From Clouds to the Brain. Celine Cherici

From Clouds to the Brain - Celine Cherici


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Ure shakes and shocks Matthew Clydesdale’s lifeless body with electricity

      The execution of Thomas Weems for murder on 6 August 1819 has become very famous in criminal histories. His condemned body was subjected to a number of quasi-scientific experiments to explore the nature of electricity, resuscitation and brain death, all associated with Mary Shelley’s Frankenstein (1818). [HUR 16, p. 241]

      Cumming tried to make the body breathe by exciting the vagus nerves from the brain to the heart, lung, and digestive organs. His idea, according to the identity of the nervous fluid with the electric fluid, was to revive the organism’s regulating nervous fluid by means of galvanization. From Aldini to Cumming the concept of “experimental resurrection of inanimate flesh” was developed [BAR 06, p. 38]. Between these galvanic experiments, from the beginning of the 19th Century, and contemporary reanimation, the potential of the control of life mechanisms by medicine was taking shape:

      The Cambridge Journal kept a full account of the experimental stages of this research and helped to disseminate it in society, where it asked a fundamental question: what is dying?:

      The beheaded and hanged men of London and Glasgow were only the prelude to a medicine of reanimation, which throughout the 19th Century was concerned with the freshest cadavers, multiplying discussions on the definition of the thresholds of death and its reversibility. [BAR 06, p. 41, author’s translation]

      Between the belief in the persistence of a consciousness that some believed they could see through the distortions of galvanized criminals’ features and the fact of managing death for a definitive and irremediable moment, the refusal of human finiteness emerged. These experiments were the culmination of medical utopias and the imagination of a potential victory over death. They tell the story of galvanism in terms of the connection between its applications and the mechanisms of life:

      In terms of physiology, knowledge acquired on an animated anatomy and for future resuscitation techniques, they were extremely heuristic:

      The idea of the reversibility of death referred to the notion of stages in this process on which medicine could still intervene. This idea was based on the fact that the vital principles present in the body do not stop working immediately. The heart plays an important role. Seen as a pump, a mechanical part, it is considered as being able to be re-launched and capable, by its action on the blood circulation, to start again to excite the centers of innervation, those of the general motricity, and thus to ensure the redistribution in all the points of the organism, of an always present energy:

      However speculative such assumptions may be, they nonetheless provide a precise measure of what death means: they establish the exact meaning of this physiological transformation. Just as life as a whole was nothing but a result and harmony, its disappearance cannot be the ruin of any principle, and the death of this whole is reduced to an accident which restores to their freedom – a fatal freedom, since it must this time bring about a real annihilation – the partial energies whose association was necessary for the constitution of the individual. The death of the whole is thus only the breaking of the united pact that creates individuality: there is no life that perishes, for real life is concentrated entirely within the organic element. [BER 05, p. 18, author’s translation]

      The spirit of the early 19th Century permeates the novel Frankenstein, or The Modern Prometheus [SHE 18], which Mary Wollstonecraft Shelley (1797–1851) published in 1818; the book quickly became a classic in the field of Gothic horror literature:

      Mary Shelley was the daughter of the British philosopher, political theorist and novelist William Godwin (1756–1836) [GOD 20]. He was fascinated by the recent discoveries of galvanism, which he felt was an agent of materialism. These considerations led him to conclude the materiality of the soul and the non-necessity of a god. Moreover, inspired by the spirit of Enlightenment and the French Revolution, he proposed societal reforms designed according to the data of reason. His notoriety, as a defender of the most innovative ideas, failed to have him accused of materialism and atheism in the same way as his friend, Thelwall (1764–1834). He is considered part of the reformists and utopians projecting a society based on an egalitarian system, against whom the economist Malthus (1766–1834) wrote. Thelwall [THE 02] used electricity to argue for the material basis of life and human rights as a natural consequence of the laws of nature. While electricity was a sign of scientific progress, it became a paradigm for political progress:

      Machines appeared to provide a concrete way of articulating and making sense of new relationships between natural and political economies, between human labour and the natural forces increasingly being harnessed to power industrial progress. From this perspective, the human body itself could be regarded as a machine, embodying the newly articulated doctrine of the conservation of energy in just the same way as did an electric battery or a steam engine. [RHY 99, p. 249]

      This inscription of the history of electricity in the post-revolutionary context makes it possible to understand to what extent the craze that it provoked symbolized the advent of a society marked by the progress of technology. The passage in Mary Shelley’s novel in which the scientist, Victor Frankenstein, explains how he glimpsed the links between light and the possibility of animating matter offers several interpretations. The most likely is the link between natural electricity such as lightning and the vital spark that animates matter in vivo:


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