Browsing by Author "Pichel, Beatriz"

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    Cuerpos patológicos. Fotografía y medicina en el siglo XIX
    (Alcores, 2017) Pichel, Beatriz
    This article examines different approaches to nineteenth-century medical photography. It argues that we should go beyond the visual analysis to examine the material conditions in which photographs were taken and reproduced. It does so taking as a case study two illustrated journals: Iconographie photographique de la Salpêtrière (1875-1880) y Nouvelle iconographie de la Salpêtrière (1888-1918). An exhaustive analysis demonstrates that the different photographic practices materialised in each publication constructed visually and medically the hysterical body in a different way.
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    Die psychologie des lächelns bei Georges Dumas. Eine fotogeschiliche studie
    (Fotogeschichte, 2016-07) Pichel, Beatriz
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    Emotional Bodies. The Historical Performativity of Emotions
    (University of Illinois Press, 2019-12-23) Pichel, Beatriz; Martin Moruno, Dolores
    What do emotions actually do? Recent work in the history of emotions and its intersections with cultural studies and new materialism has produced groundbreaking revelations around this fundamental question. In Emotional Bodies, contributors pick up these threads of inquiry to propose a much-needed theoretical framework for further study of materiality of emotions, with an emphasis on emotions' performative nature. Drawing on diverse sources and wide-ranging theoretical approaches, they illuminate how various persons and groups—patients, criminals, medieval religious communities, revolutionary crowds, and humanitarian agencies—perform emotional practices. A section devoted to medical history examines individual bodies while a section on social and political histories studies the emergence of collective bodies. Contributors: Jon Arrizabalaga, Rob Boddice, Leticia Fernández-Fontecha, Emma Hutchison, Dolores Martín-Moruno, Piroska Nagy, Beatriz Pichel, María Rosón, Pilar León-Sanz, Bertrand Taithe, and Gian Marco Vidor. "This wide-ranging and rigorously historicized collection of essays gives new insights into how emotions have changed and been deployed over time. The stress on emotions as a practical engagement with the world that has tangible effects is especially welcome."--Jo Labanyi, editor of Constructing Identity in Contemporary Spain: Theoretical Debates and Cultural Practice
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    French Resentment and the Animalization of the Germans During the First World War (1914-1918)
    (Cambridge Scholars Publishing, 2013) Pichel, Beatriz
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    From Facial Expressions to Bodily Gestures. Passions, Photography and Movement in French 19th century Sciences
    (Sage, 2015-12-27) Pichel, Beatriz
    This article aims to determine to what extent photographic practices in psychology, psychiatry and physiology contributed to the definition of the external bodily signs of passions and emotions in the second half of the 19th century in France. Bridging the gap between recent research in the history of emotions and photographic history, the following analyses focus on the photographic production of scientists and photographers who made significant contributions to the study of expressions and gestures, namely Duchenne de Boulogne, Charles Darwin, Paul Richer and Albert Londe. This article argues that photography became a key technology in their works due to the adequateness of the exposure time of different cameras to the duration of the bodily manifestations to be recorded, and that these uses constituted facial expressions and bodily gestures as particular objects for the scientific study.
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    Illness and image. Case studies in the medical humanities by Sander L. Gilman
    (Taylor and Francis, 2015-11-27) Pichel, Beatriz
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    De la SPA a los fotógrafos amateur. La cámara como instrumento de apropriación de la guerra
    (Ciencia y técnica entre la paz y la guerra, 1714, 1814, 1914, 2015-04) Pichel, Beatriz
    The Great War led to political, social and technological transformations that affected the development of late conflicts in Europe. But not all transformations were related to weaponry. This paper will examine the impact that the war had in the improvement of the relatively new technology of photography, and the ways in which photographic practices framed different war experiences. With this aim in mind, this paper will analysis several military and civil uses of photography in France, focusing on the two main collectives: the section photographique de l’armée, the military photographic service created in 1915 with the purpose of taken official images of the war, and the amateur photographers, which were soldiers and officers who brought their own cameras to the front. In both cases, this paper will examine the ways in which the military propaganda used photography to build and disseminate its messages. In particular, the focus of the analysis will be on how military services tried to control photographic practices, and how these practices penetrated into the civil society, who appropriated them. In this way, this paper will show that photography became a key technology for the French population during the war not only because photographs allowed the population to see what was happening. Above all, photography became essential because the uses of photographs and cameras allowed the appropriation of the conflict and its integration into family memory by means of the albums.
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    Les Gueules Cases. Photography and the Making of Disfigurement
    (Journal of War & Culture Studies, 2016-11-30) Pichel, Beatriz
    Between 1914 and 1918, French visual culture was saturated with photographs of amputees: ex-combatants who had lost an arm or a leg, and had substituted them for prosthetic devices. However, these pictures were all about body mutilations. Facial injuries were also profusely photographed, but barely penetrated into the French visual culture. This article explores the reasons behind this invisibility. It maintains that, during the war, bodily mutilations were associated with discourses on re-education, while facial wounds were connected to the rhetoric of reconstruction. This distinction, grounded on concerns about the function of the limbs and the appearance of the face, was the source of the sparse dissemination of photographs of facial injuries. It will be argued that these wounds became visible only when the focus shifted from the appearance to the social function of the face, and facial injuries began to be understood as ‘disfigurement’.
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    Making Sense of Verdun. Photography and Emotions During the First World War
    (Inter-Disciplinary Press, 2012) Pichel, Beatriz
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    On Honeymoon Along the Western Front. Photography and Trauma After the First World War
    (Inter-Disciplinary Press, 2013) Pichel, Beatriz
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    Photographic Sources in the History of Psychiatry
    (Routledge, 2022) Pichel, Beatriz
    This chapter provides tools for using photographic sources in the history of psychiatry. It demonstrates that photographs are very versatile sources that can be integrated into the history of psychiatry in different ways to explore the history of psychiatric categories and medical theories, patients’ experiences and more. The first section examines several case studies, from the renowned images made by Hugh Welch Diamond and Jean-Martin Charcot to lesser known materials. It discusses questions such as the supposed objectivity of photographs, the emergence of photographic protocols and the lack thereof, the circulation of photographs and practices among different institutions, the agency of patients, the relationship between photographs, text and other visual media and the impact of colonialism and criminology studies. The second section presents the main historiographical trends, from the influence of Foucauldian studies on power and the medical gaze to recent work on material practices. Lastly, the final section provides tips for searching medical photographs in archives and discusses the ethics of researching and publishing sensitive sources.
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    Photographing the Emotional Body. Performing Expressions in the Theatre and the Psychological Sciences
    (University of Illinois Press, 2019-12) Pichel, Beatriz
    This chapter examines the medical, chronophotographic and theatrical photographs taken in the 1890s by Albert Londe, Head of the Photographic Service at the Parisian hospital La Salpêtrière. Situating Londe’s production in the broader context of psychological and physiological theories of emotions emerging at the time, this chapter argues that photography became a key tool in the understanding of embodied expressions of emotions. Photographs served scientific and laypeople to grasp the gestures’ meaning, that is, the emotions that they were supposed to communicate, as well as their materiality, the nervous and muscular processes than produced them. This analysis demonstrates that photographic practices became performative practices which articulated emotional bodies
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    Picturing the Western Front. Photography, Practices and Experiences in First World War France
    (Manchester University Press, 2021-05) Pichel, Beatriz
    Between 1914 and 1918, military, press and amateur photographers produced thousands of pictures. Either classified in military archives specially created with this purpose in 1915, collected in personal albums or circulated in illustrated magazines, photographs were supposed to tell the story of the war. Picturing the Western Front argues that photographic practices also shaped combatants and civilians' war experiences. Doing photography (taking pictures, posing for them, exhibiting, cataloguing and looking at them) allowed combatants and civilians to make sense of what they were living through. Photography mattered because it enabled combatants and civilians to record events, establish or reinforce bonds with one another, represent bodies, place people and events in imaginative geographies and making things visible, while making others, such as suicide, invisible. Photographic practices became, thus, frames of experience.
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    Reading Photography in French Nineteenth-Century Journals
    (Taylor and Francis, 2018-10-09) Pichel, Beatriz
    This article explores how photographs published in the French medical and, to some extent, the popular press helped readers to interpret expressions and gestures as signs of emotional states, morbid conditions and physiological and psychological processes. The first two sections examine the use of photography to visualise normal and pathological bodies through measurements and experiments in the medical press, particularly Nouvelle Iconographie de la Salpêtrière, Archives de Neurologie and L’Année Psychologique. The next two sections study how the development of new photographic processes such as the magnesium flash and chronophotography created new conditions in which the body could be visually scrutinised in the medical press as well as popular journals such as Le Théâtre and the general scientific journal La Nature. This analysis results in two main findings: 1) medical journals used photography to assert their own disciplinary identities, and 2) photography acted as a potential bridge between audiences, as some medical and popular journals shared the same beliefs regarding photography’s ability to represent the human body, but approached photographic innovations from different, albeit complementary, ways.