Crime and Insanity in India

1931 ◽  
Vol 77 (317) ◽  
pp. 365-374
Author(s):  
G. R. Parasuram
Keyword(s):  
Mental Condition ◽  
The West ◽  
Life And Death

Medical men are often called upon to give evidence as to the mental condition of an individual, charged with crime, at the time of committing the crime. They are also expected to give an opinion as to whether by reason of insanity the accused was incapable of knowing the nature and consequences of his act, or did not know that what he was doing was either wrong or contrary to law. The question is frequently one of life and death for the accused, and therefore it is very necessary that medical men should understand the inner working of a criminal's mind before they venture an opinion regarding his mental condition. In India we have hitherto depended for our guidance on books written by learned authors who base their conclusions on conditions prevailing in their own countries, and cannot be expected to know the conditions of Indian life. I feel the time has come when we should begin to collect first-hand information regarding our criminals from our own observations. I am afraid very little work has been done in this field in India, and it is time that we compare our results with those obtained in the West. It is with this object that I venture to submit this paper, so that it may stimulate others in India also to work on these lines.

scholarly journals Inf(l)ection of the medium

2015 ◽  
pp. 38-57
Author(s):  
Mónika Dánél
Keyword(s):  
Social Interaction ◽  
Cultural Differences ◽  
Short Story ◽  
Skin Surface ◽  
Literary Texts ◽  
The West ◽  
Moving Image ◽  
Life And Death ◽  
The Face ◽  
Experimental Films

Slitfilm (Résfilm, 2005) and The Gravedigger (A sírásó, 2010) are two Hungarian experimental films made using a slit camera. The director/photographer Sándor Kardos’s adaptations of Ryūnosuke Akutagawa’s short story “The Handkerchief” and of Rainer Maria Rilke’s “The Gravedigger” expose a particular “physiognomy” of the filmic medium through the use of this technique. Likewise, the face as the privileged medial surface for emotion becomes an uncanny, stretched painting with grotesque associations, similar to Francis Bacon’s paintings. The sharp, clear narrator’s voice, layering the literary texts “onto” the moving image further emphasises the colour-stained plasticity of the visible. Both films attempt to articulate a liminal experience: the cultural differences between the East and the West that are inherent in expressing and concealing emotions (Slitfilm) or the questions relating to life and death, the speakable/conceivable and the unspeakable/inconceivable (The Gravedigger) that are embedded in the communicative modalities of social interaction. Through the elastic flow of images, the face and the hand become two uncovered, visible, corporeal surfaces engaged in a rhythmic, chromatic relationship (due to the similar skin tones of face and hand), and thus gradually uncover the medium of the film as a palpable skin surface or violated, wounded flesh. The article approaches the fluid, sensuous imagery that displaces the human towards the inhuman uncanny of the unrecognisable flesh through Deleuzian concepts of fold and inflection.

The Symbolism of The Wind and The Leaves in Shelley's “Ode To The West Wind”

PMLA ◽  
1936 ◽  
Vol 51 (4) ◽  
pp. 1069-1079 ◽  
Author(s):  
I. J. Kapstein
Keyword(s):  
Emotional Disturbances ◽  
Detailed Account ◽  
The West ◽  
Life And Death ◽  
West Wind

The “Ode to the West Wind” has received considerable special comment from a number of students of Shelley. H. B. Forman has indicated, in part, its emotional background; Professor H. C. Pancoast has discussed it in relation to the scene and climate in which it was written; W. E. Peck has pointed out parallels of its thought and imagery in Shelley's earlier work; and Professor B. P. Kurtz has recently shown in an admirable study the relation of its theme of life and death and regeneration to the poet's “pursuit of death” throughout his work. There is wanting, however, a detailed account of the sources, the development, and the significance of the poem's central symbols, the Wind and the Leaves, and of the intellectual and emotional disturbances, associated for Shelley with the symbols, which may have been the direct causes of his writing the “Ode.” This study attempts such an account.

scholarly journals 從莊子生命哲學到生命倫理學四原則的互補整合

2010 ◽  
Vol 8 (1) ◽  
pp. 61-79
Author(s):  
Yunzhang LIU ◽  
Jinping ZHAO ◽  
Jia XIE
Keyword(s):  
Ethical Issues ◽  
Moral Dilemmas ◽  
Biomedical Ethics ◽  
Human Beings ◽  
The West ◽  
Life And Death ◽  
Philosophy Of Life ◽  
Western Idea ◽  
Digital Commons ◽  
Bioethical Issues

LANGUAGE NOTE | Document text in Chinese; abstract also in English.構建中國生命倫理學基本原則所秉持的根本方法應是整合。筆者認為，莊子的生命哲學思想與比徹姆 (Tom L. Beauchamp) 和丘卓斯(James F. Childress) 的生命倫理四原則從不同的角度，為這種整合提供了理論資源。莊子的生命哲學內涵豐富，關注生命本身、關注生命的平等和關注生命存在的本真價值與意義；秉持生是適時，死是順應的自然主義生死觀；追求超越世俗的自由“逍遙”的生存狀態；重視“養生”、“可以盡年”，實踐無慾無為的養生觀；主張“以天地為棺槨”，反對“厚葬”的陋習等等，這些都具有積極意義。這些思想歸結起來就是要“和諧”。和諧是自然萬物的存在秩序，是人的身心健康的根本保障，也是我們在構建中國生命倫理學基本原則時所需要把握的核心價值。而比徹姆和丘卓斯的生命倫理四原則從醫療衞生事業的發展與醫療實踐的角度為我們提供了更清晰、更明確去解決生命倫理問題的原則指導。在此基礎上構建起來的中國生命倫理學基本原則是以“和諧”為中心的體現，在多領域中的原則總體，包括人與自然領域的“和諧生態”原則、人與社會領域的“和諧社會”原則、人與自身領域的“和諧人格”原則、人與醫學領域的“和諧醫學”原則等。運用這些基本原則指導人們的現實倫理生活，規範、分析和解決人們現實生活中存在的種種生命倫理問題，推進社會文明的進步與人類自我價值的提升。The four-principles approach to bioethics developed by Beauchamp and Childress in Principles of Biomedical Ethics is no doubt the most well known and influential example in the West of principle-based approaches to resolve ethical issues. The four principles are autonomy, non-maleficence, beneficence, and justice. This essay explores whether the four principles can be considered a universal core of morality that can be used in China to deal with current bioethical issues. It argues that although the four principles provide general guidelines, their implementation is much more complex. This essay attempts to show that Daoist thought, particularly Zhuangzi’s philosophy of life and death, conveys a certain sense of bioethics and carries profound moral implications that can overcome some of the limitations of principle-based ethics. The synthesis of the two traditions may help contemporary China to deal with various kinds of moral dilemmas. The Daoist notion of the interconnection among human beings and between human beings and nature challenges the Western idea of individualism and individual autonomy.DOWNLOAD HISTORY | This article has been downloaded 553 times in Digital Commons before migrating into this platform.

scholarly journals Xiao Hong: corpi in fuga

2018 ◽  
Author(s):  
Nicoletta Pesaro
Keyword(s):  
Personal Identity ◽  
Literary Canon ◽  
The West ◽  
Life And Death ◽  
North East ◽  
The North ◽  
Literary Forms ◽  
The People ◽  
Xiao Hong ◽  
Poetic Realism

Xiao Hong (1911-1942), original name Zhang Naiying, lived through the first half of the twentieth century, leaving behind the image of a socially engaged writer, sensitive to the issues connected to the people of her troubled homeland, in the North East of China. After an initial enthusiastic reception of her most representative novel, The Field of Life and Death (1935) in the literary arena, she was later neglected by Chinese critics, and excluded from the Maoist literary canon, as her fictional creatures and her works did not fit the optimistic spirit and the class consciousness requested to the intellectuals of the time. She was then re-discovered only in the 1980s, when both in China and the West her works have been re-read with a feminist or cultural studies approach. In this paper I explore the personal and literary forms of escape underpinning her figure and literary production. Exile, escape, uncertainty are the key words which can adequately describe Xiao Hong’s life and writing, in which, as Yan Haiping (2006, 136) states, one can find the sense of a ‘mobile violence’, due to her choices both as a woman (who revolted against her traditionally bound clan) and as a writer, who adopted a quite innovative, fragmented style combining personal memories and a crude and yet poetic realism. The literary practice which mainly expresses her constant escape from stereotypes, ignorance and conventional fetters is the representation of a dislocated female body subject to any kind of violence and humiliation: Xiao Hong’s ‘placeless bodies’ (Yan Haiping 2006, 146) are tangible marks of subjugation but also of resilience against a gendered destiny, which let her construct her literary and personal identity on a popular standpoint.

On Larceny, as committed by Patients in the earlier stages of General Paralysis

1873 ◽  
Vol 18 (84) ◽  
pp. 536-543
Author(s):  
J. Wilkie Burman
Keyword(s):  
Mental Condition ◽  
Kind Permission ◽  
The West ◽  
General Paralysis ◽  
Mental Symptoms

Having recently admitted into the West Riding Asylum no less than three general paralytics, who either came from prison, or had undergone imprisonment not long previous to admission, on account of the commission of larceny; and being of opinion, considering the stage at which, in each case, the disease had arrived on admission, that its commencement must have dated prior to the commission of the crime;—I have been led to make further enquiry as to these and other similar cases which have occurred within the experience and recollection of the present medical officers of the West Riding Asylum. The result is, that I am now enabled, by the kind permission of Dr. Crichton Browne, to record short details of six cases of general paralysis, all males, and admitted during the last four years, in which it appears to me the commission of the crime was a manifestation of the earlier mental symptoms of the disease. Such being the case, the patients ought not to have been held responsible for their actions. I feel it, therefore, a duty, to call the attention of medical officers of prisons, and “all whom it may concern,” to these facts, and to urge upon them the necessity of instituting a more searching enquiry into the mental condition of such cases, and also of cultivating a more extended acquaintance with the symptoms—especially the earlier ones—both mental and physical, of that very common and peculiar disease usually termed “general paralysis of the insane;” and this I would do in no dictatorial spirit, for I am well assured that those to whom my remarks are addressed are susceptible to the influence of that humane sentiment which leads us to shrink from inflicting punishment for crime committed by persons who are of unsound mind and consequently not legally responsible for their actions.

The Theatrical Life and Death of Wych Street

2018 ◽  
Vol 45 (2) ◽  
pp. 160-172 ◽  
Author(s):  
Victor Emeljanow
Keyword(s):  
Nineteenth Century ◽  
Short Story ◽  
The West ◽  
Early Nineteenth Century ◽  
Life And Death ◽  
Eastern Periphery ◽  
Drury Lane

In London’s Lost Theatres of the Nineteenth Century (1925), Errol Sherson describes Wych Street, located on the eastern periphery of the West End and within 200 metres of Drury Lane Theatre, as ‘one of the narrowest, dingiest and most disreputable thoroughfares the West End has ever known.’ By this time Wych Street had long disappeared, although its memory lingered. In a short story entitled ‘Where was Wych Street’ ( Strand Magazine, 1921), Stacy Aumonier attempted to recall the street’s existence and its significance. In the course of the story the street is identified in relation to two theatres – the Gaiety and the Globe – only the latter of which was connected to the street. Surprisingly, no reference is made to the Olympic Theatre with which Wych Street had been identified since the early nineteenth century or to the Opera Comique immediately adjacent to the Globe, highlighting the problematic role of memory in mapping historical space. This article examines the historical, theatrical and geographical mapping of Wych Street, bringing out contrasts, contradictions and paradoxes, and considering its role as part of the theatrical and extra-theatrical milieu of London.

scholarly journals Different Understanding about the Other Shore: the Introspection Study on Chinese and Western Art under the Natural Disaster

2021 ◽  
Vol 5 (2) ◽  
pp. 45-56
Author(s):  
Zhi-hao Sun
Keyword(s):  
Inner Core ◽  
Chinese Art ◽  
Front Line ◽  
Cultural Backgrounds ◽  
The West ◽  
Life And Death ◽  
Western Art ◽  
The Social ◽  
Point Of Intersection ◽  
Global World

No matter what the different cultural backgrounds are, they will always collide and generate divergence on the same point of intersection and then continue moving forward in the direction of collective cognition. At present, the global world is facing severe pestilence disasters; China Art Circle made many responses immediately at the beginning of the epidemic situation and tried to fight the epidemic situation, encourage the front-line medical staff and provide energy for them. However, when the epidemic situation in China trends to calm, the art theme about the epidemic situation also suddenly keeps silent. It looks like calm without great waves; however, through investigating Western art, it is found that the Western Art Circle has different orientations on the attitude to disasters; considering its inner core, it maps the further understanding of groups with different cultural backgrounds on the cognition of other shores of life- different life and death idea influence the social outlook, view of life and expectation of life fate of different groups. Meanwhile, they also promote the society to show different introspection paths while facing disasters. The study uses empirical analysis to identify and collect the image information from classical paintings of the East and the West. The results show that compared with Western art, Chinese art conveys a message that focuses more on maintaining the country's stability.

scholarly journals 生與化：漢畫西王母圖像系統中的蟾蜍及其魂魄觀

2019 ◽  
Vol 33 (33) ◽  
pp. 001-028
Author(s):  
高莉芬 高莉芬
Keyword(s):  
20Th Century ◽  
Han Dynasty ◽  
Spatial Context ◽  
The Moon ◽  
The West ◽  
Life And Death ◽  
Archaeological Materials ◽  
The Relationship ◽  
Queen Mother

<p>西王母的崇拜與信仰自漢代流傳至今而不絕，影響深遠，二十世紀以來，因漢畫像的出土發現，西王母圖像大量出現在漢代墓室祠堂中，這些考古材料又重新活化漢代西王母的研究。今考漢畫像西王母圖像系統，並非以單一主神出現，其空間語境多配以不同的輔助圖像。本文研究主要以漢畫像西王母仙境圖為探討範圍，以漢畫像西王母仙境圖中「必要圖像」蟾蜍為研究對象，並旁及「月中蟾」的討論﹔以見漢畫像中西王母與蟾蜍的配置關係，及漢代西王母的神格功能與象徵。歷來研究者多由「不死藥」連結蟾蜍與月亮、乃至於西王母的關係；而西王母在漢代墓室中其執掌又與靈魂的轉化再生有關，對漢畫像西王母仙境圖中蟾蜍圖像之考察，不死，是共同的焦點。此與古代漢人生死觀、魂魄觀有密切的關係，值得進一步梳理探討。</p> <p>&nbsp;</p><p>The worship and belief of the Queen Mother of the West（Xi Wang Mu） have been circulated and influenced since the Han Dynasty. Since the 20th century, due to the excavation of the portraits of the Han Dynasty, the images of the Xi Wang Mu appeared in the portraits of the tombs of the Han Dynasty. These archaeological materials undoubtedly reactivated the study of the Queen Mother of the West（Xi Wang Mu）of the Han Dynasty. In the Han Dynasty portrait stone, the image does not appear as a single main god, and its spatial context is often accompanied by different auxiliary images. This thesis mainly focuses on the West Queen Motherland of the Han Dynasty, and takes the &quot;necessary image&quot; the toad in the West Queen Motherland as the research object, and next to the discussion of &quot; the toad in the moon &quot;, to see the relationship between The Queen Mother of the West（Xi Wang Mu） and the toad in Han stone engraving, and The function and symbol of the goddess of The Queen Mother of the West. Traditional scholars have always been associated with the moon and even the Western Queen by &quot;immortal medicine&quot;; but the Western Queen Mother（Xi Wang Mu）is the chain of souls in the tomb of the Han Dynasty. It is a common focus on the image of the tomb in the Han Tomb. This is closely related to the ancient Han people’s outlook on life and death, and it is worth further exploration to sort out the relationship.</p> <p>&nbsp;</p>

On Larceny, as committed by Patients in the earlier stages of General Paralysis

1873 ◽  
Vol 18 (84) ◽  
pp. 536-543 ◽  
Author(s):  
J. Wilkie Burman
Keyword(s):  
Mental Condition ◽  
Kind Permission ◽  
The West ◽  
General Paralysis ◽  
Mental Symptoms

Having recently admitted into the West Riding Asylum no less than three general paralytics, who either came from prison, or had undergone imprisonment not long previous to admission, on account of the commission of larceny; and being of opinion, considering the stage at which, in each case, the disease had arrived on admission, that its commencement must have dated prior to the commission of the crime;—I have been led to make further enquiry as to these and other similar cases which have occurred within the experience and recollection of the present medical officers of the West Riding Asylum. The result is, that I am now enabled, by the kind permission of Dr. Crichton Browne, to record short details of six cases of general paralysis, all males, and admitted during the last four years, in which it appears to me the commission of the crime was a manifestation of the earlier mental symptoms of the disease. Such being the case, the patients ought not to have been held responsible for their actions. I feel it, therefore, a duty, to call the attention of medical officers of prisons, and “all whom it may concern,” to these facts, and to urge upon them the necessity of instituting a more searching enquiry into the mental condition of such cases, and also of cultivating a more extended acquaintance with the symptoms—especially the earlier ones—both mental and physical, of that very common and peculiar disease usually termed “general paralysis of the insane;” and this I would do in no dictatorial spirit, for I am well assured that those to whom my remarks are addressed are susceptible to the influence of that humane sentiment which leads us to shrink from inflicting punishment for crime committed by persons who are of unsound mind and consequently not legally responsible for their actions.

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