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Shutter island analysis
Shutter island psychological disorders
Shutter island psychological concepts
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Shutter Island begins with Edward (Teddy) Daniels and his partner, Chuck Aule – both U.S. Marshals, arriving at Ashecliffe Hospital to investigate the disappearance of one of the patients there. Rachel Solando was being housed at Ashecliffe because she had drowned her three children. Once arriving, it was as if Rachel had disappeared without leaving a trace. The only shred of evidence the men could find was a note, tucked under a piece of tile floor, reading “Law of four. Who is 67?” Teddy and Chuck, along with Dr. John Cawley, the head psychiatrist, have no clue what this note could mean. Both men have no doubt they have their work cut out for them as they begin their investigation on Shutter Island. The marshals immediately encountered problems …show more content…
Laeddis was being allowed to live out his delusion, in attempt that he would discover who he really was along the way. Laeddis was on a new type of medication that helped to control the worst of his behavior, which made it easier for the psychiatrists to allow him to play out his delusion. The psychiatrists were trying to use all of their attempts to bring Andrew back in to reality before they had to resort to drastic measures. Allowing Laeddis to live in his delusion and play out the entire scenario was aimed to be more therapeutic for him. This was done in hopes that he would bring himself out of his delusional state and recognize what was actually real, versus the staff having to use drugs to rid him of his delusions, or him having to be …show more content…
The three films were analyzed using the Fairbairn object relations theory and psychoanalytic thinking, regarding consciousness, ego, and moral defense. According to the Fairbairn model, moral defense, or defense of the superego or defense of guilt, is someone who internalizes the bad they have suffered and in turn externalizes something good in attempt to make up for it. The article specifically mentions the final scene, when Andrew Laeddis is taken by the orderlies to the lighthouse. His quote at the end leaves us to believe that he has not fallen back into his delusional state, but has rather chosen to be Edward Daniels once again. In the article, Laeddis’s last quote is reworded like so, “which is best, to live as someone who is unconditionally bad, or to die as someone who believes that he is conditionally good?” This quote makes it easier to understand what Laeddis meant as he left for the lighthouse. Teddy Daniels is someone Laeddis created so he could be good. He wanted to believe that Andrew Laeddis was a different person, and that he himself was not capable of what he had done, nor was he the victim of the wrongful things his wife had done. Once Laeddis was forced into reality, he could no longer live in the lie he created. This forced him to take responsibility and own up to the hurt he felt. So, even though Laeddis knew he would be taken to the lighthouse and lobotomized if he
*the narrator is looking back on what he has once witnessed long ago, and it's haunting him, makes him feel guilty and ashamed.
The existence of the ghosts in The Turn of the Screw has always been in debate. Instead of directly discussing whether the ghosts are real or not, this essay will focus on the reliability of the governess, the narrator of the story. After making a close examination of her state of mind while she is at Bly, readers of The Turn of the Screw will have many more clues to ponder again and to decide to what extent the governess can be believed. While critics like Heilman argue that there are problems with the interpretation that the governess was psychopathic, textual evidence incorporated with scientific research show that the governess did go through a period of psychical disorder that caused her insomnia, out of which she created hallucinations.
In Harry Mulisch’s novel The Assault, the author not only informs society of the variance in perception of good and evil, but also provides evidence on how important it is for an innocent person experiencing guilt to come to terms with their personal past. First, Mulisch uses the characters Takes, Coster, and Ploeg to express the differences in perspective on the night of the assault. Then he uses Anton to express how one cannot hide from the past because of their guilt. Both of these lessons are important to Mulisch and worth sharing with his readers.
I think that some intensive psychoanalysis would prevent the actions of Gein and save the life of at least the one woman that he murdered. I do not think he could avoid all dysfunctions but there could have been a remarkable difference.
He envisions the town, people in his future, and people in his past. The pressure of the universe is too overwhelming for him: "Even in my imagination, the shore just twenty yards away, I couldn't make myself be brave. It had nothing to do with morality. Embarrassment, that's all it was. And right then I submitted" (57). O'Brien's embarrassment of being classified as a traitor engulfs him. His fear of cowardice forces him to submit; it forces him to go to war. Sitting on the shore with all of his loved ones staring at him, even though they are fictitious, shatters him, causing him to surrender to a futile cause.
Oates takes us to a journey of rebellion as the protagonist sorts through self-created illusion in order to come to terms with her own sexual inexperience. Connie’s desires for attention from the opposite sex, her vanity and immaturity blind her to think of the real intentions of guys, in this case Arnold Friend. A character that many critics argue is real, yet, others argue it was created by Connie’s mind.
Blanche Dubios and Willy Loman were both delusional characters whose delusions, and therefore their own “sanity”, relied on the enabling and support of the delusions by the other characters, and once that support was lost, so too were the delusional characters.
O’Brien explicitly asserts that “A thing may happen and be a total lie; another thing may not happen and be truer than the truth” (139). O’Brien, as demonstrated here, is not interested in the physical reality of what happens, rather he is writing from an emotional standpoint. He also directly states “I feel guilty sometimes. Forty-three years old and I’m still writing war stories” (61). Writing war stories and guilt are clearly related things in his mind and he writes in order to cope with this guilt. This entire work, every little story, every random detail, and every character is a direct reflection of O’Brien working through his guilt in the only way he knows how:
“HE’S GOT THE WORLD ON TWO STRINGS”(pg21). Steve Lopez and Nathaniel Ayers go through a lot since Steve met Nathaniel a homeless man whole plays the violin in downtown Los Angeles. Nathaniel is a homeless man who has paranoid schizophrenia travels downtown Los Angeles pushing his cart with his violin in it. Steve is a writer works for the Los Angeles Times and is always looking for a story for he can write for his column. Both Nathaniel and Steve create a friendship even though with all the challenges but in the book The Soloist it shows how they created a friendship. Even though in The Soloist they talk about how mental illness is a choice, force medication to treat the illness, and the way people treat you.
Girl, Interrupted (Mangold, 1999) is a movie which walks us through the conditions of various mental illnesses, their impacts on their victims and those around them, and effective treatment methods. The movie takes a more cognitive-behavioral perspective to explain various aspects and types of mental illnesses. Lisa Rowe is one of the characters in Girl, Interrupted, who is diagnosed with a particular type of mental condition. Lisa was diagnosed with Antisocial Personality Disorder. According to DSM-IV, this condition is a pattern of the violation of the rights of other people and disregarding them. Individuals with this type of mental illness, otherwise known as sociopaths, do not conform to the social norms regarding practicing lawful behaviors (Derefinko & Widiger, 2016). They undertake activities which warrant their arrest, like harming other people or property.
In Martin Scorsese’s 2010 film Shutter Island, U.S. Marshal Teddy Daniels (Leonardo DiCaprio) finds himself investigating a missing person case in an insane asylum found on a secluded, mysterious island. As Daniels’s search for the missing patient persists, this case and the doctors of the asylum become progressively more suspicious. In fact, Daniels’s new partner Chuck Aule (Mark Ruffalo) appears wary about their reasoning for being at the asylum as if the patient’s disappearance was merely an excuse to allure the two onto the island. A couple of days later the missing patient is found without the Marshals’ help. When Daniels is ready to leave the island he asks the head doctor where his partner is and the doctor states that Daniels came alone to the island. Baffled by this statement, Daniels is
Throughout the story, O’Brien speaks about his adventure with man by the name Elroy Berdahl, the owner of the fishing lodge that O’Brien stays at while on he want to run away from his responsibility. O’Brien describe Elroy as “Elroy Berdahl: eighty-one years old, skinny and shrunken and mostly bald... His eyes had the bluish gray color of a razor blade, the same polished shine, and as he peered at me I felt a strange sharpness, almost painful, a cutting sensation, as if his gaze were somehow slicking me open.” O’Brien give the reader a clear idea about what Elroy looked like and how he the big influence on his, he eels Elroy can see the pain and desire inside of him. The circumstance of O’Brian has while he was their helping him to find and realize what his true believes and personality. The author of the story gives the audience the sense that our personal understanding of self is built on the role of relationship we have with others. There are many things that could influence the person choices such as family, friend...
As a literal deathbed revelation, William Wilson begins the short story by informing the readers about the end of his own personal struggle by introducing and immediately acknowledging his guilt and inevitable death, directly foreshadowing the protagonist’s eventual downward spiral into vice. The exhortative and confession-like nature of the opening piece stems from the liberal use of the first person pronoun “I”, combined with legal and crime related jargon such as, “ crime”, “guilt”, and “victim” found on page 1. Poe infuses this meticulous word choice into the concretization of abstract ideas where the protagonist’s “virtue dropped bodily as a mantle” (Poe 1), leading him to cloak his “nakedness in triple guilt” (Poe 1). In these two examples, not only are virtue and guilt transformed into physical clothing that can be worn by the narrator, but the reader is also introduced to the protagonist’s propensity to externalize the internal, hinting at the inevitable conclusion and revelation that the second William Wilson is not truly a physical being, but the manifestation of something
Arthur Miller’s play Death of a Salesman follows protagonist Willy Loman in his search to better his and his family’s lives. Throughout Willy Loman’s career, his mind starts to wear down, causing predicaments between his wife, two sons and close friends. Willy’s descent into insanity is slowly but surely is taking its toll on him, his job and his family. They cannot understand why the man they have trusted for support all these years is suddenly losing his mind. Along with his slope into insanity, Willy’s actions become more aggressive and odd as the play goes on. Despite Willy and Biff’s “family feud”, his two sons Happy and Biff truly worry about their father’s transformation, Happy saying: “He just wants you to make good, that’s all. I wanted to talk to you about dad for a long time, Biff. Something’s – happening to him. He – talks to himself” (Miller 21). Willy, as a father, cares about his children but he wishes they would do better. He believes Biff should have been an athlete. According to Harrington, “Even figuratively, Willy is haunted, and particularly in Biff’s failure to achieve success as a sports figure” (108). This haunting is part of what led to Willy’s slow plunge into madness. As Willy’s career in sales fails, he also fails, even failing his family. Heyen adds: “He didn’t have anything of real value to give to his family, or if he did, he didn’t know what it was” (48). His debilitating flashbacks and delusional hallucinations with Uncle Ben cement his horrifying realizations that he has let down his family. Willy Loman blames the economy for his downfall in his career. In one of his more extreme outbursts he exclaims, “There’s more people! That’s what’s ruining this country! Population is getting out of control. ...
Human nature is a conglomerate perception which is the dominant liable expressed in the short story of “A Tell-Tale Heart”. Directly related, Edgar Allan Poe displays the ramifications of guilt and how it can consume oneself, as well as disclosing the nature of human defense mechanisms, all the while continuing on with displaying the labyrinth of passion and fears of humans which make a blind appearance throughout the story. A guilty conscience of one’s self is a pertinent facet of human nature that Edgar Allan Poe continually stresses throughout the story. The emotion that causes a person to choose right from wrong, good over bad is guilt, which consequently is one of the most ethically moral and methodically powerful emotion known to human nature. Throughout the story, Edgar Allan Poe displays the narrator to be rather complacent and pompous, however, the narrator establishes what one could define as apprehension and remorse after committing murder of an innocent man. It is to believe that the narrator will never confess but as his heightened senses blur the lines between real and ...