Download Historia cultural del dolor by Javier Moscoso PDF

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By Javier Moscoso

El dolor, que los angeles mayor parte de las veces carece de justificación, posee sin embargo una historia. Los gestos de las vírgenes mártires, las burlas que acompañaron las desventuras de don Quijote, las penitencias que tuvieron lugar, a escondidas, en el inside de los conventos, las pequeñas comedias del masoquismo sexual, el teatro anatómico del Mundo Moderno, las muecas de los pacientes anestesiados, los dolores conscientes del trastorno nervioso o los inconscientes de l. a. enfermedad psychological, se dan cita en este libro. Al contrario de lo que afirmaba el filósofo Cioran, para quien period imposible dialogar con el dolor físico, todas y cada una de estas páginas abogan por ese encuentro y potencian ese diálogo. A medio camino entre l. a. historia y l. a. filosofía, este ensayo versa sobre las formas sucesivas (que no progresivas) de materialización de los angeles experiencia del daño, sobre las modalidades artísticas, jurídicas o científicas que han permitido, desde el Renacimiento hasta nuestros días, los angeles comprensión cultural del sufrimiento humano. l. a. representación, los angeles simpatía, los angeles imitación, pero también l. a. coherencia, l. a. confianza o los angeles narratividad son algunos de los recursos retóricos y argumentativos que los hombres y las mujeres hemos ido utilizando, y todavía usamos, para sentir nuestro dolor, pero también para expresarlo y dotarlo de significado y valor colectivo.

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606. " TheIrierpretation

This sub-layering suggests the level of mediation and indirectness at work in mental memory functions. Freud's use of the word "Schicht," or layer, to describe both the components of the WptncbUock and the structuring of mental functions, will be discussed later in this chapter. For the moment, however, it is useful to note that memory's inscriptions are based on proximity and contiguity- a registration process based on metonymic details. However, the level of penetration and strength of the traces clearly vary to greater or lesser degrees at each depth.

118. " Brill, p. 83. 33 Benjamin, The Anodes Project, p. 874. 34 Reinhart Koselleck, Zeitschichten: Stucbenzur Historik (Frankfurt am Main: Suhrkamp, 2000), p. 9. 41 architectural QriflriemEthode draws attention to the different ages, depths, and origins of buildings that maybe present at the surface at die same time. Surface is acknowledged to have texture. If texture is another way of describing a surface that has different material substances, heights, and depths - nubs, impressions, depressions, and peaks - then to acknowledge the texture of surface is to deconstruct the notion of surface as it has been deployed in philosophy from the Greeks through Nietzsche to postmodernity, and to acknowledge the layeredness of layers themselves, as in the analysis above of Freud's Mystic WritxngPcuL Noticing Zeitsdnchten, or temporal layers in buildings and design, not only historicizes them, but also lets us by extension give weight to the changeability, contingency, and historical polyphony of human artifacts, both material and immaterial.

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