Dissertations / Theses on the topic 'Hysteria – History'

As crises não-epilépticas são definidas como crises, ataques ou acessos recorrentes que podem ser confundidos com epilepsia, devido à semelhança das manifestações comportamentais existentes entre ambas, mas difere da crise epiléptica por não ser conseqüente de descargas elétricas cerebrais anormais. Podem ter origem fisiogênica ou psicogênica. Os diagnósticos psiquiátricos que mais freqüentemente apresentam-se sob a forma de crises não-epilépticas psicogênicas são o transtorno conversivo e o transtorno de somatização. Na prática clínica, a diferenciação entre crises epilépticas e crises não-epilépticas desafia e confunde os clínicos, os neurologistas e os psiquiatras desde tempos remotos. A introdução da monitorização pelo vídeo-eletroencefalograma vídeo-EEG, considerado o padrão ouro para o diagnóstico diferencial, levou a um aumento significativo no número de diagnósticos de crises não-epilépticas psicogênicas. Apesar de se tratar de uma situação clínica de difícil manejo, com conseqüências médicas e sociais significativas, fica evidente que o conhecimento técnico e instrumental sobre as crises não-epilépticas psicogênicas são insuficientes para abordar este problema. O objetivo geral deste estudo é de o de enriquecer a compreensão das crises não-epilépticas psicogênicas, nos últimos quarenta anos. As condições de emergência histórica e as implicações práticas do conceito de crise não-epiléptica psicogênica foram investigadas. Para tanto, foram selecionados artigos que abordam o conceito de crises não-epilépticas psicogênicas em três periódicos de neurologia e em três de psiquiatria. Esta pesquisa partiu de projetos epistemológicos que possibilitam um pensamento reflexivo sobre a produção de conhecimentos científicos, no que diz respeito à formação, às mudanças e à formalização dos conceitos, teorias e práticas. Houve uma aproximação da metodologia histórico-epistemológica de Canguilhem e Bachelard, passando pela análise crítica de Foucault e alcançando o pensamento hermenêutico de Habermas e Gadamer. Foi verificado que os conceitos de histeria e epilepsia vêm sendo reformulados, ao longo do tempo. As crises não-epilépticas psicogênicas foram demarcadas em períodos. Na década de 1970, predominam os artigos que discutem a redução da prevalência da histeria e da personalidade histérica nas mulheres. Na década de 1980, existe uma preocupação com a formulação de diagnósticos através de instrumentos e entrevistas padronizadas e um aumento explosivo do número de artigos, dos periódicos de neurologia, que discutem o uso do vídeo-EEG. Na década de 1990, surgem os artigos que abordam os múltiplos diagnósticos psiquiátricos e as pesquisas sobre o abuso e a dissociação associados à crise não-epiléptica psicogênica. Conclui-se que as crises não-epilépticas psicogênicas, tal qual o conhecimento científico, tem uma história, que interage com outros tipos de conhecimento e que são influenciadas por variáveis sociais. Nesta direção, sugere-se que a possibilidade de abertura e diálogo entre as dimensões técno-científica e prática possam criar condições para um modelo de cuidado mais adequado e integrado junto aos pacientes com crises não-epilépticas psicogênicas
Psychogenic non-epileptic seizures are recurrent crisis, or attacks, or paroxysmal behavioral changes that can be misunderstood as epileptic seizure due to the behavioral similarity between both, however, these manifestations are not associated with abnormal electrical brain discharges that cause epileptic seizures. Non-epileptic seizures are classified into physiologic and psychogenic origin. The most common psychiatric diagnoses associated with psychogenic non-epileptic seizures are conversion disorder and somatization disorder. In clinical practice, the distinction between non-epileptic seizure and epilepsy challenges and confuses the clinicians, the neurologists and the psychiatrists, since ancient times. The long-term video-electroencephalographic monitoring video-EEG, considered as the gold standard for the differential diagnosis, has led to a significant increase in the number of cases of psychogenic non-epileptic seizures. Although being a clinical situation difficult to manage, with medical and social poor prognosis, it is evident that the instrumental and technological knowledge about non-epileptic seizures are insufficient to deal with this problem. The aim of this study is to enrich the comprehension of the psychogenic non-epileptic seizures in the last fifty years. The historical emergence conditions of the psychogenic non-epileptic seizure and its clinical practical implications were investigated. For this purpose, it was examined papers that discuss the concept of psychogenic non-epileptic seizure in three neurological journals and in three psychiatric journals. This research was guided by epistemological projects focused upon conditions of possibility for reflexive thinking about conceptualization, changing and formalization of the concepts, theories and practices. The methodological approach was influenced by Canguilhems and Bachelards historical epistemology, pursued by Foucault´s critical analysis and culminating in Habermas e Gadamers hermeneutics thought. The research pointed out that hysteria and epilepsy concepts have been reformulated over time, and uncovered fundamental concepts that organized psychogenic non-epileptic seizures in different historical periods. In the 1970s, there was a predominance of papers that discuss the reduction of hysteria and the hysterical personality in women. In the 1980s, there was a concern with the development of diagnostic instruments and structured interviews, and an explosive increase in the number of papers in the neurological journals discussing the use of video-EEG. In the 1990s and on, papers have been focused on the multiple psychiatric diagnoses and research on dissociation and abuse associated to psychogenic non-epileptic seizure. The conclusion is that psychogenic non-epileptic seizures, as scientific knowledge, have a history, which interact with various kinds of knowledge and it is influenced by social variables. In this sense, the possibility of openness and dialogue between technological and practical dimensions could provide underlying conditions to a better and more integral care model among patients with psychogenic non-epileptic seizures

This thesis is structured around the dual scenarios of doctor/patient and artist/model. Having analysed the underlying politics of class and gender that structured the relationship between doctor and patient, and between artist and model, at the fin-de-siecle, it goes on to examine how these relations were transformed by two developments: the emergence of psychoanalysis in relation to hysteria, and the growing involvement of women as artists in the field of modernist painting. Its key research questions fall, therefore, upon identifying a historical method for understanding the impact of women’s self-enunciation in these scenarios that shifts the now classic image of masculinised modernism in both its psychological and aesthetic dimensions. It is centred upon a close reading of two case studies—that of ‘Frau Emmy von N’ from the Studies on Hysteria, published jointly by Sigmund Freud and Joseph Breuer in 1895, and that of model-turned-artist Suzanne Valadon (1865-1938)—and examines the extent to which the scenarios of doctor/patient and artist/model underwent a radical internal transformation as a result of their reconfiguration by the women involved. Moving between psychoanalysis and modernism at the moment of their historical co-emergence, and re-reading their conjunction through contemporary feminist theory, it also interrogates one of the traditional blind spots of psychoanalysis: maternal subjectivity. In the first two chapters, I revisit Freud’s first written case history of ‘Frau Emmy von N’ in order to explore the significance of Freud’s belated acknowledgement of his patient’s ambivalent experience of motherhood to the history and theory of what would become psychoanalysis. Having tracked the shift in the relations between doctor and patient that occurred over the course of this early, proto-analytic, encounter, I go on to examine a corresponding transformation in my second identified scenario of artist/model. In the third chapter, I consider the social, artistic and psychic dilemmas faced by those self-consciously modem ‘New Women’ who sought in the early years of the twentieth century to participate in modernist art and culture not merely as mute objects of representation, but as creative subjects in their own right. In this chapter, I investigate how the question of the maternal might be processed in the being of women as artists in the modernist moment. Having analysed both the possibilities and limitations of those psychoanalytic theorisations that view feminine creativity as necessarily bound up with depressive mourning for the mother and the maternal body, in the final two chapters, I draw upon the Matrixial theory of Bracha Ettinger in order to consider how the traces of some different relation to the feminine/maternal may be otherwise inscribed in certain paintings of the female nude by Suzanne Valadon.

This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated

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Na literatura especializada sobre a história da histeria, a carreira do neurologista francês Jean-Martin Charcot (1825-1893), chefe do serviço de patologias do sistema nervoso no hospital da Salpêtrière, em Paris, é comumente descrita como uma progressão a partir de importantes equívocos iniciais na compreensão do quadro histérico, até uma tardia antecipação das concepções psicanalíticas. A tese ora apresentada é a de que a leitura de sua obra sobre a histeria não autorizaria tal afirmativa: a noção charcotiana da doença se manteve plenamente inserida no campo da clínica do sistema nervoso. Em outras palavras, não é possível identificar no texto de Charcot nenhuma pretensão de aproximar a histeria da esfera das doenças mentais. Foi realizada uma revisão cronológica de sua obra referente à histeria, empreendendo-se uma análise de sua abordagem do quadro a partir da lógica interna dos conceitos que a fundamentaram. Os escritos do autor se constituíram como a fonte primária e principal para esta pesquisa. Foram também utilizados como fontes, textos de seus principais colaboradores, e de comentadores que se dedicaram à sua biografia e à sua obra. Os anos de 1870 e 1893 demarcaram o recorte temporal do presente estudo, precedido por um exame das teorias anteriores formuladas a respeito da histeria, desde sua compreensão como uma alteração do cérebro e dos nervos, até ser tomada por Charcot como objeto de interesse científico. A conclusão é a de que, na obra de Charcot, os fenômenos histéricos são sistematicamente remetidos à neuroanatomia e à neurofisiologia. Os novos conhecimentos expressos por ele nas teorizações referentes à doença se mantêm consistentemente dentro dos limites da neurologia
In the scholarship on the history of hysteria, the career of the French neurologist Jean-Martin Charcot (1825-1893), director of the section of pathologies of the nervous system at the Salpêtrière Hospital in Paris, is commonly described as the progression from important early misconceptions in the understanding of the hysterical condition to a belated anticipation of psychoanalytic conceptions. This dissertation proposes that a close reading of Charcot’s work on hysteria disavows such interpretation and that his conception of hysteria remained fully inserted in the clinical field of the nervous diseases. In other words, it is not possible to identify in Charcot’s texts any intent to bring hysteria closer to the field of mental pathology. A chronological revision of his work on hysteria was undertaken, and an analysis of his approach to this disease was made based on the internal logic of the underlying concepts. Charcot’s own writings were the primary and main source for this research. Other sources were the works of his main collaborators and the scholarship dedicated to his biography and work. The years between 1870 and 1893 defined the timeframe of this study, preceded by an examination of previous theories formulated about hysteria from the time it began to be related to a change in the brain and nerves until it was taken by Charcot as an object of scientific interest. The conclusion is that, in Charcot’s work, hysterical phenomena are systematically referred to neuroanatomy and neurophysiology. The new knowledge expressed in Charcot’s theories about this disease remains consistently within the limits of neurology

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Esta dissertaÃÃo tem por objetivo compreender o percurso de Freud em sua elaboraÃÃo da noÃÃo de inconsciente, perceber de que maneira ele chega atà essa noÃÃo crucial para a fundaÃÃo do saber psicanalÃtico. Para alcanÃar esse objetivo decidi abordar os modelos e os referentes de Freud. Os principais achados com relaÃÃo aos modelos que tiveram maior peso em sua elaboraÃÃo do inconsciente foram sua clÃnica com as histÃricas, bem como seu confronto com as idÃias vigentes sobre essa afecÃÃo, seu contato com a hipnose e a interlocuÃÃo que estabeleceu com Charcot, Breuer e Flies. E os principais referentes foram o agnosticismo e o fisicalismo, no que concerne à forma como ele findou se afastando deste.
This research has the goal of understanding the path of Freud in his elaboration of the notion of unconscious, to realize the ways by which he got to this crucial notion to the foundation of the psychoanalytical knowing. To reach this goal I decided to deal with the models and references of Freud. The principal results were that the models which had more weight in the development of his idea of unconscious were his clinical work with the hysterics, as well as his divergence with the conventional ideas about this affection, his contact with the hypnosis and the interlocution he established with Charcot, Breuer and Fliess. And the principal references were the agnosticism and the physicalism,in relation to what it concerns the form by which he finally distanced himself.

Cette thèse examine l’œuvre poétique de Rimbaud et de Laforgue du point de vue de la catégorie de « folie ». La notion de folie a très souvent été mobilisée dans la première réception de tout un pan de la poésie écrite dans le dernier tiers du XIXe siècle, pour étiqueter des textes considérés comme illisibles. À tel point qu’avec ses corollaires d’époques (manie, névrose, dégénérescence, hystérie), elle est devenue un véritable paradigme de lecture du texte poétique. La folie est envisagée ici non pas seulement dans sa définition médicale, mais aussi comme objet hybride, construit par une multiplicité de discours et de pratiques. On commence par une archéologie de ce discours médicalisant qui pathologise la poésie, pour montrer ensuite que la « folie » constitue bien une catégorie valide pour l’appréhension de la poésie rimbaldienne et laforguienne, mais qu’elle nécessite pour cela une théorisation nouvelle, indépendante de toute considération biographique ou psychologique. Part essentielle de l’écriture, la folie chez Laforgue, Rimbaud et leurs contemporains n’est plus la folie romantique – qui s’articulait aux catégories du grotesque ou du magisme inspiré. La folie poétique se fait méthode, « raisonné dérèglement » selon la formule paradoxale de Rimbaud, et traverse, en tant qu’expérience-limite, tout le trajet lyrique. En même temps, elle devient immanente aux corps, et au corps du texte. La folie romantique s’est immanentisée et textualisée. Poétique de la folie désigne ici un fait littéral, la manière dont le texte se trouve altéré par la folie, et réciproquement la manière dont en tant que poème ce même texte reconfigure la langue et la lecture, devenant par là un autre nom de la « folie » comme intempestivité, invention de catégories nouvelles, illisible devenant lisible. La folie ne désigne plus alors une pathologie, mais la force d’évènement de l’écriture même. Chez Laforgue et Rimbaud, cette dimension de bouleversement se déploie particulièrement dans trois champs : comme expérience radicale, la folie opère une altération et une aliénation du sujet ; comme effet rhétorique, elle entraîne un trouble généralisé de la syntaxe et du sens ; en tant que contre-discours et résistance à l’ordre établi (hystérie, idiotie, fureur) enfin, elle possède en elle-même une dimension politique, par laquelle elle s’articule à l’histoire comme événementialité
This dissertation looks at the poetic works of Rimbaud and Laforgue from the point of view of “madness”. The category served as a label that was often applied by contemporary readers, including medics, to a corpus of poetry they considered to be illegible. Madness and its then quasi synonyms – mania, neurosis, degeneracy or hysteria – thus became no less than a general paradigm for reading poetry. We conceive of madness here not as a mere medical concept, but as a hybrid object, one that is constructed through multiple discourses and practices. The thesis first takes an archaeological look at this medicalisation of the reception of poetry. It then moves on to show that the category of “madness” can indeed be valid when it comes to understanding the lyric of Rimbaud and Laforgue, but needs new theorisation as a concept. Madness should no longer be considered as a biographical or even psychological category, but as pertaining to the text itself. A crucial part of the act of writing both for Rimbaud and for Laforgue, madness at the Fin de siècle had moved away from its definition in French romanticism, which saw it primarily as akin to the category of the grotesque or that of transcendent inspiration. Madness became a paradoxical method for poetry, according to the rimbaudian phrase “raisonné dérèglement” (“reasoned derangement”). As a limit-experience, madness proves to be at the core of a new poetic practice, while becoming immanent to the bodies as well as to the body of the text. Talking about a “poetics of madness,” we therefore conceive of madness as being primarily textual or literal. The poetic text is altered and displaced by madness, and conversely the text itself qua poem transforms the language it is written in and the categories of reading that are applied to it. In that sense, the text is necessarily mad in its essential untimeliness, since it invents the categories in which it can become legible. Madness thus no longer refers to a form of pathology, but rather designates poetic writing itself as a force and an event. Such a disruptive force is studied more particularly in three domains. As a radical experience, madness alters and literally alienates the subject. As a rhetorical effect, it brings about a major trouble within syntax and meaning. As a counter-discourse, finally, and a resistance to social order (in the cases of hysteria, idiocy, or fury), madness has an immediate political dimension to it, which connects it to history qua eventiality

L’histoire biblique de Salomé est un vaste sujet qui passionne artistes et écrivains depuis longtemps. En musique, il semble toutefois plus présent au début du XXe siècle. L’œuvre testamentaire sur le sujet demeure encore aujourd’hui l’opéra de Richard Strauss, créé à Dresde en 1905. Pourtant, maints compositeurs vont également traiter la légende qui met en cause Salomé à la même époque, dont notamment Florent Schmitt, avec son ballet La Tragédie de Salomé et Antoine Mariotte qui s’inspirera, tout comme Strauss, de la pièce théâtrale éponyme d’Oscar Wilde pour écrire son opéra.Considérant la date de création de l’œuvre de Mariotte (1908) et l’existence du ballet de Schmitt composé en 1907, notre objectif est de comprendre pourquoi ces deux compositeurs se sont intéressés quasi simultanément en France à ce même sujet. Pour cela, nous nous concentrerons sur les rapports d’ordres historique, social, esthétique et musical qui uniront Salomé au symbolisme, avant d’orienter notre travail vers d’autres tendances de cette époque, comme l’orientalisme voire l’aspect psychanalytique du sujet, ainsi que vers l’étude des créations et des grandes représentations de l’œuvre.À travers cette approche comparative de La Tragédie de Salomé de Florent Schmitt et de la Salomé d’Antoine Mariotte, suivant leur conception, leur organisation et leur réception, nous pourrons conclure, outre la fascination, à la puissante représentativité de ce sujet dans la France musicale du début du XXe siècle
The biblical story of Salome is a vast subject that has inspired artists and writers alike for years. In music however, the story was evoked the most at the beginning of the twentieth century. To this day, the work of reference on the subject remains Richard Strauss’s opera composed in Dresden in 1905. And yet, numerous composers of the same era were to use the legend of Salome, namely Florent Schmitt with his ballet ‘The Tragedy of Salome’ and Antoine Mariotte. The latter, like Richard Strauss, sought inspiration for his opera from the play of the same name by Oscar Wilde.Bearing in mind the date of conception of Mariotte’s work (1908) and the existence of Schmitt’s ballet composed in 1907, our aim is to understand why these two composers, both in France, became interested in the same subject at practically the same time. To this end, we will concentrate on historical, social, artistic and musical accounts that link Salome to symbolism. Our work will then explore other trends of the time, such as orientalism and even the psychoanalytical nature of the subject. The final part of our study will deal with the premières and major performances of the work. Through this comparative study of the conception, organisation and reception of ‘The Tragedy of Salome’ by Florent Schmitt and of ‘Salome’ by Antoine Mariotte, we can not only conclude that the subject was a source of great fascination, but also that it had a strong influence on music in France at the beginning of the twentieth century

PINHEIRO , Heráclito Aragão. O fantasma no castelo do materialismo: uma história do inconsciente Freudiano. 2009. 91 f. Dissertação (Mestrado em Psicologia) – Universidade Federal do Ceará, Departamento de Psicologia, Programa de Pós-Graduação em Psicologia, Fortaleza-CE, 2009.
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This research has the goal of understanding the path of Freud in his elaboration of the notion of unconscious, to realize the ways by which he got to this crucial notion to the foundation of the psychoanalytical knowing. To reach this goal I decided to deal with the models and references of Freud. The principal results were that the models which had more weight in the development of his idea of unconscious were his clinical work with the hysterics, as well as his divergence with the conventional ideas about this affection, his contact with the hypnosis and the interlocution he established with Charcot, Breuer and Fliess. And the principal references were the agnosticism and the physicalism,in relation to what it concerns the form by which he finally distanced himself.
Esta dissertação tem por objetivo compreender o percurso de Freud em sua elaboração da noção de inconsciente, perceber de que maneira ele chega até essa noção crucial para a fundação do saber psicanalítico. Para alcançar esse objetivo decidi abordar os modelos e os referentes de Freud. Os principais achados com relação aos modelos que tiveram maior peso em sua elaboração do inconsciente foram sua clínica com as histéricas, bem como seu confronto com as idéias vigentes sobre essa afecção, seu contato com a hipnose e a interlocução que estabeleceu com Charcot, Breuer e Flies. E os principais referentes foram o agnosticismo e o fisicalismo, no que concerne à forma como ele findou se afastando deste.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
In this research, we have investigated the way of thinking of Sigmund Freud about pain, based on Studies in Hysteria, published in 1895. This work aproaches histery specifically, and has a grantee source for studying the proposed theme, as one of the major sympthoms in hysterical patients was some kind of pain. The painful sympthoms showed in the presented clinical cases inside the book were not identified with ease, as the nature of hystery on its own turned it difficult. Freud started to investigate the causes for hysteric pain, by hearing the patients lives history. This new way of treating the patient enabled Freud to create some theories on the origin of the painful sympthoms, as long as the clinical tasks were being developed. As a way of identifying the pressuposed facts for creating these hypothesis, we have analysed some texts which, according to the theme, would be opportunities to reflect about pain. These texts were written by Freud and are previous and contemporary to the book Studies in Hysteria. We have also analysed the researches that were happening during the 19th century, aiming to put in the context Freud s findings and to check the relation of these same findings to the medical thoughts of that time
Nesta pesquisa investigamos o pensamento de Sigmund Freud sobre a dor, utilizando, para isso, a obra Estudos sobre a Histeria, publicada em 1895. Esse livro, que aborda especificamente a histeria, contém uma privilegiada fonte para estudo do tema proposto, pois um dos principais sintomas em pacientes histéricos era algum tipo de dor. Os sintomas dolorosos, que são apresentados nos casos clínicos relatados no decorrer do livro, não eram facilmente diagnosticados, uma vez que a própria natureza da histeria dificultava o trabalho. Freud começou, então, a investigar as causas das dores histéricas, por meio da escuta da história de vida dos pacientes. Essa nova forma de tratar o doente possibilitou que Freud elaborasse algumas hipóteses sobre as origens dos sintomas dolorosos, à medida que avançava com o trabalho clínico. A fim de identificarmos os pressupostos para a elaboração dessas hipóteses, analisamos alguns textos que seriam, pelo tema, ocasiões para se refletir sobre a dor. Esses textos foram escritos por Freud e são anteriores e contemporâneos ao livro Estudos sobre a Histeria. Analisamos, também, as pesquisas que estavam sendo realizadas sobre a dor no decorrer do século XIX, com o propósito de contextualizar as descobertas de Freud e verificar as possíveis relações dessas descobertas com o pensamento médico da época

To meet the goal of atmospheric stabilization of carbon dioxide (CO2 ) levels a technological transformation should occur in the energy sector. One strategy to achieve this is carbon sequestration. Carbon dioxide can be captured from industrial sources and sequestered underground into depleted oil and gas reservoirs. CO2 injected into geological formations, such as mature oil reservoirs can be effectively trapped by hydrodynamical (structural), solution, residual (capillary) and mineral trapping methods. In this work, a case study was conducted using CMG-STARS software for CO2 sequestration in a mature oil field. History matching was done with the available production, bottom hole pressures and water cut data to compare the results obtained from the simulator with the field data. Next, previously developed optimization methods were modified and used for the case of study. The main object of the optimization was to determine the optimal location, number of injection wells, injection rate, injection depth and pressure of wells to maximize the total trapped amount of CO2 while enhancing the amount of oil recovered. A second round of simulations was carried out to study the factors that affect the total oil recovery and CO2 ¬
storage amount. These include relative permeability end points effect, hysteresis effect, fracture spacing and additives of simultaneous injection of carbon dioxide with CO and H2S. Optimization runs were carried out on a mildly heterogeneous 3D model for variety of cases. When compared with the base case, the optimized case led to an increase of 20% in the amount of oil that is recovered
and more than 95% of the injected CO2 was trapped as solution gas on and as an immobile gas. Finally, an investigation of the economical feasibility was accomplished. NPV values for various cases were obtained, selected and studied yielding in a number of cases that are found to be applicable for the field of concern.

A travers Fils de S. Doubrovsky, Le Miroir qui revient d'A. Robbe-Grillet et A l'ami qui ne m'a pas sauvé la vie d'H. Guibert, notre étude abordera par une approche psychanalytique le fantasme à l'oeuvre dans l'autofiction. Reprenant la formule d'A. Robbe-Grillet sans toutefois nous imputer le propos, notre réflexion s'articulera autour de deux axes rendant compte du discours autofictionnel. Dans un premier temps, l'autobiographe est appréhendé dans cette pente à " faire sa propre statue ". Dans un second temps, l'autofictionnaliste y oppose cette volonté à " se projeter hors de soi ". Peu à peu se construit face au père-analyste ou au père-médecin l'imaginaire adolescent d'un fils en proie à ses apories : l'un devient une figure rivale et gémellaire de l'autre autour de cette parole-pulsion et de son économie. Dans ce rapport d'addiction à la Loi qui est autant de désintrication et d'ironie que de nostalgie et d'adhésion, le gynogenre autofictionnel ne semble exister qu'en miroir du phallogenre autobiographique. L'autofictionnaliste ne cesse d'évoquer par une ironie tenant lieu d'exorcisme cet autobiographe qui sommeille en lui. Par une rhétorique psychanalytique volontairement simple, il se présente sous l'image d'un fils soumis à une structure hystérique face à un père dont il déjoue la censure et les pudeurs. Cette figure d'ultra-autobiographe, plus intègre que le père lui-même, ferait de ses voeux autobiographiques une promesse donjuanesque à seule fin de susciter le désir de l'auteur. L'autofictionnaliste jouant à être cet autobiographe plus " ultra " que le père essaimerait quelques leurres se révélant être des figures gratuites, abandonnerait çà et là quelques aveux véridiques mais insignifiants, tendrait à séduire le lecteur et à le faire entrer dans une mécanique du désir dont la fin serait de dominer sa victime par l'indécidable. Il tiendrait le jeu de l'énigme autant qu'il écrirait. Il soutiendrait le désir du lecteur plus qu'il ne dévoilerait. Ainsi, se construirait un texte blanc qui serait ce secret d'un texte à venir sans cesse promis mais qui neviendrait pas, tout le jeu consistant à le faire oublier.

For two decades, the work of Montréal artist Nicole Jolicoeur has been centred around medical photographs documenting the hysterical patients of Dr. Jean-Martin Charcot at the Salpêtrière hospital in late nineteenth century France. Jolicoeur's work is explored in the context of the constructed nature of both hysteria as an illness and the photograph for adeptly representing reality. Through her work, Jolicoeur performs a Foucauldian archaeology as she researches and re-assembles a visual history of hysteria. Using historical photographs, she proposes a new and critical history of hysteria that can be termed ficto-criticism. Both archaeology and ficto-criticism are explored as strategies for producing alternative histories. Archaeology and ficto-criticism allow for the artist to question the authority of Charcot and the medical establishment, and to tell the story of the oppression of the hysterical woman in a way that may be more truthful and satisfying than what has been offered by more traditional histories.

Indiana University-Purdue University Indianapolis (IUPUI)
In 1964, Muncie Central High School got the “death penalty” at the hands of the Indiana High School Athletic Association’s (IHSAA) new commissioner, Phil N. Eskew, after post-game brawling at a boys basketball game led to a broader investigation of the entire program. In the closing moments of the game, a Muncie Central opponent was bloodied by an inbound pass to the face and fans erupted in violence, swarming the floor. The ensuing investigation revealed racial tensions, issues of sexual mores, political discord, and deep problems in the web of interrelationships that make up the phenomenon of Hoosier Hysteria. After a closed-door hearing and two days of deliberations, Eskew and the IHSAA Board of Control announced their decision, and the punishment prescribed made front page headlines across the state and beyond.

L’histoire biblique de Salomé est un vaste sujet qui passionne artistes et écrivains depuis longtemps. En musique, il semble toutefois plus présent au début du XXe siècle. L’œuvre testamentaire sur le sujet demeure encore aujourd’hui l’opéra de Richard Strauss, créé à Dresde en 1905. Pourtant, maints compositeurs vont également traiter la légende qui met en cause Salomé à la même époque, dont notamment Florent Schmitt, avec son ballet La Tragédie de Salomé et Antoine Mariotte qui s’inspirera, tout comme Strauss, de la pièce théâtrale éponyme d’Oscar Wilde pour écrire son opéra.Considérant la date de création de l’œuvre de Mariotte (1908) et l’existence du ballet de Schmitt composé en 1907, notre objectif est de comprendre pourquoi ces deux compositeurs se sont intéressés quasi simultanément en France à ce même sujet. Pour cela, nous nous concentrerons sur les rapports d’ordres historique, social, esthétique et musical qui uniront Salomé au symbolisme, avant d’orienter notre travail vers d’autres tendances de cette époque, comme l’orientalisme voire l’aspect psychanalytique du sujet, ainsi que vers l’étude des créations et des grandes représentations de l’œuvre.À travers cette approche comparative de La Tragédie de Salomé de Florent Schmitt et de la Salomé d’Antoine Mariotte, suivant leur conception, leur organisation et leur réception, nous pourrons conclure, outre la fascination, à la puissante représentativité de ce sujet dans la France musicale du début du XXe siècle
The biblical story of Salome is a vast subject that has inspired artists and writers alike for years. In music however, the story was evoked the most at the beginning of the twentieth century. To this day, the work of reference on the subject remains Richard Strauss’s opera composed in Dresden in 1905. And yet, numerous composers of the same era were to use the legend of Salome, namely Florent Schmitt with his ballet ‘The Tragedy of Salome’ and Antoine Mariotte. The latter, like Richard Strauss, sought inspiration for his opera from the play of the same name by Oscar Wilde.Bearing in mind the date of conception of Mariotte’s work (1908) and the existence of Schmitt’s ballet composed in 1907, our aim is to understand why these two composers, both in France, became interested in the same subject at practically the same time. To this end, we will concentrate on historical, social, artistic and musical accounts that link Salome to symbolism. Our work will then explore other trends of the time, such as orientalism and even the psychoanalytical nature of the subject. The final part of our study will deal with the premières and major performances of the work. Through this comparative study of the conception, organisation and reception of ‘The Tragedy of Salome’ by Florent Schmitt and of ‘Salome’ by Antoine Mariotte, we can not only conclude that the subject was a source of great fascination, but also that it had a strong influence on music in France at the beginning of the twentieth century