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Brings into relief a critical relationship between the female mind and body that is essential to understanding the discursive position of the turn-of-the-century woman writer. This book includes novels that confront this mind/body problem through a wide variety of styles and genres that challenge conventional fin-de-siecle notions of femininity.
Examining historical, clinical and artistic material, in both written and visual form, this book traces the figure of the contemporary hysteric as she rebels against the impossible demands made upon her. Exploring five traits that commonly characterise the hysteric as an archetype – a specific body, mimetic abilities, a shroud of mystery, a propensity to disappear and a particular relationship to voice – the authors shed light on what it means to be hysterical, as a form of rebellion and resistance. This is important reading for scholars of sociology, gender studies, cultural studies and visual studies with interests in psychoanalysis, art and the characterisation of mental illness.
In this daring act of self-examination and confession, the late novelist Nelly Arcan explores the tortured end of a love affair. All the wrong signals were there from the start, but still, she could not help falling. More than a portrait of an affair gone wrong, Hysteric is a chronicle of life among the twenty- and thirty-somethings, a life structured by text messages, missed cell phone calls, the latest DJs and Internet porn. When the writer's aunt read her tarot cards, no predictionsfor her future ever appeared. This tale, an astounding feat of literary realism, shares the story of a woman who loses her identity in a man in hopes of finding love. Told in the same voice that made her first novel Whore an international success, Nelly Arcan manages to answer the challenges she set down for herself in her previous books.
The Hysteric's Guide to the Future Female Subject by Juliet Flower MacCannell Pdf
How can a girl become a woman today without being either a victim or a manipulator? Reflecting on this question, MacCannell takes us for the first time beyond the flawed models for becoming a woman left to us by Freud and Sade.
Hysteria as a neurosis seems to have disappeared altogether from the psychiatric manuals; but there are articles here and there, particularly in the United States and France, which advocate the existence of hysteria as a psychosis. Hysterical psychosis is the clinical combination of a hysterical personality with a seemingly psychotic state. Looking back to nineteenth-century psychiatry, Katrien Libbrecht attempts to answer the question: Is there such a thing as a hysterical psychosis or are we dealing with hysteria exhibiting psychotic features? Hysterical Psychosis is divided into three sections. The first part of the book carries the reader back to the second half of the nineteenth century, the heyday of the study of hysteria on the eve of the discovery of psychonanalysis. The second part of the book discusses the implications of the generalized impact of Bleuler's concept of schizophrenia during the interbellum period. The last section of the book deals with the current reemergence of hysterical psychosis from the 1960s to the 1990s. Libbrecht provides a historical survey of the most important psychiatric and psychoanalytic references on hysterical psychosis, as well as a review of current research on the matter. She sheds new light on reasons for the disappearance of the diagnosis of hysteria rn the 1950s and the emergence of the notion of hysterical psychosis during the 1960s. Hysterical Psychosis is a landmark study that is essential for psychoanalysts, psychiatrists, clinical psychologists, medical practitioners, and historians of psychology.
Hysterical Methodologies in the Arts by Johanna Braun Pdf
Hysteria is alive and well in our present time and is apparently spreading contagiously: especially the second decade of the twenty-first century has displayed an ever-increasing interest in the term. A quick Google search opens the gates to sheer endless swathes of discussions on hysteria, covering almost every aspect of public discourses. The arts—as it is often in such cases—seem conspicuously involved in and engaged with this hysterical discourse. Surprisingly, while the strong academic interest in hysteria throughout the twentieth century and most prominently at the turn of the century is well known and much discussed, the study of how these discourses have continued well into twenty-first-century art practices, is largely pressing on a blind spot. It is the aim of this volume to illustrate how hysteria was already well established within the arts alongside and at times even separately from the much-covered medical studies, and reveal how those current artistic practices very much continue a century spanning cross-fertilization between hysteria and the arts.
Popular Medicine, Hysterical Disease, and Social Controversy in Shakespeare's England by Kaara L. Peterson Pdf
Mining a series of previously uncharted conversations springing up in 16th- and 17th-century popular medicine and culture, this study explores early modern England's significant and sustained interest in the hysterical diseases of women. Kaara L. Peterson assembles a fascinating collection of medical materials to support her discussion of contemporary debates about varieties of uterine pathologies and the implications of these debates for our understanding of drama's representation of hysterica passio cases in particular, among other hysterical maladies. An important aspect of the author's approach is to restore, with all its nuances, the debates created by early modern medical writers over attempts to define the boundaries and resonances of hysterical ailments, which Peterson argues have been largely erased or elided by historicist criticism, including scholarship overly focused on melancholy. One of the main goals of the book is to stress the centrality of gendered concepts of disease for the period and to reveal a whole catalog of early modern literary strategies for representing women's illnesses. Among the medical works discussed are Edward Jorden's central text A Briefe Discourse of a Disease Called the Suffocation of the Mother (1603) and contemporary plays, including Shakespeare's Pericles, Othello, King Lear, and The Winter's Tale; Webster's The Duchess of Malfi; and Chapman's Bussy D'Ambois.
Part medical mystery, cultural criticism, and rallying cry, Editor of the Funny Women column at The Rumpus shares her journey to reclaim her authentic voice in a culture that doesn't want to hear or understand women. Throughout the first half of President [BLEEP]'s term, Elissa Bassist saw seventeen medical professionals, joining millions of American women who suffer from indescribable chronic pain. She consulted a psychologist, psychiatrist, ophthalmologist, neurologist, radiologist, psychopharmacologist, allergist, Ear/Nose/Throat specialist, gastroenterologist, orthopedic hand surgeon, occupational therapist, physical therapist, massage therapist, acupuncturist, herbalist, and an obsessive-compulsive disorder specialist. It was the acupuncturist who inquired about caged fury as a contributing factor of the physical maladies, as if the problem had something to do with her voice and what she hadn't expressed. As if treating the voice would treat the problem. Turns out, it did. In sharing her story, Elissa explains how women and girls internalize and perpetuate directives about what to do with their voice, making it hard to "just speak up" and "burn down the patriarchy." Today's mind-body doctors theorize that some physical pain is, in fact, repressed emotional pain finding expression, that emotions pile up in the unconscious, going unarticulated until they hit max capacity and tell the brain to create physical symptoms. When the mind denies itself language, it gives the body pain. If you don't share your story, your pain will tell it for you. Hysterical is inspired by Elissa's own journey to reclaim her authentic voice in a culture that weaponizes silence, noise, and language against women. She offers new ways to think about the female voice and calls on other women to unleash their unheard cry, which was theirs before the world intervened, the one they can learn to hear above all others and use again without regret.
What do we know about Hegel? What do we know about Marx? What do we know about democracy and totalitarianism? Communism and psychoanalysis? What do we know that isn't a platitude that we've heard a thousand times - or a self-satisfied certainty? Through his brilliant reading of Hegel, Slavoj Zizek - one of the most provocative and widely-read thinkers of our time - upends our traditional understanding, dynamites every cliché and undermines every conviction in order to clear the ground for new ways of answering these questions. When Lacan described Hegel as the ‘most sublime hysteric’, he was referring to the way that the hysteric asks questions because he experiences his own desire as if it were the Other's desire. In the dialectical process, the question asked of the Other is resolved through a reflexive turn in which the question begins to function as its own answer. We had made Hegel into the theorist of abstraction and reaction, but by reading Hegel with Lacan, Zizek unveils a Hegel of the concrete and of revolution - his own, and the one to come. This early and dazzlingly original work by Zizek offers a unique insight into the ideas which have since become hallmarks of his mature thought. It will be of great interest to anyone interested in critical theory, philosophy and contemporary social thought.
We seem to be living in hysterical times. A simple Google search reveals the sheer bottomless well of “hysterical” discussions on diverse topics such as the #metoo movement, Trumpianism, border wars, Brexit, transgender liberation, Black Lives Matter, COVID-19, and climate change, to name only a few. Against the backdrop of such recent deployments of hysteria in popular discourse––particularly as they emerge in times of material and hermeneutic crisis––Performing Hysteria re-engages the notion of “hysteria”. Performing Hysteria rigorously mines late 20th- and early 21st-century (primarily visual) culture for signs of hysteria. The various essays in this volume contribute to the multilayered and complex discussions that surround and foster this resurgent interest in hysteria––covering such areas as art, literature, theatre, film, television, dance; crossing such disciplines as cultural studies, political science, philosophy, history, media, disability, race and ethnicity, and gender studies; and analysing stereotypical images and representations of the hysteric in relation to cultural sciences and media studies. Of particular importance is the volume's insistence on taking the intersection of hysteria and performance seriously.
Filled with fascinating new perspectives on a culture saturated with syndromes of every sort, "Hystories" skillfully surveys the condition of hysteria--its causes, cures, famous patients, and doctors--in the 20th century to show that hysterias are always with us, a kind of collective coping mechanism for changing times.
The nineteenth-century study of hysteria at the Salpêtrière hospital was a medical project, but also a theatrical one. The hysteric's public appearance was a continual ethical provocation, pointing not only to the vulnerability of her person but to the unstable position of her spectator. Hysteria in Performance sets out to uncover what kind of performance the hysterical attack is, as well as the nature of hysteria in and as performance as it occurred at Salpêtrière. The Salpêtrière documents undeniably show the gravity of the institutional violence committed against its female patients. Using the lenses of performance studies and performance theory, Jenn Cole expresses the overt and subtle damages done to hysterical women in Jean-Martin Charcot's hospital, drawing attention to the hysteric's resistance to these experiences: it is often simply by being herself that the hysteric points to the inherent weaknesses in these systemic modes of violence. In Hysteria in Performance, the hysteric becomes a figure who represents possibilities for ethical encounters within performance and everyday living. Revealing the fraught and exciting nature of theatrical representation, and continually drawing out the dilemmas and unexpected dynamics of witnessing the suffering of others, this groundbreaking study explores how Charcot's findings on hysteria produced a unique mixture of theatre and science that still has unexpected things to teach us.
Paul Lerner traces the intertwined histories of trauma and male hysteria in German society and psychiatry and shows how these concepts were swept up into debates about Germany's national health, economic productivity, and military strength in the years surrounding World War I. From a growing concern with industrial accidents in the 1880s through the shell shock "epidemic" of the war, male hysteria seemed to bespeak the failings of German masculinity. In response, psychiatrists struggled to turn male-hysterical bodies into fit workers and loyal political subjects. Medical approaches to trauma valorized work and productivity as standards of male health, and psychiatric treatment--whether through hypnosis, electric current, or suggestion--concentrated on turning debilitated soldiers into symptom-free workers. These concerns endured through the Weimar period, as "nervous veterans" competed for disability compensation amid the republic's political crises and economic upheavals. Hysterical Men shows how wartime psychiatry furthered the process of medical rationalization. Lerner views this not as a precursor to the brutalities of Nazi-era psychiatry, but rather as characteristic of a more general medicalized modernity. The author asserts, however, that psychiatry's continual skepticism toward trauma resonated powerfully with the radical right's celebration of war and violence and its supposedly salutary effects on men and nations.
