Surrealist writer André Breton praised hysteria for being the greatest poetic discovery of the nineteenth century, but many physicians have since viewed it as the "wastebasket of medicine," a psychosomatic state that defies attempts at definition and cure and that can be easily mistaken for other pathological conditions. In light of a resurgence of critical interest in hysteria, leading feminist scholar Elisabeth Bronfen reinvestigates medical writings and cultural performance to reveal the continued relevance of a disorder widely thought to be a romantic formulation of the past. Through a critical rereading, she develops a new concept of hysteria, one that challenges traditional gender-based theories linking it to dissatisfied feminine sexual desire. Bronfen turns instead to hysteria's traumatic causes, particularly the fear of violation, and shows how the conversion of psychic anguish into somatic symptoms can be interpreted today as the enactment of personal and cultural discontent. Tracing the development of cultural formations of hysteria from the 1800s to the present, this book explores the writings of Freud, Charcot, and Janet together with fictional texts (Radcliffe, Stoker, Anne Sexton), opera (Mozart, Wagner), cinema (Cronenberg, Hitchcock, Woody Allen), and visual art (Marie-Ange Guilleminot, Cindy Sherman). Each of these creative works attests to a particular relationship between hysteria and self-fashioning, and enables us to read hysteria quite literally as a language of discontent. The message broadcasted by the hysteric is one of vulnerability: vulnerability of the symbolic, of identity, and of the human body itself. Throughout this work, Bronfen not only offers fresh approaches to understanding hysteria in our culture, but also introduces a new metaphor to serve as a theoretical tool. Whereas the phallus has long dominated psychoanalytical discourse, the image of the navel--a knotted originary wound common to both genders--facilitates discussion of topics relevant to hysteria, such as trauma, mortality, and infinity. Bronfen's insights make for a lively, innovative work sure to interest readers across the fields of art and literature, feminism, and psychology. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Great collection from for top feminist art historians and thinkers Includes Griselda Pollock and Mieke Bal International perspective focusing on gender and race

This book presents the radically new theory of subjectivity found in the work of Jacques Lacan. Against the tide of post-structuralist thinkers who announce "the death of the subject," Bruce Fink explores what it means to come into being as a subject where impersonal forces once reigned, subjectify the alien roll of the dice at the beginning of our universe, and make our own knotted web of our parents' desires that led them to bring us into this world. Lucidly guiding readers through the labyrinth of Lacanian theory--unpacking such central notions as the Other, object a, the unconscious as structures like a language, alienation and separation, the paternal metaphor, jouissance, and sexual difference--Fink demonstrates in-depth knowledge of Lacan's theoretical and clinical work. Indeed, this is the first book to appear in English that displays a firm grasp of both theory and practice of Lacanian psychoanalysis, the author being one of the only Americans to have undergone full training with Lacan's school in Paris. Fink Leads the reader step by step into Lacan's conceptual system to explain how one comes to be a subject--leading to psychosis. Presenting Lacan's theory in the context of his clinical preoccupations, Fink provides the most balanced, sophisticated, and penetrating view of Lacan's work to date--invaluable to the initiated and the uninitiated alike.

"A perfect dark cowboy romance. I loved Jake's dominance and pure love for Conor. I loved the estate and ranch. I loved the swoony sexiness. 5 Stars." ~ Pepper Winters, New York Times Bestselling Author I try to forget her. It’s impossible. Growing up together, Conor and I shared all our firsts. First love, first kiss, first... Not all our firsts. We were sixteen the night she was violently assaulted while I helplessly watched. I’ll never forget the sounds of her suffering. Or my inconsolable agony when she left Oklahoma. Years later, she returns to honor our teenage pact. Except the boy she loved is gone, replaced by a ruthless cattle rancher knotted with secrets. She doesn’t know my dark cravings or the trails of sin that lead to her. I don’t deserve her, but one truth remains. She’s mine. Contains: dark cowboy, alpha, dark romance, dominance, country music, western, Oklahoma, rural, small town, ranch, contemporary romance, suspense, murder, abuse, musician, guitar, second chance, coming of age, country boy, country girl

The Practice of Lacanian Psychoanalysis lays out an Aristotelian framework to account for the different types of knowing and not-knowing operative in the theory and practice of psychoanalysis. The book proposes a new model for diagnosis, giving preference to fewer over more diagnoses, and seeks to better organize them by distinguishing between structure and surface symptoms. It examines many principles of Lacanian clinical practice, including different types of frames and evidence, the practice of citation and listening, the resistance and desire of the analyst, transference love as a metaphor, the role of negative transference at the end of analysis, and the identification with the sinthome as Lacan's last formulation regarding the end of analysis. The text also suggests that there are three forms of love and hate based on the works of Lacan and Winnicott. Underpinned by extensive practical knowledge of the clinic and case examples for clinicians, analysts, and practicing Lacanian analysts, this book should be of interest to academics, scholars, and clinicians alike.

Fundamentals of Surgical Simulation explains in detail, from a behavioural science/human factors perspective, why modern image guided medicine such as surgery, interventional cardiology and interventional radiology are difficult to learn and practice. Medicine is currently at a tipping point in terms of how physicians in procedural based medicine are trained. Fundamentals of Surgical Simulation helps drive this change and is a valuable resource for medical trainers and trainees alike. For trainers, this book gives explicit theoretical and applied information on how this new training paradigm works thus allowing them to tailor the application of simulation training to their program, no matter where in the world they work. For the trainee, it allows them to see and understand the rules of this new training paradigm thus allowing them to optimize their approach to training and reaching proficiency in as efficient a manner as possible. For the simulation researcher, engineer and medical profession Fundamentals of Surgical Simulation poses some difficult questions that require urgent unambiguous and agreed answers.

The eleven essays collected in The English Malady: Enabling and Disabling Fictions adopt perspectives from a variety of disciplines—history, sociology, music, theater, and literary studies—in order to examine manifestations of and writing about hysteria in Europe during the long eighteenth century. The collection demonstrates not only that hysteria was an important cultural metaphor for the Enlightenment—a fact sometimes obscured by scholarly emphasis on the study of hysteria as a nineteenth and early twentieth-century phenomenon—but also that the period’s writers sometimes considered hysteria a blessing as well as a curse. Implicit in the various arguments of this collection is the suggestion that hysteria might be considered an expression of early modern ambivalence about the emergence of modernity.