By J. Moscoso
ISBN-10: 1137284234
ISBN-13: 9781137284235
ISBN-10: 1349542601
ISBN-13: 9781349542604
Midway among heritage and philosophy, this booklet bargains with the old kinds that experience authorized the certainty of human struggling with the Renaissance to the current. illustration, sympathy, imitation, coherence and narrativity are yet some of the rhetorical recourses that women and men have hired with a view to think our discomfort.
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Additional info for Pain: A Cultural History
Example text
Although neither of them wishes to suffer, their pain bears Representations 27 witness to a will greater than their own. “O my Father, if it be possible, let this cup pass from me,”53 Jesus said on the Mount of Olives. The cup is precisely what Grünewald represents: the limit between pain and Salvation, between life and death, between the new and the ancient history, between the Old and the New Testament, between His Will and the will of an Other, who is also He. 54 Within the same symbolic space, the living commune with the dead, angels with demons and saints with monsters.
Violence can be extreme in both cases, but whereas modern cinema actors seek to adapt their expressions to the horrors of our world, the martyr’s countenance remains unmoved. We recognize the expression of the greatest possible harm that might be inflicted upon a body, but there is nothing to suggest a counterintuitive recreation of a form of pain that cannot be explained or understood with any logic or accepted from the standpoint of any rule. The quintessence of the cultural construction of violence in our contemporary world – the crude and stark depiction of Radical Evil – did not exist in the early modern world.
However, the early modern world, which separated words from things, the soul from the body, men from beasts, reality from fiction, and certainty from doubt, was also concerned with meeting places; with real or imaginary, natural, or cultural spaces that would serve as a point of connection between these dichotomies. When the philosopher René Descartes wrote his Passions of the Soul, he traced a border between love and hate, the mind and the heart, the I and the we, in which passions were expressed like musical notes, capable of moving the body by means of the soul or, vice versa, of affecting the soul by means of the body.
Pain: A Cultural History by J. Moscoso
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