Download e-book for iPad: Performing Bodies in Pain: Medieval and Post-Modern Martyrs, by M. Carlson
By M. Carlson
The pressing debate approximately torture in public discourse of the twenty-first century thrusts discomfort into the foreground whereas learn in neuroscience is reworking our figuring out of this basic human adventure. In late-medieval France, a rustic devastated through the Black dying, torn by means of civil strife, and strained via the Hundred Year’s warfare with England, the idea of ache shifted in the conceptual frameworks supplied by way of theology and drugs. acting our bodies in soreness analyzes the cultural paintings of mind-blowing soreness in the course of those classes, analyzing fresh dramatizations of torture and performances of self-mutilating conceptual artwork opposed to late-medieval saint performs.
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Additional info for Performing Bodies in Pain: Medieval and Post-Modern Martyrs, Mystics, and Artists (Palgrave Studies in Theatre and Performance History)
The fact that doctors trained in scholastic medicine were helpless in the face of the plague undermined their authority and helped to pave the way for change: all sorts of practitioners sold remedies, and in order to compete, physicians began to incorporate these things—including alchemy and magic—into their practice. They also stepped up efforts to control such nonacademic practitioners as midwives, surgeons, and apothecaries. 60 One might be tempted here to move from this notion of the plague experience as a positive force for change into a metaphorical conflation of plague and theatre, in the manner of Artaud, which slides all too easily into a stereotype of plague everywhere and always, witch trials, trial by ordeal, the Inquisition, boiling oil.
49 He then switches from prayer to direct address (“Cy die au peuple”), ensuring that the audience understands the lesson: “Good folk, don’t be sad if you see me tormented because through earthly pain comes eternal gladness. 50 After a brief interlude during which the saints are clapped in irons and thrown into prison, the flagellation resumes. 51 This beating continues for thirty lines, after which Denis is placed on a grill over a bed of fire (663–88), thrown to savage beasts that haven’t eaten for a week (689–714), put into a hot furnace (718–49), and finally crucified (750–95).
Luc Boltanski argues that encountering suffering face-to-face obligates one to provide reasonable assistance; that is, an action to alleviate suffering that does not put one at risk. Only those with specialized roles, such as firefighters and police, must risk their lives in order to save others. For anyone else, one’s relationship to the sufferer delineates one’s level of obligation. One would be expected to save one’s child, for example, or perhaps even one’s neighbor. 20 Distance introduces additional ethical precepts.
Performing Bodies in Pain: Medieval and Post-Modern Martyrs, Mystics, and Artists (Palgrave Studies in Theatre and Performance History) by M. Carlson