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This work shows how, during the 20th century, the perspective on victims of trauma shifted from suspicion to recognition. From these ethnographical fieldworks, the authors thus propose a broader perspective on the political and moral issues of contemporary societies.
Stories of soldiers suffering from Post-Traumatic Stress Disorder dominate news coverage of the return from wars in the Middle East. On the surface, the stories call our attention to psychic trauma and the need for mental health services for veterans; scratch that surface and we see that PTSD has morphed from a diagnostic category into a cultural trope with broad societal implications. In PTSD: Diagnosis and Identity in Post-empire America, Jerry Lembcke exposes those implications. Lembcke reprises PTSD’s formulation following the war in Vietnam, examining how its medical discourse provided a psychological alternative to the political interpretations of veterans’ opposition to the war— psychiatrists said veteran dissent was cathartic, a form of acting-out. Lembcke drills deeply into the modern history of war-trauma treatment, picking up the threads left by nineteenth-century work on men and hysteria, and following them into the treatment of “shell shock” in World War I. With great originality, Lembcke also shows how art and the media led the “science” of war trauma, and then how the followers of Sigmund Freud showed that shell-shock symptoms were as likely to be expressions of fears and conflicts internal to the patients as the effects of exploding shells. The line drawn by the Freudian critique of the medical/neurological model would resurface in debates leading to PTSD’s inclusion in the DSM in 1980 and on-going deliberations over the definition and meaning of Traumatic Brain Injury. In core chapters, Lembcke shows the influence of film, theater, television, and news coverage on public and professional thinking about war trauma. The inglorious nature of recent wars, from Vietnam through Iraq and Afghanistan, leaves Americans searching for meaning in those conflicts and finding it in loss and sacrifice. Lembcke warns that the image of damaged war veterans is working metaphorically in these dangerous times to construct a national self-image of defeat and damage that needs to be avenged. It is a dangerous end-of-empire narrative that needs to be engaged, he says, lest its dangers reach fruition in more war. The insights found in this book make it an invaluable resource for scholars of sociology, medical sociology, psychology, military studies, gender studies, and history of psychiatry, and a riveting read for anyone interested in the subjects it treats.
In this book Jeffrey C. Alexander develops an original social theory of trauma and uses it to carry out a series of empirical investigations into social suffering around the globe. Alexander argues that traumas are not merely psychological but collective experiences, and that trauma work plays a key role in defining the origins and outcomes of critical social conflicts. He outlines a model of trauma work that relates interests of carrier groups, competing narrative identifications of victim and perpetrator, utopian and dystopian proposals for trauma resolution, the performative power of constructed events, and the distribution of organizational resources. Alexander explores these processes in richly textured case studies of cultural-trauma origins and effects, from the universalism of the Holocaust to the particularism of the Israeli right, from postcolonial battles over the Partition of India and Pakistan to the invisibility of the Rape of Nanjing in Maoist China. In a particularly controversial chapter, Alexander describes the idealizing discourse of globalization as a trauma-response to the Cold War. Contemporary societies have often been described as more concerned with the past than the future, more with tragedy than progress. In Trauma: A Social Theory, Alexander explains why.
What are the stakes of cultural production in a time of war? How is artistic expression prone to manipulation by the state and international humanitarian organizations? In the charged political terrain of post-genocide Rwanda, post-civil war Uganda, and recent violence in the Democratic Republic of Congo, Laura Edmondson explores performance through the lens of empire. Instead of celebrating theatre productions as expression of cultural agency and resilience, Edmondson traces their humanitarian imperatives to a place where global narratives of violence take precedence over local traditions and audiences. Working at the intersection of performance and trauma, Edmondson reveals how artists and cultural workers manipulate narratives in the shadow of empire and how empire, in turn, infiltrates creative capacities.
The new form of "humanitarian government" emerging from natural disasters and military occupations that reduces people to mere lives to be rescued. From natural disaster areas to zones of political conflict around the world, a new logic of intervention combines military action and humanitarian aid, conflates moral imperatives and political arguments, and confuses the concepts of legitimacy and legality. The mandate to protect human lives--however and wherever endangered--has given rise to a new form of humanitarian government that moves from one crisis to the next, applying the same battery of technical expertise (from military logistics to epidemiological risk management to the latest social scientific tools for "good governance") and reducing people with particular histories and hopes to mere lives to be rescued. This book explores these contemporary states of emergency. Drawing on the critical insights of anthropologists, legal scholars, political scientists, and practitioners from the field, Contemporary States of Emergency examines historical antecedents as well as the moral, juridical, ideological, and economic conditions that have made military and humanitarian interventions common today. It addresses the practical process of intervention in global situations on five continents, describing both differences and similarities, and examines the moral and political consequences of these generalized states of emergency and the new form of government associated with them.
We know that violence breeds violence. We need look no further than the wars in the western Balkans, the genocide in Rwanda, or the ongoing crisis in Israel and Palestine. But we don’t know how to deal with the messy moral and political quandaries that result when victims become perpetrators. When the line between guilt and innocence wavers and we are confronted by the suffering of the victim who turns to violence, judgment may give way to moral relativism or liberal tolerance, compassion to a pity that denies culpability. This is the point of departure in The Violence of Victimhood and the impetus for its call for renewed considerations of responsibility, judgment, compassion, and nonviolent politics. To address her provocative questions, Diane Enns draws on an unusually wide-ranging cast of characters from the fields of feminism, philosophy, peacebuilding, political theory, and psychoanalysis. In the process, she makes an original contribution to each, enriching discussions that are otherwise constricted by disciplinary boundaries and an arid distinction between theory and practice.
"Builds a Christian social ethic of trauma that offers realistic hope for our world"--
War and Literary Studies poses two main questions: First, how has war shaped the field of literary studies? And second, when scholars today study the literature of war what are the key concepts in play? Seeking to complement the extant scholarship, this volume adopts a wider and more systematic approach as it directs our attention to the relation between warfare and literary studies as a field of knowledge. What are the key characteristics of the language of war? Of gender in war? Which questions are central to the way we engage with war and trauma or war and sensation? In which ways were prominent 20th century theories such as critical theory, French postwar theory, postcolonial theory shaped by war? How might emergent concepts such as 'revolution,' 'the anthropocene' or 'capitalism' inflect the study of war and literature?
Cover -- Half Title -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgements -- Introduction -- 1 Through Traumatized Eyes: Trauma and Visual Stream-of-Consciousness Techniques in Paul Hornschemeier's Mother, Come Home -- 2 Joe Sacco's Documentary Graphic Novels Palestine and Footnotes in Gaza: The Thin Line Between Trauma and Propaganda -- 3 From "Maus" to MetaMaus: Art Spiegelman's Constellation of Holocaust Textimonies -- 4 Greek Romance, Alternative History, and Political Trauma in Alan Moore and Dave Gibbons' Watchmen -- Conclusion -- Index
This lofty volume analyzes a circular cultural relationship: not only how trauma is reflected in cultural processes and products, but also how trauma itself acts as a critical shaper of literature, the visual and performing arts, architecture, and religion and mythmaking. The political power of trauma is seen through US, Israeli, and Japanese art forms as they reflect varied roles of perpetrator, victim, and witness. Traumatic complexities are traced from spirituality to movement, philosophy to trauma theory. And essays on authors such as Kafka, Plath, and Cormac McCarthy examine how narrative can blur the boundaries of personal and collective experience. Among the topics covered: Television: a traumatic culture. From Hiroshima to Fukushima: comics and animation as subversive agents of memory in Japan. The death of the witness in the era of testimony: Primo Levi and Georges Perec. Sigmund Freud’s Moses and Monotheism and the possibility of writing a traumatic history of religion. Placing collective trauma within its social context: the case of the 9/11 attacks. Killing the killer: rampage and gun rights as a syndrome. This volume appeals to multiple readerships including researchers and clinicians, sociologists, anthropologists, historians, and media researchers.