Bertha Pappenheim became a legend twice: first, in Vienna, under the pseudonym 'Anna O', when she cured herself of hysterical symptoms by telling fairy tales which she termed 'the talking cure', upon which Sigmund Freud based his theory of psychoanalysis; and then in Germany, as the founder of the first Jewish feminist movement.

In 1953, Freud biographer Ernest Jones revealed that the famous hysteric Anna O. was really Bertha Pappenheim (1859-1936), the prolific author, German-Jewish feminist, pioneering social worker, and activist. Loentz directs attention away from the young woman who arguably invented the talking cure and back to Pappenheim and her post-Anna O. achievements, especially her writings, which reveal one of the most versatile, productive, influential, and controversial Jewish thinkers and leaders of her time.

Charlotte Salomon's (1917-43) fantastical autobiography, Life? or Theater?, consists of 769 sequenced gouache paintings, through which the artist imagined the circumstances of the eight suicides in her family, all but one of them women. But Salomon's focus on suicide was not merely a familial idiosyncrasy. Nothing Happened argues that the social history of early-twentieth-century Germany has elided an important cultural and social phenomenon by not including the story of German Jewish women and suicide. This absence in social history mirrors an even larger gap in the intellectual history of deeply gendered suicide studies that have reproduced the notion of women's suicide as a rarity in history. Nothing Happened is a historiographic intervention that operates in conversation and in tension with contemporary theory about trauma and the reconstruction of emotion in history.

"Electra's story is essentially a tale of murder, revenge, and violence. In the ancient myth of Atreus, Agamemnon returns home from battle and receives no hero's welcome. Instead, he is greeted with an ax, murdered in his bath by his wife, Clytemnestra, and her lover-accomplice, Aegisthus. Electra chooses anger over sorrow and stops at nothing to ensure that her mother pays. In revenge, Electra, with the help of her brother, orchestrates a brutal and bloody matricide, and her reward is the restitution of her father's good name. Amid all this chaos, Electra, Agamemnon's princess daughter, must bear the humiliation of being treated as a slave girl and labeled a madwoman."--from the IntroductionAlmost everyone knows about Oedipus and his mother, and many readers would put the Oedipus myth at the forefront of Western collective mythology. In Electra after Freud, Jill Scott leaves that couple behind and argues convincingly for the primacy of the countermyth of Agamemnon and his daughter. Through a lens of Freudian and feminist psychoanalysis, this book views renderings of the Electra myth in twentieth-century literature and culture.Scott reads several pivotal texts featuring Electra to demonstrate what she calls "a narrative revolt" against the dominance of Oedipus as archetype. Situating the Electra myth within a framework of psychoanalysis, medicine, opera, and dance, Scott investigates the heroine's role at the intersections of history and the feminine, eros and thanatos, hysteria and melancholia. Scott analyzes Electra adaptations by H.D., Hofmannsthal and Strauss, Musil, and Plath and highlights key moments in the telling and reception of the Electra myth in the modern imagination.

This collection of specially commissioned essays offers a wide array of new psychoanalytic approaches impacted by Lacanian theory, queer studies, post-colonial studies, feminism, and deconstruction in the domains of film and literature. We have witnessed a remarkable return to psychoanalysis in those fields, fields from which it had been excluded or discredited for a while. This has changed recently, and we need to understand why. The fourteen essays make use a freshly minted psychoanalytic concepts to read diverse texts, films and social practices. The distinguished authors gathered here, an international group of scholars coming from Japan, China, Korea, India, Belgium, Greece, France, Australia, and the USA, are all cognizant of the advances of theory under the form of deconstruction, feminism, post-colonial studies and trauma studies. These essays take into account the latest developments in Lacanian theory and never bracket off subjective agency when dealing with literature or film. The authors make sense of changes brought to psychoanalytical theory by redefinitions of the Oedipus complex, reconsiderations of the death drive, applications of Lacan’s symptom and the concept of the Real, reassessments of the links between affect and trauma, insights into the resilience of Romantic excess and jouissance, awareness of the role of transference in classical and modernist texts, and pedagogical techniques aimed at teaching difficult texts, all the while testifying to the influence on Lacanian theory of thinkers like Maurice Blanchot, Roland Barthes, Melanie Klein, Didier Anzieu, Jacques Derrida, Judith Butler, Gilles Deleuze, Alain Badiou, and Slavoj Zizek. Chapter 3 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com/books/e/9781003002727

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.

This set brings together a collection of classic out-of-print works that offer some surprising new takes on the theme of sexuality in literature. Whether examining new spaces by unrepresented women writers of colour or looking afresh at gay writings of the early twentieth century, this set presents a thought-provoking take on the subject, and as such is an essential reference source.

The story of a patient who changed the world, and the mystery of her illness. In 1880, young Bertha Pappenheim got strangely ill—she lost her ability to control her voice and her body. She was treated by Sigmund Freud’s mentor, Josef Breuer, who diagnosed her with “hysteria.” Together, Pappenheim and Breuer developed what she called “the talking cure”—talking out memories to eliminate symptoms. Freud renamed her “Anna O” and appropriated her ideas to form the theory of psychoanalysis. All his life, he told lies about her. For over a century, writers have argued about her illness and cure. In this unusual work of science, history, and psychology, Brownstein does more than describe the controversies surrounding this extraordinary woman. He brings Pappenheim to life—a brilliant feminist thinker, a crusader against human trafficking, and a pioneer—in the hustling and heady world of nineteenth-century Vienna. At the same time, he tells a parallel story that is playing out in leading medical centers today, about patients who suffer symptoms very much like Pappenheim’s, and about the doctors who are trying to cure them—the story of the neuroscience of a condition now called FND. The Secret Mind of Bertha Pappenheim argues for the healing art of listening and describes the new “talking cures” emerging out of neuroscience today.

In this in-depth and unique collaboration between a patient and his psychoanalyst, Psychoanalysis, Intersubjective Writing, and a Postmaterialist Model of Mind: I Woke Up Dead examines the unconscious mind by analysing the patient’s novel written during his treatment as the focus. Using the patient’s creative writing and their intersubjective relationship as evidence, Dan Gilhooley and Frank Toich show how psychoanalysis fits within a postmaterialist model of mind. In this ground-breaking exploration, Gilhooley and Toich together demonstrate how a nonlocal unconscious can reshape the psychoanalytic conception of the mind. Split into four parts, Intersubjective, Quantum, History and Collaboration, Dan introduces three themes in the first: recovery from death, the intersubjective nature of therapeutic work and the role of creative imagination, combining these themes with analysis of Frank’s work and short, related stories from his own life. Part II, Quantum, introduces the concept of nonlocality to describe the mind and draws on the appearance of quantum physics in Frank’s science fiction, before moving onto Part III, History, which examines the emergence of psychoanalysis out of animal magnetism, looking at rapport, telepathy and love in psychotherapy. Finally, Collaboration discusses their ongoing psychotherapeutic experiment, the role of imagination, dissociation and the cosmic mind in psychological growth. Interweaving creative writing, psychoanalytic theory and real-life stories, the book re-contextualizes the history and future of psychoanalysis. Due to its multidisciplinary nature, this book will appeal to psychotherapists and psychologists in practice and in training. It would also be a vital resource for academics and students of counseling, consciousness studies, psychoanalysis, psychotherapy and psychology.