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#MultilingualMedHums: A Thematic Series for The Polyphony

By Dr Jordan McCullough, Associate Editor at The Polyphony and Postdoctoral Research Fellow at the University of St Gallen, Switzerland

Established in 2023, The Polyphony’s ‘Multilingual MedHums’ series seeks to challenge ‘the Anglocentric nature of much medical humanities scholarship by showcasing the work of scholars based in and working on non-anglophone countries.’[1] The series encourages readers and contributors to engage with the rich entanglement of language and culture, as the media through which health and illness are lived and communicated, and to reflect on the significance of this intersection for their own research agendas and those of the wider field. Following the recent trajectory of other multilingual scholarship in the field, calling us in the direction of a global Medical Humanities,[2] the series seeks to push beyond the boundaries of the Anglosphere; introduce new research trajectories developing across the world; and demonstrate the value of multilingual and translational approaches for the future of the Medical Humanities. The ‘Multilingual MedHums’ series thus resonates with the ‘Reading Bodies’ project on multiple levels.

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‘Reading Bodies in European Literatures and Cultures’ – published in The Polyphony

By Katharine Murphy, Associate Professor of Hispanic Studies and Comparative Literature, University of Exeter, and AHRC Principal Investigator for the ‘Reading Bodies’ project.

Prof. Katharine Murphy has published an invited piece on ‘Reading Bodies in European Literatures and Cultures’ in the Multilingual Medical Humanities series of The Polyphony, hosted by the Institute for Medical Humanities, Durham University.

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Making and Remaking the History of Medicine with European Languages and Literature

By Dr Kit Yee Wong, Postdoctoral Researcher in French Studies

How do European languages and literature intersect with the modern human body and identity? Can literature help us re-think the classification of bodies into social and racial categories? Surveying the history of medicine in Europe from the nineteenth century will assist with these questions.

The mid-1800s was the start of the ‘golden age’ of clinical medicine across Western Europe, when medical sciences became professionalised. Disciplines were created in new medical institutions, such as physiology, pathology, gynaecology, and anthropology, to name a few. People were measured and categorised on a grand scale.

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The ‘Sick Girl’ Film and Italian Teen Female Audiences

By Danielle Hipkins, Professor of Italian Studies and Film, University of Exeter

Drawing connections with the AHRC-funded project A Girl’s Eye View 2021-2024, Prof. Danielle Hipkins reflects on audience responses to the genre of the ‘sick girl’ film.

The romantic film depends on the obstacle. Otherwise, what happens? Two people meet, fall in love, and live happily ever after. That is the outcome we want, but it’s not the story we want. It’s far too short, and likely boring.

Serious, terminal even, illness presents a narratively rich obstacle, and the canon of romantic films is strewn with lovers lost, slowly and painfully, or sometimes recovered through the sheer power of love alone. There are variations in outcome, and also in the distribution of illness: maybe he’s ill, maybe she’s ill, maybe they’re both ill. Sometimes they both survive, but usually it’s just one of them.

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Considering Female Mental Illness in Novas Cartas Portuguesas (1972): The Hysterical Woman and her Dog

By Dr Olivia Glaze, AHRC Post-Doctoral Research Associate, University of Exeter

References to madness, insanity, melancholia, and hysteria have long plagued the diagnoses of female mental illness. The crazed, raving, and unstable woman is a prevalent trope that has long persisted within Western literature, from Ophelia in Shakespeare’s Hamlet (1599-1601) and Bertha Mason in Brontë’s Jane Eyre (1847) to Gilman’s The Yellow Wallpaper (1892) and Flaubert’s Madame Bovary (1856). Historically, madness, hysteria, and melancholia have been considered female afflictions due to an assumed inherent feminine proximity to wrecked nerves and sexual disorders – indeed, the word hysteria is derived from the Greek word “hysteron” or womb. In the late nineteenth century, understanding the ‘female’ illness of hysteria was a central focus of studies, led by the French neurologist Jean-Martin Charcot at his infamous Parisian asylum, Salpêtrière. Charcot transformed the hospital into an internationally renowned site of neurological teaching, with Sigmund Freud and Pierre Janet amongst his students.

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Stress and Resilience: A Psychologist’s Perspective

By Dr Kayleigh Darch, Clinical Psychologist, Yoga Teacher, Founder of Body and Mind Therapy, and Project Partner for Reading Bodies

Responding to our project strand on burnout, stress and resilience, this article reflects on two of these terms from a psychologically-informed perspective, and explores the powerful connections between mind and body.

In this short article, I would like to offer you some observations and reflections on how we understand stress and what contributes to our individual resilience. This is drawn from my experiences working as a Clinical Psychologist supporting people who are struggling with their mental health and my roles in supporting the teams who care for others. It also stems from my personal practice, ongoing learning and work as a Yoga Teacher. My two worlds of psychology and yoga are drawn together continually in my holistic approaches to supporting the body and the mind simultaneously. I hope that there is something helpful or interesting for you in this article.

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Pathological Memories: Reading Degeneration and Death in ‘Cuervo’ (1892)

By Isabel Cawthorn, PhD candidate in Hispanic Studies, University of Birmingham

Leopoldo Alas (‘Clarín’) is most prominently known as the author of La Regenta, which was published in two volumes in 1884 and 1885 and is now well ensconced in classic Spanish literature. However, aside from this realist novel, he also published hundreds of experimental short stories, of which ‘Cuervo’ was one, first appearing in the newspaper, La Justicia, in 1888. Clarín begins his short story, ‘Cuervo’, with the following lines: ‘El paisaje que se contempla desde la torre de la colegiata no tiene más defecto que el de parecer amanerado y casi casi de abanico. El pueblo, por dentro, es también risueño, y como está tan blanco, parece limpio’.[1] [‘The landscape that can be seen from the collegiate church has no other defect than appearing slightly affected and almost fan-like. The village itself is also pleasant, and because it is so white, it appears clean’.][2] The quotation foregrounds the importance of the concepts of cleanliness and ‘defect’ in relation to people and places. Specific to this story is how sanitation and disease are used to pathologise the past, making ‘Cuervo’ an interesting example of how, in late nineteenth-century Spain, pathology and illness were given a temporal significance.

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Anatomy of a Gaze: Body-Reading as Perversion in Rachilde’s Monsieur Vénus

By Maria Scott, Associate Professor of French Literature and Thought, University of Exeter

In 1884 a strange novel was published in Belgium by a young French woman, Marguerite Eymery Vallette, more usually known as Rachilde. The book was banned for obscenity, and a fine and prison sentence were imposed on the author. Five years later, in 1889, Monsieur Vénus was published in France, with some of its most scandalous passages and details omitted. It was accompanied by a preface by the right-wing author Maurice Barrès, who claimed that the novel would interest reflective readers primarily on account of the fascinating portrait it offered of the soul of a young virgin (the author) afflicted by an incongruous perversity. He quotes the novelist Jean Lorrain’s description of Rachilde’s limpid and ignorant eyes, concealing other eyes that search out and discover scandalous pleasures. This focus by both male authors on the female author’s strange gaze is telling: that gaze is both ignorant and knowing, a placid object of male attention that is also active and mobile and daring. Barrès recommended that Monsieur Vénus be read as ‘le spectacle d’une rare perversité’ (the spectacle of a rare perversity), as ‘un symptôme’ (a symptom), and as ‘une anatomie’ (an anatomy).[1] It is hard not to think of André Brouillet’s famous contemporaneous painting A Clinical Lesson at the Salpêtrière (1887), which depicts the body of a supposedly perverse young woman being subjected to the fascinated medical gaze. The crucial difference is that, in the case of Monsieur Vénus, the anatomised woman stares right back.

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Sick Tales: Body Horror in the Ghost Story

By Louise Willder, copywriter at Penguin Books and author of Blurb Your Enthusiasm: An A-Z of Literary Persuasion (London: Oneworld Publications, 2022), a Times Book of the Year.

The one guarantee about living in a human body is that, at some stage, it will let you down. Our bodies are remarkable things, but they also age, ache, break, change, leak, bleed, scar, get infected and cause us pain. We cannot escape it, and it scares us. Consequently, fear of our bodies, of illness and imperfection, is at the heart of the literature of fear, whether a traditional English ghost story or a fantasy horror novel. ‘Body horror’ is an established genre in film, with directors such as David Cronenberg and Julia Ducournau exploring and exploiting the degeneration or destruction of the physical body with gory glee. But well before this, the same fear of things happening to our bodies ran through supernatural tales: of invasion; of contagion; of transformation; and of mutilation.

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Reading Illness in fin-de-siglo Spain: Baroja’s Madrid Novels

Welcome to the AHRC-funded project on ‘Reading Bodies: Narrating Illness in Spanish and European Literatures and Cultures (1870s to 1960s)’ at the University of Exeter. As the Principal Investigator, my interest in this area of research has developed over several years, starting with representations of pathology in the works of turn-of-the-century Spanish author Pío Baroja. He studied medicine in Madrid and Valencia, submitting a doctoral thesis on ‘Pain. A Psychophysical Study’ in 1893, and practised for a short time as a doctor in the Basque town of Cestona before turning definitively to writing. His disillusionment with studying medicine is reflected in a famous semi-autobiographical novel, El árbol de la ciencia (1911) [The Tree of Knowledge].

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