Speaking in tongues--or the "attitudes passionelles" that
Jean-Martin Charcot observed among his hysterical patients at the clinic of the Pitie-Salpetriere Hospital in Paris in the late nineteenth century'--has become de rigueur.
In 1874,
Jean-Martin Charcot described the disease as follows: "The common findings we observed in a group of patients were spasm and paralysis in the upper extremities and mainly in the lower extremities without sensory loss along with progressive amyotrophy involving especially the upper extremities and body and this explanation still remains current.
Attraverso una erudita ricognizione delle influenze scientifiche sottese alla duplice storia di nevrosi ossessiva narrata in Profumo--che spazia da William Hammond a Julian Ochorowicz, da Claud Bernard a
Jean-Martin Charcot, da Hippolythe Cloquet a Krafft-Ebing e Cesare Vigna--, Michelacci dimostra come Capuana certo spettacolarizzi il corpo femminile alla maniera dei fisiologi francesi ma, come e meglio che nella Giacinta rivisitata, non lo riduca a oggetto di meccanica, asettica anatomizzazione.
Chama ainda a atencao o relato das descobertas de
Jean-Martin Charcot, que estudou uma doenca previamente descrita em 1817 por James Parkinson: a doenca de Parkinson.
The first anatomopathological description of neuropathic joint destruction was reported by
Jean-Martin Charcot in 1868.
Although
Jean-Martin Charcot described the neurological joint in 1883, the exact etiology of Charcot's joints remains unclear.
The French neurologist
Jean-Martin Charcot first described motor neurone disease in 1874.
He was intrigued by
Jean-Martin Charcot, the neurologist who worked at the asylum.
A relevant component of the now largely discredited theory of hysteria, developed by the French neurologist
Jean-Martin Charcot in the 19th century, was the concept of the "hysterogenic zones".
He documents the aspects of "thinker" and "conquistador" in Freud's early career, including the shift in his interest from the brain to the mind and the hypnotic, the influence of the neurologist
Jean-Martin Charcot, and the evolution of his early clinical technique, to illustrate the shifts in Freud and his awareness of a psychoanalytic reality.
The question of gender here is intriguing, especially given Nijinsky's perceived femininity in many of his Ballets Russes roles, as is the theatrical, staged quality of
Jean-Martin Charcot's lectures at the Salpetriere; both could constitute fruitful points of departure for further research.