Les demoniaques dans l'art

Charcot, Jean-Martin; Richer, Paul

doi:10.2307/1411028

Cited by 36 publications

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“…In the late 1880s, the prominent English psychiatrist Henry Maudsley (first epigraph) and the French neurologist JeanMartin Charcot addressed the fallacies of demonic possession in mental illness. 1,4 In Les Demoniaques Dans L'Art (The Demonic in Art), 4 Charcot and his assistant Paul Richer examined illustrations of demonic possession and spiritual ecstasy in early modern paintings. They compared these depictions with the observed behaviors of their patients afflicted with la grande névrose hystérique (grand hysterical neurosis) in their clinic.…”

Section: Carl Jung 2(p1)mentioning

confidence: 99%

“…They compared these depictions with the observed behaviors of their patients afflicted with la grande névrose hystérique (grand hysterical neurosis) in their clinic. 4 A contemporary painting of Charcot shows him demonstrating grand hysteria in his weekly clinic with his patient Blanche Wittman. 5 Charcot and Richer wrote that artists have provided science with evidence that establishes the ancient existence of great neurosis.…”

Section: Carl Jung 2(p1)mentioning

confidence: 99%

“…5 Charcot and Richer wrote that artists have provided science with evidence that establishes the ancient existence of great neurosis. 4 Two Rubens altarpieces (one in Vienna, Austria, and the other in Genoa, Italy) of St Ignatius of Loyola exorcising demons were cited by Charcot and Richer. Rubens' depiction of an exorcised woman provided a perfect traitby-trait example of the convulsive scenes seen daily in Charcot's clinic at the Salpêtrière in Paris, France.…”

Section: Carl Jung 2(p1)mentioning

confidence: 99%

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Exorcism:The Miracles of St Ignatius of Loyola

Harris

2014

JAMA Psychiatry

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Section: Carl Jung 2(p1)mentioning

confidence: 99%

Section: Carl Jung 2(p1)mentioning

confidence: 99%

Section: Carl Jung 2(p1)mentioning

confidence: 99%

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Exorcism:The Miracles of St Ignatius of Loyola

Harris

2014

JAMA Psychiatry

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“…The strategy also corresponded closely with the approach that Richer and his former master, the neurologist Jean-Martin Charcot had taken in the genre of "retrospective medicine": thanks to this projection, many artists or artworks of the past advanced to the rank of "forerunners" of scientific positivism. 73 The Physiological Circus This position did not remain uncontested, however, even among those who recognized the usefulness of instantaneous photography. In the case of Marey's first (and only) book on chronophotography to be translated into German, a critique found its way directly into the text in the form of a number of extended footnotes added by the translator, the philosopher Adolf von Heydebreck.…”

Section: Horses Drawn By Nature?mentioning

confidence: 99%

The Physiological Circus: Knowing, Representing, and Training Horses in Motion in Nineteenth-Century France

Mayer

2010

Representations

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In his foreword to a military handbook published in 1899, physiologist Etienne-Jules Marey deplored the incorrect ways of walking that he saw in everyday city life: "We are the slaves of conventional aesthetics, both in regard to walking and to all other processes of life. This is because we have been taught since our childhood that to have a distinguished gait one must hold the chest straight, not move one's arms, and turn one's foot outward with an extended knee when putting it on the ground. Aesthetics are everywhere. Did we not see that during the past century the equerries made it their ideal to assemble their horses for the purpose of inducing them to execute movements that were considered elegant? They even went so far as to ridicule the rider who seemed to demand nothing more of his horse than the quickest possible arrival at his destination." 1 The yoke of "ridiculous" conventions imposed by the dictates of fashion was to be shaken off by the physiologist, who entered the fray with an arsenal of new machines:Chronophotography, combined with the use of dynamometers, provides us with exact information about all of the acts we execute, which often reaches our consciousness in a very incomplete form. In this way it becomes the educator of our movements, allowing us to recognize the ideal perfection that we should attain and to recognize both our incorrect movements and the progress that we have made. Thanks to the progress of the graphical method, the mechanical act of locomotion can be translated into geometric curves, in which everything becomes measurable with a precision that mere observation could never attain. 2 According to this depiction of the duel between aesthetics and experimental science, it is inevitably the latter that emerges victorious. Science, after all, is 88 A B S T R A C T The late nineteenth-century debates about forms of dressage and the correct representations of horses, using the circus as the major arena for testing and observation, provided a fertile ground for the development of Etienne-Jules Marey's physiology of locomotion. Marey claimed to revolutionize the field of locomotion studies with mechanically produced representations, yet, as this essay shows, his mechanical reform of the study of bodies in motion was countered by the persistence of older forms of animal observation and superseded by new anthropologies and psychologies of seeing. / REPRESENTATIONS 111. Summer 2010

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“…Dalla riserva di tempi che parevano ormai tramontati, Charcot aveva gia evocato l'iconografia degli indemoniati, per ritrovarne 1' attualith nelle posture assunte dai corpi delle sue isteriche (Charcot-Richer 1887, rist. 1984.…”

Section: La Foi Qui Gudritunclassified

Lourdes e la medicalizzazione del miracolo

Gallini¹

1994

La Ricerca Folklorica

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Les demoniaques dans l'art

Cited by 36 publications

References 0 publications

Exorcism:The Miracles of St Ignatius of Loyola

Exorcism:The Miracles of St Ignatius of Loyola

The Physiological Circus: Knowing, Representing, and Training Horses in Motion in Nineteenth-Century France

Lourdes e la medicalizzazione del miracolo

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