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The media’s portrayal of HIV has taken a number of different forms since the disease was first discovered over three decades ago. HIV has been portrayed as an epidemic and a disease affecting homosexuals and immigrants. Its transmission has also been portrayed as a criminal offense. In August 2010, the German singer Nadja Benaissa was arrested for passing on HIV to a former partner and exposing two other men. Media constructions of this story draw upon HIV stereotypes because of her drug-using past, her immigrant status and her criminal actions. This media study points to a new discourse centered on the shared responsibility of safe sex. While Benaissa was mostly blamed for transmission, the media at times suggested that safe sex concerning HIV was not entirely dependent upon HIV-positive individuals.

This thesis proposes a general overview of the three principal critical approaches to images of female madness in the work of Andre Breton, more specifically in his narrative Nadja. Grounded, respectively, in a Freudian, a feminist and a mythocritical perspective, these approaches tend to present a negative vision of Nadja's madness. After examining the arguments made by proponents of each approach, this study seeks to lay the foundations for positive analyses which will allow for the rehabilitation of female madness and the foregrounding of the link between insanity and female identity. Breton at once desired and fostered this feminine condition, which he deemed to be essential to creation and the discovery of the secret meaning of life: the marvelous. While it may convey disconcerting qualities, female madness is portrayed as noble and exceptional in this unique book whose title is the Russian word for hope.

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