Mad Men And Medusas

This worthy successor to Psychoanalysis and Feminism is both a defense of the long-dismissed diagnosis of hysteria as a centerpiece of the human condition and a plea for a new understanding of the influence of sibling and peer relationships. Juliet Mitchell argues that, because it our first social relationship, the sibling relationship is crucial to development, and that it is a critical failure of psychoanalysis and other psychological theories of development to obscure and ignore the importance of siblings and peers. In Mad Men and Medusas Mitchell traces the history of hysteria from the Greek "wandering womb" to modern-day psychiatric diagnoses, arguing that we need to reclaim hysteria to understand how distress and trauma express themselves in different societies and different times. Using fascinating examples from anthropology, Freud's case studies, literature, and her own clinical practice, Mitchell convincingly demonstrates that while hysteria may have disappeared as a disease, it is still a critical factor in understanding psychological development through the life cycle.

It has become fashionable in the West to argue that hysteria has disappeared, indeed to challenge the notion that it ever existed. Hysteria's symptoms, first recorded by Hippocratic doctors in the fifth century B.C., were attributed to supernatural causes in the Middle Ages. The medicalization of hysteria in the 17th century moved its site from the womb to the brain, allowing it to be equally available as a diagnosis for men. In the 19th century, when hysteria appeared to be epidemic, Jean-Jacques Charcot photographed and classified hysterical patients and the symptoms were nicknamed mysteria. But what exactly is hysteria, and is it still with us? do we need the term to describe the consequences of experiences that are fundamental to the human condition in all societies and without which we lose an understanding of those experiences, for both women and men?

An up-to-date discussion of the fate of psychoanalysis at the end of the millennium and the beginning of a new century Covers topical areas of spirituality, and a return to hysteria by psychoanalysis Reflects on case material rather than the typical use of myths and cultural phenomenon A replay of the Freud-Jung encounter, 'marriage' and 'divorce' Takes a Jungian, or post-Jungian vantage point throughout and from this stance provides a critique of psychoanalytic ideas

Can we remember other people's memories? The Generation of Postmemory argues we can: that memories of traumatic events live on to mark the lives of those who were not there to experience them. Children of survivors and their contemporaries inherit catastrophic histories not through direct recollection but through haunting postmemories--multiply mediated images, objects, stories, behaviors, and affects passed down within the family and the culture at large. In these new and revised critical readings of the literary and visual legacies of the Holocaust and other, related sites of memory, Marianne Hirsch builds on her influential concept of postmemory. The book's chapters, two of which were written collaboratively with the historian Leo Spitzer, engage the work of postgeneration artists and writers such as Art Spiegelman, W.G. Sebald, Eva Hoffman, Tatana Kellner, Muriel Hasbun, Anne Karpff, Lily Brett, Lorie Novak, David Levinthal, Nancy Spero and Susan Meiselas. Grappling with the ethics of empathy and identification, these artists attempt to forge a creative postmemorial aesthetic that reanimates the past without appropriating it. In her analyses of their fractured texts, Hirsch locates the roots of the familial and affiliative practices of postmemory in feminism and other movements for social change. Using feminist critical strategies to connect past and present, words and images, and memory and gender, she brings the entangled strands of disparate traumatic histories into more intimate contact. With more than fifty illustrations, her text enables a multifaceted encounter with foundational and cutting edge theories in memory, trauma, gender, and visual culture, eliciting a new understanding of history and our place in it.

This volume fills the gap in books dedicated to the ideas of ground-breaking theorist Juliet Mitchell. Essays from internationally renowned scholars address themes that cross-cut her oeuvre: equality, violence, collective movements, subjectivity, sexuality and power. Mitchell herself contributes a chapter and an afterward.

The nineteenth-century asylum was the scene of both terrible abuses and significant advancements in treatment and care. The essays in this collection look at the asylum from the perspective of the place itself – its architecture, funding and purpose – and at the experience of those who were sent there.

A critical study of Louise Bourgeois's art from the 1940s to the 1980s: its departure from surrealism and its dialogue with psychoanalysis.

Consuming the Body examines contemporary consumerism and the commodified construction of ideal gendered bodies, paying particular attention to the new forms of interaction produced by social networking sites. Describing the behaviours of an ideal neoliberal subject, Woolley identifies modes of discipline, forms of pleasure, and opportunities for subversion in an examination of how individuals are addressed and the ways in which they are expected to respond. Key modes of address that compel the consumer to consume are: sadistic commands communicated in adverts, TV programmes and magazine articles; a fetishistic gaze that dissects the body into parts to be improved through commodification; and a hystericized insistent presence that compels the consumer to present their body for critique and appreciation that is exemplified in the selfie. Woolley interprets the visual characteristics of different types of selfies, including #fitspiration, #thinspiration, #fatspiration, and #bodypositivity to understand how they relate to current body ideals. Healthism and culture bound illnesses such as hysteria and eating disorders are examined to demonstrate the impact of commodified body ideals on consumers' bodies. An analysis of thinspiration images (photographs of emaciated bodies shared on pro-eating-disorder blogs and websites) suggests that the anorexic body represents the logical (and fatal) end point for the idealised body in consumer culture. Fat acceptance selfies suggest there is a fourth mode of address, empowering presence that has the potential to liberate consumers from the 'trap of visibleness' produced by the other three modes of address. In conclusion, the book identifies some creative methods for producing selfies that evade commoditisation and discipline.