Resumo: A Iconografia Fotográfica da Salpêtrière se constitui como um compêndio de estudos de casos e experimentações clínicas sobre a histeria, epilepsia e hístero-epilepsia. Empreendida pelo neurologista Désiré-Magloire Bourneville (1840-1909) e pelo fisiologista Paul Regnard (1850-1927), a obra foi pautada nos casos clínicos estudados por Jean-Martin Charcot (1825-1893) e incentivada por ele. Dividida em três volumes publicados, datados de 1877, 1878 e 1879-1880, a Iconografia apresenta 119 fotografias no conjunto de seus tomos. Considerando a relação incontornável entre Charcot, o hospital Salpêtrière e a obra iconográfica, esta dissertação se divide em: (1) Apresentar a trajetória de Jean-Martin Charcot e sua relação com a Salpêtrière, instituição na qual consolidou sua carreira e onde permaneceu por três décadas. Afim de compreender a longa história da instituição antes da chegada do neurologista, também menciono alguns episódios que marcaram seu desenvolvimento; (2) Analisar a obra iconográfica tanto do ponto de vista de sua narrativa quanto de suas fotos. Para tanto, foi necessário analisar quais práticas e discursos estiveram associados à produção dessas imagens; demonstrar como a obra iconográfica reiterou a histeria como uma doença de mulheres e, por fim; depreender que elementos próprios ao contexto do século XIX permitiram a partilha de um universo simbólico entre ciência e arte, garantindo à Iconografia um caráter fronteiriço entre essas áreas Ver menos

Abstract: The Iconography Photographic Salpêtrière is a compendium of case studies and clinical trials on hysteria, epilepsy, hystero-epilepsy, and their comorbidities. Made by neurologist DésiréMagloire Bourneville (1840-1909) and physiologist Paul Regnard (1850-1927), the work was based on clinical cases studied by Jean-Martin Charcot (1825-1893) and encouraged by him. Divided into three published volumes, dated 1877, 1878 and 1879-1880, the Iconography presents 119 photographs in the set of its tomes. Considering the unavoidable relationship between Charcot, the Salpêtrière hospital, and the iconographic work, this dissertation is divided into: (1) Presenting the trajectory of Jean-Martin Charcot and his relationship with Salpêtrière, an institution in which he consolidated his career and where he remained for three decades. Seeking to understand the institution's long history before the arrival of the neurologist, I also mention some episodes that marked its development; (2) Analyze the iconographic work both from the point of view of its narrative and its photos. Therefore, it was necessary to analyze which practices and discourses were associated with the production of these images; demonstrate how the iconographic work reiterated hysteria as a disease of women and, finally; to understand which elements, specifics to the context of the 19th century, allowed the sharing of a symbolic universe between science and art, guaranteeing to Iconography a borderline feature between these areas. The Iconography Photographic Salpêtrière is a compendium of case studies and clinical trials on hysteria, epilepsy, hystero-epilepsy, and their comorbidities. Made by neurologist DésiréMagloire Bourneville (1840-1909) and physiologist Paul Regnard (1850-1927), the work was based on clinical cases studied by Jean-Martin Charcot (1825-1893) and encouraged by him. Divided into three published volumes, dated 1877, 1878 and 1879-1880, the Iconography presents 119 photographs in the set of its tomes. Considering the unavoidable relationship between Charcot, the Salpêtrière hospital, and the iconographic work, this dissertation is divided into: (1) Presenting the trajectory of Jean-Martin Charcot and his relationship with Salpêtrière, an institution in which he consolidated his career and where he remained for three decades. Seeking to understand the institution's long history before the arrival of the neurologist, I also mention some episodes that marked its development; (2) Analyze the iconographic work both from the point of view of its narrative and its photos. Therefore, it was necessary to analyze which practices and discourses were associated with the production of these images; demonstrate how the iconographic work reiterated hysteria as a disease of women and, finally; to understand which elements, specifics to the context of the 19th century, allowed the sharing of a symbolic universe between science and art, guaranteeing to Iconography a borderline feature between these areas Ver menos