L'Identité du défunt. Représentations du visage des cadavres dans les livres d'anatomie ( xvi e - xix e siècle)

Mandressi, Rafael

doi:10.3917/corp1.011.0045

Cited by 2 publications

(1 citation statement)

References 7 publications

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“…As a result, representational choices in this genre are different: artists accentuated the corruption of the flesh and preferred to hide the face. 35 While we can easily distinguish individuals in Théodore Géricault's The Severed Heads (1818, Stockholm, Nationalmuseum), his Anatomical Pieces (1818, Stockholm, Nationalmuseum), although certainly human, struggle to rise to the level of an individual.…”

Section: Anaelle Lahaeyementioning

confidence: 99%

From sacred body to waste

Lahaeye

2022

Human Remains and Violence

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There are many factors at work in the iconography of human remains. Some of those frequently discussed are aesthetic criteria, iconographic traditions and specific contingencies, whether political (for example in war paintings), symbolic (essential for transi images) or cultural. There is, however, one factor that is rarely mentioned, despite its centrality: the regime of value associated with corpses. Christ’s body is not painted in the same way as that of a departed relative or that used in a human dissection. Artists choose a suitable iconography depending on how the remains are perceived. This criterion became absolutely crucial in contexts such as nineteenth-century France, when attitudes to corpses underwent major changes.

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Section: Anaelle Lahaeyementioning

confidence: 99%

From sacred body to waste

Lahaeye

2022

Human Remains and Violence

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Affected Doctors: Dead Bodies and Affective and Professional Cultures in Early Modern European Anatomy

Mandressi¹

2016

Osiris

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From the end of the thirteenth century, when the practice of human anatomical dissections emerged in Europe, the dead body became part of the cultural economy of knowledge. This had epistemic, technical, and social consequences, in which the affective dimension played a crucial role. The type of manipulations the corpse underwent brought into play affective phenomena of unusual intensity. To a great extent, anatomy owed its repertoire of gestures, spaces, and instruments to the need to control these affects, and this repertoire contributed to the discourse that shaped the professional identity of anatomists. Rather than being simply knowledge trapped in a web of preexisting sensibilities, anatomy was, in early modern Europe, a locus where affective cultures were produced and negotiated among several professional and social groups.

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L'Identité du défunt. Représentations du visage des cadavres dans les livres d'anatomie ( xvi e - xix e siècle)

Cited by 2 publications

References 7 publications

From sacred body to waste

From sacred body to waste

Affected Doctors: Dead Bodies and Affective and Professional Cultures in Early Modern European Anatomy

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