Physiological psychology

The entire act of vomiting is controlled by a nerve center located in the bulb. Vomiting is a reflex act, a symptom whose evolution essentially depends on the cause, and can occur as a result of violent emotions, such as emotion, excitement, impression, trepidation, upset. Or to psychic influences. Feelings of anxiety dictated by fear of something or the imminent loss of someone. Sense of unease, a negative effect that in a community or a collectivity results in the disappearance of one of its members. Vision of traumatizing things and episodes. Sudden psychic trauma shock. Often as an indication of psychological rejection. (Treccani).

Historical references 1 (Michelangelo Merisi - Caravaggio)

Michelangelo Merisi (Caravaggio 1571-1610) "St. Matthew and the Angel 1 version -1602 c.ca" and "The Madonna of the pilgrims - 1604-1606". The work of St. Matthew and the Angel 1 version was rejected because it was defined as indecorous and vulgar. Caravaggio rather than representing the Saint as a strong and vigorous apostle describes him as a humble old illiterate not even able to write. The scene shows us any poor peasant with his legs crossed in the foreground, his feet dirty, callused and without a halo on his head. "Because he had no dignity, nor the appearance of a saint, sitting with his legs crossed and his feet roughly exposed to the people" (Bellori). Atmospheres far from those to which the church and society were accustomed until then. The work was considered a real scandal. Offensive and blasphemous towards the church and patrons. The Madonna dei Pellegrini was also considered scandalous. Caravaggio decides to use Maddalena Antognetti, a prostitute, to represent the Madonna. Also in this case the pilgrims are represented as farmers. The details of dirty, muddy and swollen feet are highlighted. The earth that has made the extremities of these poor people unpresentable is an element that is read only in negative. Dirt is linked to poverty. Virgo cannot be approached with dirty people. Caravaggio's intention, not understood, was not to provoke. Rather to bring all men closer to God, both peasants and rich people. In both works, holiness is not perceived in the external aspect, considered obscene, but in the interior feeling of meekness and ingenuity, symptoms of grace and faith. Attributes of the saints, not their appearance, which was abused at the time with rhetorical and excessive externalizations.

Historical references 2 (Gian Lorenzo Bernini)

Gian Lorenzo Bernini (1598-1680) "The Transverbation of Saint Teresa of Avila - 1652". Better known as "The Ecstasy of Saint Teresa", it describes the communion of the Saint with God. It is a conceptual unit that Bernini unfolded in such a way that every detail acquired a meaning as a whole. «[…] Bernini's great innovation in dealing with transverberation, that is, sensual content, has been the subject of an endless controversy. Teresa's vision has also been interpreted as eroticism induced by hysteria, and already in his time Bernini was accused of having debased transverberation by reducing it to a vulgarly physical level. A contemporary of his condemned him because "he then threw that most pure Virgin to earth ... not only prostrate (also noting that she was not on her knees!), But a prostitute". Whether or not Teresa was hysterical and Bernini was vulgar or not, the group emanates a physical eroticism that well-intentioned apologists are wrong to deny. According to a millenary tradition, born with the biblical Canticle of Songs, mystics used the vocabulary of physical love in an effort to transmit their feelings to others: communion with God is like communion with the loved one, only multiplied more and more. many times. Teresa herself emphasized the purely physical component of the experience. Describing the transverberation, she affirms that, although the sweet pain she suffered was spiritual and not physical, the body also had part in it, indeed a large part - these are her words. Bernini's visualization can be partly explained by Teresa's account, which is extremely vivid »(Irving Lavin). Since it is humanly impossible to depict the moment of intense mystical ecstasy, the artist decides to represent it metaphorically through the moment of absolute pleasure for the human being. Carnal ecstasy. Orgasm. In fact, the ambiguous and sensual beauty of the two protagonists evokes the erotic drive. The orgasmic intercourse. The Saint herself in her "Life" in 1565 describes that moment of voluptuous rapture with these words: "In this vision it pleased the Lord that I saw him like this: he was not big, but small and very beautiful, with his face so bright as to look like one angels very high in the hierarchy who seem to burn all in divine ardor: I believe they are those called cherubs, because the names do not repeat to me, but I clearly see that in the sky there is so much difference between angels and angels, and between one and the other of them, that I don't know how to express myself. I saw in his hands a long golden dart, which seemed to me to have a bit of fire on the iron tip. It seemed that he pushed it into my heart several times, so deeply that it reached my bowels, and when he pulled it out he seemed to take it away, leaving me all inflamed with great love of God. The pain of the wound was so alive that it made me emit those groans of which I have spoken, but the sweetness that this enormous pain infused in me was so great, that there was no wish for its end, nor could the soul be satisfied with anything other than God. It is not a physical pain, but a spiritual one, even if the body does not neglect to participate in it a little, indeed a lot. It is such a sweet idyll that takes place between the soul and God, that I beg the divine goodness to let those who think I lie try it ".

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