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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.
Can history be funny? With this entertaining joke book it sure can be. This hilarious volume is brimming with jokes about the past that will have readers laughing with glee. Each silly joke will amuse readers of many ages and may also help some become more interested in history. An easy-to-follow layout and hysterical illustrations will draw in even reluctant readers. These high-interest, age-appropriate jokes are an excellent way to get young learners interested in reading.
Q: When did early people start wearing uncreased clothes? A: In the Iron Age Take a time trip with this hilarious collection of 140 history-themed jokes. Young readers will be able to pun about this past - from Vikings, to Victorians - with this brilliant joke book, featuring wacky cartoon illustrations. ABOUT THE SERIES: Laugh Out Loud! is a vibrant and dynamic joke book series for kids. Featuring a variety of exciting themes, these titles build general knowledge and their playful jokes are great to share with family and friends. Perfect for kids aged 5+.
Over the course of several centuries, Western masculinity has successfully established itself as the voice of reason, knowledge, and sanity - he basis for patriarchal rule - in the face of massive testimony to the contrary. This book boldly challenges this triumphant vision of the stable and secure male by examining the central role played by modern science and medicine in constructing and sustaining it.
Readers will enjoy theses tales of eccentric kooks and the many other oddball men and women whose antics made San Diego the superior attraction it is today.
Chronicles loud music from its colicky infancy and troubled adolescence smack into its midlife crisis and beyond.
SEMI-FINALIST FOR THE 2023 THURBER PRIZE FOR AMERICAN HUMOR • “A fiery cultural critique.” —Kirkus Reviews • “…a powerful, beautifully written, and utterly important book.”—New York Journal of Books “Hysterical is staggeringly good. … This is one of the most intelligent, painful, ridiculous, awesome, relevant things I've ever read.” –Roxane Gay “…an impressive debut. Elissa Bassist wrote it like a motherfucker."–Cheryl Strayed Acclaimed humor writer Elissa Bassist shares her journey to reclaim her authentic voice in a culture that doesn't listen to women in this medical mystery, cultural criticism, and rallying cry. Between 2016 and 2018, Elissa Bassist saw over twenty medical professionals for a variety of mysterious ailments. She had what millions of American women had: pain that didn’t make sense to doctors, a body that didn’t make sense to science, and a psyche that didn’t make sense to mankind. Then an acupuncturist suggested that some of her physical pain could be caged fury finding expression, and that treating her voice would treat the problem. It did. Growing up, Bassist's family, boyfriends, school, work, and television shows had the same expectation for a woman’s voice: less is more. She was called dramatic and insane for speaking her mind. She was accused of overreacting and playing victim for having unexplained physical pain. She was ignored or rebuked (like so many women throughout history) for using her voice “inappropriately” by expressing sadness or suffering or anger or joy. Because of this, she said “yes” when she meant “no”; she didn’t tweet #MeToo; and she never spoke without fear of being "too emotional." She felt rage, but like a good woman, she repressed it. In her witty and incisive debut, Bassist explains how girls and women internalize and perpetuate directives about their voices, making it hard to “just speak up” and “burn down the patriarchy.” But then their silence hurts them more than anything they could ever say. Hysterical is a memoir of a voice lost and found, a primer on new ways to think about a woman’s voice—about where it’s being squashed and where it needs amplification—and a clarion call for readers to unmute their voice, listen to it above all others, and use it again without regret.
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.
Examines the rhetorical activity that preceded the early twentieth-century emergence of the word hormone and the impact of this word on expert understandings of women's health.