Vanstone, GailFoisy, Christina2021-07-062021-07-062021-042021-07-06http://hdl.handle.net/10315/38494Sounding Madness: The Ethics of Listening in Janet Frames Faces in the Water is a transdisciplinary sonic exploration of the historical, cultural, and theoretical concerns surrounding electroshocks (AKA electroconvulsive therapy or ECT) impact on memory, its controversial accusations of erasure and its current revival as a miracle (Peck 2) treatment for complex trauma (PTSD). My project employs sound as a verb (Voegelin 17) for voicing claims of memory erasure (Andre 6) by women ECT survivors that have been named groundless (Fink 17) by psychiatrists. To do so, I propose a sonic interpretation of Janet Frames 1961 novel Faces in the Water, a fictional account of her twelve-year stay in New Zealand mental institutions and 200 electroshock treatments in the late 1940s-1950s, because it depicts a rich sonic landscape of shock (treatment as trauma) and madness as a new kind of music (77). Since Frame prioritizes sound as a literary device, I weave her voice within a larger historical sonic context, dating back to Victorian medical electricity, the soundscape of the asylum and the sounds of contemporary Mad activism. Utilizing sound art as a Research-Creation method that employs and embodies diverse theories of listening (from psychoanalytic to phenomenological), I aim to create a sonic space for listening otherwise (Levinas, Lispari, Voegelin, Todd) towards Mad dialogical and epistemological justice.Author owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.EthicsElectronic Thesis or Dissertation2021-07-06Psychiatric Survivor NarrativesJanet FrameHealth HumanitiesMad StudiesMemory StudiesSound ArtDialogical EthicsLife WritingListeningElectroshockElectroconvulsive TherapyECTMemory Erasure