ABSTRACT This study explores the influence of the French Symbolist poet, novelist, and literary critic Remy de Gourmont on Chaïm Perelman and Lucie Olbrechts-Tyteca's conception of dissociation. It proposes translatio—the medieval trope describing a transfer of ideas—as a lens through which to read the significance of Gourmont's thought on the New Rhetoric Project. Thus forgoing more traditional comparative approaches such as intertextuality, this study argues that translatio serves here as a particularly valuable conceptual tool: it unveils the evolution of Perelman's (...) thought over time, and Olbrechts-Tyteca's significant contribution to it; it also provides a clearer understanding of the relationship between association and dissociation in the NRP than what is generally understood by scholars of the Traité. More importantly, translatio unveils the features that make their conception of dissociation one of the truly innovative aspects of the NRP. (shrink)

It is often said that the advent of the Freudian talking cure around 1900 revolutionised the psychiatric setting by giving patients a voice. Less known is that for decades prior to the popularisation of this technique, several researchers had been experimenting with another, written practice aimed at probing the mind. This was particularly the case in France. Alongside neurologist Jean-Martin Charcot’s spectacular staging of hypnotised bodies, ‘automatic writing’ became widely used in fin-de-siècle clinics and laboratories, with French psychologists regularly asking (...) entranced patients to scribble down words to validate their nascent theories on the divided self. This article traces the emergence of automatic writing in French psychological discourse at the close of the 19th century. By focusing on the early work of Dr Pierre Janet and some of his contemporaries, it re-examines the role played by this practice in what Henri Ellenberger famously called ‘The Discovery of the Unconscious’. It also considers the various levels of reconstruction at play in recent historical accounts. What does it mean to give subjects a (written) voice? How does automatic writing differ from the Freudian talking cure as respective expressions of the unspeakable? And how might these questions inform future historical practice? (shrink)