Global Journal of Human-Social Science, A: Arts and Humanities, Volume 21 Issue 12

times no longer show themselves with the same spectacular face as that of the hysteria of yesteryear. Convulsive beauty, expression of an overflowing affect, takes on other more discreet, less explicit, less visible forms. Actually, we analyze modern hysteria less for its observable symptoms than for the bonds that the subject establishes with the alterity. The hysterical subject eroticizes the relationships, the human expressions, the words and the silences of the other; he projects his desire onto the other; he turns objective reality into “fantasized” reality. We may say that the hysterical subject – male or female – “hysterizes” reality. He addresses to the other his limitless demand for love, expecting not satisfaction but the no response – because the hysterical subject can only live dissatisfied and frustrated. Its permanent and painful position is one of dissatisfaction and complaint. In order to fantasize or “hysterize” reality, the subject gets lost in a game of imaginary identifications with different characters. In her infinite malleability, the hysteric is capable of expanding from the deepest to the most external of herself, blurring the edges, in a semi- real, semi-fantastic reality – a phenomenon that blurs the boundary between the familiar and the alien, understandably unsettling, to be faithful to the Freudian thinking that has conducted this whole analysis of the aesthetic feeling present in hysteria. If the 19 th -century hysteric and the modern-day hysteric live their suffering differently, the disquieting feeling described by Freud in his 1919 article, Das Unheimlich , is still there, in the heart of the neurotic's fantasy – because this fantasy is closely linked to the threat of castration, to the childhood anxiety of castration, which is at the origin of all neurosis. It is the seat of the conflict between desire – whose possibility of fulfillment becomes unbearable for the subject – and repression. So, the neurotic has to create, create fantasies, create doubles, create hysterical symptoms, which have the effect of a work of art, in the sense of giving dramatic form and figure to the desiring tension. R eferences R éférences R eferencias 1. BRETON, A. Nadja, Paris, Gallimard, 1963. 2. DIDI-HUBERMAN, G., Invention de l'hysterie. Charcot et l'iconographie photographique de la Salpêtrière, Paris, Macula, 1982. 3. FREUD, S. The Uncanny , in. The Standard Edition of the Complete Psychological Works of Sigmund Freud. Translated from the german by James Strachey. Volume XVII (1917-1919). London: The Hogarth Press. 4. FREUD, S. Le délire et les rêves dans la "Gradiva" de W. Jensen, in The Oeuvres complètes de psychanalyse, vol. VIII, translated from German by Janine Altounian, Pascale Haller and Daniel Hartmann, Paris, PUF, 2007. 5. HOFFMANN, E.T.A., L'homme au sable, in Contes fantastiques II, translation by Loève-Veimars, Paris, Flammarion, 1980. 6. LARAIA, R. de B. (1997). Jardim do Éden revisitado. Revista De Antropologia , 40 (1), 149-164. https://doi. org/10.1590/S0034-77011997000100005. 7. NASIO, J-D., L'hystérie ou l'enfant magnifique de la psychanalyse, Paris, Éditions Payot et Rivages, 1995. 8. MEDINA, F. P. Freud e a estética da estranheza. Literartes, [S. l.] , v. 1, no. 7, p. 285-297, 2017. Available at: https://www.revistas.usp.br/literartes/ article/view/124456. 9. ROUDINESCO, E. Histoire de la psychanalyse en France. 2, 1925-1985, Paris, Fayard, 1994. 10. WAJCMAN, G. L'objet du siècle, Lagrasse, Éditions Verdier, 1998. Volume XXI Issue XII Version I 20 ( ) Global Journal of Human Social Science - Year 2021 A © 2021 Global Journals Hysteria as an Aesthetic Expression