THE GHOST IN THE CLINIC: GOTHIC MEDICINE AND CURIOUS FICTION IN SAMUEL WARREN'SDIARY OF A LATE PHYSICIAN

2004 ◽  
Vol 32 (2) ◽  
pp. 327-351 ◽  
Author(s):  
Meegan Kennedy
Keyword(s):  
Nineteenth Century ◽  
Case History ◽  
Clinical Medicine ◽  
Medical Discourse ◽  
Critical Element ◽  
The Novel ◽  
Case Histories ◽  
Gothic Novel ◽  
History Of ◽  
Medical Vision

IN 1856, WHEN MANY VICTORIAN PHYSICIANS WERE STRUGGLING TO DEFINE A MODEL OF CLINICAL MEDICINE, the reviewer of one collection of case histories voiced his dismay at the physician-author's preference for “dreadful incidents” and “cases exceptional and strange” (“Works” 473). Indeed, although physicians of the clinical era did not disguise their efforts to achieve a new kind of discourse, productive of a “realist” vision, few acknowledge how often the “clinical” case history of the nineteenth century also shares the romantic discourse of the Gothic, especially its interest in the supernatural and the unexplainable and its narrative aim of arousing suspense, horror, and astonishment in the reader. Literary critics have also focused primarily on the association of medical narrative with a realist literary discourse. Nineteenth-century physicians did campaign for the formal, objective, and professional clinical discourse that serves as their contribution to a realist aesthetic, in the process explicitly rejecting eighteenth-century medicine's fascination with “the curious” and its subterranean affiliation with the unknown, the unexplainable, and the subjective. But, as I show in this article, a discourse of “the curious,” allied with a Gothic literary aesthetic, stubbornly remained a critical element of many case histories, though it often presented under the mask of the more acceptable term, “interesting.” The discourse of Gothic romance in the case history provides a narrative frame that, unlike the essentially realist clinical discourse, could make sense of the physician's curious gaze, which had become nearly unrecognizable as a specifically medical vision. Indeed, a “curious” medical discourse haunts even case histories of the high clinical era, late in the century; and it energizes the nineteenth-century Gothic novel. Samuel Warren's novelPassages from the Diary of a Late Physician–deplored in the quotation above–illuminates this tradition of “Gothic medicine” as it plays out in the nineteenth-century novel. This tradition, I argue, provides the novel with a powerful model of cultural contamination and conflict in its yoking of disparate discourses. Gothic medicine demonstrates the importance of clinical medicine to literary romance, and it cannot help but reveal the ghost of “the curious” in the clinic.

Unreliable Semiology from Frankenstein to Freud

2021 ◽  
pp. 143-182
Author(s):  
Arden Hegele
Keyword(s):  
Literary Criticism ◽  
Sigmund Freud ◽  
Case History ◽  
Medical Discourse ◽  
The Novel ◽  
Case Histories ◽  
Reading Practice ◽  
Romantic Era ◽  
Scientific Report ◽  
A Site

Examining how prose fiction and the case history share certain formal features, this chapter turns to the medical field of semiology to investigate how the Romantic-era case history models a diagnostic reading practice that extends from medicine to the novel. Mary Shelley’s Frankenstein (1818) is a notable, even parodic, literary case history informed by conventional protocols of medical reporting, visible both in Romantic-era case histories, and, at the end of the nineteenth century, in the case histories of Sigmund Freud. The Romantic case history captures fundamental tensions between the physician’s scientific report and the patient’s autobiography, which compromise the physician’s ability to trace a semiotic relationship between external symptom and underlying condition. The case history proves to be a site of disciplinary quarrel between literature and medicine: not only does it anticipate many of the epistemological problems that attend our modern attempts to read “symptomatically” or “deeply,” it also interrogates the notions of authority, personhood, and normality that continue to sustain modern medical discourse and literary criticism. As the case history reveals the unreliability of the diagnostician’s production of narrative, it also shows the limitations of interpretation in the emergent medical and literary fields of semiology.

Police Records

2019 ◽  
pp. 797-819
Author(s):  
Cristina Vatulescu
Keyword(s):  
Nineteenth Century ◽  
Detective Fiction ◽  
Media History ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Police Records ◽  
History Of ◽  
Late Nineteenth ◽  
Relationship Of ◽  
The Relationship

This chapter approaches police records as a genre that gains from being considered in its relationships with other genres of writing. In particular, we will follow its long-standing relationship to detective fiction, the novel, and biography. Going further, the chapter emphasizes the intermedia character of police records not just in our time but also throughout their existence, indeed from their very origins. This approach opens to a more inclusive media history of police files. We will start with an analysis of the seminal late nineteenth-century French manuals prescribing the writing of a police file, the famous Bertillon-method manuals. We will then track their influence following their adoption nationally and internationally, with particular attention to the politics of their adoption in the colonies. We will also touch briefly on the relationship of early policing to other disciplines, such as anthropology and statistics, before moving to a closer look at its intersections with photography and literature.

Stammering, stuttering and stumbling: A transnational history of the pathologization of dysfluency in nineteenth-century Europe

2020 ◽  
Vol 5 (2) ◽  
pp. 129-146
Author(s):  
Josephine Hoegaerts
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
Medical Discourse ◽  
National Language ◽  
Systematic Observation ◽  
Class Culture ◽  
Self Help ◽  
Embodied Experiences ◽  
History Of ◽  
Medical Treatises

The nineteenth century saw a rise in the categorization and systematic observation of manifestations of dysfluent speech. This article examines how, from the 1820s onward, different vocabularies to distinguish between different speech impediments were developed in France, Germany and Britain. It also charts how different meanings, categories and chronologies of ‘stammering’ knowledge were exchanged transnationally. The universalist medical models emerging around stammering were, despite this constant exchange, also closely connected to cultural imaginations of speech, the particular values assigned to one’s (national) language and political modes of belonging. Although the analysis is largely based on prescriptive texts, it also reveals how embodied experiences of dysfluency informed the medical and pedagogical work undertaken in the nineteenth century: a remarkable number of ‘experts’ on speech impediments claimed to be ‘former sufferers’. The history of dysfluency in the nineteenth century is therefore not one of linear medicalization and pathologization, but a continuous exchange of vocabularies between different actors of middle-class culture. Expertise on speaking ‘well’ was shared in medical treatises, but also on the benches of parliament, in cheap self-help pamphlets, in the parlour, or in debating clubs – suggesting that the model of ‘recovery’ was a manifestation of (middle class) culture rather than of a strictly medical discourse.

The Virtual Infernal: Philippe de Loutherbourg, William Beckford and the Spectacle of the Sublime

2007 ◽  
Author(s):  
Iain McCalman
Keyword(s):  
Nineteenth Century ◽  
Virtual Reality ◽  
Special Significance ◽  
Virtual Reality Technology ◽  
Gothic Novel ◽  
The Sublime ◽  
William Beckford ◽  
History Of ◽  
The Aesthetic ◽  
Drury Lane

Abstract In the autumn of 1781, shortly after being elected to the British Academy of Art as a landscape painter, Alsatian-born artist Philippe Jacques de Loutherbourg was hired by the wealthy young aesthete William Beckford to prepare a private birthday spectacle at his mansion in Wiltshire. De Loutherbourg, who was also chief scenographer at Drury Lane theatre and the inventor of a recent commercial “moving picture” entertainment called the Eidophusikon, promised to produce “a mysterious something that the eye has not seen nor the heart conceived.” Beckford wanted an Oriental spectacle that would completely ravish the senses of his guests, not least so that he could enjoy a sexual tryst with a thirteen year old boy, William Courtenay, and Louisa Beckford, his own cousin’s wife. The resulting three day party and spectacle staged over Christmas 1781 became one of the scandals of the day, and ultimately forced William Beckford into decades of exile in Europe to escape accusations of sodomy. However, this Oriental spectacle also had a special significance for the history of Romantic aesthetics and modern-day cinema. Loutherbourg and Beckford’s collaboration provided the inspiration for William to write his scintillating Gothic novel, Vathek, and impelled Philippe himself into revising his moving-picture program in dramatically new ways. Ultimately this saturnalian party of Christmas 1781 constituted a pioneering experiment in applying the aesthetic of the sublime to virtual reality technology. It also led Loutherbourg to anticipate the famous nineteenth-century “Phantasmagoria” of French showman, Gaspard Robertson, by producing in 1782 a miniature Gothic movie scene based on the Pandemonium episode in Milton’s Paradise Lost.

scholarly journals A Brief History of the New Constitutionalism, or “How We Changed Everything So That Everything Would Remain the Same”

1998 ◽  
Vol 32 (2) ◽  
pp. 250-300 ◽  
Author(s):  
Michael Mandel
Keyword(s):  
Nineteenth Century ◽  
The Novel ◽  
Main Character ◽  
History Of ◽  
Italian Unification

The Italians have a word for what I want to say about modern constitutionalism: “gattopardesco,” that is “leopardesque”, not as in the animal but as in the novelThe Leopardby Tomasi di Lampedusa. The novel is about a noble Sicilian family at the time of the unification of Italy in the mid-nineteenth century. Italian unification was mainly a matter of the northern Savoy monarchy of Piemonte conquering the peninsula and vanquishing the various other monarchs, princes, etc., including the Bourbon rulers of Sicily and Naples. But there were other elements about and stirring up trouble, anti-monarchist and even socialist elements. In a scene early in the novel, the Sicilian Prince of Salina, the main character, is shocked to learn that his favourite nephew, Tancredi Falconeri, is off to join the invading northerners. He remonstrates with the boy:You're crazy, my son. To go and put yourself with those people … a Falconeri must be with us, for the King.

scholarly journals The Difficulty of Historical Work in the Nineteenth-Century Museum and the Thackeray Novel

2012 ◽  
Vol 67 (1) ◽  
pp. 29-57 ◽  
Author(s):  
Dehn Gilmore
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Historical Novel ◽  
The Novel ◽  
Costs And Benefits ◽  
The Past ◽  
Important Impact ◽  
Full Reconstruction ◽  
History Of ◽  
The Times

This essay suggests that conservation debates occasioned by the democratization of the nineteenth-century museum had an important impact on William Makepeace Thackeray’s reimagination of the historical novel. Both the museum and the historical novel had traditionally made it their mission to present the past to an ever-widening public, and thus necessarily to preserve it. But in the middle of the nineteenth century, the museum and the novel also shared the experience of seeming to endanger precisely what they sought to protect, and as they tried to choose how aggressive to be in their conserving measures, they had to deliberate about the costs and benefits of going after the full reconstruction (the novel) or restoration (the museum) of what once had been. The first part of this essay shows how people fretted about the relation of conservation, destruction, and national identity at the museum, in The Times and in special Parliamentary sessions alike; the second part of the essay traces how Thackeray drew on the resulting debates in novels including The Newcomes (1853–55) and The History of Henry Esmond (1852), as he looked for a way to revivify the historical novel after it had gone out of fashion. He invoked broken statues and badly restored pictures as he navigated his own worries that he might be doing history all wrong, and damaging its shape in the process.

The Ceremony of Innocence: Charles Dickens' A Christmas Carol

PMLA ◽  
1975 ◽  
Vol 90 (1) ◽  
pp. 22-31 ◽  
Author(s):  
Elliot L. Gilbert
Keyword(s):  
Nineteenth Century ◽  
Charles Dickens ◽  
Case History ◽  
Spiritual Recovery ◽  
The Face ◽  
History Of

AbstractSophisticated readers of A Christmas Carol, moved though they may be by the dramatic reformation of Scrooge, are frequently inclined to question the psychological validity of the old man's change of heart. Far from being a sign of the story's inadequacy, however, this divided reaction is the key to its effectiveness. Dickens' chief target in A Christmas Carol is Scrooge's nineteenth-century rationalism, and the reader's skepticism about the old man's moral and spiritual recovery is an exact analogue of that rationalism. What the reader's delight, in the face of his skepticism, suggests, therefore, is that there is a level of the story on which Scrooge's regeneration is entirely authentic; that if A Christmas Carol is less than convincing as a psychological case history of an elderly neurotic temporarily reformed by Christmas sentimentality, it is certainly a success as the metaphysical study of a human being's rediscovery of his own innocence.

Nowhere Man

2013 ◽  
Vol 36 (3) ◽  
pp. 209-230
Author(s):  
Emily Frey
Keyword(s):  
Nineteenth Century ◽  
Reception History ◽  
Russian Society ◽  
The Novel ◽  
History Of The Novel ◽  
Public And Private ◽  
Hands On ◽  
History Of ◽  
Emotional Identification ◽  
Key Questions

Abstract In the opera that bears his name, Evgeny Onegin often seems remarkably inconsequential, a “superfluous man” among Russian society and nearly such in his own tale. Critics from Hermann Laroche to Catherine Clément have lamented not only the triviality of Evgeny's character but the flavorlessness of his music—a deficiency cast into relief by the compelling and pervasive musical presence of Tatiana, the too-eventual object of Evgeny's affections. This imbalance, a departure from Pushkin (whose Tatiana is ever sketchily drawn, and indeed almost mute), has often been attributed to Chaikovsky's well-publicized emotional identification with his heroine. Onegin's blankness thus becomes the product of a composerly flaw: Chaikovsky's inability to portray convincingly in music a character dissimilar to his own. But the Evgeny Onegin Chaikovsky inherited was not only Pushkin's. It was a cultural palimpsest, a text written on and written over by virtually every major intellectual figure in nineteenth-century Russia. By the time Chaikovsky got his hands on them, Pushkin's heroes were entangled in some of the century's most urgent debates: about the ethics of action versus reflection, the slippage between public and private identities. This article traces the constructions of Evgeny and Tatiana in a series of nineteenth- century readings of Evgeny Onegin, examining the ways in which the opera responds to and transforms key questions from the reception history of the novel. Among the texts considered are works by Herzen, Belinsky, and Dostoevsky, whose (in)famous “Pushkin Speech” was the opera's nearexact contemporary. From these readings, and the myriad images of Evgeny and Tatiana they present, emerge insights into a broader discourse about the nature of subjectivity in Europe's only autocracy.

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