#jean martin charcot

[sensitivedead]

Iconographie Photographique de la Salpetriere pub.1878

[tenth-sentence]

Charcot believed that women would be a critical factor in this struggle, and his investigation of hysteria "offered a scientific explanation for phenomena such as demonic possession states, witchcraft, exorcism, and religious ecstacy."

"The Body Keeps the Score: Mind, brain and body in the transformation of trauma" - Bessel van der Kolk

[la-salpetriere]

I recently picked up a copy of Steve Parker’s “Medicine: A Definitive Illustrated History” which I found to be an excellent read. It touched on medical practices from the earliest days to present medical advances. For those whom it interests, there is a section on the work of Jean-Martin Charcot. While it isn’t quite as nuanced as some books focusing solely on his work, it remains a great reference for an overview of his scientific achievement. Of course he will stay a controversial figure (for good reason) it is important not to forget the bridge he made between mental illness and true science, letting those ridden with mental afflictions to be as one who is sick.

[whats-in-a-sentence]

Also in contrast to Charcot, whose research focused on understanding the phenomenon of hysteria, Janet was first and foremost a clinician whose goal was to treat his patients.

"The Body Keeps the Score: Mind, brain and body in the transformation of trauma" - Bessel van der Kolk

[diana-andraste]

Women's imaginary is inexhaustible, like music, painting, writing: their stream of phantasms is incredible.

―Hélène Cixous, The Laugh of the Medusa

Read Jean-Martin Charcot and the pathologization of ecstasy

[bargainsleuthbooks]

#ARCReview #TheMadwomenofParis by #JenniferCodyEpstein #NewBooks #July2023Books #NetGalley #HistoricalFiction #BallantineBooks

“I didn’t see her the day she came to the asylum..." An upcoming #historicalfiction book, #Themadwomenofparis, explores the life of women at #Salpetriere asylum in #France in the #19thcentury #jennifercodyepstein #July2023books #Netgalley #ballantinebooks

“I didn’t see her the day she came to the asylum. Looking back, this sometimes strikes me as unlikely. Impossible, even, given how utterly her arrival would upend the already chaotic order of things at the Salpêtrière—not to mention change the course of my own life there.” When Josephine arrives at the Salpêtrière she is covered in blood and badly bruised. Suffering from near-complete amnesia,…

[teresawilson1]

The Uncanny in Art

Giving Fear A Face: The Anxious Mind

A Personal Overview of the Theories around the Concept of the Uncanny in Art

                Paula Rego, Little Brides with Their Mother, 2009-10

The Uncanny is a type of anxiety, experienced by the viewer and triggered by the artist’s personal experience.

Elena Crippa

It may seem to be a paradox that the type of art that can be labelled ‘Uncanny’ and appears to be unreal, bizarre, incomplete, grotesque or in an 'in-between state', nevertheless conjures up feelings in the viewer that seem very 'real'.   As Francis Bacon (1909 – 1992) described, during an interview with the art critic David Sylvester in 1950, reality, to him, was nothing else but a ‘series of sensations and ideas that occur in the consciousness of each individual’. (Crippa, p83)

Paula Rego (1935-2022) was another artist who had lived through the period of post-World War II Europe marked by the anxiety that followed the war - concentration camps, suffocating dictator regimes and threat of nuclear war (Crippa).  She also produced paintings which have the uncanny elements that she has described as being an attempt to ‘give fear a face’ (Warner).  Marina Warner has written that Rego ‘expresses her own ambiguous states of uncertainties, mysteries and doubts into that territory, desisting from offering explanations or asking for any’.

Rego and Bacon are two examples of important 20th century artists whose work incorporated elements of the concept of the uncanny, a thread which works its way in and out of the work of figurative and non-figurative art.  I will go on to discuss many others in further posts, including my own practice and show how the uncanny reveals itself - its strange identity.  I will focus on the idea of the uncanny as it is revealed in the subject (and object) of the human body. 

But first, the question could be asked - how can this elusive concept of the uncanny be defined? Did it emerge only in the 1920’s in Europe, or has it always existed in the world?

It is nowadays the norm to hold the view that anxiety, fear, and concepts such as the uncanny (which express anxiety in a visual form) are experiences that occur to human beings in the site of the psyche (the mind).  However, it was not until the late 19th century that Sigmund Freud (1856-1939) came to believe that the symptoms of his patients were caused by conflict in the unconscious mind and with the ‘failure to deal with invisible, unconscious and primarily sexual psychological desires’ and not as had been thought previously, symptoms of a disease of the physical nervous system. (Freeman, p15)

Freud had come to Paris in 1885 to study ‘hysterics’ under Jean-Martin Charcot and became interested in the connection between the mind and body (Tomley,pviii).  It is largely a legacy of Freud’s work that anxiety has become so important in today’s psychological and psychiatric thinking (Freeman, p4).  Freud continues to be relevant today as more and more of his insights become proved by neuroscientific discoveries.  For example, as Eric Kandel has pointed out in ‘The Age of Insight’ (2012), ‘most of our mental life, including most of our emotional life, is unconscious at any given moment’.  Research also suggests that ‘images exert a much more powerful influence on emotions than do thoughts (Freeman, p27), which explains the power and effect on the viewer of uncanny art.

It is important to remember that although the uncanny did not exist as a theory until being written about by Freud in his essay ‘das Unheimlich’ in 1919, uncanny-like images had appeared in art through the centuries in both European and non-European cultures.  Connected with the supernatural, magic and religion it shows up in ‘primitive art’ for instance and through the history of the art of Catholicism.   Jane Neal, writing in ‘Uncanny Tales’, says that Freud tells us that ‘apparent death and re-animation of the dead have been represented as most uncanny themes.  She talks about the otherworldliness od Ana Maria Pacheco’s work which comes from the primitive ‘magic’ cultures of Brazil as well as the ritual and superstition running through the Catholicism that she experienced growing up.  The doll is the perfect example of an uncanny art form, connected as it is with ideas of witchcraft, religious statuary, and as an imaginative plaything/doll.

Thus, the uncanny has always been with us, just as dreams, imagination and fears have been expressed by humans in art.  In her essay ‘Dream Realism’, Marina Warner (Warner,p31) describes Paula Rego’s approach to art making as a ‘beautiful grotesque’ because she reflects the powerful mixed feelings she inspires, looking within herself as a site of ‘collective memory nourished by legends and fairy tales’.  

The Jungian feminist psychologist and ‘teller of the old stories’ Clarissa Pinkola Estes wrote in ‘Women Who run With the Wolves’ that in ‘…a single human being there are many other beings, all with their own value, motives, and desires…there is also within the psyche an innate contra naturam aspect, an ‘against nature’ force.  The contra naturam aspect opposes the positive: it is against development, against harmony…it is a derisive and murderous antagonist that is born within us.’ (Estes,p35,).  The first chapter of Este’s seminal work is devoted to recognizing this predator in the psyche for what it is, and from recognition comes the instinctive building of intuitive ‘muscle’ so that we learn to instinctively know when something ‘is not right’.  The uncanny lives in the realm of ‘not quite right’ and although its presence may leave the viewer with a sense of unease, it is a clue to a truth revealed or danger thwarted, a mirror reflecting something we may not want to look at too closely, but we must examine and take on board, or we cannot move on in our lives.

Alexandra Kokoli explores the nature of repression in the realm of domesticity in her book ‘The Feminist Uncanny: In Theory and Art Practice’ (2016).  She explains that the starting point for the ‘female uncanny’ is the ‘…deliberate unsettling quality that many cultural artefacts informed by feminism continue to possess…the fraught but fertile relationship between feminism and the uncanny and by extension Freudian psychoanalysis’ (Kokoli,p3).

Louise Bourgeois, Femme Maison, 1982, Plastic doll and clay.

Repression and entrapment in the unhomely domestic environment (‘unhomely’ are a literal translation of Freud’s das Unheimlich) is explored by Louise Bourgeois’ uncanny hybrids of women and house in her series of works entitled ‘Femme Maison’.  Her later ‘cells’ are also prison-like structures, within which the viewer is invited to look inside an uncanny alternative domestic room filled with fetishized and emotionally charged collections of objects, doors, and symbols of ‘hysteria’.

As a final note on this overview of the theories surrounding the uncanny, I would like to mention the concept of the ‘Abject’.  Connected to both the uncanny and feminism, the theory of ‘abjection’ has been defined by Julia Kristeva in ‘Powers of Horror: An Essay on Abjection’ (1982) as ‘… a massive and sudden emergence of uncanniness which familiar as it might have been, in an opaque and forgotten life, now harries me as radically separate, loathsome’ (Kristeva, p51).  This then, is the uncanny taken to an extreme of the visceral, violent, or disgusting.  The repressed memory, the uncanny starting point, can no longer be recognized in the abject.  It is closer to the grotesque and is indebted to Surrealism (Kokoli, p53).  At the heart of abjection is the in-between, the ambiguous, immoral, a sinister experiment gone wrong.

            In the dark halls of the museum that is now what remains of Auschwitz, I see a heap of children’s shoes, or something like that, something I have already seen elsewhere, under a Christmas tree, for instance, dolls I believe.  The abjection of Nazi crime reaches its apex when death, which in any case, kills me, interferes with what, in my living universe, is supposed to save me from death: childhood, science, among other things.

Julia Kristeva Powers of Horror, (1982)

References

Crippa, E. ed., (2018). All Too Human: Bacon, Freud and a Century of Painting Life, exh.cat., Text by Elena Crippa. Tate, London.

Estés, C.P. Women who Run With the Wolves: contacting the Power of the Wild Woman. Rider, London. (1992)

Freeman, D and Freeman, J. Anxiety: A Very short Introduction. Oxford University Press, 2012.

Kokoli, A.M. The feminist Uncanny in Theory and Art Practice. Bloomsbury, 2016.

Kristeva, J. Powers of Horror: an Essay on Abjection. Trans. By Leon. S. Roudiez. Colombia University Press. NY. 1982.

Neal, J. (Essay) in Uncanny Tales. Exhibition Catalogue. FWA, Foundation of Women Artists. 2005

Tomley, S. (Introduction) to the Interpretation of Dreams by Sigmund Freud. The Psychology Classic. Capstone. 2020

Warner, M. (Essay) Dream Realism, in Paula Rego, Exhibition Catalogue. Ed. By Elena Crippa. Tate. 2005.

[silver-stargazing]

[Image ID in alt text]

Epilepticon Movie Marathon 2023

Augustine (2012) dir. Alice Winocour

Summary: An erotic biographical drama film about Louise Augustine Gleizes and her love affair with her neurologist, Jean-Martin Charcot, in the late 1800s.

Representation: Augustine has a violent seizure at her workplace early in the film that results in her being temporarily paralyzed in her right eye. For the rest of the film, she remains a patient at a hospital with little control over her life choices.

Augustine has many seizures throughout the film, including several that are intentionally triggered by Charcot in front of large crowds of onlookers to serve as a demonstration of the science behind seizures.

The framing of these seizures plays heavily into the sexualization of epilepsy, with several of Augustine's seizures filmed similar to how a masturbation scene would be filmed in an erotic film.

No first aid is given to Augustine during any of these seizures as, because of the era she lived in and the medical community's attitude towards people with seizures, she is meant to be viewed as an exhibition and not helped. She is regularly dehumanized, with even her own neurologist describing her as an "animal".

The word "epilepsy" is not used to describe Augustine's disorder and she is instead diagnosed as having "ovarian hysteria". As this film is a partial biography of the real-life Augustine, the use of this diagnosis term is accurate when recounting her particular experience.

Notes: The main plot of the movie follows a romance between a doctor and their patient. The power imbalance is addressed but may still be uncomfortable for some viewers.

There is full-frontal nudity at several points in this film including a sex scene. There are moments of graphic on-screen animal death. A woman has a brief monologue about intentional self harm.

The film is entirely in French. English subtitles were available.

[Image ID: Three screenshots from Augustine (2012):

Image 1: Augustine, a woman with long black hair in a braid, looks off to the right with a concerned expression. Her right eye is closed due to temporary paralysis.

Image 2: Augustine, a woman wearing only undergarments and a loose corset, and Charcot, a man who is fully dressed in a dark suit, embrace in Charcot's office.

Image 3: Augustine is laying down, perched between two chairs with her neck resting on the head of one chair and her feet resting on the head of another further away chair. She is wearing a dress with a striped skirt that drapes down in the space between the chairs.

/end ID]

[hazalusi]

HISTRIONIC PERSONALITY DISORDER

Hysteria or histrionic personality disorder, which holds a fundamental place in the fields of psychiatry and clinical psychology, is a condition within the neurotic disorder group. Research on this disorder was initially conducted by researchers such as Jean Martin CHARCOT, Pierre JANET, Josef BREUER, and Sigmund FREUD. Hysteria has contributed to the birth of psychoanalysis.

According to the Freudian perspective, hysteria or histrionic personality disorder is the expression of suppressed feelings, often related to sexuality, residing in the individual's subconscious. The view that negligent parental attitudes in the parent-child relationship are one of the contributing factors to the emergence of hysteria is widely accepted.

The diagnosis of HISTRIONIC PERSONALITY DISORDER indicates a pattern of excessive emotionality and a craving for attention. These individuals feel discomfort when they are not the center of attention. They believe that relationships should be closer than they actually are. Emotional displays, seductiveness, verbal exaggeration, susceptibility to suggestion, manipulative suicide attempts, and inconsistency stand out. The low functionality in directing the actions of a histrionic individual is followed as a reflection of the mental turmoil they experience. The general characteristics of histrionics include self-centeredness, a habit of exaggerating everything, a desire to attract attention, superficiality in interpersonal relationships, and a desire to escape from the existing order through inconsistent emotional states. Additionally, histrionics being seductive and flirtatious, attempting suicide, and being able to be cheerful in the mornings but melancholic in the evenings are established behavioral patterns in those experiencing this disorder.

Generally, the prevalence in society is around 2-3%.

**TREATMENT**

First and foremost, patients exhibiting HISTRIONIC PERSONALITY DISORDER are generally not motivated for treatment. They consider their own emotional, cognitive, and behavioral patterns to be normal. They propose changes in external conditions rather than themselves as a solution. According to them, they remain the same, and only the environment changes.

Histrionic Personality Disorder, which is a personality disorder, is usually treated by a psychiatrist and psychologist, with a particular emphasis on psychotherapeutic methods. Group therapy and family therapy are generally not recommended as the first choice for the treatment of histrionic personality disorder. Individuals with this disorder usually do not want environments where they are not the center of attention, leading to a misconception in treatment. In cases where HISTRIONIC PERSONALITY DISORDER patients experience severe symptoms, medications recommended by the relevant psychiatrist can be beneficial.

[fabiansteinhauer]

zum 13.6.

"Niemand hat die[...] Zeitlichkeit der Kunst so eindrücklich zur Darstellung gebracht wie Georges Didi-Huberman. "Der Anachronismus", schrieb er 1990 in seiner Studie "Vor einem Bild", "ist in der Geschichte nicht etwas, dessen man sich unbedingt zu entledigen hätte, sondern mit dem man sich auseinanderzusetzen hat." Für das Verständnis der Florentiner Fresken Fra Angelicos bedeutete das beispielsweise, nicht nur ihre historische Symbolik zu entschlüsseln, sondern auch jenen Teilen des Bildes Beachtung zu schenken, die im Raster des gesicherten Wissens bedeutungslos erscheinen mussten - ein Stück weißer Wand, eine Zone ungegenständlicher Malerei. Diese Überlegungen führten Didi-Huberman zu den Arbeiten AbyWarburgs, in denen er ein ähnliches Interesse für die nichtlinearen Übertragungswege der Kunst fand. Warburgs "Theorie des Formengedächtnisses", so Didi-Huberman, vollzieht ein Denken in "Sprüngen und Latenzen, überlebenden und anachronistischen Formen". [...]

Dazu gehörte die Einsicht, dass ein am Ideal des Meisterwerks geschulter Kunstbegriff wesentliche Teile der historischen Bildproduktion nicht zu fassen vermochte. Eine Pionierarbeit war daher 1982 die Studie zu den fotografischen Inszenierungen der Hysterie in Jean-Martin Charcots Pariser Nervenheilanstalt Salpêtrière, die zeigte, wie eng auch das vermeintlich objektive Wissen der Naturwissenschaften an das Wirken der Einbildungskraft gebunden war. Die Ausstellung "L'empreinte" im Centre Pompidou brachte die Kunst des zwanzigsten Jahrhunderts mit der uralten Technik des Abdrucks zusammen, wie man sie von Siegeln, Reliquien und Totenmasken kannte. Auch hier tauchte das "dialektische Bild" wieder auf: Der durch Berührung entstandene Abdruck ist Zeugnis einer Existenz, erkennbar ist er aber erst, wenn diese Existenz vergangen ist. In einem Punkt jedoch wich Didi-Huberman von den Prämissen der bildwissenschaftlichen Diskussionen ab: An dem überflüssigen Paragone zwischen Bild und Wort, der das eine Medium gegen das andere ausspielen wollte, hat er sich nicht beteiligt. Denn in seiner Arbeit ist die Sprache seit jeher integraler Teil des Denkens, statt bloß Beiwerk und stilistische Ausschmückung zu sein. Eine andere Art des Wissens Als Didi-Huberman 2015 in Berlin den Internationalen Forschungspreis der Max Weber Stiftung erhielt, überraschte er das Publikum mit einer sehr persönlichen Danksagung. Darin kam die Rede auf seine Mutter, Estelle Huberman, die Anfang der Vierzigerjahre neben Versen von Baudelaire und Verlaine auch Gedichte von Goethe, Novalis und Hölderlin in ihr Notizbuch geschrieben hatte - in dem von ihr geliebten Deutsch, das später zur Sprache der Henker wurde, die einen Teil ihrer Familie auslöschten.

Mit der Schoa hat Didi-Huberman sich in seinem Buch "Bilder trotz allem" auf seine Weise auseinandergesetzt. Das Buch handelt von jenen vier Fotografien, die eine Gruppe jüdischer Häftlinge im Sommer 1944 unter Lebensgefahr in Birkenau aufgenommen hat. Der These von der Undarstellbarkeit der Schoa hielt er die Existenz dieser Fotos entgegen: Auch wenn sie das historische Geschehen unmöglich angemessen repräsentieren konnten, so waren sie doch wertvolle Überreste, "Fetzen des Nachlebens". Das Buch war aber auch eine Einladung an Historiker, in Bildern mehr zu sehen als Informationsquellen, nämlich Zugänge zu einer anderen Art des Wissens. Die Unschärfe der Fotos erscheint dann nicht länger als Defizit und Mangel an sachdienlicher Information, sondern als Ausdruck existenzieller Dringlichkeit, als Akt des Widerstands und Botschaft an eine zivilisierte Außenwelt. Georges Didi-Huberman hat sich einmal als "freies Elektron" beschrieben und damit auf seine Umlaufbahn außerhalb der Machtzentren des akademischen Betriebs angespielt. Seine Leser müssen ihm für diese Konzentration auf das Geschäft des Schreibens danken. Ein "freies Elektron" ist kein Forschungsmanager, kein Trendsetter und kein Drittmittelakrobat, sondern Autor und Denker - im Fall von Georges Didi-Huberman: Kunsthistoriker und Philosoph, Schriftsteller und Wissenschaftler, Bote zwischen Wissen und Einbildungskraft. Geschichte wiederholt sich nicht. Aber manchmal erzeugt sie schöne Konstellationen. Heute feiert Georges Didi-Huberman seinen siebzigsten Geburtstag, am gleichen Tag, an dem 1866 AbyWarburg geboren wurde."

Peter Geimar

[plaques-memoire]

Plaque en hommage à : Joseph Babinski

Type : Lieu de travail

Adresse : Hôpital de la Pitié-Salpêtrière, 43-83 boulevard de l'Hôpital, 75013 Paris, France

Date de pose : Inconnue

Texte : De 1895 à 1922, Joseph Babinski, illustre neurologue, membre de l'Académie de médecine, enseigna dans ce bâtiment

Quelques précisions : Joseph Babinski (1857-1932) est un médecin français d'origine polonaise. Disciple de Jean-Martin Charcot, il travailla de nombreuses années à l'hôpital de la Pitié-Salpêtrière. Il est particulièrement connu pour ses contributions à la neurologie (il compte parmi les fondateurs de la Société française de neurologie), et travailla notamment à mieux distinguer les syndromes neurologiques organiques des troubles psychiatriques. Il étudia également les réflexes du corps humain, le réflexe cutané plantaire étant encore aujourd'hui appelé réflexe de Babinski. Il est également le co-auteur d'une pièce de théâtre, Les Détraquées. Il meurt des suites de la maladie de Parkinson.

[la-salpetriere]

Jean-Martin Charcot and his pet monkey, Rosalie

[memoriesfrombooks]

Inspired by the history of La Salpetriere hospital for “hysterics”, The Madwomen of Paris presents a fictional account of the days of this asylum under Jean-Martin Charcot. It presents the story, of scientific discovery, but, even more so, of women used and abandoned for the purposes of others, and of a dream of escape. I find the premise of the book - the history and the science - fascinating. However, the telling of story unfortunately does not work for me. 

Reviewed for NetGalley.

[atessusa]

The Charcot Shower: A Revolutionary Therapy for Neurological Health

A Charcot shower is a specialized hydrotherapy treatment designed to enhance circulation, improve muscle tone, and aid in the rehabilitation of individuals with neurological conditions. Named after Jean-Martin Charcot, a French neurologist, this therapy involves alternating hot and cold water sprays that target specific areas of the body to stimulate the nervous system. Visit > https://tinyurl.com/yc36h5mx

[prendresoindemoi]

Le Lien Historique entre l'Hypnose de Spectacle et l'Hypnose Médicale

Dans le domaine de l'hypnose, deux facettes se dessinent : l'hypnose de spectacle et l'hypnose médicale. Bien que ces pratiques puissent sembler opposées, leur histoire est profondément interconnectée. À travers ce billet, nous allons explorer les origines, les évolutions et les interactions entre ces deux formes d'hypnose.

Les Origines de l'Hypnose

L'hypnose trouve ses racines dans des pratiques anciennes, notamment dans l'Égypte antique, où l'on utilisait des rituels et des techniques de transe pour soigner des maladies. Ces pratiques ont évolué au fil des siècles, et au XVIIIe siècle, le médecin allemand Franz Anton Mesmer a popularisé le concept de « magnétisme animal », croyant que les maladies pouvaient être guéries par l'influence d'un fluide magnétique.

Mesmer a mis en place des séances où les patients étaient placés dans un état de transe collective, ce qui a ouvert la voie à l'hypnose de spectacle. Cependant, ses méthodes ont été critiquées, et une commission royale, comprenant Benjamin Franklin, a conclu que les effets observés étaient dus à la suggestion plutôt qu'à un fluide magnétique.

La Transition vers l'Hypnose de Spectacle

Au fil du temps, l'hypnose de spectacle a commencé à se développer, avec des praticiens tels que James Braid, qui a inventé le terme « hypnose » en 1843. Il a démontré que l'hypnose pouvait être induite par la fixation de l'attention sur un objet. Les spectacles d'hypnose sont devenus populaires au XIXe siècle, mêlant magie et hypnose.

Des magiciens comme Donato et d'autres ont utilisé des techniques hypnotiques dans leurs performances, attirant l'attention du public et suscitant l'intérêt pour l'hypnose. Cependant, l'hypnose de spectacle a souvent été perçue comme une forme de divertissement, parfois au détriment de sa reconnaissance médicale.

L'Hypnose Médicale et ses Pionniers

Parallèlement à l'hypnose de spectacle, des médecins ont commencé à explorer l'hypnose comme outil thérapeutique. Des figures comme John Elliotson et James Esdaile ont utilisé l'hypnose pour traiter des patients souffrant de douleurs chroniques et de maladies diverses. Ces pionniers ont démontré que l'hypnose pouvait avoir des applications médicales significatives.

À l'Institut de la Salpêtrière à Paris, Jean-Martin Charcot a étudié l'hystérie et l'hypnose, tandis que Sigmund Freud, influencé par ces travaux, a exploré l'inconscient à travers l'hypnose. Cependant, avec l'émergence de la psychanalyse, l'hypnose a perdu du terrain dans le domaine médical, même si certaines pratiques ont persisté.

Les Interactions entre les Deux Pratiques

Malgré leur séparation apparente, l'hypnose de spectacle et l'hypnose médicale ont toujours interagi. Les techniques utilisées par les hypnotiseurs de scène, telles que la suggestion et la transe, sont également fondamentales en hypnose thérapeutique. Des praticiens modernes reconnaissent l'importance d'intégrer les connaissances issues de l'hypnose de spectacle dans leurs pratiques médicales.

Des événements récents ont mis en lumière cette synergie, avec des hypnotiseurs de spectacle partageant leurs techniques avec des professionnels de la santé. Cela a permis de redéfinir l'hypnose comme un outil polyvalent, capable d'être utilisé à la fois pour le divertissement et la guérison.

Les Défis Contemporains

Malgré les avancées, des défis subsistent. L'hypnose est souvent mal comprise, tant dans le grand public que parmi les professionnels de la santé. La stigmatisation liée à l'hypnose de spectacle peut influencer la perception de son utilisation médicale. Les praticiens doivent travailler à éduquer le public sur les bénéfices de l'hypnose, tout en maintenant des normes éthiques stricte.

De plus, avec la montée en popularité de l'hypnose, il y a un besoin croissant de formation et de certification appropriées pour les praticiens. Cela garantit que les techniques sont utilisées de manière sûre et efficace, que ce soit sur scène ou dans un cadre thérapeutique.

En somme, l'hypnose de spectacle et l'hypnose médicale partagent une histoire riche et complexe. Alors que les deux pratiques continuent d'évoluer, il est essentiel de reconnaître leur interconnexion. L'hypnose, qu'elle soit utilisée pour divertir ou guérir, reste un domaine fascinant, rempli de potentiel pour améliorer la vie des gens.

Source Youtube : Conférence du Dr Lemaire : Lien historique entre l'hypnose de spectacle & médicale

[recentlyheardcom]

A Serious Complication Of Diabetes

Author Martin North Published September 5, 2014 Word count 534 Background Charcot foot (neuropathic arthropathy), originally named for French anatomical pathologist and father of modern neurology Dr. Jean-Martin Charcot, is a serious disease indicative of neuropathy or nerve damage. Bones in the foot become readily fractured and feeble caused by damage in the peripheral nervous system that…