In any consideration of the nature of suggestion we cannot omit reference to the extraordinary and startling phenomena which may sometimes be observed in hypnotized subjects. But it would be a mistake to look upon hypnosis as something uncanny, mysterious, and occult. Although we have even yet no thoroughly satisfactory theory of hypnosis, we understand it in general terms, and can bring it into line with other facts and phenomena of psychology known in everyday life. The hypnotic subject, and the (...) phenomena of hypnosis, can be explained firstly in terms of mental dissociation, of the tendency for certain forms of psychical activity to occur independently of the rest of the mind, independently of other considerations; and, secondly, in terms of suggestion, of increased suggestibility. And these two, the phenomenon of dissociation and the phenomenon of suggestibility, are not unrelated to one another. They are related, but not to the extent of being identical with one another. It was the Nancy School of Hypnotism, led by Bernheim, who considered that hypnosis could be explained in terms of suggestibility. (shrink)

The objection to R-S accounts that was raised by the possibility of external agents requires the acceptance of two premises, viz., that all R-S accounts allow for puppeteers and that puppeteers necessarily make us unfree. The Metaphilosophical reply shows that to the extent that puppeteers are more problematic than determinism per se, pup-peteers may be explicitly excluded since they violate our paradigm of free will. The Metaphilosophical reply also suggests that we should not expect our mature R-S account to supply (...) logically necessary and sufficient conditions for free will, but rather give us answers that agree with our intuitions regarding paradigms of free and unfree decisions. The Irrelevancy reply completed our reply to incompatibilists who continue to object that determinism per se destroys the R-S program. It may be debated whether my autonomy variable account is a satisfactory way to spell out the Irrelevancy reply, but I think that this type of approach suggests the way to vindicating the R-S view from an important type of objection. (shrink)

This article interrogates the way/s in which rival schools studying hypnotism in late 19th-century France framed what counts as valid evidence for the purposes of science. Concern over the scientific reality of results is particularly situated in the notion of simulation (the faking of results); the respective approaches to simulation of the Salpêtrière and Nancy schools are analysed through close reading of key texts: Binet and Féré for the Salpêtrière, and Bernheim for Nancy. The article reveals a striking divergence (...) between their scientific frames, which helps account for the bitterness of the schools’ disputes. It then explores Bernheim’s construction of scientific authority in more detail, for insights into the messiness entailed by theorizing hypnotism in psychical terms, while also attempting to retain scientific legitimacy. Indicative of this messiness, it is argued, is the way in which Bernheim’s (apparently inconsistent) approach draws on multiple epistemic frames. (shrink)

This paper is a historical study of stage hypnotism from the early nineteenth through the early twentieth centuries. The hypnotists' stage performances over this period reveal cultural tensions related to modernization. Public responses to these shows also indicate the shifting dynamics of reform. When mesmerists first toured the U.S. in the early nineteenth century, the hypnotic trance confirmed popular belief in the ultimate perfectibility of the individual and society. By the late nineteenth century, however, hypnotic shows seemed more a (...) model for human enslavement than liberation. Medical experts also began to express concern at the possible health damage hypnotism might inflict. Despite stage hypnotists' efforts to defend their art, hypnotism became increasingly marginalized as the growth of the middle class and of mass culture dictated an increasingly sanitized popular culture. (shrink)

We suggest that certain experiences reported by patients with schizophrenia show that priority, consistency, and exclusivity are not sufficient for the experience of willing an action. Furthermore, we argue that even if priority, consistency, and exclusivity cause the experience of being the author of an action, this does not mean that conscious will is an illusion.

In the elaboration of his soul-making theodicy, John Hick agrees with a controversial point made by compatibilists Antony Flew and John Mackie against the free will defense. Namely, Hick grants that God could have created humans such that they would be free to sin but would, in fact, never do so. In this paper, I identify three previously unrecognized problems that arise from his initial concession to, and ultimate rejection of, compatibilism. The first problem stems from the fact that in (...) two important texts, Hick rejects compatibilism for different and seemingly contradictory reasons. His various explanations of soul-making theodicy’s relationship to compatibilism are therefore in conflict. The second problem is closely related to the first. It turns out that when Hick’s concession to compatibilism is closely examined, soul-making theodicy appears unable to explain the existence of moral evil. The final problem consists in understanding why Hick would have made any concessions to compatibilism in the first place given that he ultimately opts for incompatibilist free will. After identifying these three problems, I develop a distinctive way in which to interpret Hick’s soul-making theodicy that solves the first two. This distinctive interpretation, moreover, has the added benefit of solving another, well-recognized problem that has long plagued Hick’s exposition: the problem of the hypnotist metaphor. Finally, I address the third problem by suggesting a rationale for Hick’s initial concession to the compatibilists. (shrink)

There seem to be two kinds of pain: fundamental pain, the intensity of which is a direct function of the intensity of various pain stimuli, and pain, the intensity of which is highly modifiable by such factors as hypnotism, placebos, and the sociocultural setting in which the stimulus occurs.

Religious Conversion, Serf- Deception, and Pascal's Wager WARD E.JONES BLAISE PASCAL'S Pens~es is a sustained attempt to convert, to lead its reader to form the belief in the articles of faith. Pascal does not hope to convert by a direct presentation of evidence or argument, but rather attempts to induce in the reader a desire for belief in the articles of faith. He hopes that this desire will lead the reader to put herself in a situation in which she will (...) form the belief. Pascal, in other words, wants the reader to take control over her belief, to form it because she wants to do so. We commonly put ourselves in a situation for the purpose of forming beliefs. This is what happens when we choose to go, say, to university; choos- ing to learn is choosing to form beliefs in a given field. Pascal urges something more paradoxical. ~ He wants to induce us to form a particular belief . His dual aim is to induce the unbeliever to want a belief, and then to induce her to do what she can to gain that belief. Now if I want a particular belief, I might place myself in a situation in which nonrational or pragmatic determinants would bring about the belief. I might, that is, visit a hypnotist or a brainwasher, choosing some process which will either directly bring about the desired belief without involving my epistemic capabilities, or one which will diminish my epistemic capabilities. Alternatively, I might search for evidence for the.. (shrink)

Histories of dynamic psychotherapy in the late 19th century have focused on practitioners in continental Europe, and interest in psychological therapies within British asylum psychiatry has been largely overlooked. Yet Daniel Hack Tuke (1827–95) is acknowledged as one of the earliest authors to use the term ‘psycho-therapeutics’, including a chapter on the topic in his 1872 volume, Illustrations of the Influence of the Mind upon the Body in Health and Disease. But what did Tuke mean by this concept, and what (...) impact did his ideas have on the practice of asylum psychiatry? At present, there is little consensus on this topic. Through in-depth examination of what psycho-therapeutics meant to Tuke, this article argues that late-19th-century asylum psychiatry cannot be easily separated into somatic and psychological strands. Tuke’s understanding of psycho-therapeutics was extremely broad, encompassing the entire field of medical practice (not only psychiatry). The universal force that he adopted to explain psychological therapies, ‘the Imagination’, was purported to show the power of the mind over the body, implying that techniques like hypnotism and suggestion might have an effect on any kind of symptom or illness. Acknowledging this aspect of Tuke’s work, I conclude, can help us better understand late-19th-century psychiatry – and medicine more generally – by acknowledging the lack of distinction between psychological and somatic in ‘psychological’ therapies. (shrink)

Can suggestion, particularly hypnotic suggestion, influence cognition? Addressing this intriguing question experimentally is on the rise in cognitive research, nowhere more prevalently than in the domain of cognitive control and attention. This may well rest on the intuitive connection between hypnotic suggestion and attention, where the hypnotist controls the subject’s attention. Particularly impressive has been the work of Raz and his colleagues demonstrating the modulation and even the complete elimination of classic Stroop color–word interference when subjects are given a posthypnotic (...) suggestion that words are meaningless. Overriding a highly practiced, possibly even automatic response like reading is testament to the attentional control that can be exerted under hypnotic suggestion. What else do we need to know—in the Stroop context and more broadly—to obtain a clear picture of how suggestion can orchestrate attention? (shrink)

Between 2001 and 2006 there was an ‘epidemic’ of complete withdrawal from daily life among numerous children in refugee families seeking asylum in Sweden. It became embedded in many distinct controversies, including the politics of immigration, and acrimonious disagreements between pediatricians dealing with individual families, and government-employed sociologists commissioned to report on what was going on. Most of the cases resolved themselves when an amnesty was agreed in 2006, although there remain many doubts about the statistics. After describing this phenomenon, (...) the paper proposes a model called Imitation & Internalisation. Most of the children may have begun by imitating others who had fallen ill, but soon internalized it to the extent that it became an integral part of their psychophysical and social constitution. The model can be applied to phenomena as diverse as hypnotism, the placebo effect, and catching faith by association with believers. (shrink)

In this paper I challenge both the contemporary secular view that religious faith is not a virtue, and also the contemporary theistic view that religious faith is a virtue that is unavailable to nonbelievers. Although these views appear reasonable from the respective sides when faith is interpreted as belief, if faith is understood to be the entrusting of one’s ultimate concerns to whatever powers are in control (as I suggest), then such faith, with its accompanying ‘freedom from bondage’ (Spinoza), not (...) only appears to be a virtue in itself, but it also appears to be one that can be achieved by nonbelievers as well as by theists.This is not to claim, however, that theists should hold the nonbeliever’s faith to be as viable as their own (or vice versa); rather, it is to claim that there is no more reason for theists to hold that nonbelievers must be without faith than there is for them to hold that nonbelievers must be without hope or love.Still, of course, it may be that God does exist and that the belief that he exists is part of the formula for the realization of some ultimate religious concern, such as eternal life. (For example, it could have been that there was a person conducting a rescue mission for the mountain climbers, but who refused to bring those who did not believe so to final safety, even though they has boarded the platform.) So, if God does exist and if the formula for eternal life, for example, does include the requirement that creatures believe that he exists, then atheists and agnostics will certainly have erred by not embracing theism. But their error then (assuming their doubts not to be the products of such vices as pride or dishonesty) will have been an error in calculative judgment, rather than a failure in virtue: they will have erred by not having engaged a hypnotist—at least in last resort— to equip them with a precautionary theism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 284-303 [Access article in PDF] Accidental Art:Tolstoy's Poetics of Unintentionality Michael A. Denner I ART'S ABILITY TO INFECT another with an emotion, the concept that has come to be probably the most readily identified catchphrase in What Is Art? (though it crops up in his earlier writings on art), derives from L. N. Tolstoy's dynamic identity claim about art: we know an artist has (...) created a genuine work of art when he "hands on to others feelings he has lived through, and that others are infected by these feelings and also experience them." 1 "What is art?" is then a taxonomical question, and, according to Tolstoy, art is identifiable from non-art not by some set of external characteristics—the way, say, Aristotle categorized animals in his natural history—rather art is recognizable by its function, by what it does. In this sense art is like a tool: A given thing is art because it performs a certain task, much as one might claim a screwdriver is anything that sets and removes screws, regardless of its external characteristics. Tolstoy, in fact, repeatedly refers to art as "orudie," "a tool," or even "a weapon."It is worth noting from the outset that this metaphor of contagiousness is one of sublimated violence. For its passive "perceiver" (Tolstoy's characteristic term for the consumer of art), art amounts to irresistible, surreptitious emotional manipulation by an external entity. Tolstoy is ever attentive to the underlying meanings of the words he chooses, and I think he means to emphasize the latent, etymological meaning of the zarazit', to infect, the root of which is razit', to strike, a military term that likely resonated with Tolstoy, a war veteran. 2 Etymological arguments aside, Tolstoy makes explicit the psychological violation that goes hand-in-hand [End Page 284] with the experience of a work of art in a diary entry from a period of work on an earlier variant of What Is Art?: "One must hone the artistic work so that it penetrates. To hone a work means to make it perfect artistically, in which case it will pierce through the indifference...." 3 In an earlier version of the essay, Tolstoy offers "hypnotism" as a synonym for infection (p. 53).With its ability to "penetrate" through indifference and colonize, willy-nilly, the other, art accomplishes directly and immediately what no amount of rational argument could accomplish: "Art is differentiated from the activity of rational activity, which demands preparation and a certain sequence of knowledge (so that one cannot learn trigonometry before knowing geometry), by the fact that it acts on people independently of their state of development and education, that the charm of a picture, of sounds, or of forms, infects any man whatever his plane of development" (p. 178).The effect of art does not depend on some graduated, sequential process as it does for rational activity: art's infectiousness is immediate and irresistible. According to What Is Art?, the summum bonum of art's infectiousness, its best use, but notably not its only, is bringing about the Kingdom of God by effecting a change in the psychology of all the individuals who experience it. "Religious art," Tolstoy's supreme category of art, surmounts the (ultimately illusory for Tolstoy) individuality of the perceiver by inducing in him or her an emotional union with the artist and all others who have experienced the work of art, thereby inducting all perceivers into the universal collective of humankind: "In this freeing of our personality from its separation from other people, from its isolation, in this uniting of personality with others, lies the chief characteristic and the great attractive force of art" (p. 228). Art is a sacrament and the artist a priest of sorts.It is often said, even by those who have read the work, that Tolstoy "rejected" art in the last decades of his life, and What Is Art? is often cited as evidence. Granted, much of the book excoriates much of the art of the ages, but one must not... (shrink)

Acknowledgements -- Introduction -- Before Freud : the quarrel of the unconscious in late nineteenth-century France -- Flaubert : hysterical duality, hallucination and writing -- Maupassant, Charcot and the paranormal -- The unconscious female/the female unconscious -- Hypnotism, dual personalities and the popular novel -- Proust, the intellect and the unconscious -- Postscript -- Notes -- Bibliography -- Index.

Born in Vienna in 1864, Bernard Hollander was a London-based psychiatrist. He is best known for being one of the main proponents of phrenology. This title, originally published in 1922 contains the reflections of the author on his experience as a physician specialising in nervous and mental disorders. He looks at a range of patients "suffering from character defects leading to moral failings..." finding that these cases of "moral derangement" come in all kinds. Very much of its time, he suggests (...) that treating the causes should be with both physical and mental measures, including psychotherapy, which at the time consisted of "persuasion, suggestion, auto-suggestion, hypnotism, psychological analysis, as well as re-education." A fascinating glimpse into psychology from the early twentieth century. (shrink)

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. (shrink)

Psychological traumatisation, as we understand it today, was—in terms of the history of ideas—anticipated by various approaches which have had a lasting impact on modern psychiatry, psychotherapy, and psychosomatic medicine. On the one hand, there is the traditional concept of possession and exorcism with its impressive psychodynamics. On the other hand, there is the theory of the imagination, of an illusion in the sense of a pathogenic infection. Especially the pathological teachings of Paracelsus (sixteenth century) and Johann Baptist van Helmont (...) (seventeenth century)—the latter having advanced the former’s alchemist approach—demonstrate the extent to which demonological, parasitological, and psychological ideas were amalgamated in their ontological notion of a disease. Only the introduction of hypnotism in the middle of the nineteenth century made possible a psychological or psychodynamic understanding of psychological trauma in the modern sense. Hypnotism was striving to strictly dissociate from the magical and natural philosophical speculations of mesmerism and its theory was quite compatible with the model representations of scientific medicine. Sigmund Freud was able to tie in his ideas of hysteria and neurosis with this concept and especially to define repression of (infantile) sexuality as the cause of a culturally ineluctable psychological trauma. Finally, a brief survey of medical history is given to explore artificial trauma as a healing factor. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 33.1 (2003) 60-79 [Access article in PDF] The Secret Power of Suggestion Scipio Sighele and the Postliberal Subject Suzanne R. Stewart-Steinberg He experiments one by one with about thirty young men. [...] Almost all of them respond immediately to his power of fascination by turning stiff throughout their bodies; their faces become contracted, terrified, sometimes cadaverous; they are at the mercy of the fascinator and follow his movements (...) like a magnet. [...] There is something pitiful, spasmodic in their features, something macabre in their gestures. [...] Donato has them all in his power, he attracts them in threes, in sixes, ten at a time, simply by rapidly staring into their eyes, even against their firm will and their obstinate efforts to resist his suggestion. [...] Donato, in the process, never speaks: he thinks, he wants and points. [...] —an eyewitness account, L'Italia (1886) Young male bodies that turn stiff despite their efforts to do otherwise—such were the events to be seen on the stage of the Teatro Scribe in Turin in 1886, events performed under the direction of "Donato" (the Belgian-born Alfred d'Hont), the new theatrical magnetizer of crowds. Enrico Morselli, one of Italy's leading psychiatrists of the period,1 assisted and himself succumbed to the fascination of Donato. In his important 1886 study on animal magnetism and hypnotic states, Morelli provided a rather positive portrait of the man. Donato, in his opinion, was not a vulgar man. First soldier, then state employee, journalist, novelist, poet, and finally student and apostle of animal magnetism, Donato had revolutionized hypnotic practice through his discovery of a phenomenon called "fascination." Donato was blessed with uncommon physical strength, quick and insistent eyes, a great agility of movement and much spirit. He had exchanged the magician's cap for the more sober tuxedo—quite appropriately, for he [End Page 60]rejects fluids, rejects the power and transmission of will; nor does he trade in somnambulist lucidity, in sight without eyes, in divination. He does not claim to have special secrets or gifts. Instead he claims that it is his quick and insistent "gaze" that produces a rapid and sudden shock to the nervous system of sensitive individuals. Where there is no "orgasm," he told me—but more accurately he should have said "predisposition"—his method does not work. [Morselli, Il magnetismo animale 281] What was then so revolutionary about Donato's method? Why were the spectacles at the Teatro Scribe perceived to be so radically new? And above all, why, as Morselli claims, did these shows come close to producing a political crisis right at the center of Europe [Magnetismo 271]?James Braid's discovery in 1842 that hypnotic sleep could be induced by the simple fixation on a luminous object had revolutionized magnetic theory and practice. Braid's was to prove an important discovery, for it made possible the shift from the putative supernatural powers of the hypnotist—based on the theory of the transmission of magnetic fluids or electric currents—to an analysis of characteristics thought to inhere in the hypnotized subject him- or herself. The real cause of hypnosis, its very effectivity, was to be found, as Morselli remarks, not in the magnetizer but in his subject [Magnetismo 32]. A rethinking, within the late-nineteenth-century literature on hypnotism, of what drives the subject, of what makes him act appears predicated then on a very peculiar form of interiority, of self-causation within the subject himself. At the end of its historical trajectory this rethinking would first result in the idea of auto-hypnosis or auto-suggestion, and then, by the beginning of the new century, it would found the psychoanalytic subject, traversed as he is by conflicting desires and topographically split between ego and superego. In both instances, however, obedience is exacted as a result of an internalized command and—and here lies the peculiarity and utter novelty of this subject—for that reason the subject ceases to be master of his own house.In the remarks that follow, I will leave aside Freud's own contributions... (shrink)

Edgar Allan Poe’s eerie short story “The Facts in the Case of M. Valdemar” is a particularly noteworthy example of the sublime, a psychological state in which one is overwhelmed by the magnitude of that which is perceived by the mind. Valdemar exemplifies the sublime in that his death has somehow been suspended in time because he was under hypnosis as part of a medical experiment at the moment of his passing. However, the story also draws particular attention to the (...) means by which insight into the nature of death is acquired by the hypnotist who narrates the story. For a more comprehensive understanding of the sublime experience, one may turn to the psychoanalytic theory of Jacques Lacan and the postmodernist work of Slavoj Žižek, which lead to the conclusion that the dramatic chain of events in “Valdemar” is an example of the sliding signifier, and, moreover, that the instability of the signifier may explain the sublime effect. (shrink)

ArgumentThe psychoanalytic setting counts today as one of the familiar therapeutic rituals of the Western world. Taking up some of the insights of the anthropology of science will allow us to account for both the social and the material arrangements from which Freud's invention emerged at the end of the nineteenth century out of the clinical laboratories and private consulting rooms of practitioners of hypnosis. The peculiar way of neglecting or forgetting the object world and the institution of the psychoanalyst (...) as a “transference object” will be traced back to multiple reconfigurations in the history of hypnotism in France and in Germany. In this process, different practitioners tried to achieve a synthesis of clinical work and experimental psychology, with the aim of objectifying knowledge about human subjectivity. While Freud retained the claim of psychoanalysis performing an experimental situation, he set apart his own setting from the objectifying practices which were characteristic of this experimental psychology located in the clinic and the private consulting room.It is not easy to over-estimate the importance of the part played by hypnotism in the history of the origin of psychoanalysis. From a theoretical as well as from a therapeutic point of view, psycho-analysis has at its command a legacy which it has inherited from hypnotism.Sigmund Freud, A Short Account of Psycho-Analysis. (shrink)

A definition of virtual or virtuality is not an easy task. Both words are of recent application in Philosophy, even if the concept of virtual comes from a respectable Latin tradition. Today’s meaning brings together the notions of potentiality, latency, imaginary representations, VR, and the forms of communication in digital media. This contagious, and spontaneous synonymy fails to identify a common vein and erases memory as a central notion. In the present essay, I’ll try to explain essential features of the (...) concept of virtual, taking the investigation of memory troubles in Pierre Janet’s work as an exemplification. Pierre Janet’s work represents a rare combination of medical observation and description of symptoms of mental illnesses, therapeutic guidance in hypnosis and philosophical writing about the main psychological themes of an epoch in transition from a Metaphysics of the Soul to the modern Experimental Psychology. Pierre Janet’s intellectual evolution since the 1880s until the end of his life is dominated by the philosophical project of a theory of the psychic system supported by three basic pillars: a concept of personality, a theory of memory and a sketch of a general theory of conduct. Such complex endeavour cannot be abstracted from the initial connections with Jean-Martin Charcot’s school at La Salpêtrière which meant a turning point in the tradition of the “animal magnetism” concerning the treatment of epileptic-hysterical symptoms along with the contributions of Hyppolite Bernheim’s “Nancy School” of hypnotism. J.-M. Charcot’s or H. Bernheim’s theorising about the organic and psychological aspects of the hypnotic treatment of the hysterical symptoms was already aware of the difficulty in dealing with the extent of the dissimulation of the patients regarding the symptoms of the illness, under hypnotic suggestion, even if Charcot insisted in the identification and cataloguing of the organic expressions, such as contractures or the posture of the body in arc during the attacks. The precise location of the “great hysteria” in the organic-psychic corridor was itself a riddle. If a symptom is a special type of sign, in the case of the “great hysteria” nobody knew for sure what it stood for. The clinical symptom of the attack stood for an organic trouble with cerebral causes, a psychological interruption of the normal sensorial and muscular movements or a disguise of the female desire? Pierre Janet described many hysterical patients, somnambulism and multiple personality since his articles in La Revue Philosophique de la France et l’ Étranger, a Journal founded by the philosopher, experimental psychologist and his intellectual predecessor Théodule-Armand Ribot. The description of the case of the “great hysterical” Lucie, treated by him, is an example of a theoretical hypothesising on multiple personality and discontinuity of memories fragments. There are more cases revealing the same relation between hysteria, somnambulism, personality dissociation and “alternating memory”. Decisively inspired by and corroborating P. Janet’s ideas, S. Freud conceived also the essential of the hysterical sicknesses as disorders of memory. The theme of memory came even more to the foreground in the dissertation L’Automatisme Psychologique. Here, the strange world of somnambulism was scrutinised along with hysterical contractures and convulsions, anaesthesia, the compulsion to repetition, obsessions, “automatic writing” in hysterical patients, multiple personality and “alternating memories”. In the depicted cases memory could not be taken as a homogenous series of remembrances or as a stock of disposable information but as a variable of the depth of the personalities’ inner formation. The so-called “seconde existence” of some somnambulists referred not only unconscious representations and unconscious thoughts but complete or inceptive latent personalities provided with multiple virtual existences and multiple memories. Hypnosis was the privileged technique to access to such multiple memories ignored by the official personality. Later and after the writing of his M.D. Dissertation, Contribution à l’ Étude des Accidents Mentaux chez les Hystériques, P. Janet addressed again the themes of memory and alternating memories in a series of lectures at the Collège de France but now according to the larger framework of a general theory of conduct which included a description of the social actions participating in the narrative construction of personal memories, and the role of social memory. (shrink)