Abstract

The advent of science brought about a radical division between the means of expression it made possible and the one it disavowed: in the centuries preceding its establishment such a break was not possible, even though it was often desired.Medical treatises of the Renaissance that analyze the plague and melancholy used categories that were not different from those used by theologians (and sometimes doctors) as far as their reference to the Devil was concerned. Since it is no less a question of the imagination in one case than in the other, we can try to associate these three “objects”-three figures of misfortune-and treat them as though they belonged to the same level of expression. Such a decision is not at all arbitrary; it proceeds, completely a posteriori, from the observation of a noticeable proximity between them, aside from their diversity: it is as though they offered variations on a certain number of themes, variations requested by a logic of the imaginary that we shall try to elucidate here by showing the several categories that serve as a point of departure for the functioning of that logic.