Johanna Braun – författare

Hysteria is alive and well in our present time and is apparently spreading contagiously: especially the second decade of the twenty-first century has displayed an ever-increasing interest in the term. A quick Google search opens the gates to sheer endless swathes of discussions on hysteria, covering almost every aspect of public discourses. The arts—as it is often in such cases—seem conspicuously involved in and engaged with this hysterical discourse. Surprisingly, while the strong academic interest in hysteria throughout the twentieth century and most prominently at the turn of the century is well known and much discussed, the study of how these discourses have continued well into twenty-first-century art practices, is largely pressing on a blind spot. It is the aim of this volume to illustrate how hysteria was already well established within the arts alongside and at times even separately from the much-covered medical studies, and reveal how those current artistic practices very much continue a century spanning cross-fertilization between hysteria and the arts.

Hysteria is alive and well in our present time and is apparently spreading contagiously: especially the second decade of the twenty-first century has displayed an ever-increasing interest in the term. A quick Google search opens the gates to sheer endless swathes of discussions on hysteria, covering almost every aspect of public discourses. The arts—as it is often in such cases—seem conspicuously involved in and engaged with this hysterical discourse. Surprisingly, while the strong academic interest in hysteria throughout the twentieth century and most prominently at the turn of the century is well known and much discussed, the study of how these discourses have continued well into twenty-first-century art practices, is largely pressing on a blind spot. It is the aim of this volume to illustrate how hysteria was already well established within the arts alongside and at times even separately from the much-covered medical studies, and reveal how those current artistic practices very much continue a century spanning cross-fertilization between hysteria and the arts.

Dieses Werk beschäftigt sich mit den sogenannten "absoluten" Schutzstandards im internationalen Investitionsschutzrecht: dem Fair and Equitable Treatment (FET) und dem Full Protection and Security (FPS) Standard. Es bearbeitet die Frage, ob außergewöhnliche Umstände im Gaststaat einen Einfluss auf die Auslegung dieser Standards haben. Zu diesem Zweck untersucht die Autorin die normativen Grundlagen beider Standards, einschließlich des jeweiligen Wortlauts, Systematik und Zweck, bevor die bestehende Schiedsgerichtspraxis analysiert wird..

We seem to be living in hysterical times. A simple Google search reveals the sheer bottomless well of "hysterical" discussions on diverse topics such as the #metoo movement, Trumpianism, border wars, Brexit, transgender liberation, Black Lives Matter, COVID-19, and climate change, to name only a few. Against the backdrop of such recent deployments of hysteria in popular discourse--particularly as they emerge in times of material and hermeneutic crisis--Performing Hysteria re-engages the notion of "hysteria."Performing Hysteria rigorously mines late 20th and earlytwenty-first century (primarily visual) culture for signs of hysteria. The various essays in this volume contribute to the multilayered and complex discussions that surround and foster this resurgent interest in hysteria--covering such areas as art, literature, theatre, film, television, dance; crossing such disciplines as cultural studies, political science, philosophy, history, media, disability, race and ethnicity, and gender studies; and analysing stereotypical images and representations of the hysteric in relation to cultural sciences and media studies. Of particular importance is the volume's insistence on taking the intersection of hysteria and performance seriously.Free ebook available at OAPEN Library, JSTOR and Project MuseContributors: Johanna Braun (University of Vienna), Vivian Delchamps (University of California), Cecily Devereux (University of Alberta), Sander L. Gilman (Emory University), Elke Krasny (Academy of Fine Arts Vienna), Jonathan W. Marshall (Edith Cowan University, Western Australian Academy of Performing Arts), Sean Metzger (University of California), Tim Posada (Saddleback College), Elaine Showalter (Princeton University), Dominik Zechner (Brown University / Rutgers University)