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UNIVERSITY of CALIFORNIA SAN DIEGO Mad Girls: Charting Cultural UNIVERSITY OF CALIFORNIA SAN DIEGO Mad Girls: Charting Cultural Representations of Psychosocial Disability and Contemporary Hysteria(s) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Drama and Theatre by Laura Margaret Dorwart Committee in charge: University of California San Diego Professor Julie Burelle Professor Brian Goldfarb Professor Emily Roxworthy University of California Irvine Professor Bryan Reynolds, Chair Professor Anthony Kubiak 2019 © Laura Margaret Dorwart, 2019 All rights reserved. The Dissertation of Laura Margaret Dorwart is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California San Diego 2019 iii TABLE OF CONTENTS Signature Page ……………………………………..….……………………………... iii Table of Contents ……………………………………………...……………………... iv Vita .……………………………………………………………………….……...... ... v Abstract of the Dissertation ..……………………………………………………...…. vi Chapter One The Possibility of Mad Girl Theory: Navigating the Literature of Hysteria, Disability, and Girlhood …………………….. 1 Chapter Two You’re Too Pretty to Cut: Digital Subcultures and the Narrative of Self-Harm ………………….…..…………. 29 Chapter Three Representations of Borderline Personality Disorder and the “New” Hysteria…….......67 Chapter Four Trauma in Emilie Autumn’s Neo-Victorian Performances ………………….….... 126 Chapter Five Welcome to Melanie Martinez’s Pop Surrealist D-O-L-L-H-O-U-S-E………….…. 175 Conclusions ……………………………………………………………………...… 222 Works Cited …………………………………………………………………….… 227 iv VITA 2011 Bachelor of Arts Cum Laude, Theatre, Barnard College, New York City, New York 2017 Master of Fine Arts, Creative Nonfiction, Antioch University Los Angeles, Culver City, California 2019 Doctor of Philosophy in Drama and Theatre, University of California San Diego v ABSTRACT OF THE DISSERTATION Mad Girls: Charting Cultural Representations of Psychosocial Disability and Contemporary Hysteria(s) by Laura Margaret Dorwart Doctor of Philosophy in Drama and Theatre University of California San Diego, 2019 Professor Bryan Reynolds, Chair Mad Girls examines what I term a cast-off girl and posits what her relationship to the abject is. My conception is that the cast-off girl exceeds the boundaries of girlhood, embodying the perceived aspects of girlhood that are deemed inappropriate for public display. She points to that which is unable to be contained. I look at artifacts of pop-culture and performance made for and by girls. The girlhood depicted in these works comprises images of the eroticized, infantile, and still totally deadly Within girl-oriented pop-culture, I have identified and named two phenomena around which vi the performance of the mad girl is centered: girlsonas and skin speaking. The girlsona is a girled archetype and by skin speaking I am referring to how girls’ bodies are often foregrounded as proof of some internal complication. To explore the performance of the Mad Girl, I analyze narratives of self-harm that are disseminated by girls through social media and other online platforms as a form of group identification; representations of borderline personality disorder in the films Girl, Interrupted and Prozac Nation, Merri Lisa Johnson’s performative writing in her memoir Girl In Need of a Tourniquet: Memoir of a Borderline Personality, and ultimately the musical Borderline, as an example of what can go awry when psychiatrically disabled individuals are not foregrounded in attempts to represent their narratives in performance; and the performative personas of musicians Emilie Autumn and Melanie Martinez which are both founded in representations of girlhood-after- trauma exposed through neo-Victorian themes and adolescent drag. Ultimately this dissertation is a call to reexamine the cultural products of the cast-off girl in a our age of quickly changing performance venues. vii Chapter One The Possibility of Mad Girl Theory: Navigating the Literature of Hysteria, Disability, and Girlhood In a 2016 Instagram post, self-proclaimed 20-something “tragic queen” visual artist Audrey Wollen stands forlornly next to a painting captioned “me in front of Asger Jorn’s L'avant-garde se rend pas” (‘The avant-garde never gives up,’ 1962) in the process of actually giving up rn [right now]” (Wollen). In another, she captions a still-wet negative pregnancy test “praise be.” In one series, Wollen drapes herself— while wearing schoolgirl outfits that feature pink cardigans and increasingly tiny skirts—over patients’ tables in an assortment of doctors’ offices (and one MRI room), with no explanation for her being there, but always inspiring concern (“y r u always at the doctor?? R u ok??” someone invariably posts). In several more posts, she superimposes her naked body or her crying face (never “pretty-crying” but always emphasizing the accompanying snot) onto Renaissance paintings of idealized, youthful female figures. And she is nearly always horizontal, often eating or staring at a phone. “I’ve always wanted to be the girl in the painting,” Wollen tells one interviewer who asks about the impetus behind Wollen’s performative practices and her online flaunting of sadness, chronic pain, and clinical depression. She describes these practices as part of what she calls “Sad Girl Theory.” Wollen is not alone in her endeavor; she uses her own body within her art, centering herself within famous paintings of justifying her body, and stages the history of girls’ sadness as a political 1 act. At once building off of and critiquing conventional feminist readings of female objectification within art history, Wollen asks her virtual audience: So let’s flip it around: what if the naked horizontal girl wasn’t a symbol of subordination, but a symbol of rebellion? What about the nature of objects can be used to our advantage? In anime, there are a lot of characters who are half robot, half girl, who are totally infantile and eroticised and still totally deadly. What can we learn from her and her use of object-ness? (Wollen) Wollen's Sad Girl Theory can be considered a response to the liberal feminist ideal that views women as the makers of their own success. Wollen counters that it is necessary to view the sadness of girls and women as an appropriate and informed reaction to patriarchal structures. Sad Girl Theory is a criticism of liberal ideals of womanhood that depict "the successful feminist" as famous, rich, and happy and the notion that sadness resides within the individual woman, who is responsible for her own emancipation. Wollen’s questions closely tracked my own as I embarked on this project: How and why do girls perform sadness online and form communities around it? How can invisible disabilities read as feminine be made visible and legible? Who is the “sad girl” to begin with, who are her predecessors, and why does she matter? How can the girl, and particularly the stigmatized girl, be reimagined and restaged? I, however, will turn my attention to the Mad Girl; the girl whose sadness is written on and for her in what are often extreme or violent ways. This dissertation will examine what I term a cast-off girl and posits what her relationship to the abject is. Tate defines abject art as “artworks which explore themes that transgress and threaten our sense of cleanliness and propriety particularly referencing the body and bodily functions” (tate.org.uk), and asserts that, “The term 2 abjection literally means ‘the state of being cast off’.” My conception of the cast-off girl, then, exceeds the boundaries of girlhood, embodying the perceived aspects of girlhood that are deemed inappropriate for public display. She points to that which is unable to be contained. She is a girl who refuses linear progression to the Freudian stages and rejects her own ascension into the symbolic law of the Father, through deliberate delays, sideways growth, and overzealous embrace of the trappings of childhood (e.g., through adolescent drag, the ruffles of a dollified Lolita, or their shadowy cousins, the beating hearts and damaged flesh behind sensationalistic headlines about sex being in self-harm). I posit the cast-off girl as both innately harmless yet simultaneously disturbing. Why, then, do we proliferate so many copies of her, mass-producing them as if to stick them on the ominous side milk cartons? To answer these questions I look at artifacts of pop-culture and performance made for and by girls. The girlhood depicted in these works comprises images of the eroticized, infantile, and still totally deadly Within girl-oriented pop-culture, I have identified and named two phenomena around which the performance of the mad girl is centered: girlsonas and skin speaking. The girlsona is a girled archetype. With many archetypes being maternal or paternal, girl is not divided into its own archetypes. So girlsonas are cultural archetypes of the girl in popular mythology, such as mass media, television tropes, and breathless sensationalistic headlines. Girlsonas manifest is woman-to-girl drag that sees adult women don the cultural artifacts of girlhood for the purposes of hyperrealism and gendered critique. Girlsonas consist in taking the sensationalistic
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