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This book explores the improbable rise of medical hypnotism in Victorian Britain and its subsequent assimilation and neglect. It follows the careers of the ‘New Hypnotists’: Charles Lloyd Tuckey, John Milne Bramwell, George Kingsbury and Robert Felkin. This loosely knit group all trained with the Suggestion School of Nancy and published books on hypnotism. They had to confront the many public and medical prejudices against the trance state which had persisted after the scandalous disgrace of John Elliotson and medical mesmerism, fifty years before. Hypnotism was a highly contested technology and in the 1890s the debates about safety and utility were fought in the national newspapers as well as the medical journals. The new hypnotists took on the might of the medical institutions personified by Ernest Hart, Editor of the British Medical Journal. However their timing was propitious, as the rise of faith-healing forced the medical profession to confront the non-physical therapeutic aspects of the doctor-patient relationship. The hypnotic discourse was shaped by these developments, but also by the fascination of the general public, novelists, occultists, psychic investigators, educationalists and spiritualists in the myriad possibilities of the trance state. Despite growing interest in the prehistory of British psychology and talking therapies, and the recent challenges to the primacy of Freudian histories, there are few accounts of the development of British ‘eclectic therapy’. This book uses the New Hypnotists as a lens to examine Victorian medicine and society, exploring their role in establishing the term ‘psychotherapy,’ and legitimising medical hypnotism, a precursor of psychological therapies.
Silent cinema and contemporaneous literature explored themes of mesmerism, possession, and the ominous agency of corporate bodies that subsumed individual identities. At the same time, critics accused film itself of exerting a hypnotic influence over spellbound audiences. Stefan Andriopoulos shows that all this anxiety over being governed by an outside force was no marginal oddity, but rather a pervasive concern in the late nineteenth and early twentieth centuries. Tracing this preoccupation through the period’s films—as well as its legal, medical, and literary texts—Andriopoulos pays particular attention to the terrifying notion of murder committed against one’s will. He returns us to a time when medical researchers described the hypnotized subject as a medium who could be compelled to carry out violent crimes, and when films like The Cabinet of Dr. Caligari and Dr. Mabuse, the Gambler famously portrayed the hypnotist’s seemingly unlimited power on the movie screen. Juxtaposing these medicolegal and cinematic scenarios with modernist fiction, Andriopoulos also develops an innovative reading of Kafka’s novels, which center on the merging of human and corporate bodies. Blending theoretical sophistication with scrupulous archival research and insightful film analysis, Possessed adds a new dimension to our understanding of today’s anxieties about the onslaught of visual media and the expanding reach of vast corporations that seem to absorb our own identities.
This book argues that Freud’s mapping of trauma as a scene is central to both his clinical interpretation of his patients’ symptoms and his construction of successive theoretical models and concepts to explain the power of such scenes in his patients’ lives. This attention to the scenic form of trauma and its power in determining symptoms leads to Freud’s break from the neurological model of trauma he inherited from Charcot. It also helps to explain the affinity that Freud and many since him have felt between psychoanalysis and literature (and artistic production more generally), and the privileged role of literature at certain turning points in the development of his thought. It is Freud’s scenography of trauma and fantasy that speaks to the student of literature and painting. Overall, the book develops the thesis of Jean Laplanche that in Freud’s shift from a traumatic to a developmental model, along with the undoubted gains embodied in the theory of infantile sexuality, there were crucial losses: specifically, the recognition of the role of the adult other and the traumatic encounter with adult sexuality that is entailed in the ordinary nurture and formation of the infantile subject.
For more than half a century, Thomas Szasz has devoted much of his career to a radical critique of psychiatry. His latest work, Psychiatry: The Science of Lies, is a culmination of his life’s work: to portray the integral role of deception in the history and practice of psychiatry. Szasz argues that the diagnosis and treatment of mental illness stands in the same relationship to the diagnosis and treatment of bodily illness that the forgery of a painting does to the original masterpiece. Art historians and the legal system seek to distinguish forgeries from originals. Those concerned with medicine, on the other hand—physicians, patients, politicians, health insurance providers, and legal professionals—take the opposite stance when faced with the challenge of distinguishing everyday problems in living from bodily diseases, systematically authenticating nondiseases as diseases. The boundary between disease and nondisease—genuine and imitation, truth and falsehood—thus becomes arbitrary and uncertain. There is neither glory nor profit in correctly demarcating what counts as medical illness and medical healing from what does not. Individuals and families wishing to protect themselves from medically and politically authenticated charlatanry are left to their own intellectual and moral resources to make critical decisions about human dilemmas miscategorized as “mental diseases” and about medicalized responses misidentified as “psychiatric treatments.” Delivering his sophisticated analysis in lucid prose and with a sharp wit, Szasz continues to engage and challenge readers of all backgrounds.
This study affords an entirely new view of the nature of modern popular entertainment. American vaudeville is here regarded as the carefully elaborated ritual serving the different and paradoxical myth of the new urban folk. It demonstrates that the compulsive myth-making faculty in man is not limited to primitive ethnic groups or to serious art, that vaudeville cannot be dismissed as meaningless and irrelevant simply because it fits neither the criteria of formal criticsm or the familiar patterns of anthropological study. Using the methods for criticism developed by Susanne K. Langer and others, the author evaluates American vaudeville as a symbolic manifestation of basic values shared by the American people during the period 1885-1930. By examining vaudeville as folk ritual, the book reveals the unconscious symbolism basic to vaudeville-in its humor, magic, animal acts, music, and playlets, and also in the performers and the managers—which gave form to the dominant American myth of success. This striking view of the new mass man as a folk and of his mythology rooted in the very empirical science devoted to dispelling myth has implications for the serious study of all forms of mass entertainment in America. The book is illustrated with a number of striking photographs.
Examines the repeated association of new electronic media with spiritual phenomena from the telegraph in the late 19th century to television.
Sympathetic biography of the creator of Sherlock Holmes, portraying some of the contradictory facets of this Scotsman.