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This insightful book explores the impact of traumatic experiences on the constitution of narrative identity. Editors Edmundo Balsem‹o Pires, Cl‡udio Alexandre S. Carvalho, and Joana Ricarte bring together multidisciplinary experts to examine the epistemic and ethical-political value of narrative memory, demonstrating its significance in forming essential aspects of the self and collective identity.
This book explores the complex relationships that exist between memory, nostalgia, writing and identity.
Memories and Monsters explores the nature of the monstrous or uncanny, and the way psychological trauma relates to memory and narration. This interdisciplinary book works on the borderland between psychology and philosophy, drawing from scholars in both fields who have helped mould the bourgeoning field of relational psychoanalysis and phenomenological and existential psychology. The editors have sought out contributions to this field that speak to the pressing question: how are we to attend to and contend with our monsters? The authors in this volume examine the ways in which we might best relate to our monsters, and how the legacies of ancient traumas and anxieties continue to affect our current stories, memories and everyday practices. Covering such manifestations of the monstrous as racism, crimes against humanity, trauma as portrayed in music and art, and the Holocaust, this book explores the impact the uncanny has on our individual and collective psyches. By focusing on a very specific theme, and one that excites the imagination, Memories and Monsters stokes the flames of an important current movement in relational psychoanalysis. It will appeal to psychoanalysts and psychoanalytic psychotherapists, as well as professionals in psychology and graduate school students and tutors in the fields of both psychology and philosophy.
As a concept, 'trauma' has attracted a great deal of interest in literary studies. A key term in psychoanalytic approaches to literary study, trauma theory represents a critical approach that enables new modes of reading and of listening. It is a leading concept of our time, applicable to individuals, cultures, and nations. This book traces how trauma theory has come to constitute a discrete but influential approach within literary criticism in recent decades. It offers an overview of the genesis and growth of literary trauma theory, recording the evolution of the concept of trauma in relation to literary studies. In twenty-one essays, covering the origins, development, and applications of trauma in literary studies, Trauma and Literature addresses the relevance and impact this concept has in the field.
A powerful personal narrative of recovery and an illuminating philosophical exploration of trauma On July 4, 1990, while on a morning walk in southern France, Susan Brison was attacked from behind, severely beaten, sexually assaulted, strangled to unconsciousness, and left for dead. She survived, but her world was destroyed. Her training as a philosopher could not help her make sense of things, and many of her fundamental assumptions about the nature of the self and the world it inhabits were shattered. At once a personal narrative of recovery and a philosophical exploration of trauma, this bravely and beautifully written book examines the undoing and remaking of a self in the aftermath of violence. It explores, from an interdisciplinary perspective, memory and truth, identity and self, autonomy and community. It offers imaginative access to the experience of a rape survivor as well as a reflective critique of a society in which women routinely fear and suffer sexual violence. As Brison observes, trauma disrupts memory, severs past from present, and incapacitates the ability to envision a future. Yet the act of bearing witness, she argues, facilitates recovery by integrating the experience into the survivor's life's story. She also argues for the importance, as well as the hazards, of using first-person narratives in understanding not only trauma, but also larger philosophical questions about what we can know and how we should live.
Her afterword serves as a decisive intervention in the ongoing discussions in and about the field.
This book examines posttraumatic autobiographical projects, elucidating the complex relationship between the ‘science of trauma’ (and how that idea is understood across various scientific disciplines), and the rhetorical strategies of fragmentation, dissociation, reticence and repetitive troping widely used the representation of traumatic experience. From autobiographical fictions to prison poems, from witness testimony to autography, and from testimonio to war memorials, otherwise dissimilar projects speak of past suffering through a limited and even predictable discourse in search of healing. Drawing on approaches from literary, human rights and cultural studies that highlight relations between trauma, language, meaning and self-hood, and the latest research on the science of trauma from the fields of clinical, behavioral and evolutionary psychology and neuroscience, I read such autobiographical projects not as ‘symptoms’ but as complex interrogative negotiations of trauma and its aftermath: commemorative and performative narratives navigating aesthetic, biological, cultural, linguistic and emotional pressure and inspiration.
The Vietnam War has had many long-reaching, traumatic effects, not just on the veterans of the war, but on their children as well. In this book, Weber examines the concept of the war as a social monad, a confusing array of personal stories and public histories that disrupt traditional ways of knowing the social world for the second generation.
Seminar paper from the year 2004 in the subject American Studies - Culture and Applied Geography, grade: 1,3, Free University of Berlin (John F. Kennedy Institut Berlin), course: HS American Cultural Memory: Trauma, Collective Imagery and the Politics of Remembering, 3 entries in the bibliography, language: English, abstract: The text by Bessel Van der Kolk and Onno Van der Hart "The Intrusive Past" provides an overview of the work and achievement of Jean - Martin Charcots and Pierre Janet's study about how the mind processes memories and the effects of traumatic memories on consciousness. With the following text, I will present a couple of central aspects of Janet's study and the phenomena of dissociation and the reconstruction of the past through narrative memory and project them onto one short sequence from "Memento" (2001) to further support my argument. The main point of this text is to illustrate how narrative memory reshapes the past in a variety of ways and that the main character in "Memento," who has lived through a traumatic experience, creates and recreates his past through the means of a combination of the already mentioned dissociation and narrative memory. Janet considered "the memory system as the central organizing apparatus of the mind, which categorizes and integrates all aspects of experience and automatically integrates them into ever - enlarging and flexible meaning schemes." He differentiates between the subconscious automatic integration of familiar and expectable experiences into existing meaning schemes and the difficult integration of frightening and novel experiences, which might either totally resist integration or be remembered extremely vivid. The subconscious integration of memories occurs because they fit easily into the meaning scheme, they do not pose a threat or form a contradiction to the already existing beliefs, values and meanings of the world. Whereas the automatic integration of new information happens without consci
In writing about trauma, memory and my own experiences I wanted to craft something that functioned primarily in literary terms, something which was of interest not just because of what was being written about but because of how it was written. This parallels my rejection of the label of victim as a description of my identity as a whole with my status as a victim being but one strand in the identity thread. By focusing on the creative use of language I also felt that I was putting my mark on things that that once put their mark on me. One of the things which has left a strong mark has been the language used when talking about my experiences, whether that be when telling friends, a therapist or talking to the police as an adult regarding my childhood experiences. I have eschewed chronology and adopted a fragmentary approach, enabling me to both evoke a sense of my life in general and place my abuse experiences within a broader psychosocial context. Narrative sections are interleaved with the exegesis reflecting the degree to which my reading of theory has not only become internalised but has shaped my understanding about everything from memory to gender. In the introduction I discuss the problematics of writing about trauma with the remainder of the exegesis focusing primarily on the relationship between memory and trauma, using my own experiences as a starting point for general debate. However there are reflective sections which touch on material not directly connected to abuse just as there are narrative sections which touch on other experiences. In both cases the aim is to sketch a broad theoretical and narrative framework which functions as a kind of discursive basket in which my discussion of memory and trauma is contained.