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Relevant bibliographies by topics / Dominick LaCapra

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Academic literature on the topic 'Dominick LaCapra'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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Journal articles on the topic "Dominick LaCapra"

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Paula Couto, Cristiano Pinheiro de. "Interview with Dominick LaCapra." Intellectual History Review 24, no. 2 (April 3, 2014): 239–57. http://dx.doi.org/10.1080/17496977.2014.914645.

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Rothfield, Lawrence. "Soundings in Critical Theory. Dominick LaCapra." Modern Philology 89, no. 4 (May 1992): 632–35. http://dx.doi.org/10.1086/392029.

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Roth, Michael S. "Dominick LaCapra. History, Literature, Critical Theory." American Historical Review 119, no. 3 (June 2014): 841. http://dx.doi.org/10.1093/ahr/119.3.841.

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Paul, Herman. "Dominick LaCapra. Understanding Others: Peoples, Animals, Pasts." American Historical Review 125, no. 5 (December 2020): 1812–13. http://dx.doi.org/10.1093/ahr/rhz1120.

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KNIGHT, D. "Review. 'Madame Bovary' on Trial. LaCapra, Dominick." French Studies 39, no. 1 (January 1, 1985): 91. http://dx.doi.org/10.1093/fs/39.1.91.

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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.

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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.

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Kramer, Loyd S. "Literatūra, kritika ir istorinė vaizduotė: Haydeno White'o ir Dominicko LaCapra'os literatūrinis iššūkis." Sociologija. Mintis ir veiksmas 1, no. 1 (April 4, 1997): 153–58. http://dx.doi.org/10.15388/socmintvei.1997.1.6613.

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Vertimas: Kramer, Loyd S. 1989. Literature, Critisism, and Historical Imagination: The Literary Challenge of Hayden White and Dominick LaCapra. In: The New Cultural History, Berkeley, Los Angeles, London: University of California Press; 97-128.

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Cohen, Ralph. "Reply to Dominick LaCapra and Richard Harvey Brown." New Literary History 17, no. 2 (1986): 229. http://dx.doi.org/10.2307/468888.

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Bosworth, Richard. "Representing the Holocaust: History, Theory, Trauma. Dominick LaCapra." Journal of Modern History 68, no. 3 (September 1996): 673–74. http://dx.doi.org/10.1086/245353.

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LaCapra, Dominick. "O queijo e os vermes: o cosmo de um historiador do século XX." Topoi (Rio de Janeiro) 16, no. 30 (June 2015): 293–312. http://dx.doi.org/10.1590/2237-101x016030011.

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O queijo e os vermes: o cosmo de um historiador do século XX foi originalmente publicado em History & Criticism, de 1985, coletânea de ensaios de Dominick LaCapra. Abertamente polêmico, realiza uma leitura cerrada de um texto clássico da historiografia do século XX, O queijo e os vermes (1976), de Carlo Ginzburg, buscando, por aí, explicitar e problematizar certas tendências, então - e ainda -, predominantes na profissão histórica. O propósito de LaCapra é chamar a atenção dos historiadores para a necessidade de refletir sobre sua prática e desenvolver modos de interpretação mais críticos e autocríticos, num diálogo mais próximo com a crítica literária e a filosofia contemporânea. Ao traduzi-lo para o português, visamos contribuir para tornar a obra de LaCapra mais disseminada entre o público acadêmico brasileiro.

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Dissertations / Theses on the topic "Dominick LaCapra"

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Kussman, Soosun K. "Aucun De Nous Ne Reviendra: The Journey of Working Through Trauma." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1249779135.

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Read, Madeleine Erica. "Misrepresenting the Shoah in American Film." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/7214.

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How should we, Americans, confront our complicity in reproducing the Shoah? For complicit we are, if consumerism is any metric: Steven Spielberg<'>s 1993 film Schindler<'>s List had grossed $321 million as of 2012; more than 40 million people have made the pilgrimage to the sacred US Holocaust Museum; at last count, The Diary of Anne Frank had sold 30 million copies. These numbers are stale staples in the debate over the ethics of Shoah representation, of course, but they bear out the skepticism of critics who have questioned American Holocaust consumer culture. And consumerism is only the first of many such ethical quandaries, which include how to deal with the trauma that audiences experience upon viewing Holocaust films and what happens when secondary witnesses overidentify with Holocaust victims.This paper takes up an unusual form of Holocaust art: misrepresentative film. I discuss two films, Quentin Tarantino<'>s Inglourious Basterds and Wes Anderson<'>s The Grand Budapest Hotel, to argue that intentional misrepresentations not only call attention to the pitfalls of traditional representation but also encourage audiences to work through the transhistorical trauma of the Shoah. Released in 2009, Tarantino<'>s was perhaps unique in cinema for its radical alteration of history, intended to give audiences the sheer pleasure of seeing the Nazi regime go up, literally, in flames. Though the film is undoubtedly a revenge fantasy that, using Dominick LaCapra<'>s terms, embodies <"e>acting out€ in response to historical trauma, it does so by flipping the traditional narrative: unlike most depictions of the Shoah, it complicates the victim-perpetrator binary, identifies audiences with the transgressors, and constantly calls attention to its own fictionality. Movies like The Grand Budapest Hotel are evidence that Tarantino really did shatter the constraints of the genre. Basterds certainly makes no effort toward historical accuracy, but since its appeal depends on the audience<'>s awareness of its inaccuracies, Tarantino is still elbow-deep in real history. Anderson is not. Budapest is a troubled film, haunted by invasions, wars, arrests, and displays of arbitrary power, many of which recall the Third Reich. The function of these ominous forces, however, is not to offer commentary on the Shoah but simply to recreate the illusory world of Stefan Zweig, on whose writings it was based. In producing a movie about Nazi-occupied Europe in which the troubles of the period are relegated mostly to the background, Anderson furthers the deconstruction of the Holocaust film genre, raising the possibility that such films can be historically serious without being bound by restrictive rules.

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Kussman, Soosun Kim. "Aucun de nous ne reviendra the journey of working through trauma /." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1249779135.

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Gunter, James Christiansen. "The Rhetoric of Violence." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2468.pdf.

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Bruner, Brittany. ""This, too, was myself": Empathic Unsettlement and the Victim/Perpetrator Binary in Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6284.

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At first glance, Strange Case of Dr. Jekyll and Mr. Hyde is a tale that reinforces binaries. One of these is the self/other binary that is central to David Hume's and Adam Smith's theories of sympathy that conceive of a self imaginatively identifying and experiencing fellow-feeling for an other. However, this notion is complicated because Jekyll and Hyde are the same person. Further, many critics argue that Stevenson actually challenges binary thinking. While Hume and Smith do not challenge the self/other binary in connection with sympathy, trauma theory critics do challenge a self/other binary that lies at the heart of sympathy: the victim/perpetrator binary. Noted trauma theorist Dominick LaCapra develops a method of empathizing called empathic unsettlement where a secondary witness listens with empathy to a victim's traumatic witness while recognizing the difference of his or her position as a witness. He argues that perpetrators may also warrant understanding, but this understanding does not come through empathy. However, one of the hallmarks of empathic unsettlement is that it does not neatly resolve or replace traumatic narratives. Therefore, I argue that empathic unsettlement could also be a useful method for allowing a perpetrator to witness. While practicing empathic unsettlement for a perpetrator may not be worth the risk in real life, performing a thought experiment in literature can test how using empathy might provide a better way to theorize perpetration. Using two witnesses who attempt to practice empathic unsettlement for Jekyll and Hyde, Dr. Hastie Lanyon (who fails), and Mr. Gabriel John Utterson (who succeeds), I will show how empathic unsettlement could be used for both a victim and perpetrator to tease out the complexities of assessing a traumatic situation.

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Jeo, Noella. "Perry Smith and Josef Kavalier : historical and literary victimized victimizers /." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd938.D4.

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(11181666), Alyssa Caroline Fernandez. "Trauma in the Syntax: Trauma Writing in David Foster Wallace's Infinite Jest." Thesis, 2021.

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This project presents a case study of postmodern trauma, working at the boundaries of the humanities and computer science to produce an in-depth examination of trauma writing in David Foster Wallace’s novel Infinite Jest. The goal of this project is to examine the intricacies of syntax and language in postmodern trauma writing through an iterative process I refer to as broken reading, which combines traditional humanities methodologies (close reading) and distant, computational methodologies (Natural Language Processing). Broken reading begins with close reading, then ventures into the distant reading processes of sentiment analysis and entity analysis, and then returns again to close reading when the data must be analyzed and the broken computational elements must be corrected. While examining the syntactical structure of traumatic and non-traumatic passages through this broken reading methodology, I found that Wallace represents trauma as gendered. The male characters in the novel, when recollecting past traumata or undergoing traumatic events, maintain their subject status, recognize those around them as subjects, and are able to engage actively with the world around them. On the other hand, the female characters in the novel are depicted as lacking the same capacities for subjectivity and action. Through computational text analysis, it becomes clear that Wallace writes female trauma in a way that reflects their lack of agency and subjectivity while he writes male trauma in a way that maintains their agency and subjectivity. Through close reading, I was able to discover qualitative differences in Wallace’s representations of trauma and form initial observations about syntactical and linguistic patterns; through distant reading, I was able to quantify the differences I uncovered through close reading by conducting part of speech tagging, entity analysis, semantic analysis, and sentiment analysis. Distant reading led me to discover elements of the text that I had not noticed previously, despite the occasional flaw in computation. The analyses I produced through this broken reading process grew richer because of failure—when I failed as an interpreter, and when computational analysis failed, these failures gave me further insight into the trauma writing within the novel. Ultimately, there are marked syntactical and linguistic differences between the way that Wallace represents male and female trauma, which points toward the larger question of whether other white male postmodern authors gender trauma in their writings, too. This study has generated a prototype model for the broken reading methodology, which can be used to further examine postmodern trauma writing.

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Book chapters on the topic "Dominick LaCapra"

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Müller, Tim B. "Der linguistic turn ins Jenseits der Sprache Geschichtswissenschaft zwischen Theorie und Trauma: Eine Annäherung an Dominick LaCapra." In Sprache der Geschichte, edited by Jürgen Trabant, 107–32. Berlin, Boston: De Gruyter Oldenbourg, 2005. http://dx.doi.org/10.1524/9783486594638-010.

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Horigan, Kate Parker. "“They Probably Got Us All on the News”: Unsettled Filming in Trouble the Water." In Consuming Katrina, 71–88. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817884.003.0005.

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This chapter examines Tia Lessin and Carl Deal’s 2008 documentary film Trouble the Water. The filmmakers use unique documentary techniques that incorporate narrators’ engagement with the processes of their story’s publication. The film includes survivor Kim Roberts’ own footage, shot during Katrina on her handheld camera. Kim’s role as documentarian is foregrounded, and in some striking scenes she expresses her awareness about the value of her story and its likelihood of circulating among particular kinds of audiences. The filmmakers successfully integrate survivors’ own critiques of the discourses that typically represent them, and through this and other methods, create what Dominick LaCapra calls “empathic unsettlement.” However, the film’s optimistic conclusion evokes a dominant narrative of racial uplift, with a neoliberal twist that undermines the powerful work the film is otherwise performing.

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Hunt, Lynn. "Literature, Criticism, and Historical Imagination: The Literary Challenge of Hayden White and Dominick LaCapra." In The New Cultural History, 97–128. University of California Press, 1989. http://dx.doi.org/10.1525/california/9780520064287.003.0005.

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"4. Literature, Criticism, and Historical Imagination: The Literary Challenge of Hayden White and Dominick LaCapra." In The New Cultural History, 97–128. University of California Press, 2019. http://dx.doi.org/10.1525/9780520908925-006.

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