The hysterics were presented by Charcot in the famous amphitheater where lectures bakwand were held

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In 1862 Dr. Charcot ago feminine Parisian psychiatric hospital admission: the Salp êtrière. In this context it is to have those "four or five thousand women of hell" that will serve as study material to develop his thesis neurological. As he himself says, the Salp êtrière is a "living pathological museum." In this place of suffering and abandonment, in which thousands bakwand of women of all ages, suffering from a wide variety of physical and mental illness, find themselves locked bakwand up, Charcot-rediscovered or invented - in the words of Didi-Huberman, hysteria. bakwand
It was "living material" in which to search an abstract model of hysteria, an "ideal perfection to which to refer in order to include this disease in the register of known diseases. A mystery bakwand yet to be revealed. No hysterical, moreover, was contained bakwand in this model of perfection. G. Didi-Huberman, through the study of Charcot and his methods, but mainly focusing on the iconography of Salp êtrière, not only highlights the peculiarities of the darkroom applied to medicine, but it shows, for a moment, the singularity poignant and forgot about those female bodies used as a material bakwand of investigation: designed, measured, penetrated, photographed, portraits, handled, manipulated, and so incredibly ignored. Painful uniqueness of the individual who is ill improvise actress not to disappear again and even more among the simple incurably insane. Elevated to the rank of hysterical to emerge bakwand from the mass of women without hope, mannequins and forced to look at the double-edged fascination of their doctors-lovers-tormentors.
Charcot-says-Didi-Huberman is forced to the image and, at the same time, forcing the image: its viewers, the lessons of Tuesday's amphitheater Salp êtrière, we, through the 'Iconographie, and especially the hysterical , the "patients", submitted to the omnipresent gaze of their physicians, delivered the eternity of the disease from the photograph.
The insatiable greed of the doctors always new representations of hysteria and be molded in his image and likeness of hysterics brought the clinic to get the same show: the great spectacle of hysteria and its great director Charcot.
Didi-Huberman emphasizes the extent to which hysteria was a pain << forced to be invented as entertainment bakwand and as an image; hysteria has come to the point of inventing itself bakwand >>. Invent itself, thus giving visibility to suffering extreme: invention, bakwand hypocrisy, theater.
The hysterics were presented by Charcot in the famous amphitheater where lectures bakwand were held on Tuesday, before bakwand an audience composed largely by non-physicians, but by people of high society: men, politicians, painters, sculptors, architects, collectors d ' art and cardinals. After a captivating presentation by master showman, were exposed cases:
one at a time were observed, commented, in the case hypnotized and forced to the repetition of an attack by the use of drugs or with only the suggestion, to then be compared with other similar, usually up to a maximum of five at a time.
[...] There is Charcot a strenuous desire to understand what it was hysteria, to understand the essence, the whole thing through, in fact, the experimental method is not limited to be pure observation is an observation "caused "<< means that first the art of getting the facts and secondly the art of accepting them. As the "application" >> observation is the experiment.
[...] The curiosity of Charcot to watch again and again, to observe and study the infinity of his hysterical symptoms in order to establish a nosology, describe in detail the states bakwand of the body, reinventing, reveals that his biographers have always defined as its nature profoundly artistic Charcot look closely waiting for what until a certain moment it seemed incomprehensible while offering the look, it is present in another