Titlebook: Hysteria, Trauma and Melancholia; Performative Maladie Christina Wald Book 2007 Palgrave Macmillan, a division of Macmillan Publishers Limi

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OCTO

Thoreau: A Purely Sensuous Heaven,s: hysteria is multiple, it is uniform; hysteria does not exist; it is a disease, a disposition, or a simulation; it is true and false, organic and mental (Wajeman 2003: n. pag.). Observing that both the medical concepts and the symptoms of hysteria have always adapted to the prevailing ideas and mo

HUMID

https://doi.org/10.1007/978-1-349-16839-2l, artistic, journalistic, legal and cultural theoretical discourses, that scholars describe the contemporary North American society as “wound culture” (Seltzer 1997, 1998) and speak of a “traumaculture” (Luckhurst 2003) in the British context.. The term ‘trauma ’ was first used to indicate a genera

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招募

Introduction: Theatrical Performance, Gender Performativity, and the Drama of Performative Malady,tiate cultural meanings that are interconnected with but exceed the nosology of the psychic ‘disorders ’ established by psychiatry and psychoanalysis. Contemporary drama plays a particularly important role in this negotiation. It is not only in the theatre, however, that hysteria, trauma, and melanc

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連系

Trauma Drama,l, artistic, journalistic, legal and cultural theoretical discourses, that scholars describe the contemporary North American society as “wound culture” (Seltzer 1997, 1998) and speak of a “traumaculture” (Luckhurst 2003) in the British context.. The term ‘trauma ’ was first used to indicate a genera

強(qiáng)壯

The Drama of Melancholia,s of the protagonists. Struggling with the experience of bereavement, the protagonists are unable to accept the loss of their loved ones, but resurrect the dead in their imagination and thus psychically preserve their presence. Freud describes this state of unresolved or disavowed mourning as melanc

PALMY

Conclusion: The Drama of Performative Malady,lancholia as well as the broader cultural eminence of the phenomena, it has proposed to consider the Drama of Hysteria, Trauma Drama, and the Drama of Melancholia as dramatic genres in their own right. I have further argued that hysteria, trauma, and melancholia in the plays selected can be regarded