To see the other types of publications on this topic, follow the link: Cathy Caruth.
Journal articles on the topic 'Cathy Caruth'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Cathy Caruth.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Sanfelippo, Luis. "Versiones del Trauma: LaCapra, Caruth y Freud”/“Versions of the Trauma: LaCapra, Caruth and Freud." Historiografías, no. 5 (December 31, 2017): 51. http://dx.doi.org/10.26754/ojs_historiografias/hrht.201352459.
Full textAbstract:
This article sheds light on the concept of “trauma” present in some passages of the works of Dominick LaCapra and Cathy Caruth, and their debts with Sigmund Freud’s conceptions. It also examines the specific proposals of the Viennese intellectual, which can help avoid a purely descriptive use of that concept. Special attention has been paid to the way these authors conceive memory and time, and to potential uses of the concept of trauma for some historical cases.Key WordsTrauma, repression, literality, nachträglich, economic perspective.ResumenEl presente artículo examina el concepto de “trauma” presente en algunos pasajes de las obras de Dominick LaCapra y Cathy Caruth, así como sus deudas con las concepciones de Sigmund Freud. También se estudia las propuestas específicas del intelectual vienés, que pueden a ayudar a evitar un uso puramente descriptivo de dicho concepto. Se ha prestado especial atención al modo en dichos autores conciben la memoria y la temporalidad, y a algunos usos potenciales del concepto de trauma para ciertos casos históricos.Palabras clavesTrauma, represión, literalidad, nachträglich, perspectiva económica.
2
Hirth, Brittany. "Unclaimed Experience: Trauma, Narrative, and History by Cathy Caruth." Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 45, no. 2 (2018): 345–48. http://dx.doi.org/10.1353/crc.2018.0034.
Full text
3
Levine, Michael. "Literature in the Ashes of History by Cathy Caruth." Undecidable Unconscious: A Journal of Deconstruction and Psychoanalysis 1, no. 1 (2014): 149–57. http://dx.doi.org/10.1353/ujd.2014.0008.
Full text
4
Hollyman, Steve. "Literature in the Ashes of History by Cathy Caruth." Journal of Literature and Trauma Studies 3, no. 2 (2014): 123–30. http://dx.doi.org/10.1353/jlt.2014.0024.
Full text
5
Nagayama, Eda. "PÓS-MEMÓRIA E TRAUMA CULTURAL NA COTRADUÇÃO DE INFÂNCIA LISTRADA, DE BOGDAN BARTNIKOWSKI." Revista X 15, no. 6 (December 12, 2020): 656. http://dx.doi.org/10.5380/rvx.v15i6.76763.
Full textAbstract:
O artigo aborda o papel da afinidade e empatia na cotradução para o português brasileiro de Dzieciństwo w pasiakach (1969), de Bogdan Bartnikowski para a editora do Museu Auschwitz-Birkenau (Infância listrada, 2018), realizada em parceria com o Prof. Dr. Gabriel Borowski (Universidade Jaguelônica, Cracóvia, Polônia). Na obra em episódios, Bartnikowski (Varsóvia, Polônia, 1932) narra sua experiência, ainda criança, no campo de concentração de Auschwitz. A estrutura de transmissão traumática de pós-memória (Marianne Hirsch) é aqui utilizada, bem como os estudos de Trauma Cultural (Jeffrey Alexander), desdobramento multidisciplinar a partir do conceito de trauma nos Estudos da Cultura (Cathy Caruth).
6
Caruth, Cathy, Romain Pasquer Brochard, and Ben Tam. ""Who Speaks from the Site Of Trauma?": An Interview with Cathy Caruth." Diacritics 47, no. 2 (2019): 48–71. http://dx.doi.org/10.1353/dia.2019.0019.
Full text
7
Havercroft, Barbara. "The Trauma of Child Death: The Discourse of Mourning in Camille Laurens's and Laure Adler's Autobiographical Writings." Irish Journal of French Studies 19, no. 1 (December 9, 2019): 53–69. http://dx.doi.org/10.7173/164913319827945792.
Full textAbstract:
This article addresses a noteworthy development in French women's autobiographical texts of the extreme contemporary: the painful writing of mourning subsequent to the traumatic death of a child. Trauma theorists such as Cathy Caruth, Susan Brison, Shoshana Felman, and Dori Laub insist on the importance of the narration of the traumatic experience in the form of a 'meaningful [...] story' (Caruth, 1996: 117) enabling the object of the trauma to become the subject of her own story, and thus effecting a transformation of her status from passive victim to agential subject. If, however, trauma is beyond words and 'unspeakable' (in both senses of the adjective), how can one find the adequate discursive means to represent it, how can one transform the traumatic experience into a narrative? Drawing on theories of trauma and mourning, the article analyzes the ways in which two contemporary French writers, Laure Adler and Camille Laurens, deal with this daunting discursive dilemma, following the passing of their respective infants. Using various textual strategies, Adler and Laurens both succeed in narrating poignant accounts of loss, producing in each case a 'livre-tombeau' which is simultaneously a book of death and a book of life, allowing the deceased infant to live on through the writing of the trauma of mourning.
8
Williams, Raymond L. "New Approaches to the novel: From Terra Nostra to twitter literature." Co-herencia 12, no. 22 (June 2015): 13–23. http://dx.doi.org/10.17230/co-herencia.12.22.1.
Full textAbstract:
This article addresses new approaches to the novel in the twenty-first century. It begins with an affirmation that even the most avant-garde of contemporary critics in the late twentieth and early twenty-first century share a commonality: a background in what was identified as “close reading” in the Anglo-American academic world and analyse de texte in French. After numerous declarations in recent decades about the death of the novel, the death of the author and the death of literary criticism, it is evident that the novel as a genre has survived, authors remain a subject of study, and new approaches are possible. The study of trauma in fiction (as introduced by Cathy Caruth and David Aberbach), as well as eco-criticism, are promising new points of departure. The required close reading implied by Twitter also opens up new possibilities.
9
Sartika, Endang. "Traumatic Experiences in Eka Kurniawan's Novel Seperti Dendam, Rindu Harus Dibayar Tuntas." Jurnal Poetika 8, no. 2 (December 26, 2020): 121. http://dx.doi.org/10.22146/poetika.v8i2.55895.
Full textAbstract:
The emergence of trauma study with the publication of Cathy Caruth's Unclaimed Experience: Trauma, Narrative, and History have gained significant interest in analyzing traumatic experiences in literary works. Literary trauma is seen as the media and alternative to read the wound and trauma through narration and fiction in the form of an anxiety plot. This study aims to analyze the traumatic experiences in Eka Kurniawan's novel entitled Seperti Dendam, Rindu Harus Dibayar Tuntas. This research is descriptive qualitative in nature. The objects of this research are the traumatic events and experiences in Kurniawan's novel. The data were collected by note taking and highlighting the relevant traumatic event and analyzed using the concept of trauma and memory of Cathy Caruth. The result shows that the characters in this novel respond to trauma differently such as having intrusive thoughts, re-experiencing the trauma through flashbacks and dreams, avoidance, and having negative feelings and moods. The novel shows that the socio-cultural environment can become the greatest source of trauma as well as offer the healing process for the traumatized through compassion and understanding. The characters' traumatic experience is narrated by the unknown godlike narrator. Through the portrayal of the characters, Kurniawan reveals how pain, suffering, and traumatic experiences lead the characters to gain high self-esteem, self-knowledge, and philosophical understanding of social reality.
10
Salam, Wael, and Othman Abualadas. "Trauma Theory: No “Separate Peace” for Ernest Hemingway's “Hard-Boiled” Characters." International Journal of Applied Linguistics and English Literature 6, no. 7 (October 10, 2017): 97. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.7p.97.
Full textAbstract:
This paper applies trauma theory to Hemingway’s post World War I writing. His work, for example, A Farewell to Arms, shows how soldiers are traumatized by their war experiences, and how they suffer from such aftereffects as flashbacks, nightmares, inability to sleep and social maladjustment. Although examining Hemingway’s work in terms of shell-shock has been established, this paper suggests that traumatized characters in Hemingway's work carry what the trauma theorist Cathy Caruth calls an “impossible history.” It suggests that survivors of trauma experience a sudden or catastrophic event that is beyond the normal realm of human experience. Since traumatized individuals often do not process catastrophic events as other normal events, they have access to it through disturbing flashbacks and nightmares. These psychological manifestations provide snippets of the individuals’ impossible history which they never fully possess or normally store. By tracing these psychological manifestations, e.g., flashbacks and nightmares, this paper shows that traumatized survivors struggle with a traumatic history, haunting them in day and night.
11
Ogunfolabi, Kayode Omoniyi. "Recovering the Uneventful: Trauma and Survival in Sade Adeniran's Imagine This." KENTE - Cape Coast Journal of Literature and the Arts 3, no. 1 (May 28, 2022): 23–39. http://dx.doi.org/10.47963/jla.v3i1.147.
Full textAbstract:
This article discusses Sade Adeniran’s novel Imagine This and its portrayal of the protagonist’s pain and the efforts she makes to recapture the stable life that preceded her traumatic suffering by telling her story in form of diary entries. It follows theoretical models of trauma as explicated by Cathy Caruth and in particular, Shoshana Felman and Dori Laub’s idea that the subject’s testimony as a necessary catalyst to healing. The article argues that rather than a linear movement from trauma, through testimony, to healing, Imagine This re-conceptualizes traumatic experience and healing as a complex journey that is shaped by multiple trauma events rather than a single one. Thus, the subject’s testimony is constantly interrupted successive sufferings, thereby postponing closure and healing. This relation between the subject and pain implies the individual produces many testimonies rather than one, a crucial strategy for re-imagining the self and to begin the complex journey towards healing.
12
Jansy, Elizabath, and Elizabath Jansy. "Nature’s Lament: A Comparative Psychoanalytical Reading of Childhood Trauma in Select War Narratives." ECS Transactions 107, no. 1 (April 24, 2022): 16867–78. http://dx.doi.org/10.1149/10701.16867ecst.
Full textAbstract:
Sustainable development has become an inevitable need of the hour. This paper problematizes the trauma of children as represented in the narratives Beasts of No Nation by Uzodinma Iweala and A Long Way Gone by Ishmael Beah. The incomprehensibility of trauma, its varied representation in fiction, dissociation of child psyche, and its detrimental effect on children is substantiated using psychoanalytic theory of trauma proposed by Cathy Caruth and contemporary trauma theorists. The paper argues the atrocities children are forced to be involved into causes profound trauma in themselves leading to encumbering of sustainable developmental goals. A comparative study of interpretive textual analysis is employed to study the havoc the society endears as a result of war that wrecks the child, hindering the overall sustainable development. As it voices out the voiceless trauma of children, the paper also aims in divulging the decisive influence of the select literary narratives in sensitizing the society in achieving societal as well as environmental sustainability.
13
Ibrahim, Juan Abdullah. "Reading Trauma in Antonia White’s Confessional Autobiographical Novels." Al-Adab Journal 2, no. 143 (December 15, 2022): 11–26. http://dx.doi.org/10.31973/aj.v2i143.3749.
Full textAbstract:
White presents a clear picture of a woman who suffers from a traumatic psychological state. During her childhood, she was continuously raped by her father. Such kind of anxiety and irritation White reveals in a series of her autobiographical writings. Due to Psychiatrists, it is a valid view that a significant part of White’s mental breakdown is due to her unconscious sense of anxiety, which goes back to her childhood period. Psychoanalytic theories of Freud and Cathy Caruth are used to justify most of the odd situations White presents in her novels. The study aims at describing such anxiety in Antonia White’s Quartet stories. It discusses the psychoanalytic theories of Freud and Caruth’s post-traumatic stress disorder, PTSD. In spite of being humiliated, sexually abused and treated badly, White aimed at creating a unified female self in her autobiographical novels. She has done so through her daring style and rebelling against the patriarchal system by suppressing her anxiety in writing.
14
Jelínková, Ema. "Trauma Narratives of Scottish Childhood in Janice Galloway’s Short Stories." American & British Studies Annual 15 (December 21, 2022): 64–73. http://dx.doi.org/10.46585/absa.2022.15.2430.
Full textAbstract:
Janice Galloway represents one of the most strikingly original voices in new Scottish fiction, which breaks with the tradition of conventional narratives looking back at the national history and looking up to larger-than-life male heroes. Instead, Galloway writes deftly crafted short stories of everyday life in contemporary settings, finding that the past informs the present and proceeding to explore how the stateless nation’s cultural heritage affects her characters. This paper analyses selected stories from Galloway’s collections Blood (1991) and Where You Find It (1996) from the perspective of trauma criticism, which seems a particularly fitting approach to the author’s often disturbing narratives of violence and abuse. The focus is on child characters and on the ways that historical trauma, as introduced by Sigmund Freud and further refined by Cathy Caruth, is passed down to them. Finally, the paper provides examples from the individual short stories which illustrate how the traumatic experience can be acknowledged, witnessed, and ultimately communicated.
15
CALEGARI (UFSM), Lizandro Carlos, and Sandra De Fátima KALINOSKI (IFFar-FW, RS). "A CULPA COMO REVERSO: A DESRESPONSABILIZAÇÃO DO ESTADO COM AS VÍTIMAS DA DITADURA MILITAR EM K. RELATO DE UMA BUSCA E OS VISITANTES, DE BERNARDO KUCINSKI." Margens 16, no. 27 (December 23, 2022): 149. http://dx.doi.org/10.18542/rmi.v16i27.11032.
Full textAbstract:
This work analyzes the feeling of guilt in the works K. Relato de uma Busca (2011) and Os visitors (2016), by Bernardo Kucinski. The first book deals with the saga of a father in search of his daughter, Ana Rosa, probably murdered by torturers during the Military Dictatorship (1984-1985) in Brazil. The second consists of reviewing certain points of view presented in the first text from readers who visit the author and question him. It is noted, in several passages of the books, that the father feels guilty for the death of his daughter, while the State acts violently, including confessing certain crimes, without being punished or held accountable for his actions. These are books that promote reflection on the power exercised by the State both in the past and in the present, thus stimulating resistance to authoritarianism. To support this proposal, the theoretical assumptions of Sigmund Freud, Cathy Caruth, Giorgio Agamben and Márcio Seligmann-Silva are taken into account.
16
Annamma Mathew, Mala. "The Manifestation of Slave Trauma in Lyrics: A Reading of Select Slave Songs." International Journal of Comparative Literature and Translation Studies 6, no. 3 (July 31, 2018): 27. http://dx.doi.org/10.7575/aiac.ijclts.v.6n.3p.27.
Full textAbstract:
This research paper looks into the effect of slavery, as a traumatic communal experience, on music and lyrics. It focuses on the development of narratives out of the collective memory of trauma in the African-American community; which in turn worked first as a tool for freedom and evolved to function as cure and testimony. It addresses the issue of trauma being imbibed into a collective consciousness of a culture and its reflection in the narratives. The research paper looks at narratives used as escape slave codes and deconstructs them. While the primary text used to understand cultural trauma is the lyrics to the song “Strange Fruit” sung by Billie Holiday and written by Abel Meeropol. Trauma theories by Cathy Caruth, Jeffrey C. Alexander and Toni Morrison are used to understand how trauma is manifested in lyrics. The research paper will also look into the account of Billie Holiday to understand the development of Strange Fruit as an anthem and how she performed the song for racially integrated audiences when she felt that the song would receive its due.
17
Anker, J. "Metaphors of pain: the use of metaphors in trauma narrative with reference to Fugitive pieces." Literator 30, no. 2 (July 16, 2009): 49–68. http://dx.doi.org/10.4102/lit.v30i2.78.
Full textAbstract:
This article is a contribution to the recent interdisciplinary discourse between psychoanalysis, trauma theory and narrative by discussing the traumatic experiences of characters in the novel “Fugitive pieces” by Anne Michaels, with a specific focus on the metaphorical style of this novel. The article addresses the role of metaphor in the memory of trauma while comparing the relation between trauma, narrative and memory with reference to the work of Cathy Caruth, Van der Kolk and Margaret Wilkinson. Recent neurobiological research in the working of the brain during trauma and the insights of Borbelly in the role of metaphor during therapy are discussed. Insights of Lacan, Modell and Laplanche are integrated with those of psychologists like Knox, Borbelly and Van der Hart to counter arguments against the criticism brought against some of the metaphorical themes in “Fugitive pieces”. Metaphor is seen as one possible way of saying the inexpressible and the progression in the use of metaphor by patient and character alike is seen as one of the signs of healing from trauma.
18
Huang, Yan. "The Unprescence of China’s COVID-19 Trauma and Its Impact on Social Identity." English Language and Literature Studies 11, no. 4 (November 4, 2021): 48. http://dx.doi.org/10.5539/ells.v11n4p48.
Full textAbstract:
In the psychology and literary fields, the theoretical study of trauma has received increasing attention. It is widely applied by experts and scholars across various aspects, such as war, gender and so on. To give it more practical significance, the main object of this study is to investigate the modern use of trauma by connecting it to the topic of a nation. China, the country first plagued by COVID-19—a representative modern trauma—has suffered not only physically but also mentally. This paper will analyze how trauma affects a nation by using classical theories on trauma, such as those from Sigmund Freud and Cathy Caruth. In terms of national collective trauma, new theories from Roger Luckhurst and Jeffrey C. Alexander would also be adopted. To achieve the sophisticated link between trauma and nation, the unprescence of trauma and its social identity threat to China are further discussed as main parts of this essay. This research will encourage a more rational treatment of collective trauma sufferers and calls for the realistic and practical use of the literary trauma theory.
19
Stephen, Bernard Otonye. "Trauma as Double Wound in Shimmer Chinodya’s Harvest of Thorns." Matatu 48, no. 1 (2016): 161–79. http://dx.doi.org/10.1163/18757421-04801011.
Full textAbstract:
The colonial experience in Africa left deep corporeal and psychic scars. The anti-colonial struggle involved bloody armed conflicts which left many dead and many more physically and psychologically maimed. Writers as diverse as Chinua Achebe, Ngũgĩ wa Thiong’o, Cheikh Hamidou Kane, Ousmane Sembène, and Shimmer Chinodya have variously addressed the cultural, material, racial, class, psychological, and ideological aspects of this unprecedented history. And literary critics have equally responded by examining African literary texts from cultural, Marxist, colonial, and post-colonial angles. However, given the traumatic experience of the struggle for independence, not much has been done by way of applying trauma theory to the study of African literary texts to illuminate Africa’s violent encounter with the racist imperialism of Europe. Employing the insights of Cathy Caruth, the essay analyses trauma’s characteristic double infliction of a wound on the individual in Chinodya’s anti-colonial novel Harvest of Thorns. The traumatic memories of the liberation war testify to the physical and psychic wounds inflicted on the individual and the community.
20
Naafi'atun. "Elizabeth Gilbert's Self-Healing Efforts from Past Trauma in the Novel Eat Pray Love." Lakon : Jurnal Kajian Sastra dan Budaya 11, no. 2 (November 29, 2022): 131–41. http://dx.doi.org/10.20473/lakon.v11i2.36870.
Full textAbstract:
This study aims to determine the symptoms of trauma experienced by Elizabeth Gilbert and how Gilbert's efforts to reconcile her trauma. The data source used in this study is the novel Eat Pray Love. While the method used in this research is descriptive analysis method. The theory used to examine the symptoms of trauma and Elizabeth Gilbert's reconciliation efforts is the trauma theory by Cathy Caruth and the concept of acting out and working through from LaCapra. The data analysis technique was carried out by reading the novel Eat Pray Love, classifying the data into tables based on predetermined variables, analyzing the data, and finally writing conclusions. The results of this study are the symptoms that appear in response to the traumatic events experienced by Gilbert such as symptoms of fear, anxiety, depression, and the desire to hurt oneself to the desire to commit suicide. In an effort to reconcile his trauma, Gilbert travels to three countries, avoids things that are potentially traumatic, and testifies by writing novels based on his life experiences.
21
Willbern, David. "Listening to Trauma: Conversations with Leaders in the Theory and Treatment of Catastrophic Experience by Cathy Caruth." American Imago 74, no. 2 (2017): 187–208. http://dx.doi.org/10.1353/aim.2017.0010.
Full text
22
Ong, Kathleen. "Departing toward Survival: Reconsidering the Language of Trauma in Cathy Caruth, Ingeborg Bachmann and W. G. Sebald." Advances in Literary Study 02, no. 04 (2014): 100–112. http://dx.doi.org/10.4236/als.2014.24017.
Full text
23
Robson, Kathryn. "After the End: The Death of a Child in Marie Darrieussecq's Tom est mort and Hèléne Cixous's Le Jour où je n' étais pas là." Irish Journal of French Studies 19, no. 1 (December 9, 2019): 70–86. http://dx.doi.org/10.7173/164913319827945846.
Full textAbstract:
The death of a child is typically seen as incommensurate, a limit-experience defying articulation and comprehension. In her most recent book, Literature in the Ashes of History (2013), the literary critic and trauma theorist Cathy Caruth theorizes a history that inscribes itself in and through its own (self-conscious, and traumatic) self-effacement; what is striking is that her attempt to theorize and initiate what she calls 'a new kind of language', produced 'After the End' (as she titles the second part of the book), must thus be understood not only in relation to the post-Holocaust world, but also in the context of the more personal, individual trauma of the loss of a child. This article seeks to explore Caruth's notion of a different kind of language through analysis of two French fictional representations of the death of a child published in this century: Marie Darrieussecq's novel Tom est mort, and Hèléne Cixous's autofictional novel, Le Jour où je n'étais pas là (2000). I read these texts (which both explicitly locate writing 'after the end') alongside Caruth's Literature in the Ashes of History to contemplate what it might mean to write 'after the end'. Tom est mort, I argue, experiments with linguistic form, self-consciously stammering — in a manner curiously similar to Caruth's — in its attempt to express the impact of the death of a child on the mother (and on her language). Cixous's text, by contrast, gives voice to the mother's impossible mourning through figures of absence and lack. The 'new language' announced by Caruth is in these texts not a new language in itself, rather a language that is articulated in and through its own erasure, disintegration and absence, that 'undoes' its subject even as it gives voice to it, and locates itself after an end that cannot be defined.
24
Connor, Victoria. "Rewriting the Past: Gerard Mannix Flynn’s Nothing to Say and James X." Review of Irish Studies in Europe 1, no. 1 (July 14, 2016): 107–21. http://dx.doi.org/10.32803/rise.v1i1.1264.
Full textAbstract:
If, as Anne Whitehead suggests, the term ‘trauma fiction’ represents a paradox, that violence resists containment through language, then writers who engage and attempt to represent traumatic events in their work can never fully render the horror of trauma through their writing. Yet artists such as Gerard Mannix Flynn, a survivor of trauma himself, still attempt to translate the experience of trauma into language. In the novel Nothing to Say and the play James X, Flynn explores the ways in which trauma is both experienced and recalled and the cathartic effects that ‘containing’ trauma through language can have. The impetus to write, to express the trauma one has suffered through language, offers the victim agency over his or her own narrative. The agency that the trauma survivor gains is not literal; rather, they have finally gained control over what Cathy Caruth identifies as the ‘haunting power’ of repressed trauma, and in doing so are able to take the first steps towards recovery. In both works, Flynn attempts to traverse the paradox that Whitehead presents: he attempts to represent that which is deemed unrepresentable, and put the violence inflicted upon the protagonists into words.
25
Chemengui, Imen. "“Unfathomable Calmness”: Betrayal Trauma, Silence and Dissociation in The Secret Agent." Yearbook of Conrad Studies 14 (2021): 61–81. http://dx.doi.org/10.4467/20843941yc.19.003.13229.
Full textAbstract:
With the rise of trauma theory in late 19th century, researchers have focused on foregrounding the significance of some catastrophic events that pertain mainly to the collective, leaving other forms of trauma and their psychological aftermath on the individual underrepresented. In this paper, I focus on social traumas in Joseph Conrad’s The Secret Agent, which seems to be overlooked by some critics whose insights highlight primarily its political aspect. The events of the novel revolve around the peculiar and traumatic experience of Winnie Verloc whose life is rife with betrayal and violence. Her recurrent exposure to successive shocking events culminates in her dissociation and, consequently, her suicide. To pin down what lies beneath Winnie’s ambiguity, aloofness and silence in the novel, I mainly rely on trauma theory, drawing from studies on PTSD, betrayal and dissociation by several trauma scholars, such as, Cathy Caruth, Shoshana Felman, Jennifer Freyd, and others. Furthermore, this paper examines the inextricability of the past from the present in trauma through the breadth scrutiny of Winnie’s psychological response to her excruciating experience. Hence the way the appalling past returns unbidden to shake Winnie’s present.
26
Dantas, Tatianne Santos, Lia Aguirre Silveira da Rosa, Karla Julliana da Silva Sousa, Helena Pillar Kessler, and Ana Paula Bellochio Thones. "Narrar ´e encadear tempos e espaços perdidos: violência de gênero e trauma em "Um amor incômodo" de Elena Ferrante." Revista Criação & Crítica, no. 27 (November 11, 2020): 264–84. http://dx.doi.org/10.11606/issn.1984-1124.i27p264-284.
Full textAbstract:
No presente artigo, pretendemos evidenciar como o romance Um amor incômodo, de Elena Ferrante, é atravessado por um abuso sexual que resvala na relação entre uma filha e sua mãe. Na medida em que se articula à violência de gênero, esse acontecimento apresenta-se como um ponto cego da cultura, configurando-se como traumático. Ao final do livro, após reconstituir a história de sua mãe, é possível para a narradora, Delia, lembrar do abuso que sofreu quando criança e significar pontos de sua trajetória que se apresentam como um mal-estar. O incômodo do título, que diz respeito à relação mãe e filha, atravessa a trama ressoando o incômodo da violência que é desvelada no final do romance. Como aporte teórico, tomamos as considerações da crítica literária Shoshana Felman acerca de literatura, testemunho e traumas culturais. Com o intuito de relacionar o trauma com a violência de gênero, retomamos a perspectiva de Sigmund Freud sobre o tema, assim como a discussões mais atuais, através de Cathy Caruth e Gayle Rubin. Assim, propomos que o romance de Elena Ferrante permite um esgarçamento das possibilidades narrativas do trauma do abuso sexual e da violência de gênero, enquanto pontos cegos da cultura.
27
Korljan, Josipa. "Ka(k)o da me nema? Silovanje kao dokumentaristička i književna tema." Croatica et Slavica Iadertina 2, no. 7 (February 9, 2017): 413. http://dx.doi.org/10.15291/csi.410.
Full textAbstract:
U ovom radu propituje se obrada motiva traume nastale silovanjem kao sredstvom genocida u dokumentarističkom djelu Seade Vranić Pred zidom šutnje i romanu Kao da me nema Slavenke Drakulić. Zajednički zadatak umjetnosti/književnosti i povijesti/dokumentarnosti, u čemu pomaže i psihoanaliza, jest pokrenuti dugotrajni i bolni proces "prorade" traume preživjelih, što ova dva djela nastoje postići. U radu se analizira pristup traumi u dvama različitim diskursima s osloncem u psihoanalitičkoj teoriji; propituje se prikaz ambivalentne pozicije između "kako" i "kao da me nema" u sklopu postupnoga rasapa identiteta uzrokovanog traumom, identiteta osobnog, ali i kolektivnog; traži se odgovor na pitanje koje su specifičnosti ženskog svjedočenja u oba diskursa, s posebnim osvrtom na temu zaljubljivanja i maskiranja prisutnu u književnom tekstu. La Capra navodi nužnost prolaženja kroz traumu i njezino ponovno odigravanje na putu k zalječenju; Dori Laub ističe imperativ pričanja; pričanje u psihoanalizi jest pripovijedanje u književnosti, što nas vodi do Cathy Caruth, koja tvrdi da se psihoanaliza i književnost spajaju. Vođeni ovim teoretskim postavkama, tražimo odgovor na pitanje kako nastaviti živjeti s proživljenom traumom, kako je to prikazano u ovim dvama djelima te koja je uloga društva i kulture u proradi traume.
28
Guzmán, Alison. "Los albores de la meta-memoria histórica en el teatro español." Revista Canadiense de Estudios Hispánicos 40, no. 1 (September 10, 2015): 133–55. http://dx.doi.org/10.18192/rceh.v40i1.1601.
Full textAbstract:
Sirviéndome de las teorías de Jacques Derrida, Cathy Caruth, Linda Hutcheon, Jan Assman y Pierre Nora, entre otros, examino las maneras en las cuales tres dramaturgos de distintas realidades – un autor consagrado, Antonio Buero Vallejo; un joven prometedor, Jerónimo López Mozo; y un exiliado, José Antonio Rial – dieron pie a lo que denomino la meta-memoria histórica: la confrontación manifiesta y el cuestionamiento teatral de las divergencias, sombras y verdades polifacéticas asociadas con las memorias colectivas simultáneas y posteriores a la Guerra Civil española. Concretamente, los dramaturgos utilizan la memoria explícita – expresada mediante la anacronía, la metateatralidad, y/o el recurso a personajes que son muertos vivientes –, con el fin de resaltar la continua reconstrucción de la historia colectiva. En las postrimerías del franquismo, sus tres piezas respectivas, El tragaluz (1967), Guernica (1969) y La muerte de García Lorca (1969), entablan un diálogo intertextual, fragmentado e indeterminado entre el pasado y el presente. Estas tres obras auguran una estética que cobra cada vez más relieve en el teatro español, a medida que se ha ido tanteando dicho pasado traumático en España durante las últimas cuatro décadas.
29
Moutafidou, Lona. "“Daddy, can’t you see we are burning?” Traumatic Time and Parental Responsibility in Kenneth Lonergan’s Manchester by the Sea." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 1 (November 19, 2020): 42–52. http://dx.doi.org/10.31178/ubr.9.1.5.
Full textAbstract:
In Kenneth Lonergan’s film Manchester by the Sea, screened in 2016, Lee commits a life-changing mistake: on his way to the mini-market, he forgets to put the screen on the fireplace. Upon his return, he becomes a numbed witness to the spectacle of his own family tragedy as the authorities remove his children’s bodies from the burning house scene. This significant event is represented through a sequence of flashbacks, which designates said cinematic device as one of the film’s most important features. Indeed, in The Trauma Question, Roger Luckhurst approaches the flashback as “the cinema’s rendition of the frozen moment of the traumatic impact . . . flash[ing] back insistently in the present because the image cannot yet or perhaps ever be narrativized as past.” Years after the incident, and still unable to address the wound of his parental negligence and child-death trauma, Lee dreams of his dead daughter suggestively asking, “Daddy, can’t you see we are burning?” The question echoes the one from Freud’s The Interpretation of Dreams, where another father dreams of his dead child being burnt. In Unclaimed Experience: Trauma, Narrative, and History, Cathy Caruth examines Freud and Lacan’s analysis of this question as to the significance of grief articulation, trauma coping and trauma persistence in sleep and awaken reality. The purpose of this article is to examine anachrony as a feature which exalts the dysfunctional inertia of a present life and of a traumatized mind afflicted by events which have been impossible to either register, integrate or narrate. Secondly, the article will try to unearth the mechanics of Lee’s grief and guilt via his daughter’s question. Emphasis will be placed on Lee’s inability to assume what Caruth calls the “ethical burden of survival” when asked to be his orphaned nephew’s guardian. This will be viewed as a reminder of Lee’s failure as a parent and as a challenge and invitation for the character to recover from the vacuum of his current death-in-life.
30
Hou, Xia, Noritah Omar, Hardev Kaur, Ida Baizura Bahar, and Yingying Fan. "TRANSCENDING TIME AND SPACE: TRAUMA NARRATION IN THE HARMONY SILK FACTORY." Journal of Language and Communication 9, no. 1 (February 14, 2022): 11–24. http://dx.doi.org/10.47836/jlc.9.1.02.
Full textAbstract:
Tash Aw is the first renowned Malaysian writer who has brought Malaysian literature to the platform of the world. This paper uses the text, The Harmony Silk Factory(2005), by Tash Aw to investigate the relationships between traumatic memory and temporal-spatial narratives. The text utilises three narrators to tell the story of central silent character Johnny Lim, intermixing with their personal memories. We hypothesises that traumatic memories are correspondent to or characterised with special time and space arrangement of narratives. The article also frames its arguments according to the ideas proposed by Michael Toolan and Cathy Caruth, Toolan’s viewpoints about time and space in discourse and story; Caruth’s views on features of trauma. The frame of argument presupposed that circular temporal-spatial narratives have more similarities to traumatic memories than previously assumed. By analysing Jasper’s and Peter’s telling of Johnny’s experiences, the study strives to deepen the idea of chronotope arrangement being conducive to expression of traumas. The study concludes that traumas determine special arrangement of narratives, especially in the dimension of time and space, in turn, temporal-spatial narratives are to express traumas’ characteristics and even achieve some universal theme in literary works. The implication of the study allows us to view traumatic texts more objectively and deeply.
31
Sari, Halimah Kartika, and Nungki Heriyati. "TRANSMISSION OF TRAUMATIC EXPERIENCE THROUGH FLASHBACK IN THE FILM "SPEAK"." MAHADAYA: Jurnal Bahasa, Sastra, dan Budaya 1, no. 1 (April 23, 2021): 128–40. http://dx.doi.org/10.34010/mhd.v1i1.4851.
Full textAbstract:
This research entitled ‘Transmission of Traumatic Experience through Flashback in The Film ‘Speak’’ aims to analyze the traumatic experience of Melinda delivered through some flashback illustration as narrative device in film. The method used descriptive analysis to describe the traumatic experience in the film and the data collected is taken the screenshots that categorized based on the Discourse time and Story time in order to show when the flashback occurs. Hence, to analyze the data use Cathy Caruth (1996) examined the experience of trauma is the agony of fear and anxiety that is sometimes difficult to control due to a sudden recall memory in mind and Seymour Chatman (1980) about flashback (retrospection) in film represents the repetition of memory or reviewing the past events or situations. In the discussion found that Melinda as a teenage girl has a mental damage due to the traumatic experience that occurred in the past. The experience is told in the form of flashback that played repetitively in different moment in the film. Thus, the result reveals that the repetition of flashback is used to complement the information and reveal the Melinda’s traumatic experiences which make her could not speak out about the problem sexual violence that occurred to her.
32
Pollicino, Rosario. "The Trauma of “Fear-Induced Exodus:” The Case of Victor Magiar and the Italian Jews of Libya." Quaderni d'italianistica 40, no. 1 (May 4, 2020): 117–40. http://dx.doi.org/10.33137/q.i..v40i1.34155.
Full textAbstract:
The Italian/Italophone Jewish community is amongst those that suffered from the Holocaust and other traumas. Drawing on the work of thinkers of trauma theory such as Dori Laub and Cathy Caruth, this paper aims to add to the current discourse on literary production by Italian/Italophone Jews by analyzing the trauma of the Italian Jewish community in postcolonial Libya, a topic often neglected by scholars. In 1967, the long-established Jewish community in Libya was forced to leave, abandoning all its property and economic funds. Victor Magiar, a Sephardic Jew born in Libya in 1957, was among those who — like all Jews who lived in Arabic lands — experienced trauma due to a myriad of factors, such as pogroms and the fact that he had no passport and true nationality. Through Magiar’s novel E venne la notte: Ebrei in un paese arabo (2003), this paper examines the trauma of the “fear-induced exodus” to Italy on the writer and his community. Moreover, a continuous dialogue with the author informs the analysis of the trauma involved in his story and the Sephardi community history, which also includes the elucidation of Jewish identity in postcolonial Libya. This paper highlights the details of history and stories that go beyond the novel itself, illuminating a nearly unknown facet of Italian history and of the country’s current multilingual and multicultural society.
33
Jamili, Leila Baradaran, and Ziba Roshanzamir. "Postmodern Feminism: Cultural Trauma in Construction of Female Identities in Virginia Woolf's The Waves." Advances in Language and Literary Studies 8, no. 4 (August 31, 2017): 114. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.114.
Full textAbstract:
The present article sheds new light on trauma as a devastating phenomenon respecting the construction of male and female characters' identities and reveals reconstruction of male and female identities in Virginia Woolf's (1882-1941) The Waves (1931). Trauma is defined as an unexpected event that leaves the most terrible marks on the person's self, identity, psyche, emotions, beliefs, etc. Individual trauma is diagnosed by the male and female characters' horrendous responses regarded as post-traumatic stress disorder in terms of a distressing recollection of the traumatic occurrence. In contrast, cultural trauma, like patriarchy, gender, or sexual difference which has a horrific influence on cultures, can encompass traumatically the collective identity of male and female characters. In The Waves, the characters such as Rhoda, Jinny, and Susan get involved in the struggle for the self-definition relating to their collective and individual identities, respectively. No wonder, this article exploits an integrated method of feminism and psycho-trauma. It contextualizes the ideologies of postmodern feminist critics, such as Judith Butler (1956-), Helene Cixous (1937-), Cathy Caruth (1955-), and Luce Irigaray (1930-). Woolf, de facto, reveals how trauma as a catastrophe, either individual or collective, affects shockingly male and female characters' identities, so that their physical and psychological responses can be analyzed in terms of diagnosis of the trauma and its aftermath.
34
Ashok Khandhar, Diren, Hardev Kaur, Rosli Bin Talif, and Zainor Izat Binti Zainal. "Ecological Unconscious, Animals and Psychological Trauma in Monique Roffey’s Archipelago Diren Ashok." International Journal of Applied Linguistics and English Literature 8, no. 3 (May 31, 2019): 31. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.3p.31.
Full textAbstract:
Monique Roffey is a Trinidadian-born award winning writer who has produced a number of famous novels and a memoir. In her recent novel, Archipelago (2012), issues on redemption, loss of hope and healing were highlighted in the wake of a devastating natural disaster that swept across the Caribbean Island of Trinidad. Life was a complete change for the chief protagonist, Gavin Weald, as the catastrophic flood not only destroyed his home but also put great psychological strains which affected him and his family. In order to combat the distressing ordeal, Gavin and his daughter- alongside with their dog- decided to set sail and to make peace with the very ocean that caused the misfortune upon them. This research aims to validate the authenticity and importance nature plays in overcoming trauma that has been caused by the flood. In order to carry out this research, the concepts of ecological unconscious and dualism under the lenses of Eco-psychology by Theodore Roszak and Andy Fisher as well as trauma by Cathy Caruth will be employed in analysing how nature plays a pertinent role in healing trauma caused by the floods in this novel. This study aspires to explicate further the relationship between human and animals and how this union helps to overcome psychological disturbances experienced by the characters.
35
Fadilah, Yuniardi. "Jejak Trauma Personal: Rasa Malu dan Bersalah sebagai Refleksi Masa Lalu dalam Cerpen “Ave Maria”." SUAR BETANG 17, no. 2 (December 1, 2022): 195–209. http://dx.doi.org/10.26499/surbet.v17i2.374.
Full textAbstract:
This study aims to find triggers for trauma, responses to trauma, and forms of trauma reconciliation experienced by the subject in the short story entitled “Ave Maria”. Therefore, this study bases its analysis on the short story “Ave Maria” using Cathy Caruth's point of view regarding the concept of trauma. This study found that the trauma experienced by the subject, Zulbahri, was a past event that brought the pain back because it was triggered by the presence of his younger brother, Syamsu, who interrupted the subject's safe space. In addition, the song “Ave Maria” in the short story also becomes a trauma site that reminds the subject of a traumatic event that creates crisis and vulnerability to the subject. The traumatic event that haunts the subjects responded with an unconscious display of shame and guilt. The subject carried out efforts to overcome trauma by staying away from the trauma-triggering site, distracting the mind with books, and sharing stories in a safe space. One last attempt to overcome the trauma chosen by the subject is to join the Jibakutai forces. This effort seems odd because it is prone to presenting another trauma in the form of war trauma to the subject.AbstrakPenelitian ini bertujuan mencari pemicu trauma, respons atas trauma, dan bentuk rekonsiliasi trauma yang dialami subjek dalam cerita pendek “Ave Maria”. Oleh karena itu, penelitian ini mendasarkan analisis terhadap cerpen “Ave Maria” dengan menggunakan sudut pandang Cathy Caruth tentang konsep trauma. Penelitian ini merupakan penelitian kualitatif. Penulis menyimpulkan bahwa trauma yang dialami subjek, Zulbahri, merupakan peristiwa masa lalu yang kembali membawa luka yang dipicu oleh kehadiran sang adik, Syamsu, yang menginterupsi ruang aman subjek. Selain itu, lagu “Ave Maria” dalam cerpen juga menjadi suatu situs trauma yang mengingatkan subjek akan peristiwa traumatis yang menimbulkan krisis dan kerentanan. Peristiwa trauma yang menghantui subjek kemudian direspons dengan tampilan rasa malu dan rasa bersalah tanpa sadar. Upaya mengatasi trauma dilakukan oleh subjek dengan menjauh dari situs pemicu trauma, mengalihkan pikiran dengan buku, dan membagi cerita dalam ruang aman. Satu upaya mengatasi trauma terakhir yang dipilih subjek adalah ikut barisan jibakutai. Upaya itu tampak ganjil sebab rentan menghadirkan trauma perang terhadap diri subjek.
36
Baradaran Jamili, Leila, and Ziba Roshanzamir. "Traumatized Construction of Male and Female Identities in Virginia Woolf’s The Waves." Advances in Language and Literary Studies 9, no. 4 (August 31, 2018): 68. http://dx.doi.org/10.7575/aiac.alls.v.9n.4p.68.
Full textAbstract:
This paper regards traumatized formation of characters’ identities in Virginia Woolf’s (1882-1941) The Waves (1931). Trauma is considered as a devastating phenomenon which has horribly and dreadfully some effects on an individual’s self and identity. The aftereffects of a shocking and traumatic event on one’s sense of self contribute extremely to the collapse of the construction of his or her identity. Undoubtedly, the different sorts of trauma, like individual and historical trauma, have incorporated Woolf’s life. Actually, Woolf’s disoriented self is defined based on the affective representation of her traumatized identity through her painful experiences over her lifetime. This paperfocuses on Cathy Caruth’s (1955-) critical views concerning the concept of trauma. Caruth believes that trauma is a mental wound associated with the latency, referring to the return of the traumatic experiences after a period of delay or deja vuin the form of repeated flashbacks, nightmares, and so forth. In The Waves, the male and female characters like Bernard, Neville, Louis, Rhoda, Jinny, and Susan are traumatized due to a number of traumatic events, so that the construction of their identities can be trapped in some kind of post-traumatic stress disorders as the effects of their traumas. Through presentingthe characters, in the novel, Woolf delineates the traumatized selves and identities involved in some sort of psychic fragmentation and disintegration that haunt inevitably their lives and respondtraumatically to their traumas, pain, and suffering in different ways.
37
Abubakar, Sadiya. "Art as Narrative: Recounting Trauma through Literature." IRA-International Journal of Management & Social Sciences (ISSN 2455-2267) 8, no. 1 (August 5, 2017): 118. http://dx.doi.org/10.21013/jmss.v8.n1.p13.
Full textAbstract:
<p>In literature, all human phenomena are reflected by literary works and related to the world through simple artistic mediums. It is no doubt that trauma exists as part of human challenges since the start of human history. However, the concept of trauma has been theorized in the fields of sciences and social sciences since ages i.e. Medicine, Psychology etc. only soon did it gain credence and was theorized in the stream of literature by some competent, scholarly and capable professors of comparative literature at Emory University; Cathy Caruth and Shoshana Felman. As the world evolves from one age to another, so does literature, binding history and culture of a place and people efficiently. Trauma has as well been one way or another, prevalent in all forms of literature. It surfaces as the shady part of all narratives that tell of a history, memoir, agonies and sorrows of the writer or about the subjects (characters) created.</p><p>This paper explores the origins of trauma theory and deciphers its essential role in literature. It argues that trauma in literature is a must-read because, the theoretical multiplicity that allows for an appreciative comprehension of trauma's flexible representations include (and also move beyond) the idea of trauma as neurotic, appalling, horrifying, terrifying and the pleasure of telling and witnessing a traumatic event which is, of course, literature.</p>
38
Faber, Sebastiaan. "Actos afiliativos y postmemoria: asuntos pendientes." Pasavento. Revista de Estudios Hispánicos 2, no. 1 (March 1, 2014): 137–56. http://dx.doi.org/10.37536/preh.2014.2.1.663.
Full textAbstract:
El auge de los estudios de la memoria en las ciencias sociales y las humanidades, además de la llamada "moda de la memoria" en la producción cultural contemporánea española —con una presencia marcada de obras sobre los episodios violentos del siglo xx y su legado en el presente— ha dado lugar a una auténtica oleada de trabajos académicos sobre esa producción cultural —novelas, películas, documentales— por especialistas en cultura y literatura ibéricas contemporáneas. Muchos de los análisis se inspiran en cuerpos teóricos ajenos, o al menos contiguos, al campo: la filosofía y los estudios sociales (desde Maurice Halbwachs, Reyes Mate y Paul Ricoeur hasta Paloma Aguilar y Elizabeth Jelin) y los estudios humanísticos del Holocausto, incluida la teoría del trauma y de la postmemoria (desde Cathy Caruth, Shoshana Felman y Dominick LaCapra a James Young y Marianne Hirsch). A la vista de esta producción reciente de críticos literarios y culturales, este ensayo se propone dos tareas: cuestionar hasta qué punto el análisis de textos y películas individuales puede contribuir a nuestra comprensión de fenómenos sociopolíticos generales como la memoria colectiva y la justicia transicional; y clarificar algunas diferencias fundamentales entre la memoria histórica de las víctimas de la Guerra Civil y del franquismo, por un lado, y la memoria de las víctimas del Holocausto, por otro. Diferencias que hacen que una noción como (post)memoria afiliativa no tenga el mismo significado en ambos contextos.
39
ISAEVA-GYUNESH, Neshen. "CIRCULATIONS OF AFFECTS: AFFECTIVE MEMORIES: THE SOLDIER IN SARAH KANE'S BLASTED." Ezikov Svyat volume 19 issue 3, ezs.swu.v19i3 (October 1, 2021): 125–32. http://dx.doi.org/10.37708/ezs.swu.bg.v19i3.14.
Full textAbstract:
Baby-eating, eye-gouging, rape, torture, "people packing into trucks like pigs" fleeing in fear of the war – Sarah Kane's first breathtaking play Blasted has been one of the most noted cultural events since the 1990s. Although Kane has shared that she wanted to attract attention to the war in Bosnia, to make people see the old woman from Srebrenica, and hear her plea for help (Sierz, 2001, pp.100-101), the name of Bosnia is never mentioned in the play. The playwright's intention to provoke reaction to the violence in the specific political context has not diminished the universality of her work. The following study explores the affective circulations within the fictional world of Blasted by analysing the Soldier's presence in terms of emotions. It offers three readings of the Soldier’s brutal behaviour within the play and suggests that ‘confession’ is of vital importance for the process of traumatic emotional and physical healing. The play is mainly approached in the context of the works of the socio-political and socio-cultural affect theorists – Sara Ahmed and Margaret Wetherell as well as the trauma theorist Cathy Caruth. The paper further offers a close reading of the complex affective circulations of emotions in the play and analysis what affects do and how they move and act upon the characters. By contributing to the considerably new way of analysing literature through affect theory, this work sheds light on the important role of emotions in war context.
40
Ramazani, Abolfazl, and Naghmeh Fazlzadeh. "Othello, “Dull Moor” of Cyprus: Reading Racial Trauma and War Trauma." Khazar Journal of Humanities and Social Sciences 19, no. 1 (April 2016): 30–49. http://dx.doi.org/10.5782/2223-2621.2016.19.1.30.
Full textAbstract:
In 1980, American Psychiatrists Association announced that trauma is a mental disorder under the term of PTSD. By that time, trauma became a popular field of study for the literary scholars specially literary critics such as Cathy Caruth, as it offered new insights into traditional literary criticism. The increase of psychological and physical violence all over the world, in the last twenty years has made trauma and witness inevitable realities of life. The evident role of “testimony” and “talking cure” had already been demonstrated by scholars such as Sigmund Freud; but then it has become clear that literature can reflect and even cure the unspeakable pains of trauma victims. This article is an attempt to show that Shakespeare‟s Othello is affected by different sorts of unresolved traumas such as racial and war traumas. The writers of this paper have tried to show that the unresolved traumas of a tragic hero can cause tragic ends and affect other characters in the play. The findings of this article might bring about a change in the way we discover and treat the trauma victims. The main conclusion which can be drawn from this research is that not being appropriately heard and diagnosed, Othello, a representative of real racial trauma victims, is bewildered in the clash of knowing and not knowing, between the knowledge of a past event and the inability to understand its frequent reenactments; and this leads to his tragic end.
41
Omwocha, Verah Bonareri. "‘To Name the Unnameable is a Curse’: Silence as an Enunciation of Trauma in Yvonne Owuor’s Dust (2014) and The Dragonfly Sea (2019)." East African Journal of Arts and Social Sciences 5, no. 2 (December 9, 2022): 207–20. http://dx.doi.org/10.37284/eajass.5.2.1000.
Full textAbstract:
Various studies have interrogated the language of silence as a powerful tool of communication. This paper adds to such studies by interrogating silence as an enunciation of trauma in Yvonne Owuor’s texts Dust (2014) and The Dragonfly Sea (2019). Focusing on the characters of Akai and Ajany in Dust and Munira and Ayaana in The Dragonfly Sea, this paper is a critical interrogation of how these characters use silence to narrate their traumas. The characters under interrogation embody silence as the language of trauma in this postcolonial nation. They seem plagued by the memories of the traumatic experiences they undergo and this hinders their ability to use speech to articulate their pain. The paper starts with an introduction that covers an overview of related literature and then goes on to explore the binaries between lack of verbal speech, oppression, resistance, and trauma as espoused by the female characters. This paper also analyses the depiction of violence and silencing of the female characters by the men in their lives and on a larger scale, the silence enforced by state machineries and its metaphoric function in this post-independent country. Therefore, interpreting silence offers a multiplicity of meanings and different layers and convergences of meanings upon which it may be interpreted. It also discusses breaking that silence, a signifier of healing. The study is based on Literary Trauma Theory and trauma theory tenets as advanced by the following trauma theorists: Cathy Caruth, Dominic LaCapra, Judith Herman, Maria Root, Alan Gibbs, and Laura Brown
42
Chang, Heesok. "Towards Reading Freud: Self-Creation in Milton, Wordsworth, Emerson, and Sigmud Freud. Mark Edmundson.Empirical Truths and Critical Fictions: Locke, Wordsworth, Kant, Freud. Cathy Caruth." Wordsworth Circle 25, no. 4 (September 1994): 210–12. http://dx.doi.org/10.1086/twc24043113.
Full text
43
Bankauskaitė, Gabija, and Loreta Huber. "Trauma, Narrative and History: Representation of Traumatic Experience in the Works of Algirdas Landsbergis." Interlitteraria 26, no. 1 (August 31, 2021): 309–23. http://dx.doi.org/10.12697/il.2021.26.1.21.
Full textAbstract:
The twentieth century witnessed an abundant number of traumatic events related to dark history. Trauma caused by war, occupation, exile, repression, gave rise to migration or mass murder. To rely upon Cathy Caruth (1996: 3), the concept of trauma is understood as a physical wound; however, subsequently in medicine and the literature of psychiatry, especially in Freud’s works, the concept of trauma came to be understood as a psychological wound. In addition, trauma is not only a disturbing or stressful experience that affects an individual physically or psychologically, it may also be based on other factors created by society.
Over time the field of trauma in various contexts expanded so that today it is widely used in sociology when analysing historical and cultural events. Cultural traumatic memory is mirrored in trauma fiction that conveys the experience of loss and suffering, there is a space for memories, introspection, recollections, flashbacks and awful remembrances that are colored by pain. Apart from individual, event-based trauma, there is another category of trauma variously called cultural or historical trauma, which affects groups of people.
Numerous studies have been conducted on the latter topic, however, trauma and its expression in Lithuanian literature has not yet been sufficiently documented.
The aim of this study is to discuss the concepts of cultural and historical trauma and the way trauma is reflected in Algirdas Jeronimas Landsbergis’ works. The authors of the study claim that Landsbergis – one of many Lithuanian writers-in-exile – wrote texts that fill a cultural vacuum and invite a re-discussion of what was most painful in the past.
44
Rana Kashif Shakeel, Dr. Farzana Masroor, and Dr. Maria Farooq Maan. "Fears, Tears, Trauma and Violence: A Critical Study of Physical and Psychological Fracturing Experiences in Mirza Waheed’s The Collaborator." sjesr 3, no. 4 (December 25, 2020): 333–41. http://dx.doi.org/10.36902/sjesr-vol3-iss4-2020(333-341).
Full textAbstract:
Kashmir has been under the influence of militant forces for many decades. Violence, marginalization, and oppression at the hands of militants and the armed forces are common practices that have transformed the earthly paradise into hell. The plight of the people of Kashmir remained hidden from the world's eyes but in the first decade of the 21st century, many Kashmiri writers appeared on the horizon of the world literature to show the tormented picture of the valley to the world. Anglophone Kashmiri writings are characterized by the themes of violence and exploitative and coercive practices such as mass killings, disappearances, rapes, crackdowns, and uprootedness of the people. Mirza Waheed's The Collaborator is one of those dolefully poignant voices of Kashmir that tries to depict the true condition of the people of Kashmir. The present study intended to explore how the writer has portrayed the violent acts undertaken by the militants and armed forces resulting in traumatization and identity fragmentation of the oppressed masses. The multi-theoretical framework for this study was based on the power theory of Dennis H. Wrong (1995) and trauma theories of Cathy Caruth (1996), Jeffrey C. Alexander (2012), and Judith L. Herman (2015). These theories form a nexus and connect. The research focused on certain horrific events of the novel and traced the aspect of trauma resulting from violence, exploitation, and coercion. The findings of the study are eye-opening and add a contribution to the scarce body of research in the domain. It is a significant study because it highlights the condition of oppressed people that still need the attention of the world organizations, NGOs, and academic researchers for the alleviation of their trauma, misery, and excessive exploitation.
45
Radler, Dana A. "Gaps, silences and witnesses: the quest for identity in Henriette Yvonne Stahl’s "My Brother, the Man"." Swedish Journal of Romanian Studies 1, no. 1 (May 20, 2018): 28–46. http://dx.doi.org/10.35824/sjrs.v1i1.17240.
Full textAbstract:
Evident from her first book Voica (1924), and up to her last novel Le Témoin de l’Eternité printed first in France in 1975 and translated into Romanian in 1995, Henriette Yvonne Stahl becomes from a promising writer a unique voice in the inter-war and post-war literary scene in Romania.
Starting from Rimbaud’s illuminating pensée “Love has to be reinvented” (Felman 2007: 213), this paper aims to explore the identity of protagonists in My Brother, the Man (Fratele meu omul, first published in1965), drawing on identity and trauma theory as developed by Penny Brown (1992), Cathy Caruth (1995; 1996), Shoshana Feldman (2007) and Dori Laub (1992; 1995). In addition, the mixture of memory and narrative analyses types of ‘talk fiction’ (Kakandes 2005), the shift of focus from the subject of remembrance to the mode in which it takes place (Whitehead 2009), and how narratives impact readers (Piątek 2014).
Both male and female characters in My Brother, The Man have clear dominant traits, so that their actions and inner voices are marked by abrupt shifts, meant to stimulate a noticeable response from those they love or dislike. Are the main characters engulfed in a dense life texture able to explore their personal dilemmas, difficult choices and detach themselves from the flux of their own passions and desires? Or are they going to fall victim to their own inability to understand life’s meaning, paralleled by a lack of vision and humanity as manifested by other characters? How do they act and react to the actions and emotions they experience? The present paper examines how memories, dilemmas and changes nuance a story moving from a classically-structured narrative to crime fiction, embedding numerous interior monologues and deep psychological impasses, the result being a female novel of self-development.
46
Mesang, Yohanis, and Anik Cahyaning Rahayu. "Billy Pilgrim's Traumatic Symptoms and Triggers in Kurt Vonnegut's Slaughterhouse-Five." Anaphora: Journal of Language, Literary, and Cultural Studies 5, no. 2 (December 30, 2022): 201–13. http://dx.doi.org/10.30996/anaphora.v5i2.7512.
Full textAbstract:
Psychological trauma is one of the psychological problems which may happen to a human being. Someone is known to suffer from trauma if he or she shows or experiences some special symptoms. This psychological problem, trauma, can happen due to some triggers or causes. Relating to this problem, this article is about Billy’s psychological trauma in Kurt Vonnegut’s Slaughterhouse-Five. Billy is the main character of the novel who suffers from trauma. His psychological disease can be known from the symptoms he experiences or he shows. Besides the symptoms of trauma experienced by Billy, the triggers or causes of Billy's trauma are also explained in this article, which both of them as the objectives of the research. The analysis uses literary theory of trauma by Cathy Caruth. Because trauma relates to psychology, the psychological approach is used in this research. The method used to analyze Billy’s trauma is descriptive-analytical which means that the data relating to the topic which are taken from the novel are described and analyzed based on the objectives of the research. The findings show that symptoms experienced by Billy are recurrent uncontrollable memories of past traumatic events, losing his enthusiasm for life, delusion about Tralfamadorian planet as well as his adventure in time, and sleep disturbance followed by weeping for no reason. The triggers or causes of Billy’s trauma are the result of his participation in World War II where he witnesses many horrific events like the bombing event in Dresden city and getting humiliation as well as harsh treatment from his fellow soldiers, fellow prisoners, and German soldiers. The other cause is facing the events after the 2nd World War that exacerbates his trauma that is the plane crash he is travelling in and the death of his wife due to carbon monoxide poisoning. In conclusion, after analyzing Billy’s traumatic symptoms and the triggers, it can be stated that Billy really suffers from psychological trauma. All the traumatic events influence Billy’s life, how he sees life, and he responds about life and death.
47
Romanenko, Olena. "The phenomenon of traumatic writing (“Life after 4.30 pm” by Olexandr Tereshchenko)." Synopsis: Text Context Media 27, no. 2 (2021): 42–50. http://dx.doi.org/10.28925/2311-259x.2021.2.1.
Full textAbstract:
The subject of research in this article is traumatic writing. The study of trauma writing in modern Ukrainian literature is one of the most pressing issues, because today we have a large body of works of art and documentaries dedicated to the war in the East. The aim of the study is to analyze the peculiarities of traumatic writing in the story “Life after 16:30” by Oleksandr Tereshchenko, a participant in the defense of Donetsk airport. Traumatic writing is interpreted in the context of the ideas of Cathy Caruth, J. Lacan, J. Derrida. S. Freud. The analysis also includes the concepts of autobiographical writing, in particular, the ideas of R. Barthes and I. Konstankevych. The leading method of research was the method of close reading. Conceptual images related to the author's trauma and traumatic experience were identified. These include images of pain, memory, feat, life, body, wound, laughter, and fear. The results of the research prove that in Oleksandr Tereshchenko's story writing is a psychotherapeutic gesture, which is embodied in the following features: writing as an act of corporal / physical, special muscular movement that unites the author with previous life, before trauma; drawing and writing as a type of creativity and part of psychotherapy; archiving and decoding of symbolic meanings related to trauma; poetic addressing and the formation of a community of trauma. The article proposes a wording for this type of writing: fluent autobiographical writing. This is a special type of writing, which arises as a consequence of understanding the trauma and post-traumatic syndrome, the key biographeme (R. Barthes) in it is an episode of trauma, the leading speech act — an attempt to express the author's feelings, memories of trauma, life after trauma. Such writing is characterized by symbolization of trauma, fragmentation, self-narration, internal dialogue with oneself or an imaginary interlocutor, constant correlation of events and thoughts within the pairs “I — Other”, “I — Others”, “I — Another society”, “I — Past” and so on. The scientific novelty and practical significance of the article are due to the fact that in this article on the example of the story “Life after 16:30” by Olexandr Tereshchenko it is proved that the biographeme “trauma” in such a letter unfolds in discourses: life before trauma; actually a traumatic event; comprehension (including an ironic attitude) to trauma-injury; traumatic existence in the process of recovery and after recovery; childhood, a time when a person knows nothing about a possible traumatic experience; writing as a way to release from injury.
48
Sanyal, Debarati. "A Soccer Match in Auschwitz: Passing Culpability in Holocaust Criticism." Representations 79, no. 1 (2002): 1–27. http://dx.doi.org/10.1525/rep.2002.79.1.1.
Full textAbstract:
IT HAS BECOME SOMETHING of a commonplace in recent criticism to claim that the Holocaust inaugurates a ''crisis of representation.'' To read, understand, and transmit a historical trauma of this magnitude is to confront the boundaries of the thinkable and the sayable. This essay critically examines the emergence of a theoretical current that presents the Holocaust primarily as a trauma that - as trauma - opens up unlocatable and unrepresentable forms of knowledge. It argues that the overwhelming focus on trauma as an optic for viewing the Nazi genocide leads to a dangerous conflation of the differences between victims, executioners, witnesses (primary and secondary); between literal and metaphorical survival and culpability; and between historical event and metaphorical, transhistorical condition. For a generation that did not live through the Holocaust but encountered it as secondary witnesses, as readers and viewers of films and documentaries, a sense of metaphorical survival and second-hand guilt seems to be an inescapable condition of Holocaust reception. Theoretical approaches to representations and testimonies of the Holocaust, especially in the wake of deconstruction, increasingly rely on models of contamination, complicity, and trauma. Such models complicate not only the difference between victims and executioners within the camps, but also the differences between witnesses, bystanders, and successive generations of secondary witnesses. Primo Levi's description of a ''gray zone'' in the concentration camp (in The Drowned and the Saved) has played a crucial role in this recent focus on the traumatized culpability of the secondary witness. The ''gray zone'' describes situations that blurred and even dismantled the opposition between victims and executioners (as in the case of the Special Squads, or Sonderkommando s, composed primarily of Jewish prisoners working in the crematorium). This essay argues that Levi's ''gray zone'' is now deployed as a figure in the recent work of Giorgio Agamben, Cathy Caruth, and Shoshana Felman. Identifying proximities in their views of trauma and testimony, the essay shows how Levi's ''gray zone'' is transformed into an overarching metaphorical framework for thinking not only about the Holocaust, but more broadly, about history, subjectivity,and ethics in the fields of psychoanalysis, political philosophy, and literary criticism. This hypostasis of the ''gray zone'' not only erases the historical specificity of the Nazi genocide, but also subsumes the irreducibly distinct positions of victim, executioner, witness, accomplice, and proxy-witness under a general condition of traumatic complicity. The essay concludes with a paired reading of Albert Camus's La chute and Levi's The Drowned and the Saved, suggesting that Camus's novel, while often read as an exemplary testimony to historical trauma, instead stages some of the ethical and political problems of reading history through the optic of trauma.
49
Koustas, Jane. "Tu faisais comme un appel : les enfants de Duplessis." Pratiques & travaux, no. 32 (May 5, 2010): 150–64. http://dx.doi.org/10.7202/041511ar.
Full textAbstract:
Cette étude se veut une analyse de la pièce Tu faisais comme un appel, signée Marthe Mercure, selon la théorie de récit post-traumatique élaborée par Cathy Carruth, Mieke Bal et Ross Chambers. L’auteur propose que, tout comme le docudrame qui se veut « vrai » tout en étant une création dramatique, la pièce de Mercure se situe à la frontière entre la fiction et la non-fiction. Il s’agit donc d’un événement théâtral qui met sur scène la « vraie » histoire de quatre orphelines de Duplessis et qui engage le public tant sur le plan théâtral que sur le plan social et politique.
50
Hu, Die, Weili Hu, and Mohan Giri. "BASED ON ANXIETY SENSITIVITY AND ANXIETY INHIBITION: RECONSTRUCTION OF POST APOCALYPTIC SOCIETY." International Journal of Neuropsychopharmacology 25, Supplement_1 (July 1, 2022): A7—A8. http://dx.doi.org/10.1093/ijnp/pyac032.009.
Full textAbstract:
Abstract Background Cormac McCarthy’s novel The Road describes a post-apocalyptic world after a nuclear attack. The sky is gray with heavy ashes and the land is cover by burned trees and buildings. A small number of people are the only thing left alive in this world, yet most of them are members of murderous feral gangs. In the post-nuclear holocaust world, the protagonists, the father and the son, have to not only strive for food, water, medicine and shelter, but also fight against other gangsters who are desperate to hunt them for food. They are cast adrift, trying their best to survive in a world in which civilization and its concomitants have been completely destroyed. The father suffered from serious psychological trauma. He cannot sleep with the fragments of the disaster and the memory of the past immersing and lingering in his mind. How to stay safe and sound physically and psychologically, how to deal with psychological trauma, and how to reconstruct life in a waste land are the deep concerns of the writer. Subjects and Methods This study adopts a trauma psychology perspective to analyze Cormac McCarthy’s post-apocalyptic novel, The Road. The term “trauma theory” was first introduced by the American scholar, Cathy Caruth, in her book Unclaimed Experience: Trauma, Narrative, and History, published in 1996. She initiates the definition of trauma, advocating that “trauma describes an overwhelming experience of sudden or catastrophic events in which the response to the event occurs in the often delayed, uncontrolled repetitive appearance of hallucinations and other intrusive phenomena”. Psychological trauma is one of the basic concepts in trauma theory, which refers to an injury left by an event or a disaster and which is difficult to heal. Results In a post-apocalyptic world, uncertainty and randomness dominate the daily life, and despair and void swallow people’s soul bit by bit. It is abundantly clear that survivors suffer from devastating psychological trauma. How can the humankind avoid extinction and reconstruct their life becomes an urgent problem. In this regard, McCarthy proposes several measures to reconstruct life and confront psychological trauma, namely, concerns for every human being with love and care, maintenance of fire which burns in the ardent heart with vitality and hope, and persistent and unremitting actions to fight for the bright future. He advocates love and care for the whole humankind and tries to use them as a tool to fight against the spiritual wasteland. Conclusions McCarthy’s The Road is devoted to a journey motivated by the father’s quest for a safer place where his young son does not have to neither wear a mask to filter the air, nor be killed and roasted for food. Although the psychological trauma is difficult to heal, it is still worth trying. The answer of how to sustain the human race and how to reconstruct life in the post-apocalyptic world lies in the inherent vitality of the ardent-hearted as well as the assertion of the claims of civilization and conscience. This paper provides a new perspective to interpret McCarthy’s The Road, demonstrating several measures to cope with psychological trauma, which bears a practical value, for people at present suffer a lot spiritually and psychologically. Yet with limited time and energy, there are few flaws in this paper. The analysis of the text of the novel is far from enough, and the interpretation of the writer’s intention is far from thorough, to name a few. The authors will continue the study of the novel with scrutiny in the future. Acknowledgments Supported by two projects grant from Sichuan Federation of Social Science Associations (Grant No.SC21JD016) and China Postdoctoral Science Foundation (Grant No.2021M691881).