Art Criticism - The State University of New York

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36 Freud and Breuer, 37. 37 Su'ch a psycho/soma relationship is a key link to the larger issue of this paper, that is, decadence. 38 The Goncourt Brothers often stated that they were hysterical, they just did not understand why. 39 Edmund continued to write the Journal after Jules' death in 1870. See Robert Baldick, ed. Pagesfrom the Goncourt Journal (New York: Penguin Books, 1984.) . 40 David Weir, Decadence and the Making of Modernism (Amherst: University of Massachusetts Press, 1995), 46. 41 Robert Baldick, ed. Pages from the Goncourt Journal (New York: Penguin Books, 1984) .' 42 Ibid. vi. 43 Edmund details his first sexual experience with a hideous creature "with a rhomboidal torso fitted with two little arms and two little legs, which, in bed, made her look like a crab on its back." In his initial sexual experience, Jules contracted syphilis that eventually caused his death twenty years later . . Throughout their lives, both men displayed disgust for relations with women: "one week of love disgusts us for three months." (Robert Haldick, ed~ Pages from the Goncourt Journal, vi). 44 Weir, 46. 45 Weir, 48. 46 Ibid, 5i. 47 Elaine Showalter WI. 48 Elaine Showalter 83. 49 Veith, 274. 50 Christopher Bollas' Hysteria traces the history of hysteria through Freud and recognizes hysteria under its new name, borderline personality disorder. 51 See Elaine Showalter Hystories: Hysterical Epidemics and Modern Media (New York: Columbia University Press, 1997) 52 Quoted in Showalter, 17. 53 I am using the term "crowd" in an abstract sense, meaning the general masses as influenced by various media-print, television, films, etc. 54 Robert E. Park, The Crowd and the Public and Other Essays (Chicago: University of Chicago Press, 1972), II. 55 Park, 12. 56MPD was renamed "Dissociative Identity Disorder" in the DSM-IV, 1994. However, much of the discourse about this disorder, which I want to focus on here, was written before 1994, which is why I will use the older term MPD. 57 Showalter, 165. 58 Showalter 168. Originally in Mark Pendergrast, Victory of Memory: Incest Accusations and Shattered Lives (Hinesburg, Vt.: Upper Access, 1995), 170-1. 59 Nordau, 36. 60 I do not mean here to dismiss CFS and MPD as "fictional maladies." I recognize and respect their reality, but they have to be connected to the larger tradition of 102 Art Criticism
hysteria. 61 Ibid, 537. 62 Ibid, 540. 63 For more information see Showalter's Hystorj.es, Hysterical Epidemics and ,Modern Media. 64 Princess Diana died in SalpAtriAre hospital, the very place where modem hysteria was popularized under Charcot. . 65 Beth B's work appe3red along with many artists in the sbow entitled "Spectacular Bodies: the Art and Science of the Human Body from Leonardo to Now" Hayward Gallery, LOndon, England. October 2000-January 2001. 66 Quoted in Martin Kemp and Marina Wallance Spectacular Bodies (Berkeley: University of California Press, 1997), 177. 67 Kemp and Wallace, 183. 68 Showalter 14. Originally in Phillip R. Slavney, Prescriptives on "Hysteria" (Baltimore: Johns Hopkins University Press, 1990), 1-2.' 69 Showalter, 14 70 Ibid, 14. vol. 17, no. 1 103
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Volume 17; Number I ART C.RIT1C1SM
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Art Department State University of
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4 Art Criticism
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Breaking the Picture Plane: Reflect
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whale saga (more recently Hesse or
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and many of whom were born in Europ
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printed a bullet track fired into a
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music that (like the Mona Lisa) has
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causing by neglect a bitterness amo
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preserved some of the exuberance th
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which inspiration was stabilized. 5
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pain in the eyes of the cripple giv
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Bruckner did in his music) was not
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mortify into hard edges and mushy c
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with the sleep of reason. In the Am
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cent. Its fluidity of happy acciden
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And yet I can imagine these atrocit
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erature the not very evocative work
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maiden" of Marxism (unless things g
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ic he realize that artists suddenly
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The little nonsense that wise men r
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desensitized by the imitated means
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symbolism? If the arts only exist t
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The Femme Fatale as seen in the wor
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Huysmans parallels the life of De R
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ask for the unreasonable and receiv
Page 54 and 55: ennui or physical distress leads th
Page 56 and 57: ences cited herein, the femme fatal
Page 58 and 59: period."2 He traced the tradition b
Page 60 and 61: suggestion to the artist and the po
Page 62 and 63: of Moreau's works is vague and myst
Page 64 and 65: ing her as the femme fatale, or sub
Page 66 and 67: The subtitle Satanic Decameron evok
Page 68 and 69: completely mythical. Coupled with a
Page 70 and 71: Moreau was very much a man of his t
Page 72 and 73: themes and images are often decaden
Page 74 and 75: p. 7-8; cited in Pierre Louis Mathi
Page 76 and 77: Between World War I and World War I
Page 78 and 79: shown distrust in the new styles. T
Page 80 and 81: These passages were meant to help g
Page 82 and 83: man public was voicing disapproval
Page 84 and 85: y old masters that were more suitab
Page 86 and 87: Notes 1 Alfred Barr, "Art in the Th
Page 88 and 89: From Diagnoses to Decadence: A Brie
Page 90 and 91: ate effort to reproduce fully an im
Page 92 and 93: patients. Charcot was often to be f
Page 94 and 95: Breuer attributed the presence of A
Page 96 and 97: still is traditionally associated w
Page 98 and 99: is not always recognized as such. H
Page 100 and 101: generation on which the multitude o
Page 102 and 103: 2 Elaine Showalter, The Female Mala
Page 106 and 107: Recasting the Art History Survey: E
Page 108 and 109: mode of self-consciousness that bes
Page 110 and 111: student-as-Other "calls" us to teac
Page 112 and 113: thesis of such descriptions into an
Page 114 and 115: In this final section of the essay,
Page 116 and 117: image-world, the picture opens up a
Page 118 and 119: history must itself be rethought in
Page 120 and 121: 15 Two of the most prominent propon
Page 122 and 123: power: from the premodern exercise
Page 124: ~fJed in the Unikd Smtc, .• 9 ~]~
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