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)

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)

The article explores the complex roles shame plays in the lives of people with one or more chronic conditions. This is achieved through a participatory research process in which people with chronic conditions were invited to share stories of shame on the public social media profiles of a peer-led patient community called ‘Chronic Influencers’. The crowdsourced material shows that 7 out of 10 experience shame in relation to their illness on a daily or weekly basis. Other findings are that shame (...) seems to stick to ‘energetic failures’ of the slow or tired body in various social situations; shame is predominantly produced or anticipated in the intimate sphere; and shame can be ‘rescripted’ as culturally produced and politically contestable – and thus counter the pressure to individualise health as a project of personal improvement and self-inspection – when it is shared through voluntary storytelling among peers on social media. (shrink)

Moving from viruses, vaccines, and copycat murder to gay panics, xenophobia, and psychopaths, _Transforming Contagion_ energetically fuses critical humanities and social science perspectives into a boundary-smashing interdisciplinary collection on contagion. The contributors provocatively suggest contagion to be as full of possibilities for revolution and resistance as it is for the descent into madness, malice, and extensive state control. The infectious practices rooted in politics, film, psychological exchanges, social movements, the classroom, and the circulation of a literary text or meme on (...) social media compellingly reveal patterns that emerge in those attempts to re-route, quarantine, define, or even exacerbate various contagions. (shrink)

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)

I offer a novel two-stage reconstruction of Hume’s general-point-of-view account, modeled in part on his qualified-judges account in ‘Of the Standard of Taste.’ In particular, I argue that the general point of view needs to be jointly constructed by spectators who have sympathized with (at least some of) the agents in (at least some of) the actor’s circles of influence. The upshot of the account is two-fold. First, Hume’s later thought developed in such a way that it can rectify (...) the problems inherent in his Treatise account of the general point of view. Second, the proposed account provides the grounds for an adequate and well-motivated modest ideal observer theory of the standard of virtue. (shrink)

Every culture and civilization develops, over time, a plot and many sub-plots that motivate and direct individual and social behavior. To make people conscious of these plots ought to be the function of education. Instead, schools continue to fit individuals into the ongoing traditional plot. Metaphorically, the school serves as central casting to sort the young into key players (the stars), supporting cast, walk-ons and, for most, extras. This is a very limited and limiting function. What is needed is for (...) schools to reconsider the nature of the plot. How does the plot support the actors? How does the plot deny the cast—stars, supporting actors and actresses, walk-ons, and extras—fulfilment, meaning, joy, or Maslowian actualization? How can the plot be rethought to accommodate the interests of all legitimate players? (shrink)

Professional skepticism is a critical component of the auditor’s skill set. Developing this component takes time for accounting students and new auditors. Rather than waiting until they have an internship or a full-time auditing position, students can begin practicing this essential skill earlier in their academic careers. The case presents students in their first undergraduate auditing course an introduction to the need for more complex thinking and professional skepticism in the auditing and forensic accounting areas. The case focuses on risk (...) assessment and critical evaluation of audit evidence, primarily through audit interviews. In addition, the case allows students to learn the value of preparation and strategy uniquely: their first attempt at the case is almost impossible to solve. (shrink)

The conviction that Plato manipulated Thrasymachus’ views is today accepted by the scholarly opinion. Given the absence of testimonies regarding the political and moral views held by the historical Thrasymachus, the degree of this manipulation can be gauged only by assessing the degree of incoherence and ambiguity in the views of the Platonic Thrasymachus. This perspective, of necessity a self-referential one, is overcome by the hypothesis presented in the following article, namely, that Plato manipulates not as much the views of (...) the historical Thrasymachus as the extremely concise and ambiguous thesis which he has ascribed to him; and that the goal of this manipulation is to mock Thrasymachus’ style and rhetorical posture – both confirmed by testimonies outside the Platonic text – as ill suited to the philosophical reflection on the content of this thesis. (shrink)

Are we justified in keeping the demented in prison for crimes they committed when they were still healthy? The answer to this question is an issue of considerable practical importance. The problem arises in cases where very aged criminals exhibit symptoms of dementia while serving their sentence. In these cases, one may wonder whether lodging these criminals in penal institutions rather than in normal caretaking facilities is justifiable. In this paper, I argue that there are justificatory reasons for punishing the (...) demented for their past crimes. In part 2, I examine three theories of punishment—retributivism, prevention theories and expressivism—with regard to the question of whether they provide justificatory reasons for punishing the demented. I argue that only expressivism provides these reasons. In part 3, I defend the view that expressivism, though not convincing as a general theory of punishment, is plausible if applied only to a specific subclass of punitive actions. More precisely, expressivism, or so I argue, is plausible with regard to those acts of punishment that consist in intending to inflict suffering without actually inflicting suffering. Since the punishment of demented patients falls within this class, it can be justified on an expressivist basis. In part 4, I discuss six objections to my view and rebut them. (shrink)

In Japan, modern biomedical ethics emerged in the early 1980s. One of the main triggers was the nationwide debate on organ transplantation and brain death. A lengthy process of academic, religious, and political discussion concerning organ transplantation, lasting well over a few decades, resulted in the enactment of the Organ Transplantation Law in 1997.1 The defining of death and other bioethical issues, including death with dignity and euthanasia, were also stimulating topics throughout the latter end of the twentieth century. For (...) instance, the death-with-dignity movement, which started around the late 1960s, developed into a hospice/palliative-care movement by the end of the 1980s. (shrink)

In the sense of phenomenology, actions are special cases of acts of consciousness. Within semiotics, first Jan Mukařovský and then A. J. Greimas have established, in different terms, a distinction between instrumental actions and actions which carry their meaning in themselves. But this is insufficient to account for the variety of actions which comprises everything from the creation of artefacts, dance, sporting events, theatre, rituals, and much else. Already those actions mentioned relate in different ways to instrumentality and intrinsic meaning, (...) as well as to iconicity and plasticity. In this paper, I will be particularly concerned with dancing, especially classical ballet, trying to delimit it from sporting events and theatre. Apart from the sign function and the spectacular function, I will notably have recourse to what I have elsewhere term secondary iconicity as well as to plasticity. In the process, I hope to be able to throw some light also on the nature of sport, by comparing and contrasting it to dance, as well as to the theatre as well as, more incidentally, to some other types of action. In a wider perspective, my ambition is to contribute to a general inquiry into the semiosis of actions. (shrink)