How to identify a hysterical person? In short, you can see how she desires (since hysterics are mostly women). The hysterical desires to be desired and tries to occupy the position of the other's desire object continuously. Therefore, strategically, she first seduces the desire of the other, and then refuses to satisfy it, so that the desire persists. Freud had a female patient who told her husband that she liked caviar very much (lure), but at the same time forbade her husband to buy it for her (refusal). This is what a typical hysterical person does. The same goes for Miss Hideko in the movie. She knows that her charm is enough to make men fascinated, and she doesn't mind showing her charm (seduction), but she prefers to pretend to be innocent and indifferent (rejection) who does not understand "sex" and is unmoved by men's sex. The purpose is to emphasize oneself as the object of the other's desire, that is, the existence of the lack of the other (something that is not desired).
Why is "dissatisfaction" (self-dissatisfaction and other's dissatisfaction) so important to her? This may be linked to another desire that underlies the structure of hysteria - to answer the question of "what is a woman". In the symbolic system, there is no signifier for "woman" or "femininity", so "woman" naturally presents the incompleteness and incompetence of the symbolic order. Men try to make all kinds of stipulations about "what a woman (should) be (like)": you are my wife, you are the mother of my children, you must be reserved, obedient, and... Women introduced the "law of the father" to cover up the loopholes in the symbolic order. It seems to me that the dissatisfaction of the hysterical is, in the final analysis, dissatisfaction with the forced homing. And this dissatisfaction also expresses a request/fantasy: an all-powerful big Other brings her the ultimate answer to "what a woman is". In the film, it seems that Miss Hideko does not have such a tendency, perhaps because she has been immersed in erotic literature (that is, the fantasy world of men) since she was a child, and she is too aware of the fact that all men are castrated and the omnipotent other does not exist. Instead, she chooses another path to approach the truth of female sexuality - falling in love with a woman who is believed to have a feminine essence, namely Yuzhu. A lot of times, girls (subconsciously) think that their mother is the owner of "feminine sex". Although Hideko lost her mother at birth, she invariably (or doubly because of this loss) endowed her mother with the essence of female sexuality. Where do you see it? Xiuzi once showed Yuzhu a photo of her mother (in a delicate box), she imitated her mother's posture and expression in the photo, and asked Yuzhu: "Everyone said that I am not as beautiful as my mother, what do you think?" . On the surface, this question is Hideko's jealousy of her mother's appearance, but in fact it is her speculation and yearning for the unspeakable "feminineness" her mother possesses. The premature departure of her mother, coupled with the absence of a replacement for her (the aunt seems to be more broken down than her), Hideko's desire for this lost and mysterious "feminineness" is growing. The emergence of jade beads has finally given "feminineness" a real place to live. Although Yuzhu is a participant in the scam, her motherhood (grinding her teeth for the young lady, calling her a young lady's baby, hoping to have milk to feed her) is not a pretense. Because of motherhood, Yuzhu was also endowed with "femininity" by Hideko. Here is a detail to prove: Before Yuzhu was pulled into the lunatic asylum, Xiuzi gave Yuzhu a box with a photo of her mother. Here, the director made special treatment on the picture. We can see that Yuzhu's face and Xiuzi's mother's face overlapped. together. Xiuzi fell in love with Yuzhu, is to "mother" (not necessarily specific,
How would I describe Hideko after becoming a woman? She has changed from the subject of desire to the subject of jouissance, so that the instruments of legal torture (prostitution books, bells) that once bound her have become props for her enjoyment: the last scene is a rehearsal of the "Jouissance" she once read aloud. The female love scene in Jin Ping Mei, and the bell that my uncle had used to punish her became a sex toy. Desire demands acknowledgment that the hysterical Hideko strives to occupy a place in the symbolic order and is thus trapped in the "passive" and "relative" prescribed by the legislator. Pleasure demands satisfaction, even at the cost of the subject's disappearance at the symbolic level. Hideko, who became a woman, experienced the existence of female sexuality outside the symbolic order, so she was no longer afraid of disappearing, even, obsessed with this disappearance.
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