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This is an important new analysis of the problematic relationship between dreams and madness as perceived by nineteenth-century French writers, thinkers, and doctors. Those wishing to know the nature of madness, wrote Voltaire, should observe their dreams. The relationship between the dream-state and madness is a key theme of nineteenth-century European, and specifically French, thought. The meaning of dreams and associated phenomena such as somnambulism, ecstasy, and hallucinations (including those induced by hashish) preoccupied writers, philosophers, and psychiatrists. In this path-breaking cross-disciplinary study, Tony James shows how doctors (such as Esquirol, Lélut, and Janet), thinkers (including Maine de Biran and Taine), and writers (for example, Balzac, Nerval, Baudelaire, Victor Hugo, and Rimbaud) grappled in very different ways with the problems raised by the so-called 'phenomena of sleep'. Were historical figures such as Socrates or Pascal in fact mad? Might dream be a source of creativity, rather than a merely subsidiary, 'automatic' function? What of lucid dreaming? By exploring these questions, Dreams, Madness, and Creativity in Nineteenth-Century France makes good a considerable gap in the history of pre-Freudian psychology and sheds new and fascinating light on the central French writers of the period.
What did it mean to call someone 'eccentric' in nineteenth-century Paris? And why did breaking with convention arouse such ambivalent responses in middle-class readers, writers, and spectators? From high society to Bohemia and the demi-monde to the madhouse, the scandal of nonconformism provoked anxiety, disgust, and often secret yearning. In a culture preoccupied by the need for order yet simultaneously drawn to the values of freedom and innovation, eccentricity continually tested the boundaries of bourgeois identity, ultimately becoming inseparable from it. This interdisciplinary study charts shifting French perceptions of the anomalous and bizarre from the 1830s to the fin de siècle, focusing on three key issues. First, during the July Monarchy eccentricity was linked to fashion, dandyism, and commodity culture; to many Parisians it epitomized the dangerous seductions of modernity and the growing prestige of the courtesan. Second, in the aftermath of the 1848 Revolution eccentricity was associated with the Bohemian artists and performers who inhabited 'the unknown Paris', a zone of social exclusion which middle-class spectators found both fascinating and repugnant. Finally, the popularization of medical theories of national decline in the latter part of the century led to decreasing tolerance for individual difference, and eccentricity was interpreted as a symptom of hidden insanity and deformity. Drawing on a wide range of sources, including etiquette manuals, fashion magazines, newspapers, novels, and psychiatric treatises, the study highlights the central role of gender in shaping perceptions of eccentricity. It provides new readings of works by major French writers and illuminates both well-known and neglected figures of Parisian modernity, from the courtesan and Bohemian to the female dandy and circus freak.
This edition provides an insight into the dark areas between Victorian science, medicine and religion. The rare reset source material in this collection is organized thematically and spans the period from initial mesmeric experiments at the beginning of the nineteenth century to the decline of the Society for Psychical Research in the 1920s.
The depths of the oceans are the last example of terra incognita on earth. Adamowsky presents a study of the sea, arguing that – contrary to popular belief – post-Enlightenment discourse on the sea was still subject to mystery and wonder, and not wholly rationalized by science.
A new look at the life, times, and music of Polish composer and piano virtuoso Fryderyk Chopin Fryderyk Chopin (1810–49), although the most beloved of piano composers, remains a contradictory figure, an artist of virtually universal appeal who preferred the company of only a few sympathetic friends and listeners. Chopin and His World reexamines Chopin and his music in light of the cultural narratives formed during his lifetime. These include the romanticism of the ailing spirit, tragically singing its death-song as life ebbs; the Polish expatriate, helpless witness to the martyrdom of his beloved homeland, exiled among friendly but uncomprehending strangers; the sorcerer-bard of dream, memory, and Gothic terror; and the pianist's pianist, shunning the appreciative crowds yet composing and improvising idealized operas, scenes, dances, and narratives in the shadow of virtuoso-idol Franz Liszt. The international Chopin scholars gathered here demonstrate the ways in which Chopin responded to and was understood to exemplify these narratives, as an artist of his own time and one who transcended it. This collection also offers recently rediscovered artistic representations of his hands (with analysis), and—for the first time in English—an extended tribute to Chopin published in Poland upon his death and contemporary Polish writings contextualizing Chopin's compositional strategies. The contributors are Jonathan D. Bellman, Leon Botstein, Jean-Jacques Eigeldinger, Halina Goldberg, Jeffrey Kallberg, David Kasunic, Anatole Leikin, Eric McKee, James Parakilas, John Rink, and Sandra P. Rosenblum. Contemporary documents by Karol Kurpiński, Adam Mickiewicz, and Józef Sikorski are included.
This volume covers opera in Italy, France, England and the Americas during the long nineteenth century (1789-1914). The book is divided into four sections that are thematically, rather than geographically, conceived: Places-essays centering on contexts for operatic culture; Genres and Styles-studies dealing with the question of how operas in this period were put together; Critical Studies of individual works, exemplifying particular critical trends; and Performance.
In the late nineteenth century, scientists, psychiatrists, and medical practitioners began employing a new experimental technique for the study of neuroses: hypnotism. Though the efforts of the famous French neurologist Jean-Martin Charcot to transform hypnosis into a laboratory science failed, his Viennese translator and disciple Sigmund Freud took up the challenge and invented psychoanalysis. Previous scholarship has viewed hypnosis and psychoanalysis in sharp opposition or claimed that both were ultimately grounded in the phenomenon of suggestion and thus equally flawed. In this groundbreaking study, Andreas Mayer reexamines the relationship between hypnosis and psychoanalysis, revealing that the emergence of the familiar Freudian psychoanalytic setting cannot be understood without a detailed analysis of the sites, material and social practices, and controversies within the checkered scientific and medical landscape of hypnotism. Sites of the Unconscious analyzes the major controversies between competing French schools of hypnotism that emerged at this time, stressing their different views on the production of viable evidence and their different ways of deploying hypnosis. Mayer then reconstructs in detail the reception of French hypnotism in German-speaking countries, arguing that the distinctive features of Freud’s psychoanalytic setting of the couch emerged out of the clinical laboratories and private consulting rooms of the practitioners of hypnosis.
This book explores the life and fiction of the French decadent writer Rachilde (pen name of Marguerite Eymery), using her as a case study to examine the impact late nineteenth-century theories about female hysteria, medical hypnotism, mediums, and spiritualism had on the female creative psyche. It is a book about disempowerment, and re-empowerment through writing.
This study places the last three novels of Victor Hugo's maturity - Les Travailleurs de la mer (1866), L'Homme qui rit (1869), and Quatrevingt-Treize (1874) - within the context of his artistic development after the success of Les Misérables (1862). By situating these historical narratives in relation to each other, to all of Hugo's previous fiction, and to a number of poetic and critical works published in exile and in the initial years of the Third Republic, it illuminates the final structural and thematic shifts from a poetics of harmony to one of transcendence. As in Les Misérables, the disharmony associated with social tumult, apocalyptic vision, and oxymoronic tensions provides an essential component of the later Hugo's Romantic sublime. Instead of merely capitalizing on the runaway success of Les Misérables by recycling its prominent features, however, each novel makes an original contribution to the political and aesthetic trajectory inscribed by the entire oeuvre. Each testifies as well to the wizardry of Hugo's own 'special effects' that contribute to his story-telling genius. Such effects, especially the dizzying spatial optics and manipulation of temporal dimensions, function not as mere playful gimmicks or novelistic flourishes but as strategies for figuring and communicating the ideal, both political and artistic. The unique interplay of poetic and historical discourse in each text reconfigures our disordered experience of the world into something far more coherent: a construction of meaning that strives to change perceptions and to promote social action.
This vanguard collection of original and in-depth essays explores the intricate interplay of the aesthetic and psychological domains during the late nineteenth and early twentieth centuries and considers the reasons why a common Modernist project took shape when and in the circumstances that it did. These changes occurred precisely when the distinctively modern disciplines of psychology, psychiatry, and psychoanalysis established their "scientific” foundations and achieved the forms in which we largely know them today. This volume examines the dense web of connections joining the aesthetic and psychological realms in the modern era, charting historically the emergence of the ongoing modern discussion surrounding such issues as identity-formation, sexuality, and the unconscious. The contributors form a distinguished and diversified group of scholars, who write about a wide range of cultural fields, including philosophy, the novel and poetry, drama, dance, film and photography, as well as medicine, psychology, and the occult sciences.