Hysteria is probably the condition which best illustrates the tight connection between neurology and psychiatry. While it has been known since antiquity, its renewed studies during the 19th century were mainly due to the work of Jean-Martin Charcot and his school in Paris. This publication focuses on these early developments, in which immediate followers of Charcot, including Babinski, Freud, Janet, Richer, and Gilles de la Tourette were involved. Hysteria is commonly considered as a condition that often leads to spectacular manifestations (e.g. convulsions, palsies), although both structural and functional imaging data confirm the absence of consistent and reproducible structural lesions. While numerous hypotheses have tried to explain the occurrence of this striking phenomenon, the precise nosology and pathophysiology of hysteria remain elusive. This volume offers an enthralling and informative read for neurologists, psychiatrists, and psychologists, as well as for general physicians, historians, and everyone interested in the developments of one of the most intriguing conditions in medicine.

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.

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.

Discover the complete social history of the housewife archetype, from colonial America to the 20th century, and re-examine common myths about the “modern woman.” The notion of “housewife” evokes strong reactions. For some, it’s nostalgia for a bygone era, simpler and better times when men were breadwinners and women remained home with the kids. For others, it’s a sexist, oppressive stereotype of women’s work. Either way, housewife is a long outdated concept—or is it? Lisa Selin Davis, known for her smart, viral, feminist, cultural takes, argues that the “breadwinner vs. homemaker” divide is a myth. She charts examples from prehistoric female hunters to working class housewives in the 1930s, from First Ladies to 21st century stay-at-home moms, on a search for answers to the problems of what is referred to as women’s work and motherhood. Davis discovers that women have been sold a lie about what families should be. Housewife unveils a truth: interdependence, rather than independence, is the American way. The book is a clarion call for all women—married or single, mothers or childless—and for men, too, to push for liberation. In Housewife, Davis builds a case for systemic, cultural, and personal change, to encourage women to have the power to choose the best path for themselves.

Bertha Pappenheim became a legend twice: first, in Vienna, under the pseudonym 'Anna O', when she cured herself of hysterical symptoms by telling fairy tales which she termed 'the talking cure', upon which Sigmund Freud based his theory of psychoanalysis; and then in Germany, as the founder of the first Jewish feminist movement.

In The Aesthetic Clinic, Fernanda Negrete brings together contemporary women writers and artists well known for their formal experimentation—Louise Bourgeois, Sophie Calle, Lygia Clark, Marguerite Duras, Roni Horn, and Clarice Lispector—to argue that the aesthetic experiences afforded by their work are underwritten by a tenacious and uniquely feminine ethics of desire. To elaborate this ethics, Negrete looks to notions of sublimation and feminine sexuality developed by Freud, Baudelaire, Mallarmé, and Nietzsche, and their reinvention with and after Jacques Lacan, including in the schizoanalysis of Gilles Deleuze and Félix Guattari. But she also highlights how psychoanalytic theory draws on writing and other creative practices to conceive of unconscious processes and the transformation sought through analysis. Thus, the "aesthetic clinic" of the book's title (a term Negrete adopts from Deleuze) is not an applied psychoanalysis or schizoanalysis. Rather, The Aesthetic Clinic privileges the call and constraints issued by each woman's individual work. Engaging an artwork here is less about retrieving a hidden meaning through interpretation than about receiving a precise transmission of sensation, a jouissance irreducible to meaning. Not only do art and literature serve an urgent clinical function in Negrete's reading but sublimation itself requires an embrace of femininity.

The Society for Psychical Research was established in 1882 to further the scientific study of consciousness, but it arose in the surf of a larger cultural need. Victorians were on the hunt for self-understanding. Mesmerists, spiritualists, and other romantic seekers roamed sunken landscapes of entrancement, and when psychology was finally ready to confront these altered states, psychical research was adopted as an experimental vanguard. Far from a rejected science, it was a necessary heterodoxy, probing mysteries as diverse as telepathy, hypnosis, and even séance phenomena. Its investigators sought facts far afield of physical laws: evidence of a transcendent, irreducible mind. The New Prometheans traces the evolution of psychical research through the intertwining biographies of four men: chemist Sir William Crookes, depth psychologist Frederic Myers, ether physicist Sir Oliver Lodge, and anthropologist Andrew Lang. All past presidents of the society, these men brought psychical research beyond academic circles and into the public square, making it part of a shared, far-reaching examination of science and society. By layering their papers, textbooks, and lectures with more intimate texts like diaries, letters, and literary compositions, Courtenay Raia returns us to a critical juncture in the history of secularization, the last great gesture of reconciliation between science and sacred truths.