the central nervous system has to be cultured and strengthened to withstand the changes created by the transcendental level of consciousness.Chapter Two chronologically documents Dickinson's mystical achievement, using her letters as the primary source and Evelyn Underhill's five stages of mystical development as the base of measurement. Dickinson achieved the first mystic life-Awakening, Purgation, and Illumination. Hints of the Dark Night of the Soul may be seen in her later years, but there does not appear to be firm evidence that it was ever fully established. Oscillating between states of pain and pleasure throughout her life, she did not achieve the perfect serenity, peace, and certitude that characterizes Union. Chapter Three examines the symbiotic relationship between mysticism and madness, to show that they share a common source and the end result depends on the preparedness of the individual. Chapter Four examines selected poems, written from 1859-65, from the perspective that Dickinson is a mystic describing mystical experience rather than a psychotic describing insanity. Chapter Four, as does Chapter Three, refers to the interpretation of Dickinson's poetry made by the Freudian psychiatrist, Dr. John Cody, because his interpretation has made the strongest argument for literal madness in Dickinson's work. Chapter Three shows the insufficiency of the argument to explain Dickinson, other mystics, and two of the parallel cases Cody used to support his thesis; Chapter Four demonstrates the same insufficiency when applied to Dickinson's poems of madness, terror, and despair. Chapter Five briefly examines the relationship between Dickinson, the mystic, and Dickinson, the poet. / Department of English

Thesis (Ph.D.) -- Unviersity of Western Sydney, Hawkesbury, 1999. / Thesis submitted for the degree of Doctor of Philosophy. Includes bibliographical references (leaves 275-287).

Thesis (Ph.D.)--University of Wollongong, 2008. / Typescript. Includes bibliographical references: leaf 267-300.

Thesis (M.A.)--University of North Carolina Wilmington, 2008. / Title from PDF title page (viewed September 22, 2008) Includes bibliographical references (p. 47-48)