Stendhal (Florence) Syndrome as an Unclassified Disorder

Abstract

The first aim of this paper is to discuss human-art relations basically. In this paper, literature related to Stendhal syndrome as pertaining to art psychology will be reviewed and information on the subject will be compiled. The necessity of doing art is widely defined in society as a form of self-disclosure by an individual. The definition of art according to scientists is art as self-actualization. The other discussed concept in this paper is Stendhal (Florence) syndrome. It’s known as a city syndrome. Stendhal syndrome, also known as Florence syndrome, describes a physical disease that afflicts those who behold works of art in Florence, Italy. The symptoms are dizziness, palpitations, hallucinations, orientation disorder, loss of identity and physical burnout.These clinical features manifest in patients who encounter rich Italian culture and historically important characters. Address for correspondence: Asli Yayak, Bursa Technical University, 152 Evler Mah. Egitim Cad. No: 80, Yildirim-Bursa, Turkey Telephone: 00905394219688, Fax: 00902243003830, E-mail: asli.yayak@btu.edu.tr INTRODUCTION Over the last few years, a cluster of psychological symptoms has appeared among tourists due to exposure to artistic and historical masterpieces. These are known as city syndromes. They differ from long-term psychological or psychiatric disorders. City syndromes are short-term disorders and are seen only in the visited cities. Paris syndrome, Jerusalem syndrome and Stendhal (Florence) syndrome are the most widely known among city syndromes (Halim 2009). Stendhal syndrome is basically a psychosomatic disorder in which an individual experiences certain reactions when a work of art that is listened to or seen. These reactions include heart palpitations, dizziness, and even hallucinations (Pinar 2014). Stendhal syndrome was first seen in the Basilica of Santa Croce. The name of this syndrome was coined by Marie-Henri Beyle, known in literature by his pen name as Stendhal, in Italy in 1817. According to experiments conducted annually, the same regions of the brain were observed to act with intense emotion during a trip to Florence (Innocenti 2014). Despite these experiments, Stendhal syndrome is not defined in the The Diagnostic and Statistical Manual of Mental Disorders (DSM) as a specific psychiatric illness, but in contrast, it is included in Zingarelli, which is one of Italy’s most important dictionaries (Hager 2016). According to Magherini’s research, symptoms of Stendhal syndrome are seen especially in Northern Europeans; the least affected people are, predictably, Italians (because every street is like an art gallery) and the Japanese (because of their organizing abilities). There are also specific works whereby the effects have been recorded. According to the data, Michelangelo’s David, Caravaggio’s Bacchus and Botticelli’s Venus are works where symptoms of the syndrome have most been recorded (Hager 2016). Stendhal syndrome does not have a specific treatment method. It is especially seen among individuals who are fond of art and are more emotionally sensitive. Stendhal explained his feelings in his diary as follows: “I was trapped in this glory. My life seemed to flash before my eyes. So much so that I was afraid to stumble and roll as I walked” (Amancio 2005). These symptoms are not only seen in Florence, but the syndrome is so named because it was first described there. This syndrome is also referred to as “art poisoning” because it occurs when exceptional and grandiose works of art are beheld (Pinar 2014). The symptoms of Stendhal syndrome are the opposite of those observed in Paris syndrome. In Paris syndrome, there is a depression caused by high expectations that are not met, whereas in Stendhal syndrome there is a loss of percepEthno Med, 13(4): 190-197 (2019) DOI: 10.31901/24566772.2019/13.04.594 © Kamla-Raj 2019 PRINT: ISSN 0973-5070 ONLINE: ISSN 2456-6772 STENDHAL SYNDROME 191 Ethno Med, 13(4): 190-197 (2019) tion and a loss of consciousness due to the grandeur of the works observed (Innocenti 2014).