Quelle: http://www.degruyter.com/view/j/fmst.2014.47.issue-1/fmst-2014-0118/fmst-2014-0118.xml
“[…] mein Recht muss mir werden!” Hermann Bahr’s Tragicomedy Der Querulant (1914). At the end of the eighteenth century, people who became notorious for their excessive engagement in legal proceedings started being labeled as “querulents” or “paranoid litigants”. The term “querulents” first appeared in the General Order of the Court for the Prussian States (Allgemeine Gerichtsordnung für die Preußischen Staaten) from July 6, 1793. From there on, the spectrum of juridical measures undertaken against the so-labeled litigators included classifying these persons as ineligible for legal action and psychiatric hospitalization. The paper discusses to what extent Hermann Bahr rearranges psychiatric and legal knowledge about this special type of the complainer in his tragicomedy Der Querulant, premiered in 1914. This concerns, first, the theatricality of the body and speech, secondly, the use of cultural techniques of writing and, thirdly, conflicting notions of justice. Therefore, the paper analyzes the aesthetic function of querulous behavior in the dramatic structure of the play from the point of view of both media theory and literary theory.
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1002%2Fbewi.201401694
Mental Images: Towards a Media History of the Psyche around 1900. Presupposing that visual practices are inherent to the social constitution of knowledge, this article suggests juxtaposing photographs and films produced in a psychiatric environment to popular films run in theaters around 1900, thus identifying cinema’s particular “Denkstil” (Fleck). Rejecting science’s dominating paradigm of visual objectivity (Daston/Galison), the visual apparatus [dispositif] of early cinema facilitates subjective experience of unreason and irrationality and thus initiates a different epistemological approach to knowledge as self-knowledge of a modern, self-reflexive subject. This is particularly evident in early cinema’s depiction of the psyche, which does not solely focus on the physical manifestation of the ‘mad’, ‘insane’ body, but also visualizes the subject’s inner life: technical means like montage, multiple exposure or stop motion can be employed to illustrate subjective visions, fantasies or dreams. Thus, the invisible mind becomes visible as the “unthinkable within thinking” (Deleuze), while the subject is invited to participate in cinema’s “gay science” (Nietzsche).
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1002%2Fbewi.201401698
Gazing into the Depths of the Soul: Hypnotism in Documentary and Instructional Film (1920–1936). Although part of the medical fold since the 1870s, hypnosis was long relegated to the margins, recognised and used by only a relatively small group of medical professionals. In the decades around 1900 hypnotic techniques were monopolised as a form of medical treatment through a long and in no way linear process. Hypnosis of laymen was vehemently opposed, however, denounced as being far too dangerous. And yet, medical participation in the aura of spectacular intervention into the human psyche garnered support. The medium of both documentary and instructional film served an important function in this regard, conveying popular interest in acknowledging hypnosis as a scientific method. On the basis of four medically accredited films on hypnosis from 1920 to 1936, this paper attempts to investigate how medical experts and these genres, as part of their effort to claim hypnosis from the realm of public spectacle and parapsychological experimentation, worked to stabilise hypnosis as a purified form of medical and psychiatric practice.
Quelle: http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1002%2Fbewi.201401697
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