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Journal articles on the topic 'Dominick LaCapra'

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Published: 4 June 2021
Last updated: 27 April 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Pérez Baquero, Rafael. "Ausencia y trauma en el ser para-sí: una lectura de la ontología de Jean-Paul Sartre desde Dominick LaCapra." Contrastes. Revista Internacional de Filosofía 26, no. 3 (July 20, 2021): 89–109. http://dx.doi.org/10.24310/contrastescontrastes.v26i3.10399.

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El objetivo del presente artículo es el de reconstruir las nociones fundamentales de la ontología fenomenológica sartreana desde las categorías hermenéuticas de la historia intelectual de Dominick LaCapra. Este bagaje conceptual destaca por su fecundidad a la hora de justificar cómo algunos intelectuales de la pasada centuria han metabolizado las experiencias de violencia e incertidumbre de su tiempo en sus propias obras. Con el fin de proyectar estos esquemas interpretativos, interpretaremos las tesis sartreanas en torno al ser de la conciencia, a la intersubjetividad y al proyecto existencial desde el prisma que ofrecen las reflexiones de LaCapra.
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12

Kozłowska, Aleksandra. "Yearning for Beauty. The Expression of Melancholy in Toni Morrison’s “The Bluest Eye”." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 9 (April 24, 2018): 79–86. http://dx.doi.org/10.26881/jk.2018.9.07.

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The purpose of the paper is to discuss the sources and results of melancholy in Toni Morrison’s novel The Bluest Eye with reference to Dominick LaCapra’s theory based on a distinction between loss and absence. LaCapra claims that the former concept refers to a particular event, while the latter cannot be identified with any specific point in time or object. What is more, LaCapra admits that absence may result in melancholy, i.e. the state in which the individual remains possessed by a negative emotion because there is no possibility of working it through. The idea of absence causing melancholy is exemplified by the protagonist of The Bluest Eye, Pecola Breedlove. The girl dreams about acquiring blue eyes that belong to the prevailing white model of beauty which excludes African-American features. The feeling of absence is intensified by the U.S. education system aimed at promoting the lifestyle and characteristics of white Americans, her own mother who prefers serving white people to taking care of her own children, and the peers that constantly stigmatize Pecola for ugliness. Consequently, she becomes obsessed with the unattainable blue eyes. Since there is no chance for her to be accepted and thus cope with the absence of white features, the girl suffers from melancholy which leads her to insanity and exclusion from society.
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13

Palmer, Bryan D. "Reviews of Books:History in Transit: Experience, Identity, Critical Theory Dominick LaCapra." American Historical Review 110, no. 2 (April 2005): 437–38. http://dx.doi.org/10.1086/531324.

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14

Friedland, Paul. "Reviews of Books:History and Reading: Tocqueville, Foucault, French Studies Dominick LaCapra." American Historical Review 107, no. 2 (April 2002): 503–4. http://dx.doi.org/10.1086/532305.

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15

Fantinato, Manuela. "Literatura e história: um diálogo possível." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 21, no. 2 (December 15, 2017): 12–19. http://dx.doi.org/10.34019/1982-0836.2017.v21.19441.

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Este ensaio trata das relações entre história e literatura, do ponto de vista da história e do ofício do historiador, com destaque para as ideias de Dominick Lacapra. Distanciando-se de abordagens tradicionais que entendiam o texto literário como documento, defende-se, aqui, encará-lo como um corpo de experiências capazes de provocar no leitor percepções e inspirações que incitem a produção de conhecimento sobre os vários tempos do texto, desde sua produção até sua recepção.
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16

Silva, Ricardo Oliveira da. "História das Ideias: abordagens sobre um domínio historiográfico." Revista Brasileira de História & Ciências Sociais 7, no. 13 (September 28, 2015): 6. http://dx.doi.org/10.14295/rbhcs.v7i13.300.

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O artigo apresenta uma breve visão panorâmica sobre o debate epistêmico ocorrido no domínio historiográfico conhecido como História das Ideias ao longo do século XX. Para isto destacamos a proposta das “ideias-unidade” de Arthur Lovejoy, o “contextualismo linguístico” de Quentin Skinner e a “abordagem dialógica” de Dominick LaCapra. Cada uma destas abordagens contribuiu para enriquecer a reflexão teórica e metodológica e tornar a História das Ideias uma área de conhecimento profícua para o desenvolvimento da pesquisa histórica.
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17

PAPP, Ágnes Klára. "A TRAUMÁBÓL SZÜLETŐ SZÓ." Hungarológiai Közlemények 19, no. 2 (January 24, 2019): 1–25. http://dx.doi.org/10.19090/hk.2018.2.1-25.

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A tanulmány arra tesz kísérletet, hogy a Petri György szerelmi költészetének egyik csúcspontját jelentő Kepes Sárához írt verseit traumaszövegekként elemezze. Ennek során a traumakutatás, elsősorban a narratív pszichológiai tartalomkutatás és az irodalmi interpretáció lehetséges közös pontjait keresi. A trauma, Dominick LaCapra fogalmával, „hiányból” „veszteséggé” formálásának folyamatát kíséri végig a Petri-vers nézőpontszerkezetében, időtapasztalatában, vizualitást, illetve dialogikusságot idéző elemeiben. Külön fejezetet szán a Petrire oly jellemző ironikus látásmód és a traumafeldolgozás összefüggésének. Végül a trauma verbalizálásának, narrativizálásának mikéntjét a bahtyini „intonációs metafora”, a belőle születő „szemantikai metafora” és a metaforából kibomló elbeszélés kérdésén keresztül közelíti meg.
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18

Pereira Caldas, Pedro Spinola. "History as anguish." História da Historiografia: International Journal of Theory and History of Historiography 12, no. 31 (December 22, 2019): 24–46. http://dx.doi.org/10.15848/hh.v12i31.1517.

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This article proposes a path of reasoning capable of showing how history can become personal inasmuch as it produces the experience of anguish. To attain this goal, based on two concrete personal experiences during the current political context of Brazil, it will take the following steps: history becomes personal, first as it helps build one’s personality (as asserted in Johann Gustav Droysen’s Historik), by the ability of historical knowledge — produced by research or received by its readers — has to be morphological; in other words, via its ability to find unity in what, at first glance, seems to be dispersed. Secondly, history can become personal as it produces empathy, considered under Dominick LaCapra’s concept of empathic unsettlement. Finally, since LaCapra indicates that Primo Levi’s concept of gray zone contains certain possibilities in terms of empathic unsettlement, the final section of this article carries out an exercise about this notion to show that this type of experiences — limited to two specific cases in this study — invite us to think that history becomes personal in as much as it produces anguish, a notion that permeates The Drowned and the Saved (1986) — book that contains Primo Levi’s classic chapter on the gray zone.
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19

Campos Lucena, Júlia. "Vozes da memória: a supraliteratura de Svetlana Aleksiévitch." Cadernos do IL, no. 60 (August 19, 2020): 156–74. http://dx.doi.org/10.22456/2236-6385.101081.

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A obra da escritora bielorrussa Svetlana Aleksiévitch, vencedora do prêmio Nobel de Literatura em 2015, é singular: autor e coletividade dividem a autoria de um romance mosaico. Seus livros são compostos por pequenas histórias, monólogos reflexivos e testemunhos coletivos de momentos tão extremos da experiência humana que convencem o leitor apenas pois ele os sabe reais. É a realidade enquanto gênero literário. Pretende-se, neste artigo, analisar essa reelaboração literária da memória proposta por Svetlana a partir da obra Vozes de Tchernóbil (2016b); refletir sobre como a obra ecoa o modelo historiográfico proposto por teóricos como Walter Benjamin (1958a; 1985b) e Dominick LaCapra (2008); e elaborar, brevemente, o gênero literário que dá suporte a esse empreendimento, chamado pela autora Romance de Vozes.
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20

Nunn, Nora. "Rose-Colored Genocide: Hollywood, Harmonizing Narratives, and the Cinematic Legacy of Anne Frank’s Diary in the United States." Genocide Studies and Prevention 14, no. 2 (September 2020): 65–89. http://dx.doi.org/10.5038/1911-9933.14.2.1715.

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Drawing from literary and cultural studies, this paper situates U.S. adaptations of Anne Frank’s diary in the 1950s within a lineage of other films about historical genocide, including Schindler’s List, Hotel Rwanda, and The Killing Fields. Analysis of these narrative adaptations matters because it helps us better understand the danger of what critic Dominick LaCapra calls “harmonizing narratives,” or stories that provide the viewer with an “unwarranted sense of spiritual uplift” (14). Tracing the metamorphosis of Frank’s own diary from play to film adaptation, this article builds on existing scholarship to focus on how, in the wake of what has become known as the Holocaust, Hollywood began to construct popular and simplified understandings of complex genocidal crimes—all in the name of celebrating globalized humanity. In the first part of the article, I take a longer view of these adaptations by situating U.S. interpretations of Frank’s diary within a lineage of other Hollywood versions of historical genocide, including The Killing Fields, Schindler’s List, and Hotel Rwanda. I argue that in making Anne Frank’s story morally simplifying and ultimately uplifting for U.S. audiences—in other words, shaping it into what critic Dominick LaCapra calls a “harmonizing narrative”—these Broadway and Hollywood adaptations privileged rose-colored narratology for that would influence future mainstream cinematic representations in dangerous ways. The second part of the paper then considers cinematic alternatives from outside of Hollywood (such as Canada, Rwanda, and Spain) that challenge these harmonizing narratives by enlisting a mise en abyme structure—in other words, the nesting of stories within stories—that ultimately suggest the full representation of genocide is impossible. By making false promises of harmony, Hollywood’s interpretation of Frank’s story has, in turn, limited our understanding of subsequent genocides. On the other hand, alternative modes of cinematic storytelling—most notably, ones such as Ararat that fracture a coherent narrative—compel the audience to grapple with questions of spectatorship, agency, and above all, the problems of representation.
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21

De Campos Lucena, Júlia. "Vozes da memória: a supraliteratura Svetlana Aleksiévitch." Em Tese 26, no. 2 (March 18, 2021): 187. http://dx.doi.org/10.17851/1982-0739.26.2.187-201.

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A escritora bielorrussa Svetlana Aleksiévitch, vencedora do prêmio Nobel de Literatura em 2015, inaugura uma nova estética literária — um novo gênero em que autor e coletividade dividem a autoria de um “romance mosaico”. Seus livros são compostos de breves histórias particulares, monólogos reflexivos e testemunhos coletivos de momentos tão extremos da experiência humana que só convencem porque sabemos reais. Trata-se da realidade enquanto gênero literário. Pretende-se, neste artigo, analisar essa reelaboração literária da memória proposta por Svetlana a partir da obra Vozes de Tchernóbil; refletir sobre como ela toca o modelo historiográfico proposto por teóricos como Walter Benjamin e Dominick Lacapra; além de elaborar, brevemente, o gênero literário que dá suporte a esse empreendimento, e que se pretende inaugural na estética do testemunho: o Romance de Vozes.
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22

Pérez Baquero, Rafael. "Memory, narrative, and conflict in writing the past." História da Historiografia: International Journal of Theory and History of Historiography 13, no. 32 (April 12, 2020): 47–81. http://dx.doi.org/10.15848/hh.v13i32.1494.

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In this paper I will analyze the distinctive features of the twentieth century historiography with regards to its most salient events. By doing so, I will provide an interpretation of the struggles which underlay the production of historical knowledge at the end of the century. In contrast to various theories of historiography which assert that autonomy from collective memory is a methodological assumption of the historian, I will argue that historiography is always interwoven with the political and ethical challenges of the historian’s time. In this regard, this paper´s theses are inspired by Walter Benjamin’s ideas concerning historiography, as well as by the interpretations of this ideas provided by other historians and philosophers, such as Enzo Traverso, Dominick LaCapra or Michael Löwy. Their ideas will serve as a framework for understanding the challenges historians face when narrating contemporary history.
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23

Caldas, Pedro Spinola Pereira. "O conceito de evento limite: Uma análise de seus diagnósticos." Tempo 25, no. 3 (December 2019): 737–57. http://dx.doi.org/10.1590/tem-1980-542x2019v250311.

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Resumo: No prefácio de um livro fundamental sobre a questão dos limites da representação do Holocausto, Saul Friedländer argumenta que um evento limite pode ser identificado como um evento que testa algumas categorias tradicionais do conhecimento histórico. Logo, torna-se necessário sistematizar quais categorias tradicionais seriam essas. Portanto, escolhi algumas passagens de autores importantes no campo da teoria histórica, tais como Jörn Rüsen, o próprio Saul Friedländer e Dominick LaCapra, nos quais o conceito de evento limite é mencionado, com o objetivo de sugerir o seguinte diagnóstico: (a) de acordo com os três autores, temporalidade, narrativa e imaginação podem ser algumas dessas categorias; (b) todas essas categorias dependem da centralidade do conceito de trauma. Mas eu argumento que, mesmo com sua importância, constatados alguns limites na aplicabilidade do conceito de trauma, podemos pensar em categorias alternativas, tais como a de angústia.
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24

Ferrari, Marta Beatriz. "La ciudad de la memoria. En torno a "Praga" de Manuel Vázquez Montalbán." Pasavento. Revista de Estudios Hispánicos 5, no. 2 (September 1, 2017): 275–89. http://dx.doi.org/10.37536/preh.2017.5.2.828.

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En el presente artículo se propone un abordaje del libro de poemas Praga (1982) del escritor español Manuel Vázquez Montalbán, a partir de las reflexiones que desde el campo historiográfico francés (Pierre Nora) y norteamericano (Dominick LaCapra) se han venido desarrollando en torno a las nociones de “memoria histórica” y “sitios de memoria”. Se intenta demostrar cómo la evocación poética trasciende el episodio histórico concreto (la invasión soviética a Checoslovaquia en 1968 tras la denominada “Primavera de Praga”), de modo tal que la ciudad de la que se habla y la historia que se refiere no tienen un significado unívoco, es Praga y a la vez es Barcelona, es el judío perseguido por los nazis y es el sujeto hablante con su pertenencia marginal a su entorno catalán por su carácter de mestizo cultural, es la historia de Europa y la de España.
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Dantas, Wanderson Ramonn Pimentel, and Johny Santana de Araújo. "Entre a ficção e a realidade?" Tematicas 28, no. 56 (December 13, 2020): 137–66. http://dx.doi.org/10.20396/tematicas.v28i56.13180.

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O presente artigo pesquisa a relação entre história, memória e literatura de testemunho em Boris Schnaiderman e a sua obra, Guerra em Surdina. Nessa obra, o autor descreve as experiências dos soldados brasileiros na Itália, por meio da ficção. No intuito de entender o porquê de apresentar-se como ficção, investigamos o autor e a obra. O primeiro momento da pesquisa é apresentar os contextos e a influência na escrita do autor com base em Dominick LaCapra (2015). Num segundo momento, refletimos sobre o aspecto ficcional da obra com aporte em Walter Benjamin (2012) e Márcio Seligmann-Silva (2013), no sentido de compreender os motivos de contar as experiências de choque dos brasileiros em forma de literatura. Num terceiro momento, perscrutamos pela análise de pontos-chave da obra para compreender a sua dinâmica no argumento da brutalização do homem e combate ao mito da guerra.
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Curiel Defossé, Fernando. "sigloveinte@lit.mex. Recorrido en 4 escalas." (an)ecdótica 4, no. 2 (June 27, 2020): 31–60. http://dx.doi.org/10.19130/iifl.anec.4.2.2020.0002.

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Generally speaking, the objective of this article is to present a proposal for the construction of a Mexican literature history of the 20th century. During this period foundations take shape and get established throughout the journey where, among other issues, it reflects around the Humanities, its particularities and disciplines. Regarding those disciplines, it’s important to establish that the focal point rests on literature and history, specifically intellectual history. In that sense, the text borrows the ideas of Dominick LaCapra about the role of the historian and therefore of the historiography set forth in his book: History and its Limits. Subsequently the text reviews both the political, social and cultural factors and the contributions and shortcomings of the critical theory studies responsible for the configuration of a record of our literature from the past century. Lastly, the text proposes the division of the literary Century in four stops, or periods to put this proposal in motion.
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27

Simon, Rob, Sarah Evis, Ty Walkland, Amir Kalan, and Pamela Baer. "Navigating the “delicate relationship between empathy and critical distance”." English Teaching: Practice & Critique 15, no. 3 (December 5, 2016): 430–49. http://dx.doi.org/10.1108/etpc-09-2016-0108.

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Purpose This paper features artwork and artists’ statements by middle school students who participated in a research collaboration that involved co-authoring critical literacy curriculum for Art Spiegelman’s graphic novel Maus: A Survivors Tale (1986) with teacher candidates from the University of Toronto. Design/methodology/approach Youth explored personal and social justice issues through writing and artwork produced in response to Maus. In the process, they navigated what historian Dominick LaCapra (1998) has referred to as the “delicate relationship between empathy and critical distance” (pp. 4-5), between closely identifying with the agonizing experiences Spiegelman documents and using their inquiries to cultivate more critical positionalities and assume activist stances on historical and contemporary social justice issues. Findings As they describe in their brief statements included alongside their artwork, creating these projects allowed youth to bear witness to a terrible moment in human history and to envision how they can make a difference in their own communities. Originality/value This work suggests how the arts can be mobilized in critical literacy as a vehicle to interrogate difficult historical moments and multifaceted identity issues.
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28

Sawaya, Francesca. "Safeguarding the Past: “Presentist” Historicism." American Literary History 31, no. 2 (2019): 301–11. http://dx.doi.org/10.1093/alh/ajz009.

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AbstractThe V21 Manifesto of 2015 proposes that we revitalize Victorian Studies through the use of presentist historicism, a methodology that recognizes how “the world we inhabit bears the traces of the nineteenth century.” Presentism—once seen by some as a bug in historicism—now becomes, intriguingly, a feature. While scholars such as Dominick LaCapra and Jennifer Fleissner have also explored presentism in historicist work, the V21 Manifesto brings renewed attention to the questions and problems presentism poses. This review explores two books by members of the V21 Collective. Both interrogate vital issues in the present: Anna Kornbluh focuses on financialization and canonical Victorian and modernist texts, Susan Zieger on ephemera and affect and middlebrow texts. Both differently erudite books reinvigorate our thinking about the past. At the same time, both books avoid questions of production in the past and present. Such avoidance creates nondialectical and specialist accounts of the past’s relation to the present and enshrines and safeguards Victorian literary studies’ privileged objects of study and methodologies. Appreciative of the ways the V21 Manifesto has renewed attention to presentist historicism, the review nonetheless argues for more reflexive and contestatory accounts of the past’s relation to the present.
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Kelley, Donald R. "Dominick LaCapra . History and Its Limits: Human, Animal, Violence . Ithaca: Cornell University Press. 2009. Pp. ix, 230. Cloth $59.95, paper $19.95." American Historical Review 117, no. 1 (February 2012): 161–62. http://dx.doi.org/10.1086/ahr.117.1.161.

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30

Valente, Luiz Fernando. "História e memória na poesia de Conceição Evaristo." Nau Literária 16, no. 2 (August 3, 2020): 123–35. http://dx.doi.org/10.22456/1981-4526.105874.

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Mais conhecida por sua ficção, a escritora afro-brasileira Conceição Evaristo (1946) é autora de uma inovadora obra poética, que se insere na melhor tradição do cânone da poesia brasileira ao mesmo tempo em que o renova. Focalizando no livro Poemas da recordação e outros movimentos (2017), uma coletânea de poemas escritos ao longo de várias décadas, nos quais são reveladas preocupações semelhantes às demonstradas na sua prosa, este artigo pretende avaliar a ainda relativamente pouco discutida obra poética de Evaristo a partir da dicotomia entre memória e história, proposta por Pierre Nora em seu célebre ensaio “Entre mémoire e histoire: la problématique des lieux” (1984). Num registro mais “realista”, a poesia de Evaristo participa do esforço no sentido de valorizar uma linha alternativa à narrativa histórica brasileira que faça justiça ao papel desempenhado pelos afro-brasileiros na formação do Brasil, desde o tráfico negreiro até a contemporaneidade, frequentemente marginalizado pela chamada história oficial. A originalidade da contribuição de Evaristo, todavia, consiste em articular essa história com a celebração de lugares de memória, em que as ruínas do passado são reconstruídas na afirmação, ainda que dolorosa, de uma identidade comunitária e utópica. No diálogo entre história e memória, a poesia de Evaristo corporifica a tríplice função – documental, crítica, e transformativa – da melhor literatura de conteúdo histórico, conforme propôs Dominick LaCapra.
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Wright, D. C. "The Bounds of Race: Perspectives on Hegemony and Resistance. Edited by Dominick LaCapra (New York: Cornell University Press, 199L x plus 350 pp.)." Journal of Social History 26, no. 4 (June 1, 1993): 880–83. http://dx.doi.org/10.1353/jsh/26.4.880.

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Toews, John E. "History in Transit: Experience, Identity, Critical Theory. By Dominick LaCapra. Ithaca, NY: Cornell University Press, 2004. Pp. xi+274. $49.95 (cloth); $19.95 (paper)." Journal of Modern History 78, no. 3 (September 2006): 684–86. http://dx.doi.org/10.1086/509151.

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Gordon, Peter E. "History and Its Limits: Human, Animal, Violence. By Dominick LaCapra. Ithaca, NY: Cornell University Press, 2009. Pp. x+230. $59.95 (cloth); $19.95 (paper)." Journal of Modern History 83, no. 1 (March 2011): 139–41. http://dx.doi.org/10.1086/658001.

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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.

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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.
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Kellner, Hans. "However Imperceptibly: From the Historical to the Sublime." PMLA/Publications of the Modern Language Association of America 118, no. 3 (May 2003): 591–96. http://dx.doi.org/10.1632/003081203x47859.

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About thirty-five years ago, my professor in a course on seventeenth-century english social history began with the following. “You may have heard,” he said, “that the reading list for this course has not changed since I took it here in 1924.” Here he paused. “But I can assure you that it has changed”—he paused again, and added, sotto voce—“however imperceptibly.” These words have long seemed emblematic for me of the pride felt by much of the historical profession in the continuity of its essential practices. I do not mean, of course, that historians have not embraced new groups of people, adopted a much wider array of ideological stances, and above all invented a researchable historicity for many things that had never before seemed to have a history. All this innovation is splendid, and the finest products of academic history constitute a rich and admirable body of work. But in the essential practices, especially the practice of reading—the basic relation of reader with language and imagination—change is, shall we say, hardly perceptible. It seems that the charge that historians are professionally taught not to read is almost as true now as it was two decades ago when Dominick LaCapra made it (339). But if we are to learn about the historical imagination, histories need to be read and academic historians need to be reminded from time to time that what they do is as subject to the formative pressures of discourse as any other precinct of the world of words.
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Chakravorty, Sudeshna. "The Road Less Travelled: Reading dr. Izzeldein Abuelaish’s I Shall Not Hate as Responsible Response to Trauma." University of Bucharest Review. Literary and Cultural Studies Series 9, no. 2 (November 19, 2020): 1–9. http://dx.doi.org/10.31178/ubr.9.2.1.

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The political and cultural contexts are very important to the experience of trauma (individual or communal), and yet, ultimately every reaction to an event is unique, depending largely on individual positioning and psychic history. ‘True’ versions of traumatic historical events, with minimum contamination or distortion by any specific ideology or unreliable memory, are needed; if these narratives are to have long-term value. Unfortunately, most often the ‘social discourse’ surrounding these is manipulated by institutional forces (including the media) and the main experience gets either downplayed or sensationalised. By focussing on the journey of the Palestinian doctor, Dr. Izzeldin Abuelaish, this essay attempts to highlight such responsible responses to trauma. Dr. Abuelaish, even after growing up in a refugee camp in Gaza, or after witnessing the death of his three daughters by Israeli tank shells that hit his home, rather than seeking revenge or letting intrusive memories fill him with eternal hatred, continues his humanitarian call for the people of the region to come together, promoting understanding, respect, and peace. His experiences, some of which was captured live on TV, and later penned down in his memoir I Shall Not Hate; and his life choices and activities since the tragedy are the best example how unconventional individual reactions can have largescale repercussions; and hence needs to be chronicled. Dominick LaCapra had pointed out that trauma often leads to distorted identity-formation, where either the subject-position of ‘victim’ or ‘perpetrator’ becomes prominent; “wherein one is possessed by the past and tends to repeat it compulsively” (Representing the Holocaust 12). But this article seeks to reveal how, when some individuals find within themselves to rise above such binaries, and tell their stories sensitively yet objectively- they accelerate the healing process, both for themselves and the community.
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Applegate, Celia, and Pamela Potter. "Cultural History: Where It Has Been and Where It Is Going." Central European History 51, no. 1 (March 2018): 75–82. http://dx.doi.org/10.1017/s0008938918000122.

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The very meaning of “culture” has gone through so many transformations over the last sixty years that it is necessary to take stock of developments in this field of cultural history before suggesting—with an eye to the promises and perils of earlier practices—what new possibilities might exist for the future of the field. The post-1945 period witnessed a powerful impulse to understand culture as something more pervasive than just literature and the arts—and as something more socially and politically reverberant than the shibboleth of “art for art's sake.” In 1957, at the very beginning of the modern practice of cultural history, Richard Hoggart'sThe Uses of Literacyfound the high and low hierarchies embedded in it. It focused on working-class culture (e.g., glossy magazines, films, “penny dreadfuls”), and on how reading was changing under the impact of mass media. By 1976, Raymond Williams needed to draw attention to the complexity of the wordculture, so extended had its purview become over the previous two decades. Linda Nochlin asked why they were no great women artists, and T. J. Clark, using a Marxist framework, sought to understand aesthetic modernism by interrogating the historic circumstances that had led to the breakdown of the academic system.The New Cultural History, edited by Lynn Hunt, came out in 1989. Its “models” for cultural history were the work of Michel Foucault, Clifford Geertz, Natalie Zemon Davis, E. P. Thompson, Hayden White, and Dominick LaCapra, and its “new approaches” came from Mary Ryan, Roger Chartier, Thomas Laqueur, and Randolph Starn. These scholars were legislators of discourse and narrative, of popular and working-class culture, of gender, epistemes, and thick description. With many other tendencies, often defined by their focus on theoretical explication and elaboration, these approaches had the effect of deterring scholars from reengaging with the traditional interests—even theraison d'etre—of cultural history, namely, art, architecture, theater, dance, music, and literature. This turning-away also affected the very composition of humanities and interpretive social science departments, which added many new subjects of study but, inevitably perhaps, let others wither away.
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Pawletko, Beata. "„Między nieobecnością a utratą”. Trauma blokady Leningradu i jej echa na materiale utworów Natalii Krandijewskiej-Tołstoj oraz Tatiany i Natalii Tołstoj." Miscellanea Posttotalitariana Wratislaviensia 6 (October 10, 2017): 257–68. http://dx.doi.org/10.19195/2353-8546.6.20.

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“Between absence and loss”. Trauma of siege of Leningrad and its echoes literary works by Natalia Krandiyevska-Tolstaya, Tatyana and Natalia TolstayaThere is no denying that the contemporarily revealed truth about the siege of Leningrad is fitted in, citing Dominick LaCapra findings, two coupled terms, i.e. absence and loss. The tension between them concerns not only the witnesses, but also the next generations, which try to recover the memory on behalf of their loved ones. The category of postmemory created by Marianne Hirsch will be employed as a base to the specificity of the reception and presentation of “inherited ex­perience” of the siege by the representatives of third generation. Literary works by Tatyana Tolstaya and her sister Natalia will be analyzed, where, as it turns out, the echoes of the siege sound not accidentally; the background is created by the oeuvre and attitude of their grandmother, Natalia Krandiyevska-Tol­staya. What does this remarkable literary cross-generational relation bring? Is it only an expression of memory, or maybe it is an attempt to confront traumatic events of the past? One thing goes without saying: the presence of the siege in the works of postmemory is a proof of inexhaustibleness, but mostly of not dealing with, not settling up this experience not only in the life of particular families but, most of all, within Russian literature.„Между отсутвием и утратой”. Травма блокады Ленинграда и ее эхо на материале произведений Натальи Крандиевской-Толстой, а также Татьяны и Натальи ТолстыхВ современные исследования блокады Ленинграда вписываются, ссылаясь на труды Доминика ЛаКапра, два параллельных понятия, т.е. отсутствие и утрата. Особенным напряжениям между ними подвергаются не только свидетели, но и следующие поколения пытающихся восстанавливать память о блокаде от имени своих родных. Кроме того, очередной исходной точкой по отношению к специфике приема и представления „перенятого опыта” блокады представителями третьего поколения послужит категория постпамяти Марианны Хирш. Предметом анализа будут произведения Татьяны Толстой и ее сестры Натальи, в которых эхо блокады, как известно, появляется неслучайно, поскольку фон образует творчество и жизненный путь их бабушки, Натальи Крандиевской-Толстой. Что несет с собой этот необыкновенный, литературный, межпоколенческий диалог? Является ли он лишь выражением памяти, или, может быть, это скорее всего попытка конфронтации с травматическим прошлым? Одно не подлежит сомнению присутствие блокадной темы в мемориальных произведениях это свидетельство ее неисчерпаемости, но прежде всего сигнал, что травматический опыт еще недостаточно проработан не только в случае конкретных семей, но и в области современной русской литературы.
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39

Gelley, Ora. "A Response to Dominick LaCapra's "Lanzmann's Shoah"." Critical Inquiry 24, no. 3 (April 1998): 830–32. http://dx.doi.org/10.1086/448895.

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Chamberlin, Brewster S. "Doing Memory: Remembrance Reified and Other Shoah Business Reading the Holocaust Inge Clendinnen The Claims of Memory: Representations of the Holocaust in Contemporary Germany and France Caroline Wiedmer History and Memory after Auschwitz Dominick LaCapra Martyred Village: Commemorating the 1944 Massacre at Oradour-sur-Glane Sarah Farmer." Public Historian 23, no. 3 (July 2001): 73–82. http://dx.doi.org/10.2307/3378896.

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Parra Triana, Clara María. "Los primeros trazos del mapa: la “Ciudad Letrada” de Gabriel René Moreno." Literatura y Lingüística, no. 42 (October 29, 2020): 17–40. http://dx.doi.org/10.29344/0717621x.42.2584.

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Este artículo ofrece un acercamiento crítico interpretativo al texto de Gabriel René Moreno, Últimos días coloniales en el Alto Perú (1896), considerando como eje central la anticipación con la que se utiliza el concepto de “ciudad letrada” y el modo en que se elabora el relato histórico exegético desde la particular conformación del archivo preindependentista. Se analiza el discurso historiográfico de Moreno desde las perspectivas históricas de Dominic LaCapra y José Luis Romero, con el fin de establecer el aporte del documentalista y bibliógrafo boliviano a los actuales debates en torno a las relaciones de poder letradas y los ejercicios de resistencia, a partir del uso de la oralidad popular.
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Zammito, John H. "Are We Being Theoretical Yet? The New Historicism, the New Philosophy of History, and "Practicing Historians"The New Historicism. H. Aram VeeserRethinking Historicism. Marjorie Levinson , Marilyn Butler , Jeorme McGann , Paul HamiltonThe Historical Renaissance: New Essays on Tudor and Stuart Literary Culture. Heather Dubrow , Richard StrierLanguage, History, and Class. Penelope CorfieldWriting from History: The Rhetoric of exemplarity in Renaissance Literature. Timothy HamptonLanguage and Historical Representation: Getting the Story Crooked. Hans KellnerTowards a Rational Historiography. Lionel GossmanThe Inventions of History: Essays on the Representation of the Past. Stephen BannTime's Reasons: Philosophies of History Old and New. Leonard KriegerRethinking Intellectual History. Dominick LaCapraHistory and Criticism. Dominick LaCapraSoundings in Critical Theory. Dominick LaCapra." Journal of Modern History 65, no. 4 (December 1993): 783–814. http://dx.doi.org/10.1086/244726.

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43

Grenaudier-Klijn, France. "The post-shoah fiction of Anna Langfus (1920–1966): reader’s positioning and empathic unsettlement." Iudaica Russica, no. 1(6) (June 27, 2021): 147–56. http://dx.doi.org/10.31261/ir.2021.06.07.

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Urodzona w Polsce francuskojęzyczna pisarka żydowskiego pochodzenia — Anna Langfus (1920–1966) — jest autorką wielu tekstów o wysokiej wartości referencyjnej, literackiej, epistemologicznej i etycznej. Bohaterami jej trzech nowatorskich powieści, opartych na osobistym doświadczeniu utraty i wyobcowania, są osoby skrajnie wyalienowane. W utworach tych centralnym zagadnieniem jest tożsamość po Holokauście, a uwaga skupia się na wypowiedziach i doświadczeniach ocalałego. Jednocześnie stanowią one próbę nawiązania etycznego kontaktu z czytelnikiem, któremu, w odróżnieniu od bohaterów Langfus, obce są tego rodzaju traumatyczne przeżycia. Autor artykułu, korzystając z wprowadzonego przez Dominicka LaCaprę pojęcia „empatycznego niepokoju”, i przywołując opinie Langfus na temat literatury, omawia niektóre ze stosowanych przez nią chwytów narracyjnych (rezygnacja z patosu, luka, milczenie, elipsa), służących etycznemu apelowi do czytelnika.
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Marinelli, Kevin. "Placing second: Empathic unsettlement as a vehicle of consubstantiality at the Silent Gesture statue of Tommie Smith and John Carlos." Memory Studies 10, no. 4 (June 20, 2016): 440–58. http://dx.doi.org/10.1177/1750698016653442.

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In this article, I explore the material rhetorics of place from the perspective of transferential space. Specifically, I examine the Silent Gesture statue of Tommie Smith and John Carlos at San José State University. Drawing on Alison Landsberg’s concept of transferential space and Dominick LaCapra’s concept of empathic unsettlement, I argue that the statue explores the limits of identification in such a way that illuminates new possibilities for the rhetoricity of transferential space. Specifically, I argue that the statue’s invitation to physically and metaphorically ‘Take a Stand’ with Smith and Carlos facilitates noteworthy tensions of civic identity and, in turn, fosters mnemonic practices of consubstantiality with the disenfranchised for its visitors.
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Węgrzynek, Krystian. "Zachód czarnego słońca? O traumatycznych narracjach śląskich bohaterów." Rana. Literatura - Doświadczenie - Tożsamość, no. 1 (June 29, 2020): 109–24. http://dx.doi.org/10.31261/rana.2020.1.06.

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Autor opisuje zjawisko poczucia krzywdy w społeczności górnośląskiej. Punktem wyjścia jest diagnoza socjologiczna Mariana Gerlicha, który genezę tego zjawiska lokuje w epoce międzywojennej. Przykłady traumy o charakterze historycznym i strukturalnym (według podziału Dominicka LaCapry) odnajdywane są w losach bohaterów tekstów literackich Wilhelma Szewczyka, Szczepana Twardocha, Wojciecha Kuczoka, Stanisława Bieniasza i Leszka Libery. Autor śledzi dynamikę rozwoju tej traumy, odnosząc ją do eseju Julii Kristevej (Czarne słońce. Depresja i melancholia). Tytułowa metafora (le soleil noir) stanowi rewers narracji o Górnym Śląsku, konfrontacyjnej wobec oficjalnej opowieści (awersu), w której dominują historie o udanej symbiozie Ślązaka z otaczającym go środowiskiem geograficznym i geopolitycznym. Autor koncentruje się na losach bohaterów wykluczonych z wielkiej wspólnoty etnicznej, zazwyczaj bękartach lub dzieciach porzuconych, będących – w planie symbolicznym – ilustracją relacji wielka ojczyzna – mała ojczyzna. Określenie „zachód czarnego słońca” odniesione jest do obserwowanych w aktualnym dyskursie tendencji – do zastępowania narracji „czarnej” (apoteozującej eksploatację) narracją „zieloną” oraz do odchodzenia od obrazów eksponujących sieroctwo etniczne do obrazów pokazujących obraz wspólnoty autonomicznej i świadomej swoich celów.
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Markland, Anah-Jayne. "The Triumph of Olemaun: Survivance, Empathic Unsettlement, and Restorying the History of Canadian Residential Schools." International Research in Children's Literature 11, no. 2 (December 2018): 132–46. http://dx.doi.org/10.3366/ircl.2018.0270.

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The ignorance of many Canadians regarding residential schools and their traumatic legacy is emphasised in the reports of the Truth and Reconciliation Commission (TRC) as a foundational obstacle to achieving reconciliation. Many of the TRC's calls to action involve education that dispels and corrects this ignorance, and the commission demands ‘age-appropriate curriculum on residential schools, Treaties, and Aboriginal peoples' historical and contemporary contributions to Canada’ to be made ‘a mandatory education requirement for Kindergarten to Grade Twelve students’ (Calls to Action 62.i). How to incorporate the history of residential schools in kindergarten and early elementary curricula has been much discussed, and one tool gaining traction is Indigenous-authored picturebooks about Canadian residential schools. This article conducts a close reading of Margaret Pokiak-Fenton and Christy Jordan-Fenton's picturebook When I Was Eight (2013). The picturebook gathers Indigenous and settler children together to contest master settler narratives regarding the history of residential schools. Using Gerald Vizenor's concept of ‘survivance’ and Dominick LaCapra's notion of ‘empathic unsettlement’, the article argues that picturebooks work to unsettle young readers empathetically as part of restorying settler myths about residential schools and implicating young readers in the work of reconciliation.
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Lerner, Adam B. "Theorizing Collective Trauma in International Political Economy." International Studies Review 21, no. 4 (May 25, 2018): 549–71. http://dx.doi.org/10.1093/isr/viy044.

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AbstractWhile existing literature on collective trauma in international relations represents a vital (albeit inchoate) contribution to the field, to date, it has largely analyzed collective trauma’s impact as primarily psychological and sociocultural. This essay argues that a complete vision of collective trauma in IR must incorporate not only these more intangible dimensions but also how its legacy is reified materially over time in economic conditions—distinguishing the trauma of those with the resources to “work through” and those without. I begin this essay with a novel conception of collective trauma that draws upon existing traditions’ insights but also facilitates mediation between collective trauma’s material and sociocultural dimensions. Employing this definition, I then outline three analytical frameworks via which future scholarship can address collective trauma in international economic relations. First, scholarship can incorporate a notion of the trauma of poverty. Second, scholars can analyze the loss of economic opportunity that trauma entails as akin to Dominick LaCapra’s concept of structural trauma of absence. Finally, scholarship can examine collective trauma’s ability to break down trust in institutions and the impact this breakdown has on international economic relations.
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Zamora-Muñoz, Juan, Carmen Sánchez, Edna Hernández-Domínguez, Jorge Álvarez-Cervantes, and Rubén Díaz. "Herramientas bioinformáticas usadas en el estudio de enzimas fenoloxidasas del género Pleurotus." Mexican Journal of Biotechnology 3, no. 1 (January 1, 2018): 95–118. http://dx.doi.org/10.29267/mxjb.2018.3.1.95.

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El análisis bioinformático permite relacionar, predecir y analizar un conjunto de proteínas de interés que comparten áreas conservadas en común a través de un computador (in silico). Este análisis bioinformático se realiza a partir de la secuencia de bases de datos, dominios y de regiones clave que conforman la función catalítica de una proteína. La secuencia de aminoácidos proporciona una predicción correspondiente a las regiones conservadas. Posteriormente las secuencias de aminoácidos se acoplan de manera ordenada por su función y estructura, mismas que generan proyecciones espaciales de estructuras terciarias que permiten el reconocimiento de secuencias claves para mutaciones coordinadas. La bioinformática en las enzimas fenoloxidasa como lacasa, manganeso peroxidasa y decolorante peroxidasa permite observar estructuras proteicas, cadenas alfa y beta, así como los iones responsables de la catálisis. Las técnicas in silico juegan un papel importante en áreas como la medicina, la biotecnología y la genómica en beneficio de la salud humana. La técnica de secuenciación de ADN identifica organismos por medio de secuencias de aminoácidos tomadas de bancos de datos para elaborar proteínas molde, alineamiento de secuencias, modelamientos por homología y la validación o identificación de organismos.
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Florea, Bogdan Mihai. "Bandit: Here to Haunt You! On Why I Became an Émigré Theatre Maker." Art History & Criticism 15, no. 1 (December 1, 2019): 131–44. http://dx.doi.org/10.2478/mik-2019-0010.

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Summary The article employs concepts of time lag, inspired by Ernst Bloch, and ghost and haunting, borrowed from Jacques Derrida. It also draws on Svetlana Boym’s and Vilém Flusser’s vision of the émigré and on Dominick LaCapra’s and Slavoj Žižek’s interpretations of trauma. The analysis is also informed by Karen Jürs-Munby’s and Cathy Caruth’s views on trauma and its representation in theatre. This critical apparatus is put into motion in the particular context of BANDIT: a theatre project developed in the UK by two Romanian émigré theatre-makers. The main focus is on exposing links between the references to trauma contained in the theatre piece BANDIT and the makers’ self-imposed artistic exile in the UK. The article seeks to answer the following question: what has pushed us, the makers of BANDIT, to leave our native country and what is our (new) role (as artists) in the country of emigration? The discussion is carried out within the wider context of the vast waves of Romanian emigration to Western Europe (after the fall of the Iron Curtain). The article critiques the troublesome relation of the contemporary Romanian society to its Communist past and the apparent inability and/or unwillingness to deal with the repressed/traumatic memories of that past. Analysis of BANDIT as performance of lingering trauma also references the historical Percentages agreement between Stalin and Churchill—the informal agreement that established spheres of influence in Europe at the end of the Second World War. Identifying the Iron Curtain as the epicentre of traumatic memory for Eastern Europeans, the discussion about BANDIT also makes a reference to Communist crimes against political prisoners committed in Romanian prisons in 1951–1952, put in parallel with the toxic EU referendum campaign in the UK in 2016. Underpinned by Derrida’s thinking, the article explains how the Romanian émigré-artist (as a paragon of the Romanian / Eastern European émigré in general) has to fashion herself into a ghost that haunts the adoptive culture, using artistic exile as a platform for processing the traumatic memories of an unresolved past.
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"Dominick LaCapra replies." American Historical Review, April 1999. http://dx.doi.org/10.1086/ahr/104.2.710.

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