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This essay is orientated to the explanation of an aesthetic and psychoanalytic phenomenon so called "stendhal syndrome" from the eighties. The point of start game is a sequence of Darío Argento's film but immediately our semiotic pespective is orientated towards neighboring o similar objects to try to build a metadiscursive approach on the topic of the �dangerous beauty�. Though this syndrome was associated with Stendhal's literature and to post-romantic feeling, we think that the basic semiotic mechanism is active in the daily experience of the beauty in her various form. We think that the crossing or combination of some elements or aspects of the theory of the catastrophes and of the Jaques Lacan-model can throw more light on this strange and attractive phenomenon.
