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PERFORMING HYSTERIA Contemporary Images and Imaginations of Hysteria PERFORMING HYSTERIA PERFORMING HYSTERIA CONTEMPORARY IMAGES and IMAGINATIONS of HYSTERIA

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PERFORMING HYSTERIA Contemporary Images and Imaginations of Hysteria PERFORMING HYSTERIA PERFORMING HYSTERIA CONTEMPORARY IMAGES and IMAGINATIONS of HYSTERIA PERFORMING HYSTERIA Contemporary Images and Imaginations of Hysteria PERFORMING HYSTERIA PERFORMING HYSTERIA CONTEMPORARY IMAGES AND IMAGINATIONS OF HYSTERIA EDITED BY JOHANNA BRAUN Leuven University Press Published with the support of the KU Leuven Fund for Fair Open Access and funded by the Austrian Science Fund (FWF) as part of the Erwin Schrödinger research project “The Hysteric as Conceptual Operator”: [J 4164-G24]. Published in 2020 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium). © Selection and editorial matter: Johanna Braun, 2020 © Individual chapters: the respective authors, 2020 This book is published under a Creative Commons Attribution Non-Commercial 4.0 Licence. Further details about Creative Commons licenses are available at h t t p : // creativecommons.org/licenses/ Attribution should include the following information: Johanna Braun (ed.), Performing Hysteria: Contemporary Images and Imaginations of Hysteria. Leuven, Leuven University Press. (CC BY-NC- 4.0) ISBN 978 94 6270 211 0 (Paperback) ISBN 978 94 6166 313 9 (ePDF) ISBN 978 94 6166 314 6 (ePUB) https://doi.org/10.11116/9789461663139 D/2020/1869/1 NUR: 670, 612, 757 Layout: Coco Bookmedia, Amersfoort Cover design: Daniel Benneworth-Gray Cover illustrations: left: J. Babinski, ‘Contracture hysterique’ 1891. right: detail from Three photos in a series showing a hysterical woman yawning. Photograph c.1890, by Albert Londe in ‘Nouvelle Iconographie de la Salpetriere’; Clinique des Maladies du Système Nerveux’, 1890. (Wellcome Library, London. Wellcome Images [email protected] http:// wellcomeimages.org) Copyrighted work available under Creative Commons Attribution only licence CC BY 4.0 http://creativecommons.org/licenses/by/4.0/ Illustrations on pp. 25, 39, 59, 85, 103, 123, 145, 165, 187, 205: Johanna Braun, Performing Hysteria: Images and Imaginations of Hysteria (Study 1–10), 2019 (image atlas, mixed media), photo credits © the artist. Every effort has been made to contact all holders of the copyright in the visual material contained in this publication. Any copyright-holders who believe that illustrations have been reproduced without their knowledge are asked to contact the publisher. TABLE OF CONTENTS 5 TABLE OF CONTENTS Acknowledgments 7 Introduction 11 Johanna Braun HYSTORIES REVISITED 27 Hysterical Epidemics and Social Media Elaine Showalter WANDERING IMAGINATIONS OF RACE AND HYSTERIA 41 The Origins of the Hysterical Body in Psychoanalysis Sander L. Gilman TRAUMATIC DANCES OF “THE NON-SELF” 61 Bodily Incoherence and the Hysterical Archive Jonathan W. Marshall THE PHANTOM ERECTION 87 Freud’s Dora and Hysteria’s Unreadabilities Dominik Zechner 6 PERFORMING HYSTERIA “A SLIGHT HYSTERICAL TENDENCY” 105 Performing Diagnosis in Charlotte Perkins Gilman’s The Yellow Wallpaper Vivian Delchamps HYSTERIA ACTIVISM 125 Feminist Collectives for the Twenty-First Century Elke Krasny DELILLO AND MASS HYSTERIA 147 Sean Metzger HYSTERIA IN THE AGE OF MECHANICAL REPRODUCTION 167 Back to the “Image Factory” in WestWorld Cecily Devereux #METOO’S FIRST HORROR FILM 189 Male Hysteria and the New Final Girl in 2018’s Revenge Tim Posada HYSTERICAL CURE 207 Performing Disability in the Possession Film Johanna Braun Bibliography 233 Notes on the contributors 257 ACKNOWLEDGMENTS 7 ACKNOWLEDGMENTS This publication is part of the research project entitled “The Hysteric as Conceptual Operator”, which is funded by the Austrian Science Fund (FWF): [J 4164-G24], and the publication is an outcome of its event series #masshysteria. Hysteria, Politics, and Performance Strategies, which took place at the University of California, Los Angeles in November 2018. Therefore, I want to take the opportunity right away to thank those on campus who made this possible. #masshysteria was organized in cooperation with and was generously sponsored by the UCLA Department of French and Francophone Studies and UCLA Department of Germanic Languages, and the Department Chair, Prof. Dominic Thomas; the UCLA Department of English, especially the Department Chair, Prof. Lowell Gallagher; the UCLA Department of Theater, and its Chair, Prof. Brian Kite; the UCLA Center for Performance Studies, and its Director, Prof. Suk-Young Kim; and the UCLA Center for the Study of Women, and its Director, Prof. Rachel C. Lee; the UCLA Alan D. Leve Center for Jewish Studies, and its Ludwig Kahn Director, Prof. Sarah Abrevaya Stein; the UCLA LGBTQ Studies Program, and its Chair, Prof. Alicia Gaspar de Alba; and the UCLA Department of World Arts and Cultures/Dance, and its Department Chair Prof. Dan Froot. Most importantly I want to thank my advisor on campus, Prof. Laure Murat, and Director of the UCLA Center for European and Russian 8 PERFORMING HYSTERIA Studies (CERS), for her dedicated endorsement of this project, her continuous support and the many shared vivid discussions on hysterical women, madness, and politics. I also want to thank Liana Grancea and Sanja Lacan at CER who helped tremendously in organizing and promoting the events and this project. I also want to take this opportunity to thank especially for his energetic support Sean Metzger, Professor in the UCLA Department of Theater and President of Performance Studies international, who was a driving force from the very beginning and helped significantly in facilitating the much needed information and resources on campus that brought this event series to life. An aller herzlichstes thank you goes to my advisor Arno Böhler, Professor in the Institute of Philosophy at the University of Vienna, and Susanne Valerie Granzer, Professor at the Max Reinhardt Seminar at the University of Music and Performing Arts Vienna, who have supported me and this project critically and enthusiastically from the very first day when I started to timidly envision this endeavor, and also didn’t spare any labor and resources to come out to energetically support #masshysteria on UCLA campus and delivered an astonishing, highly entertaining, and enchanting hysterical performance at the Los Angeles theater on Halloween eve, which I see as the ritualistic premiere of #masshysteria. It is hard to say a simple “thank you” for having the honor to work with one of the leading Hystorians and inspiring academics of our times. In defiance of the limits of language in communicating my gratitude, I want to wholeheartedly thank Elaine Showalter, for her generosity in participating in this project, for her openness to discussing the complex relations of hysteria, and for her very personal revelations at the conference as well as in the essay she has contributed to this volume. I also want to thank the driving force behind her: English Showalter, who made sure that our minds and bodies were able to meet so freely on campus. In the same language-defying vein, I want to express my herzliches gratitude to Sander L. Gilman, whose contribution to the field of hysteria and visual studies cannot be expressed in such a short comment, but which is undeniably echoed in many of the contributions in this volume. It was an honor and privilege as well as highly entertaining and insightful to spend so many hours in Los Angeles traffic with him discussing the many complex layers of hysterical critical engagement, and have him conclude the event series on campus. I thank him for his openness from ACKNOWLEDGMENTS 9 the very first email to engaging in this ongoing discussion and for his euphoric willingness to contribute to this publication. This publication would not have seen the light of day without the untiring work and support of and the entire Leuven University Press team, especially Mirjam Truwant, Acquisitions Editor, which somehow mysteriously found out about this project and has since then made sure this publication was delivered, through albeit a Pappenheimsche’ hysterical labor, into this world. I want to thank it for its infectious vision, inexhaustible patience and continuously energetic endorsement. It saw the potential of this project from the very beginning and has also generously supported it with a grant from the Leuven Fund for Fair Open Access. Speaking of financial support: This entire project, and the many connections that were facilitated through the lively engagements of it, would not have been possible without the very generous support of the Austrian Science Fund (FWF), which has not only provided the resources to conduct such an ambitious project but has also shown how relevant it is to endorse an in-depth study of such a current phenomenon, thereby attesting its mission to support the ongoing development of (Austrian) science and basic research at a high international level. Thank you to the FWF Advisory board for endorsing this project, and especially the scientific project supervisor, Dr. Barbara Zimmerman, and the administrative project supervisor, Robert Gass, for their ongoing and unflagging support. Thank you to the wonderful Alexandra Cox, from Coquelicot Translation, who has continuously untangled and translated my hysterical thoughts whenever I got lost or carried away from a frantic train of thought and who somehow always manages to find time in her very busy editorial schedule for this project. I also want to send a loving thank you to Michael Niemetz, the best partner in crime, who was instrumental in putting the event series together and who endured my hysterical cries and laughter while working on this publication with much caring patience and often needed encouragement. It goes without saying that a lamentation in solidarity goes out to my beloved Lilli Braun whose hysterical fits accompany me on every journey. And of course, last but not least, the most significant and sincere acknowledgments go to all the wonderful authors in this volume. Without their hard work and dedication Performing Hysteria would be 10 PERFORMING HYSTERIA filled with blank pages. Thank you Vivian Delchamps, Cecily Devereux, Sander L. Gilman, Elke Krasny, Jonathan W. Marshall, Sean Metzger, Tim Posada, Elaine Showalter, and Dominik Zechner. It has been a pleasure and pure delight working with you and I’m looking forward to continuing our transnational hysterical discussions.
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