Abstract
Timpano reviews the visual manifestation of the arc de cercle—a specific movement in hysterical attacks coined by Jean-Martin Charcot in the 1870s—in order to better comprehend how and why hysteria was not the invention of nineteenth-century French medicine, but rather, a theatrically expressive “attitude” identifiable throughout the visual and performing arts from the Early Modern period to the present era. His research demonstrates that any distinction between “dramatic swooning” and “hysterical arcs” was largely an arbitrary division for artists and theater directors working from the Baroque era to the contemporary scene. Instead, the codification of the arc de cercle by modern medicine in the late nineteenth century was, in truth, a rather late attempt to explain a long-standing tradition of hysterical expressions that had already found power and meaning in the realm of the arts.
After all hysteria is the oldest, best-known and most striking of the neuroses under consideration.
—Sigmund Freud, Studies on Hysteria, 1895.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Similar content being viewed by others
Notes
- 1.
- 2.
- 3.
See also Gilman et al. (1993, pp. 3–65).
- 4.
- 5.
For the Historical Book of Esther, see “Esther” (2010, pp. 707–19, 1411–26).
- 6.
- 7.
Akin to my reading of the painting, Elsa Honig Fine argues that while Esther clearly commits a heroic act, Gentileschi nevertheless chose to depict her in an unheroic pose. Fine does not, however, discuss hysteria or the arc de cercle in her book. See (1978, pp. 15–17).
- 8.
For a good English translation of Joseph Breuer and Sigmund Freud’s Studies on Hysteria (1895), see Breuer and Freud (2000, p. 232).
- 9.
See also Bache (1985, pp. 300–15).
- 10.
For my review of this literature, as well as an in-depth examination of what I call “hysteron-theatrical gestures” in fin-de-siècle European art and theater, see chapter 3 in Timpano (2017, pp. 66–86).
- 11.
Pop does not, however, discuss Fuseli’s Phaedra drawing in his study.
- 12.
Sander Gilman has previously examined Bell’s image in Gilman et al. (1993, pp. 362–68).
- 13.
Fuseli’s third Lecture was titled “Invention” and discusses, among other things, the painter’s relationship to nature.
- 14.
Despite the ubiquity of illustrations for Dante’s Divine Comedy in the history of art, Fuseli’s image has received little attention in the extant literature, and to my knowledge, no scholar has suggested that the female figure “performs” the arc de cercle.
- 15.
Rae Beth Gordon has previously noted that “as early as the 1870s, a number of café-concert and cabaret artists borrowed gestures and movements from asylum inmates” in Gordon (2001, p. 517).
- 16.
Victoria Duckett has recently examined Bernhardt’s modern movements, especially those enacted in The Lady of the Camellias, in Duckett (2019).
- 17.
For a detailed history of the Salpêtrière prior to Charcot’s tenure, see also Goetz et al. (1995).
- 18.
As a brief aside, it is worth noting that Avril’s costume, which contains a large embroidered snake, was likely read by fin-de-siècle viewers as a reference to Eve, and thus an embodiment of the “sinful” woman. This, in turn, may have deliberately positioned Avril as a “coquette”—that is, a flirtatious young woman—who was not unlike the hysterical female patients who were choreographed and then photographed by Charcot and his colleagues at the Salpêtrière (Charcot et al. 1876–1880, pp. 125–28).
- 19.
Natasha Ruiz-Gómez, who provides an in-depth analysis of Kneeling Man alongside Charcot’s arc de cercle, discusses Rodin’s sculpture alongside an anonymous photograph of a male hysteric, perhaps one taken by Londe in the 1880s. See Ruiz-Gómez (2013, pp. 1002–03).
- 20.
Unlike the Musée Rodin catalogue entry for Kneeling Man, Catherine Lampert suggests that the work was made before 1884 and is plaster, not terra cotta.
- 21.
For a review of Rodin’s works exhibited in the historic exhibitions of the Vienna Secession, see catalogues.
- 22.
The events surrounding the Faculty Paintings, or the “Klimt Affair,” as it became known in the critical press, have been widely discussed in the extant literature. For primary sources, see Bahr (1903) and Hevesi (1906). For secondary literature on Klimt’s Faculty Paintings, see Bailey (2001), Bisanz-Prakken (1999), Koja (2006), Nebehay (1969), Schorske (1980, pp. 225–54), Timpano (2017, pp. 9, 26–31), and Vergo (1975, pp. 49–62, 80–83).
- 23.
Unfortunately, all three Faculty Paintings were confiscated by the Nazis in the 1940s and subsequently burned by retreating SS troops at Schloss Immendorf, in Switzerland, at the close of the Second World War. As such, the canvases are only known to us today through period black-and-white photographs and one extant oil study (in color) of the figure Hygeia from Medicine.
- 24.
For an in-depth study of degeneracy, race, and pathology—particularly as these constructs were discussed in relation to negative stereotypes of Jews—see Gilman (1985).
- 25.
I provide an in-depth analysis of Schiele’s Two Girls, Lying in an Entwined Position in Timpano (2017, pp. 180–83).
- 26.
- 27.
To my knowledge, the catalogue of works in the permanent collection of the Salvador Dalí Museum in St. Petersburg, as well as the museum’s website, are the only sources to address the iconography and symbolism on The Hysterical Arch. See Wach (1996, p. 23).
- 28.
Although some of the following scholars do not specifically discuss any of Bourgeois’ “hysterical” pieces in their analyses, they do, nevertheless, examine her work through the lens of feminism, psychoanalysis, or both. See Bal (2001), Bernadac (2006), Lippard (1975), Nixon (2005), Pollock (1999), and Santamaría Blasco and Zanón Cuenca (2015). Interestingly, Mieke Bal relates Bourgeois’ work to Bernini’s sculptures, including Ecstasy of Saint Teresa, arguing that “Bourgeois beckons Bernini” (p. 126), but Bal makes these comparisons with Bourgeois’ Spider (1994–1997) and Femme maison (1983), not Arch of Hysteria per se.
- 29.
References
Alighieri, Dante. 2003. The Divine Comedy: The Inferno, the Purgatorio, and the Paradiso. Translated by John Ciardi. The Authoritative Translations ed. New York: Penguin.
Allan, Maud. 1908. My Life and Dancing. London: Everett & Co.
Ávila, Teresa of. (1565) 1916. The Life of St. Teresa of Jesus, of the Order of Our Lady of Carmel, Written by Herself. Translated by David Lewis. Fifth ed. Circa 1565. New York: Benziger Brothers.
Bache, Christopher M. 1985. “A Reappraisal of Teresa of Avila’s Supposed Hysteria.” Journal of Religion and Health 24, no. 4 (Winter): 300–15.
Bahr, Hermann, ed. 1903. Gegen Klimt: Historisches, Philosophie, Medizin, Goldfische, Fries. Wien: Eisenstein & Co.
Bailey, Colin B., ed. 2001. Gustav Klimt: Modernism in the Making. New York: Harry N. Abrams, Inc.
Bal, Mieke. 2001. Louise Bourgeois’ Spider: The Architecture of Art-Writing. Chicago: Chicago University Press.
Beizer, Janet. 1994. Ventriloquized Bodies: Narratives of Hysteria in Nineteenth-Century France. Ithaca: Cornell University Press.
Bell, Charles. 1806. Essays on the Anatomy of Expression in Painting. London: Longman, Hurst, Rees, and Orme, Paternoster-Row.
———. 1824. Essays on the Anatomy and Philosophy of Expression. Second ed. London: John Murray.
Bellmer, Hans. 1936. La Poupée. Translated by Robert Valançay. Paris: GLM.
———. (1934) 1990. “Memories of the Doll Theme.” Translated by Peter Chametzky, Susan Felleman, and Jochen Schindler. Sulfur 26 (Spring): 29–33.
Bernadac, Marie-Laure. 2006. Louise Bourgeois. Translated by Deke Dusinberre. Paris: Flammarion.
Berry, Ian, et al. 2003. Kara Walker: Narratives of a Negress. Cambridge, MA: MIT Press.
Bisanz-Prakken, Marian. 1999. Heiliger Frühling: Gustav Klimt und die Anfänge der Wiener Secession 1895−1905. München: Christian Brandstatter.
Bissell, R. Ward. 1968. “Artemisia Gentileschi—A New Documented Chronology.” The Art Bulletin 50, no. 2 (June): 153–68.
Blackshaw, Gemma, and Leslie Topp, eds. 2009. Madness and Modernity: Mental Illness and the Visual Arts in Vienna 1900. Farnham: Lund Humphries.
Blum, Harold. 2001. “Setting Freud and Hysteria in Cultural Context.” The Psychoanalytic Century: Freud’s Legacy for the Future. Edited by David E. Scharff. New York: Other Press.
Brandes, Friedrich. 1905. “Dresdener Uraufführung der Salome von Wilde-Strauss.” Deutsche Tageszeitung, 11 December, n.p.
Braun, Johanna, ed. 2020. Performing Hysteria: Contemporary Images and Imaginations of Hysteria. Leuven: Leuven University Press.
Breton, André. 1969. Manifestoes of Surrealism. Translated by Richard Seaver and Helen R. Lane. Ann Arbor: University of Michigan Press.
Breton, André, and Paul Éluard. 1938. Exposition internationale du Surréalisme, Janvier-Février 1938. Paris: Galerie Beaux-Arts.
Breuer, Joseph, and Sigmund Freud. 1895. Studien über Hysterie. Leipzig und Wien: Franz Deuticke.
———. (1895) 2000. Studies on Hysteria. Translated and edited by James Strachey and Anna Freud. New York: Basic Books.
Burnim, Kalman A. 1961. David Garrick, Director. Pittsburgh: University of Pittsburgh Press.
Capet, Antoine. 2007. “Brougham, Henry Peter (1778–1868).” Encyclopedia of Antislavery and Abolition. Edited by Hinks, Peter, and John McKivigan. Vol. 1, 127–29. Westport and London: Greenwood Press.
Charcot, Jean-Martin. 1889. Clinical Lectures on Diseases of the Nervous System, Delivered at the Infirmary of La Salpêtrière. Vol. 3. Translated by Thomas Savill. London: The New Sydenham Society.
———. (1892) 1897. La foi qui guérit. Paris: Progrès Médical.
Charcot, Jean-Martin, D. M. Bourneville, and Paul Régnard. 1876–1880. Iconographie photographique de la Salpêtrière. Vol 2. Paris: Progrès médical/Adrien Delahaye.
Dalí, Salvador. 1976. The Unspeakable Confessions of Salvador Dalí. Translated by André Parinaud. New York: Morrow.
Davis, Natalie Zemon, and Arlette Farge. 1992. History of Women in the West. Vol. 3. Renaissance and the Enlightenment Paradoxes. Translated by Arthur Goldhammer. Cambridge: Harvard University Press.
De Pascale, Enrico. 2009. Death and Resurrection in Art. Translated by Anthony Shugaar. Los Angeles: The J. Paul Getty Museum.
Didi-Huberman, Georges. (1982) 2004. Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière. Translated by Alisa Hartz. Cambridge: MIT Press. (I am aware that the original translation was published in hardback in 2003, but I am using the 2004 paperback edition, hence the altered date.)
Dijkstra, Bram. 1986. Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture. Oxford: Oxford University Press.
Dixon, Annette et al. 2002. Kara Walker: Pictures from Another Time. Ann Arbor: University of Michigan Museum of Art.
Duckett, Victoria. 2019. “Performing Art Nouveau: Sarah Bernhardt and the Development of Industrial Modernism.” Modernity/modernism Print Plus 4, no. 3 (October) https://doi.org/10.26597/mod.0129.
Ebers, Georg. 1875. Papyros Ebers: Das Hermetische Buch über die Arzneimittel der alten Ägypter in hieratischer Schrift. Zweite Band. Leipzig: Verlag von Wilhelm Engelmann.
“Esther”. 2010. The New Oxford Annotated Bible: New Revised Standard Version with the Apocrypha. Fully revised fourth ed., 707–19, 1411–26. New York: Oxford University Press.
Falret, Jules. 1866. De la folie raisonnante ou folie morale. Programme des questions à etudier. Extrait des Annales Médico-Psychologiques. Vol. 1. Et tiré-à-part. Paris: Imprimerie de E. Martinet.
Fanés, Fèlix. 2007. Salvador Dalí: The Construction of the Image, 1925–1930. New Haven and London: Yale University Press.
Fine, Elsa Honig. 1978. Women & Art: A History of Women Painters and Sculptors from the Renaissance to the 20th Century. Montclair: Allanheld & Schram.
Foster, Hal. 1991. “Amour Fou.” October 56, High/Low: Art and Mass Culture (Spring): 64–97.
Freud, Sigmund. 1960. Letters of Sigmund Freud. Edited by Ernst L. Freud. Translated by Tania and James Stern. New York: Basic Books.
———. 1953–1974. “The Uncanny.” The Standard Edition of the Complete Psychological Works of Sigmund Freud. Translated and edited by James Strachey. Vol. 17. London: The Hogarth Press and the Institute for Psycho-Analysis.
Fuseli, Henry. 1801. Lectures on Painting, Delivered at the Royal Academy, March 1801. London: J. Johnson.
Garrard, Mary D. 1989. Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art. Princeton: Princeton University Press.
———. 2001. Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity. Berkeley: University of California Press.
Gilman, Sander L. 1985. Difference and Pathology: Stereotypes of Sexuality, Race, and Madness. Ithaca: Cornell University Press.
———. 1988. “Strauss, the Pervert, and Avant Garde Opera of the Fin de Siècle.” New German Critique, no. 43, Special Issue on Austria (Winter): 35–68.
———. 1993. “Salome, Syphilis, Sarah Bernhardt and the ‘Modern Jewess’.” The German Quarterly 66, no. 2 (Spring): 195–211.
Gilman, Sander L. et al. 1993. Hysteria Beyond Freud. Berkeley and Los Angeles: University of California Press.
Giménez-Roldán, S. 2013. “La Salpêtrière Hospital before Charcot: a visit described by Pedro González Velasco.” Neurología (English Edition) 28, no. 1 (January-February): 52–56.
Goetz, Christopher G. et al. 1995. Charcot: Constructing Neurology. Oxford: Oxford University Press.
Gordon, Rae Beth. 2001. “From Charcot to Charlot: Unconscious Imitation and Spectatorship in French Cabaret and Early Cinema.” Critical Inquiry 27, no. 3 (Spring): 515–49.
Gorovoy, Jerry. 2020. “Louise Bourgeois, Arch of Hysteria, 1993.” Museum of Modern Art, 2020, https://www.moma.org/audio/playlist/42/681. Accessed on July 30, 2020.
Griffith, Francis Llewellyn (F. Ll.), ed. 1898. The Petrie Papyri: Hieratic Papyri from Kahun and Gurob (Principally of the Middle Kingdom). London: Bernard Quaritch.
Hahn, G. 1883. Les Phénomènes Hystériques et les Révélations de Sainte Thérèse. Extrait de la Revue des Questions scientifiques. Bruxelles: Alfred Vromant.
Hevesi, Ludwig. 1906. Acht Jahre Sezession: (März 1897–Juni 1905) Kritik, Polemik, Chronik. Wien: C. Konegen.
Hippocrates. (ca. 400 BCE) 1849. The Genuine Works of Hippocrates. Translated by Francis Adams. Vol. 1. London: The Sydenham Society.
Hoffmann, E. T. A. 1967. The Best Tales of Hoffmann. Edited by E. F. Bleiler. New York: Dover Publications, Inc.
Husslein-Arco, Agnes, and Stephan Koja, eds. 2010. Rodin and Vienna. London: Galerie Belvedere and Hirmer.
James, William. 1902. The Varieties of Religious Experience: A Study in Human Nature, Being the Gifford Lectures on Natural Religion Delivered at Edinburgh in 1901–1902. New York: The Modern Library.
Janet, Pierre. 1893. “Quelques definitions récentes de l’hysterie.” Archives de neurologie 26: 1–29.
Kim, Clara, ed. 2019. Kara Walker: Fons Americanus, Hyundai Commission. London: Tate Modern.
Koja, Stephan, ed. 2006. Gustav Klimt: The Beethoven Frieze and the Controversy over the Freedom of Art. Munich: Prestel.
Kokoschka, Oskar. 1983. “Der Fetisch.” Oskar Kokoschka: Die frühen Jahre. Aquarelle und Zeichnungen (1906–1924). Hannover: Kestner-Gesellschaft.
Krafft-Ebing, Richard von. (1886) 1894. Psychopathia Sexualis, with Especial Reference to Contrary Sexual Instinct: A Medico-Legal Study. Translated by Charles Gilbert Chaddock. Seventh enlarged and revised ed. Philadelphia & London: F. A. Davis Company & F. J. Rebman.
Kramer, Lawrence. 1990. “Culture and Musical Hermeneutics: The Salome Complex.” Cambridge Opera Journal 2, no. 3 (November): 269–94.
Krauss, Rosalind. 1985. “Corpus Delicti.” October 33 (Summer): 31–72.
LaCoss, Don. 2005. “Hysterical Freedom: Surrealist Dance & Hélène Vanel’s Faulty Functions.” Women & Performance: A Journal of Feminist Theory 15, no. 2: 37–61.
Lampert, Catherine. 1986. Rodin: Sculpture & Drawings. London: The Arts Council of Great Britain and Yale University Press.
Landi, Ann. 2002. “Who Was the Real Artemisia?” Artnews 101, no. 2 (February): 110–13.
Lichtenstein, Therese. 2001. Behind Closed Doors: The Art of Hans Bellmer. Berkeley and Los Angeles: University of California Press.
Lippard, Lucy. 1975. “Louise Bourgeois: From the Inside Out.” Artforum 13, no. 7 (March): 26–33.
Locker, Jesse M. 2015. Artemisia Gentileschi: The Language of Painting. New Haven and London: Yale University Press.
Lübke, Wilhelm. 1878. History of Sculpture from the Earliest Ages to the Present Time. Translated by F. E. Bunnètt. Vol. 2. Second edition. London: Smith, Elder, & Co.
Mann, Judith W., et al. 2001. Orazio and Artemisia Gentileschi. Edited by Keith Christiansen and Judith W. Mann. New York and Rome: Museo del Palazzo di Venezia.
March, Jennifer R. 2014. Dictionary of Classical Mythology. Barnsley: Oxbow Books.
Mazzoni, Cristina. 1996. Saint Hysteria: Neurosis, Mysticism, and Gender in European Culture. Ithaca and London: Cornell University Press.
McBee, Richard. 2009. “Esther in Venice—In Search of Images of Esther.” Jewish Press (11 March): n.p.
Merskey, Harold, and Paul Potter. 1989. “The Womb Lay Still in Ancient Egypt.” The British Journal of Psychiatry 154, no. 6 (June): 751–53.
Micale, Mark S. 1990. “Charcot and the Idea of Hysteria in the Male: Gender, Mental Science, and Medical Diagnosis in Late Nineteenth-Century France.” Medical History 34, no. 4 (October): 363–411.
———. 2004. “Discourses of Hysteria in Fin-De-Siècle France.” In The Mind of Modernism: Medicine, Psychology, and the Cultural Arts in Europe and America, 1880–1940. Edited by Mark S. Micale, pp. 71–92. Stanford: Stanford University Press.
———. 2008. Hysterical Men: The Hidden History of Male Nervous Illness. Cambridge, MA: Harvard University Press.
Mitchell, Juliet. 2000. Mad Men and Medusas: Reclaiming Hysteria and the Effects of Sibling Relations on the Human Condition. London: Penguin.
Mitchell-Boyask, Robin. 2007. “Introduction.” Euripides: Alcestis, Medea, Hippolytus. Translated by Diane Arnson Svarlien, vii–xxxii. Indianapolis: Hackett Publishing.
Morford, Mark P. O., and Robert J. Lenardon. 1999. Classical Mythology. Sixth edition. New York and Oxford: Oxford University Press.
Nebehay, Christian Michael, ed. 1969. Gustav Klimt: Dokumentation. Wien: Galerie Christian M. Nebehay.
Nixon, Mignon. 2005. Fantastic Reality: Louise Bourgeois and a Story of Modern Art. Cambridge, MA: MIT Press.
O’Dowd, Michael J., and Elliot Elias Philipp. 2000. The History of Obstetrics and Gynaecology. Boca Raton: CRC Press.
Plato, Timaeus. 1949. Translated by Benjamin Jowett. Circa 360 BCE. Indianapolis: Liberal Arts Press.
Pollock, Griselda. 1999. “Old Bones and Cocktail Dresses: Louise Bourgeois and the Question of Age.” Oxford Art Journal 22, no. 2 (Louise Bourgeois): 73–100.
Pop, Andrei. 2012. “Henry Fuseli: Greek Tragedy and Cultural Pluralism.” The Art Bulletin 94, no. 1 (March): 78–98.
Quaintance, Morgan. 2019. “The Politics of Appeasement.” Art Monthly, no. 431 (November): 13–14.
Robinson, Jacqueline. 1997. Modern Dance in France: An Adventure 1920–1970. Translated by Catherine Dale. Amsterdam: Harwood Academic Publishers.
Ruiz-Gómez, Natasha. 2013. “A Hysterical Reading of Rodin’s Gates of Hell.” Art History 36, no. 5 (November): 994–1017.
Santamaría Blasco, Lourdes, and María José Zanón Cuenca. 2015. “Iconografías de la histeria # representaciones de género y cuerpos histéricos en las fotografías de Paul Richer y en las celdas del deseo de Louise Bourgeois.” Revista de bellas artes: revista de artes plásticas, estética, diseño e imagen, no. 13: 137–60.
Schade, Sigrid. 1995. “Charcot and the Spectacle of the Hysterical Body: The pathos formula’ as an aesthetic staging of psychiatric discourse—a blind spot in the reception of Warburg.” Art History 18, no. 4, December: 499–517.
Schorske, Carl E. 1980. Fin-de-Siècle Vienna: Politics and Culture. New York: Vintage Books.
Senelick, Laurence. 2017. Jacques Offenbach and the Making of Modern Culture. Cambridge: Cambridge University Press.
Seshadri, Anne L. 2006. “The Taste of Love: Salome’s Transfiguration.” Women & Music: A Journal of Gender and Culture 10: 24–44.
Shaw, Gwendolyn DuBois. 2004. Seeing the Unspeakable: The Art of Kara Walker. Durham and London: Duke University Press.
Sinkler, Wharton. 1898. “Hysteria; Disorders of Sleep.” A System of Practical Medicine by American Authors. Edited by Alfred Lebbeus Loomis and William Gilman Thompson. Vol. 4, 689–738. New York and Philadelphia: Lea Brothers & Co.
Skinner, Cornelia Otis. 1967. Madame Sarah. New York: Houghton-Mifflin.
Tasca, Cecilia et al. 2012. “Women and Hysteria in the History of Mental Health.” Clinical Practice & Epidemiology in Mental Health 8: 110–19.
Taylor, Sue. 2000. Hans Bellmer: The Anatomy of Anxiety. Cambridge, MA: MIT Press.
Turner, Christopher. 2012. “Analysing Louise Bourgeois: art, therapy and Freud.” The Guardian, 6 April, n.p.
Timpano, Nathan J. 2017. Constructing the Viennese Modern Body: Art, Hysteria, and the Puppet. New York and London: Routledge.
Vergne, Philippe et al. 2007. Kara Walker: My Complement, My Enemy, My Oppressor, My Love. Minneapolis: Walker Art Center.
Vergo, Peter. 1975. Art in Vienna, 1898−1918: Klimt, Kokoschka, Schiele and Their Contemporaries. London: Phaidon.
Veyrac, S. 1897. “Nos Interviews: Une heure chez Sarah Bernhardt.” La Chronique médicale: Revue bi-mensuelle de médecine, historique, littéraire et anecdotique 4, no. 19 (1 October): 614–16.
Wach, Kenneth. 1996. Salvador Dalí: Masterpieces from the Collection of the Salvador Dalí Museum. New York: Harry N. Abrams.
Wittkower, Rudolf et al. (1955) 1981. Gian Lorenzo Bernini: The Sculptor of the Roman Baroque. Third ed. Ithaca: Cornell University Press.
Yates, W. E. 1996. Theatre in Vienna: A Critical History, 1776–1995. Cambridge: Cambridge University Press.
Zuckerkandl, Berta. (1908) 2007. “The Klimt Affair.” Gustav Klimt: The Ronald S. Lauder and Serge Sabarsky Collections. Edited by Renée Price, 459–61. Munich: Prestel.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2021 The Author(s), under exclusive license to Springer Nature Switzerland AG
About this chapter
Cite this chapter
Timpano, N.J. (2021). L’arc de cercle, or the Movement of Modernism (1620–2020). In: Braun, J. (eds) Hysterical Methodologies in the Arts. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-66360-5_2
Download citation
DOI: https://doi.org/10.1007/978-3-030-66360-5_2
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-66359-9
Online ISBN: 978-3-030-66360-5
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)