How are female madness? Whose picture of reality is it?
Karin Johannisson sets in The hurt divan about the same questions as in the dark continent , which came out in the mid-nineties, attempts to identify the structures of women’s morbidity. Then it was the turn of the century, now modernity. She twists and turns on the author Agnes von Krusenstierna and the Nelly Sachs and the artist Sigrid Hjertén, suggest their diagnoses, interprets patient records and their own notes and letters. From the 30′s and forward, staying shorter or longer periods at different a mental hospital, most Beckomberga. They have three different diagnoses: Agnes von K hysteria, Sigrid H schizophrenia and Nelly’s paranoia. In the book, they are classed just so, each with a single consonant, as the ancient case histories.
Who is allowed to play with his madness? How does switching out between the man and her sjukindentitet? Karin Johannisson asking lots of questions the book through. Questions that remain after she has tested different theories and thoughts. She wants to investigate this galenskapens the script, see how they use and play with and against their diagnoses.
this is are not working class women but at the same time regardless of time and class space for the woman to expand, create, and violating the standards of normality has been much more limited than for the man. The bourgeoisie women low preferably in a dark room with a migraine at the turn of the last century, a sort of passive revolt against the tedium. But there were other ways to be against what Karin Johannisson call “borgerlighetens discrete body.”
Already in his teens, was Agnes von K skrikattacker and Nelly’s kurdish hunger strikers, and must be force-fed. They created a kind of living space by the opposition, and transform.
The wounded divan. How do you deal with her? What are her strategies? Agnes von K is located in the långbad and kedjeröker on sinnessjukhuset, she has been given permission to go on the rounds and interviewing medpatienterna. Sigrid H has individual rooms and privatsköterska and can order fruit and mineral water from the NK, dress in expensive clothes, being mean and sharp to all. Nelly’s, she also has private rooms, and write their best poetry at Beckomberga and converse so politely his doctor, who also may be her cavalier when she later receives the Nobel prize in literature.
Divan as figure download power from their hidden wounds, you can read, is bushy, demanding but also highly tense. Balancing just on the borders, this is all about. And these the book’s three mirrors also a time of conflicting kvinnofrigörelse, which at the same time, encouraged, and prohibited. Modernism new woman in the 20th century to be transformed subsequently to the 50′s psykofarmakahemmafru. Folkhemmets rigid frames could not tolerate so much. And not the time either. Not their waywardness and creativity. Now this is no dussinkvinnor but three of the 1900-century’s great artists. Not to forget the.
But there are parameters like gender, class and convention that determines when a state is pushed over the edge towards the sick or tolerated as creativity. It was a hell of a lot harder for a woman to be sexually utlevande, monomant creation, and there were no musor to have around. And the psychiatric science had long since grown together with the demonization of the woman’s body and dangerous sexuality which must be tamed, stävas and pushed down. All this has Karin Johannisson written about before but in The hurt divan zooms the she in on themselves självobservationerna. Question: How crazy am I? She writes: “The need for new, more oblique, more skewed feminist stories in order to examine the woman’s position in the galenskapens institutions.”
Three case studies, three diagnoses: Agnes von K hysterics. In a time when the diagnosis was already a bit gone to the dogs. Hysterins photographs had already long confirmed the image of the fragile woman – remember the hysterical young women with consonants as the last name on the order, fell into a coma in front of the male doctors in Paris during the early 1900s. Hysteria as theater, something you went and looked at, a diagnosis that existed only through their actions.
Agnes von K already got the early skrikattacker, it became her weapon. She also had eating disorders, injured himself and was sexual limitless. She could gather in a point, and one that watched and wrote his fallberättelse yourself in Tonyböckerna. She managed the lives of the to unite the madness with författardisciplinen. She refused to grayscale, writes Karin Johannisson. “She is getting crazy.” Muted nothing. As in the movie Amorosa by Mai Zetterling, where Agnes screaming travel by gondola in Venice, to tear their script, strapped in the belt. Wearing mask. Her hysteriestetik can be seen as a befrielseprojekt, mean Johannisson. Sinnessjukhuset became her flyktrum. She steered her seizures. “Of the lead was recovered in the“, , she can write. She could afford to call the physician underklasspsykofjant. She behaved like a male författargeni. Saw Beckomberga as a hotel to check in at, where she decided how she would be treated.
you Can be sick and still have power? Who owns the interpretation? You can be creative depending of the känslokasten? The questions remain.
Nelly Sachs receive a diagnosis of paranoia. Paranoia is a disease with a definite logical structure that has förföljelseidéer as the core. It is possible to be socially well-functioning and to have the diagnosis. How to understand her wondering as Karin Johannisson. Högsensibiliteten. The suffering employment. Genomsmärtning call Nelly’s-it-yourself. A kind of framkonstruerad fragility. Her thin body. All the food reserved for the intellect.
On Beckomberga got to Nelly’s shock. She experienced the hospital as a skyddsplats where she found peace to write. She also dealt with with great respect. She wrote: “The divine Beckomberga. To have found salvation in a hospital for the insane.” Saw medpatienterna as a family. By staging herself as if she is at a spa, writes Karin Johannisson, redefine her reality in superb style. Could produce the symptoms she needed to get back, to the ron.
Andre Breton said: “anyone who has ever visited a mental hospital know that you are creating fools there.” Sigrid H. If Sigrid H was also a wounded diva, so she was much more speechless and so utterly abandoned and mistreated there on Beckomberga where she sat in close to fifteen years until the late 40′s though she had a private room and were given exclusive clothes from the nice stores in town. Her diagnosis of schizophrenia swallowed a large part of the female so-called normavvikelsen from the 30′s and had its peak in the 50′s that was the big hemmafrudecenniet. I just want to scream when I read in The hurt divan to the woman who was restless, angry, depressed, and neglected their äktenskapsplikter could be provided with the diagnosis. When the genuine man and the doctor interacted.
Sigrid H was 47 years old when she was taken to the Beckomberga of her husband Isaac Grünewald, and after three months she was a very sick patient. Sigrid as always been weak, frozen, the world had completely collapsed in Paris, affected by the förföljelsemanier, alone with the child. Art ached. She said herself that she has something poisoned.
Here it does not seem to play any role that she was one of his time’s great modernist artists. She was tucked away at the institution, forgotten. Resent it in the records. Översexuell. Disposal of Large kvinns. No doctor talked with her for 14 years. She encountered all away. Karin Johannissons theory is that she built a private psyche’s aesthetics shaped by anger, abandonment and aggressive protest. But it is as if all the theories were just crashing into Sigrid Hjertén. She stopped painting, she was just sick. How would her strategy be? Finally lobotomeras she was wrong after her son given his consent to the operation. And die.
Agnes von K. Nelly S. Sigrid H. Karin Johannisson want these three individual ows to reflect or collide with a larger pattern, not the stories to be too intrusive. Do they do it?
this is three högstatuspatienter, “flying above the medellöshetens gray norm”. Which may or may refuse to make themselves into victims. So clearly, they are not representative of all the other institutions that had not familjeläkarna, reputation and image. But if they now illustrate the possibility to play with or against their diagnoses, creating a space for which it is named your own psyche’s aesthetics, be wounded divas so, one must finally ask: Are the opportunities today? How do they look? Who now has the power to bend the diagnoses?