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Hysteria 4 is an anthology of all 30 winning stories, flash fiction and poetry from the 2015 Hysteria Writing Competition. This year a standout theme was that of strength and diversity; the indomitable strength and determination of our heroines, characters and voices shines through. Judging the competition is a herculean task and to celebrate this achievement you've find sage advice from a selection of our judging panel in each category section. This invaluable insight into the process is perfect for those hoping to win writing competitions in the future. This is the fourth anthology from the Hysteria Writing Competition. Hysteria 1, 2 and 3 from the 2012, 2013 and 2014 competitions are also available to buy. If you've enjoyed this collection then you'll love the others too.
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.
Frank Villa, the most hated man in America, takes his first baby steps toward a kind of redemption, leading his quartet of killers, leaving a trail of bloody murder in their wake mayhem barely noticed and nearly lost in the escalating violence that is their America.
An America sundered. An America enraged. An America terrified. An America shattered by greed and racism, violence and fear, nihilism and tragedy and that's when everything really goes to hell. Collects THE DIVIDED STATES OF HYSTERIA #1-6
The story of hysteria is a curious one, for it persists as an illness for centuries before disappearing. Andrew Scull gives a fascinating account of this socially constructed disease that came to be strongly associated with women, showing the shifts in social, cultural, and medical perceptions through history.
We seem to be living in hysterical times. A simple Google search reveals the sheer bottomless well of “hysterical” discussions on diverse topics such as the #metoo movement, Trumpianism, border wars, Brexit, transgender liberation, Black Lives Matter, COVID-19, and climate change, to name only a few. Against the backdrop of such recent deployments of hysteria in popular discourse––particularly as they emerge in times of material and hermeneutic crisis––Performing Hysteria re-engages the notion of “hysteria”. Performing Hysteria rigorously mines late 20th- and early 21st-century (primarily visual) culture for signs of hysteria. The various essays in this volume contribute to the multilayered and complex discussions that surround and foster this resurgent interest in hysteria––covering such areas as art, literature, theatre, film, television, dance; crossing such disciplines as cultural studies, political science, philosophy, history, media, disability, race and ethnicity, and gender studies; and analysing stereotypical images and representations of the hysteric in relation to cultural sciences and media studies. Of particular importance is the volume's insistence on taking the intersection of hysteria and performance seriously.
The author explores hysteria in Western medicine throughout the ages and examines the characterization of female sexuality as a disease requiring treatment. Medical authorities, she writes, were able to defend and justify the clinical production of orgasm in women as necessary to maintain the dominant view of sexuality, which defined sex as penetration to male orgasm - a practice that consistently fails to produce orgasm in a majority of the female population. This male-centered definition of satisfying and healthy coitus shaped not only the development of concepts of female sexual pathology but also the instrumentation designed to cope with them.
New York Times bestselling author Megan Miranda's masterful storytelling brings readers along for a ride to the edge of sanity and back again. Mallory killed her boyfriend, Brian. She can't remember the details of that night but everyone knows it was self-defense, so she isn't charged. But Mallory still feels Brian's presence in her life. Is it all in her head? Or is it something more? In desperate need of a fresh start, Mallory is sent to Monroe, a fancy prep school where no one knows her . . . or anything about her past. But the feeling follows her, as do her secrets. Then, one of her new classmates turns up dead. As suspicion falls on Mallory, she must find a way to remember the details of both deadly nights so she can prove her innocence-to herself and others.
Academic interest in hysteria has burgeoned in recent decades. The topic has been probed by feminist theorists, cultural studies specialists, literary scholars, anthropologists, sociologists, psychologists, medical and art historians, as well as novelists. The hysteric is construed as a powerless, voiceless subject, marginalised by the forces of the patriarchy that have been the root cause of their distress, dissembling, and disablement. In Performing Nerves, Anna Furse interweaves her artistic and academic practice, drawing on her own performance texts to explore four different versions of debilitating hysteric suffering. Each text is extensively annotated, revealing the dramaturgical logic and, in turn, the historical, medical, and cultural contexts behind their protagonists' illnesses, which are argued as environmentally caused in each case. This unique, reflective insight into a playwright and director’s craft offers not only an account of how mental suffering can manifest in different contexts and times, from the 19th century to today, but also a breadth of access to the ideas that can motivate creative research. This book is an invaluable resource for scholars of theatre studies, performance studies, dramaturgy, 20th-century history, gender studies, and medical humanities.
Hysterical Water is a collection of fierce, funny, feminist poems, prose poems, and essays with poems woven through them, all connected by threads associated with female “hysteria” and motherhood. Hannah Baker Saltmarsh troubles the historic pseudodiagnostic term hysteria as both a constraining mode used to contain and silence women and as a mode that oddly freed women to behave outside the bounds of social norms. The poems in this collection question the way maternal thinking, sexuality, affect, and creativity have been dismissed as hysterical. Saltmarsh reclaims the word hysteria by arguing that women poets might, in art as in life, celebrate incongruous emotional experiences. Drawing on and reshaping an intriguing array of source materials, Saltmarsh borrows from the language of uncontrollable emotion, excess, cure, remedy, and cult-like obsession to give shape not only to the maternal body but also to a hysterical textual one. She revisits selective silence and selective speech in everyday crises of feelings, engages meaningful “anticommunication” through odd gestures and symbols, and indulges in nonsensical dream-speak, among other tactics, to carve a feminist poetics of madness out of the masculinist discourse that has located in the woman the hysteric.