Review

Penser l'imaginaire. Essais d'anthropologie psychanalytique. By Bernard Juillerat Lausanne: Editions Payot Lausanne. 2001. Pp. 309 Price: Euro 22.71     

The signory and its supporters: the Este of Ferrara

The signory of the Este, like that of other contemporary signori, was officially inaugurated with a public election. The ‘people’ (popolo) of Ferrara thereby instated an hereditary ruler who had absolute powers over the city. This election, together with the fact that there were no successful rebellions against the Este, has led some historians to argue that these signori achieved an implicit understanding with the ‘people’ of Ferrara.The evidence of contemporary chronicles, though often ambigous, does not support this view. Likewise, the legislation of the first Este signore demonstrates a desire to suppress the ‘people’ rather than to co-operate with them. The group whose support was essential to the Este was the nobility; chronicle and archival evidence indicates that the Este considered this group to be the very basis of their signory. The interests of the nobility, as well as the need to maintain good relations with Venice, made far more impact on Estense policy than did the wishes of the ‘people’.     

Phantoms in Artists: The Lost Limbs of Blaise Cendrars,Arthur Rimbaud,and Paul Wittgenstein

There have been an increasing number of reports of postamputation pain and problems linked to phantom limbs over recent years, particularly in relation to war-related amputations. These problems, which are often poorly understood and considered rather mysterious, are still relevant because they are difficult to treat medically. Functional neuroimaging techniques now enable us to better understand their pathophysiology and to consider new rehabilitation techniques. Phantom limbs have often been a source of inspiration to writers, particularly in the period following the First World War, which was responsible for thousands of amputees. Some artists have suffered from postamputation complications themselves and have expressed them through their artistic works. Blaise Cendrars (1887–1961), one of the greatest authors of the twentieth century, suffered from stump pain and phantom limb phenomena for almost half a century following the amputation of his right arm during the First World War. He suffered from these phenomena until the end of his life and his literary work and personal correspondence are peppered with references to them. Arthur Rimbaud (1854–1891), one of the most famous poets in world literature, developed severe stump pain after his right leg was amputated due to a tumor. He survived for only six months after the procedure but left behind an account of the pain he experienced in correspondence to his family. The famous pianist Paul Wittgenstein (1887–1961), whose right arm was amputated during the First World War, became a famous left-handed concert pianist. The phantom movements of his right hand helped him to develop the dexterity of his left hand. The impact on the artistic life of these three men provides an original illustration of the various postamputation complications, specifically phantom limbs, stump pain, and moving phantom.     

Early Neolithic obsidians in Sardinia (Western Mediterranean): the Su Carroppu case

All the obsidians from the undisturbed Early Neolithic (Cardial ware phase I) layer of the Su Carroppu rock-shelter (Sardinia island) were studied. Their elemental composition and that of obsidians from the Monte Arci (Sardinia) volcanic complex was determined by ion beam analysis (PIXE). A comparison between the composition of Su Carroppu artefacts, analysed non-destructively, and that of Western Mediterranean analysed in the same conditions shows that the archaeological material belongs to the SA, SB2 and SC Monte Arci-types, to the exclusion of the SB1 type. The typological/technological study of this industry allowed us to reconstruct two chaînes opératoires, for the production of blades (using predominantly SC obsidians) and of flakes (based exclusively on SA and SB2 obsidians), respectively, but on the whole, assemblage blade/bladelet production was performed somewhat preferably with SA and SB2 types. Thus, in the earliest EN culture known on the island, ancient man had, for the making of its obsidian toolkit, a highly adaptive behaviour applied to the reduction of different useful obsidian sources.