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Vittorino Andreoli

80 quotes

“Beliefs in heaven, populated by the living, express well the denial of death and the desire to remain.”
Vittorino Andreoli (born 1940) wikiquote, CC BY-SA 4.0 source
“In the family, where daily disagreements have disappeared, dramas made up of extreme behaviors arise.”
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“To accept defeat, you have to believe in those who decree it, you have to be sure that the competitions are not rigged, that they do not become a business, but that they are conducted with absolute respect for skills and talents, whatever field they may be in.”
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“If your neighbor is antisocial and does not like your noise, he turns on his own and cancels yours.”
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“We sell them weapons, because the disease of power has spread everywhere, and they throw away every resource, even human lives, to wage and win wars, wars of misery.”
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“Sometimes you lose because you didn't choose the right field of trial.”
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“An adult man cannot be reduced to an active and productive man.”
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“Madness is an integral part of culture, and the madman is a citizen of society, even when he is confined to an asylum. It is not possible to understand madness by dealing only with madness. On the other hand, one cannot have a complete picture of a society without the chapter on its madness. (Intorno alla follia, p. 62)”
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“Even for history there is a “principle of indeterminacy” and here too, in defining some facts, one must give up describing others. The impression arises that many accounts of a historical period are possible depending on what one chooses and consequently eliminates. And it is impossible to tell a story without making choices. (Intorno alla follia, p. 63)”
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“While scientific discoveries, however great, may not have immediate repercussions on lifestyle and daily life, it is precisely technology that brings about immediate practical upheavals, usually considered positive. Science always changes ideas (of science itself or of culture), while technology has little impact on them and mostly only indirectly through the subversion of ordinary processes of existence. (Intorno alla follia, p. 70)”
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“Frank Wedekind, actor and playwright, focuses his performances on sex and its perversions with the aim of exposing the hypocritical respectability of the bourgeoisie of the time. He proposes the morality of erotic impulse as an alternative to bourgeois morality. (Intorno alla follia, p. 79)”
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“In 1950-51, Maxwell Jones invented, as an alternative to psychiatric hospitals, small therapeutic communities made up of patients and psychiatric and social workers, managed on the basis of collective participation and dynamics that were intended to bring out the abilities and qualities of each individual. The model of the extended family or village will go beyond psychiatry to apply to the problems of marginalization (from prisoners to drug addicts, the disabled, and the elderly). (La società o la fabbrica della follia, p. 131)”
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“Falsification is a term that has entered everyday language. It was introduced by Karl Popper. Every scientific result must be questionable and, therefore, imperfect, the starting point for new experiments for progressive, but never definitive, perfection. Scientific research is the never-ending story of corrections to previously obtained data, a story that has the limits of Tantalus. The definitive is dogmatism; it can be asserted but not proven. The great system of Bacon and Galileo has been decisively destroyed, precisely in the method that founded it. (Requiem per la verità, p. 333-334)”
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“Paul Feyerabend described science as a place of anarchy based not on logical-rational method but on protocols, the tools of the trade. Science is, therefore, a ‘relative’ discipline, capable of affirming truth only in relation to data conventionally compared: a truth-error. (Requiem per la verità, p. 334)”
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“Sexuality is also dying. Once upon a time, the penis had great significance and could be an ideological foundation. Today, it is an appendage of the body without qualities. No plans are made for the penis anymore. It is an intriguing and dangerous organ. It can generate in an overpopulated world. Better the power of an engine. Impotence has never been as high as in the contemporary world. You are male because of your motorcycle, your tattoo, your abdominal muscles, and your beard; the penis has nothing to do with it. (Requiem per la verità, p. 335)”
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“Vittorino Andreoli, I miei matti, Rizzoli, 2004.”
Vittorino Andreoli (born 1940) wikiquote, CC BY-SA 4.0 source
“Vittorino Andreoli, L'uomo di vetro, Rizzoli, 2008.”
Vittorino Andreoli (born 1940) wikiquote, CC BY-SA 4.0 source
“Vittorino Andreoli, Lettera a un adolescente, Rizzoli, 2004.”
Vittorino Andreoli (born 1940) wikiquote, CC BY-SA 4.0 source
“Vittorino Andreoli, Preti di carta. Storie di santi ed eretici, asceti e libertini, esorcisti e guaritori, Piemme, 2010.”
Vittorino Andreoli (born 1940) wikiquote, CC BY-SA 4.0 source
“Vittorino Andreoli, Preti. Viaggio fra gli uomini del sacro, Piemme, 2010. ISBN 9788856615197”
Vittorino Andreoli (born 1940) wikiquote, CC BY-SA 4.0 source
“Vittorino Andreoli, Tra un'ora, la follia, Rizzoli, 1999.”
Vittorino Andreoli (born 1940) wikiquote, CC BY-SA 4.0 source
“Vittorino Andreoli, Un secolo di follia, Biblioteca Universale Rizzoli, Milano, 1998. ISBN 88-17-11838-9”
Vittorino Andreoli (born 1940) wikiquote, CC BY-SA 4.0 source
“Despair is madness. Madness, the perception of the impossibility of living: being there, but as if not being there. Despair as an experience of madness is incompatible with life. It sees death, plans death, and kills itself and the other. Despair is a madness possible to man, to all men; it is, in fact, a perspective of man, linked to his need to be with others, to the fact that he cannot live alone, because human life is not solitude but sharing, belonging, attachment. Killing is a moment of infinite and incurable despair, and then the world appears useless and harmful and an individual perceives himself as irreducible to the world, as an alien, as an alienated person. A human feeling, possible, compatible with normality. Killing is linked to the madness of normality, to that capacity of man which, when in crisis, instead of helping him to live, transforms him into death and pushes him to kill and ruin himself, to kill himself. Madness is different from a clinical point of view, but also from a legal one (the inability to understand and intend: an infirmity that has arisen, preventing the human machine from functioning). I see madness as a mechanism that mirrors that of despair, of the feeling of the end: the incomprehensibility of the world, pulling out of it. Still being on the planet without knowing it. Close to others without needing the other. Even losing the memory of words and their meaning, giving up on communicating. Schizophrenia is an extraordinary example of this: being in the world as if the world were ending and as if being had no meaning, since all meaning is based on relationships. The schizophrenic is an island, a monad locked in a cell of existence, in a prison of the world. In isolation because that way they can still breathe. Life that comes closest to death. In short, madness already has to do with death, though not in its physical representation, but in its psychological representation, personality, and social representation, relationships. There are three kinds of death: that of the body, the most emblematic and absolute; that of the mind, which allows the body to remain active and even to take on an air of elegance; and then social death: deprived of every dimension, as if we had become transparent and, even within a crowd, no one could see us. The madman is a dead man who walks and breathes. If he kills, he does so without despair, perhaps out of anger; he is a corpse who kills. Madness has already overcome despair and for this reason lives without living, lives as if dead and, if it kills, kills already dead.”
Vittorino Andreoli (born 1940) first seen 2002 wikiquote, CC BY-SA 4.0 source
Recorded in: Il lato oscuro, Rizzoli, 2002
“Dr. John Seward is the director of the Purfleet asylum, and throughout my reading of Bram Stoker's Dracula, I felt as if I had returned to San Giacomo della Tomba, my old asylum. For this reason, among others, the book literally drew me into its pages with the kind of engagement that only great writers can achieve. [...] If a novel has this ability, it is a masterpiece and needs no further proof. It is the mark that each reader leaves on it, and when they put it back on the shelf, it is almost as if they are separating themselves from something they have entered into and can only leave knowing that the book is there waiting and can be reread at any time.”
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“‘'The case of Renfield’', although fictionalized, does not lose its connotation of psychiatry and that of the time. On the contrary, it serves to raise a very pressing issue at the time: the relationship between mental illness, a natural phenomenon, and demonic possession, which is an extra-natural phenomenon. The psychiatric category that best lends itself to this issue is that which allows for rapid changes in behavior and thought. Renfield goes from a phase of excitement and delirium to a state of calm and apparent normality. Renfield's delirium is the need to feed on living creatures in order to obtain vital energy for himself and thus not die. To this end, he asks for sugar, which he places on the windowsill of his hospital cell to attract flies, which he then swallows. A subsequent phase is to encourage the development of spiders that feed on flies and then swallow them. And the next plan is to have mice that eat spiders and cats that eat mice, so that by eating cats he gains extraordinary vital energy. His whole life is conditioned and focused on this idea.”
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“While Renfield represents psychosis, Lucy represents neurosis. The hysteria that Bram Stoker uses in his novel is what we would today call “dissociative,” leading to a split personality. And with this form, he brings us back to the theme of antithetical behavior in the same personality: Lucy's hysteria is expressed through sleepwalking, which manifests itself in actions that the young lady performs in a state of unconsciousness, of trance, even if it is a trance in motion. This is an extraordinary condition, as it allows one to have experiences and encounters without remembering them when one returns to a waking state. And it is during her sleepwalking phase that she falls prey to Dracula.”
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“Among the possible metamorphoses of Dracula, the most significant, so much so that it has become known to all, is into a bird, a bat. The symbolism of the bird is boundless and is also part of life. The penis is popularly called a bird: precisely because it rises and in that flight gives life, the seed. The bat is a strange creature, we might say perverse: both because it belongs to the mammals and not to the bird species, and because it is nocturnal and at night becomes a bird of sin, of the forbidden. It also has the characteristics of attracting and repelling. During the day, it has no life and remains hanging limply in a cave, while in the dark it is reborn and continuously searches for its prey in that unstoppable flight. Blood therefore recalls the bird-penis, and the image of the ‘baptism of blood’ with Mrs. Mina attached to Dracula's chest, in a position reminiscent of fellatio, is evocative.”
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“We must now have the courage to say that the count even manages to soften us, to make us feel sorry for him. After all, he is not the monster with superhuman and unstoppable strength, one of those who appear on today's screens of stupidity. Dracula is still a man, he was one while he was alive, in the historical sense of the term; he was a hero, one who saved his people from the Turks, and at that time, the word ‘Turk’ brought to mind evil and extreme violence. A dead character yet full of needs: during the day he must return to a coffin hidden in the ground of the cemetery where he was buried, so much so that he must always carry it with him. He is terrified of good or signs of good: the silver crucifixes and consecrated wafers that Professor Van Helsing uses as his weapons of defense. He is a monster who is afraid and who can be defeated, so much so that this is the conclusion of the story.”
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“(Commenting on the 1904 law on mental hospitals, inspired by the principles of the anthropological-positive school and Cesare Lombroso) Prison and Psychiatric hospital are consistently two ways of defending against criminals and the insane, particularly against their dangerousness. The insane are not responsible for their actions (and therefore not punishable), but for this very reason their wishes cannot be respected when it comes to committing them to an asylum: the will of the community must prevail over that of the individual. Insanity, after all, could not be cured, only restrained and contained: this was the task of psychiatry. (Il manicomio del 1904, p. 50)”
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“The name Gustave Le Bon recalls that of Gabriel Tarde, who in 1890 published ‘'The Laws of Imitation’' and argued that the psychological phenomenon of imitation can explain all forms of social bonding and all the secrets of social life. With Tarde, the sociological dispute was already alive. It was this author, in contrast to the dominant sociologist of the time, Émile Durkheim, who claimed that the era of non-psychological sociology (that of Durkheim, in fact) was over. If Auguste Comte is the founder of sociology, Tarde deserves credit for founding social psychology. (Intorno alla follia, p. 65)”
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