Representaciones de la psiquiatría y los trastornos mentales en el imaginario punk español(1981-2010)

Resumo

Introduction. The bidirectional relationships between culture and medicine are essential in psychiatry due to the nature of its endeavour. Thus, the relevance of the analysis of popular culture lies in understanding popular ideas about mental disorders and psychiatric praxis (the focus of this thesis) and identifying the social impact of the circulation of such ideas (an open field of research). Objective. To describe the representations of psychiatric practice and mental disorders in Spanish punk songs (1981-2010). Specifically, the aim is to identify the uses, meanings, viewpoints, value judgements and emerging themes. Material and method. A systematic review was conducted to assess the extent of the available literature and the methodologies employed in the field. It guided the selection of the most appropriate strategies for a systematic approach to the subject matter, which led to the qualitative analysis of the lyrics of Spanish punk songs (1981-2010) through an inductive process. First, the general notion of ‘madness’ was addressed, followed by psychotic disorders and psychiatry. Finally, the contents related to criminality and violence were explored, along with their links to mental disorders from a punk perspective. The methodological strategy included content analysis as an initial approach, providing information on the type and extent of the allusions; while, in a second stage, the thematic analysis deepened into the uses, meanings, viewpoints, value judgements and emerging themes. Results and conclusions. The songs under study reflected general observations, clinical, therapeutic and social aspects, references to other cultural representations, new meanings for the psychiatric language, and a seemingly elusive use of it (musically driven), thereby confirming the interdiscursive, polyphonic and polysemic character of Spanish punk songs. The depictions of psychiatry were critical, characterised by their specificity and immutability (the stereotype of social control). The restricted format of the songs, intertextual influences and, perhaps more importantly, the connections with the allegorical function of the psychiatrist in the lyrical discourses of Spanish punk may explain these findings. Psychopathological terms related to psychotic disorders did not allude to positive meanings, showing a pejorative use in almost one-third of the cases. On the other hand, although most descriptions of psychotic symptoms or disorders were neutral, negative views reached almost 40%. The study of madness as a broader concept also showed a preponderance of negative depictions. Thus, most of the analysed songs reproduced the stereotypes prevailing in the general population, with an overestimation of the links between violence, criminality and mental disorders. The negative appraisals of madness and the madman can be explained mainly by the attributions of dangerousness attached to them. Associations with crime and violence also appeared in songs depicting psychotic disorders or symptoms. Additionally, the study of songs alluding to crime within mental disorders confirmed an almost absolute representation of offenders as ‘mentally disturbed.’ The cultural construction of mental illness retains a stigmatised dimension, which would be determined, at least partly, by intertextual factors. Apart from intertextuality, identity factors were relevant in the songs under study. Thus, the identity affirmation of the punk subculture can be expressed through the figure of the madman, encompassing provocative dimensions that challenge social patterns by exalting madness. The finding of a higher proportion than might be expected regarding the positive appraisal of the apparently negative attributes of madness was consistent with one of the hypotheses of this work; since it was expected to find either the same stigmatising views that are present in the general population but containing differentiated appraisal undertones or an idealisation of madness. Both cases were found in the songs examined, confirming the heterogeneity of the discoursive landscape.