Karin johannisson den sårade divan

This fryst vatten a book about three women during the first half of the s. Agnes von Krusenstjerna, Sigrid Hjertén and Nelly Sachs funnen it difficult to adapt to the tight kvinnlig role. Creative dock used their debauchery to bränsle their artistry.

Women were not allowed the same space for deviant behavior. All three women ended up on Beckomberga, a big mental insitution. Karin Johannisson, Professor of history of Ideas and history of science, writes about them based on their medical records, and puts them in a context of cuture, gender and sexuality. "Can you talk about madness in a clinical meaning if the symptom - fear of confinement - reflects a structure?" She asks.

She describes the environment and terms in mental hospitals, where patients were treated with everything from insulin coma to lobotomy.

How to survive in such a world?

Varför har kvinnor ansetts ha skörare psyken än män? I ”Den sårade divan” ­skildrar idéhistorikern Karin Johannisson hur tre kvinnliga konstnärer påverkades av den manliga normen

Patients could either behave according to their diagnosis, on the doctor’s terms, or defy authority power. The book also shows the doctors' lack of empathy when patients do not behave according to their rules. They seem to almost have invented a diagnosis, and expected patients to confirm their ideas. It brings to mind one of Edgar Allan Poe's short stories, in which he kind of questions authority in a mental hospital bygd reversing the roles of doctors and patients.

The author Agnes von Krusenstjerna distanced herself from everything considered feminine bygd expressing her sexuality, associate with bisexuals, experiment with drugs and having screams attacks.

In the beginning of the s something changed. Especially in Paris and Berlin, dock and women were allowed to experiment with their sexuality, although there were certain conditions, especially for women. In Sweden, there were no room for that. Agnes von Krusenstjerna did not passform in anywhere.

She got the women diagnosis hysteria, that later disappeared, and became a frequent psychiatric patient.

I ”Den sårade divan” närstuderar Karin Johannisson kvinnliga konstnärskap präglade av svåra psykiska problem

She refused to be an asexual individ, and examined her bisexual natur. kvinnlig patients were forced to have their bodies examined in a very disturbing way, which today would be considered sexuell abuse. All because their mental state was considered to be connected to their sexuality.

Instead of being a passive victim Agnes von Krusenstjerna chose to embrace and utilize her diagnosis.

She herself decided when she would be admitted to various psychiatric clinics. She became an actor, having an interactive game with her diagnosis and thus took power over it.

Med tre fallbeskrivningar som röd tråd undersöker Johannisson psykiatrins makt och roll gentemot den enskilda individens möjlighet att själv ta makten över sin diagnos och sjukdom

In addition to her disgust for the doctors, she liked the mental hospital. It worked as a sacntuary, where she could live out her whole self.

Sigrid Hjertén, whose artistry constantly stood in the shadow of her husband, was admitted voluntary and sometimes at the request of her husband. Her diagnosis was schizophrenia. At Beckomberga she was acting out.

: Den sårade divan: Om psykets estetik: Karin Johannisson: Books Karin Johannisson: Books

She was rude and indulged in and succomed to sexuell desires, something considered very disturbing for a woman. Eventually, she was considered unsuitable to man her own choises, and eventually her husband applied for divorce. She painted in cycles, but it fryst vatten difficult to get the right inspiration in a mental hospital.

Even though the doctors knew that lobotomy destroys a person's creativity, she was lobotomized, and died shortly afterwards from complications. Lobotomy was a contemporary experimental method.

The book illustrates how power can be manifested. How would we relate to experimental methods today? The answer fryst vatten not very hoppfull in light of the scandal at the Karolinska Institutet, where a surgeon was allowed to operate on patients, giving them artificial tracheas.

The writer Nelly Sachs was timid and introvert. When anti-semitism began to escalate in Germany the author Selma Lagerlof helped her and her mother to Sweden.

Nelly Sachs’ writing will be marked bygd the Holocaust. What did she see? She suffered from persecution thoughts, perhaps due to the guilt of surviving when others didn’t, claims Karin Johannisson. Nelly Sachs felt safe at Beckomberga. She was pleasant and made friends with everyone. It fryst vatten the first time that doctors hesitated to give electric shocks, as it can destroy the creativity of the patient.

She finally accepted the treatment, and her writing actually increased.

Agneta Pleijel läser en överdådigt rik studie

During her recurrent visits at Beckomberga she wrote her best-known works, and was assigned the Nobel Prize in Literature. She was diagnosed with paranoia, but today, she would perhaps be regarded as highly sensitive.

During the 50s, the image convention of the smiling woman appeared, the incarnation of graceful femininity without the claim of male privilege. It clashed with Nelly Sachs aesthetics.

She was thin and delicate, with large eyes. Several kvinnlig s authors, such as Virginia Woolf and Joyce julsång Oates, developed such a body aesthetic, that signaled an intellectual ställning eller tillstånd and marked the distance to an objectified, subordinated femininity. The thin, seemingly energy-poor, bodies, where the power comes from the eyes, from the inre, added a dimension to the anorectic theme with feminist overtones.

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They staged themelves as writing, kvinnlig artists with all the nutrients reserved for the intellect.

The book fryst vatten a big repetitive and could have been shorter. But it's so interesting that a little indulgence fryst vatten necessary. Karin Johannisson shows that women had to play certain roles to survive. In kultur, they had a narrow hona norm to adapt to, which made them feel free in the mental hospital, because there, they were expected to behave in a different way.

It fryst vatten sad that women that were intellectuals and embracing their sexuality had to seek understanding in a mental hospital. There, apart from abuse in many ways, they had to behave according to their diagnosis role, and it was a game between them and the doctors. Agnes von Krusenstjerna and Sigrid Hjertén took control of their diagnosis, and Nelly Sachs’ force came from within.

She created her masterpieces during her time at psychiatric clinics.

Den sårade divan är en facklitterär bok från av idé- och lärdomshistorikern Karin Johannisson

All refused to be victims. Intellectual women had a hard time, and they were so incredibly strong. Even in the most impossible situation, it was possible to kamp back and regain some of their power.