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This work examines novels from Caribbean, North American, and European literatures of the second half of the twentieth century, both Anglophone and in translation, with focus on the chronotopes of slavery, colonialism, the Holocaust, and war. Historical traumata have found their reconstruction in literary works written by either traumatized or vicariously traumatized authors, such as Jean Rhys, Alejo Carpentier, Maryse Conde??, Salman Rushdie, Gabriel Garci??a Ma??rquez, Bernard Malamud, Joseph Skibell, Gu??nter Grass, and Tim O'Brien. The traumatic imagination accounts for the relative prevalence of magical realist writing in postmodernist fiction. As a singular phenomenon of postmodern aporia, magical realist texts write the silence imposed by trauma, and convert it into history.--publisher.
Exploring the role of imagination in trauma recovery, the author shares the arresting dreams and stories of traumatized adolescents. Describing the impact of trauma on adolescent health and development, the author provides promising research into the use of breathing skills, HRV Biofeedback, and dream work to promote healthy breathing, emotion regulation, and restorative dreaming. Research suggests that these interventions can decrease post-traumatic distress and assist in the creation of meaningful posttraumatic narratives. The author explores the role of embodied imagination in adolescent spiritual development and posttraumatic growth. These interventions provide clinicians and pastoral caregivers with simple and effective ways of helping adolescents heal from trauma in holistic and dynamic ways that respect the integrated constitution of the human person.
Introducing a proven, pioneering program that empowers trauma survivors to take control of their recovery through imaginative exercises Over the last thirty-five years, our understanding of trauma has dramatically changed. We now know that most people live through at least one traumatic event—which can cause disorders that range from depression, addiction, and anxiety, to cardiovascular disease and diabetes. But when leading German psychotherapist Luise Reddemann became head of a psychosomatic clinic in 1985, many doctors were routinely dismissive of patients’ trauma. Dr. Reddemann has devoted her career to this question: How can survivors of complex trauma and PTSD heal—and even help themselves to heal? In Who You Were Before Trauma, she presents her groundbreaking method, along with positive therapeutic strategies, to therapists and patients alike. Psychodynamic Imaginative Trauma Therapy (PITT) incorporates imagination work at every stage of the three-phase trauma therapy model: Establish safety and stabilization Come to terms with traumatic memories Integrate and reconnect with others. By guiding patients to unearth their buried strengths, envision an inner refuge, evoke helpful guiding figures, and ultimately build an “internal counterweight” to their trauma, Reddemann’s approach avoids the counterproductive dynamic where the therapist becomes the patient’s only source of comfort. This definitive trauma resource shows the way to empower survivors—by making them true partners in their recovery.
This book explores the close association between the literary representation of historical trauma and the alternative narrative form of magical realism, underscoring the role of memory, empathy and imagination. It discusses the potential of magical realism to give a literary representation to individual and collective trauma arising from the Holocaust, slavery, and apartheid, and to turn those unspoken memories into narratives. It also analyses the role of magical realism in depicting trauma suffered by female victims during and following those events. Again, by dealing with the above-mentioned events, their specific historical context and universal meaning for humankind, this book highlights a universal experience of trauma.
"Psychological trauma can be a life-changing experience that affects multiple facets of health and well-being. The nature of trauma is to impact the mind and body in unpredictable and multidimensional ways. It can be a highly subjective that is difficult or even impossible to explain with words. It also can impact the body in highly individualized ways and result in complex symptoms that affect memory, social engagement, and quality of life. While many people overcome trauma with resilience and without long term effects, many do not. Trauma's impact often requires approaches that address the sensory-based experiences many survivors report. The expressive arts therapy-the purposeful application of art, music, dance/movement, dramatic enactment, creative writing and imaginative play-are largely non-verbal ways of self-expression of feelings and perceptions. More importantly, they are action-oriented and tap implicit, embodied experiences of trauma that can defy expression through verbal therapy or logic. Based on current evidence-based and emerging brain-body practices, there are eight key reasons for including expressive arts in trauma intervention, covered in this book: (1) letting the senses tell the story; (2) self-soothing mind and body; (3) engaging the body; (4) enhancing nonverbal communication; (5) recovering self-efficacy; (6) rescripting the trauma story; (7) making meaning; and (8) restoring aliveness"--
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.
Based on recent conversations with Tim O'Brien, previously published interviews, and new readings of all his works -- including Tomcat in Love -- this book is the first study to concentrate on the role and representation of trauma as the central focus of all O'Brien's works. Book jacket.
Anyone can fall victim to trauma. Those who do know that the power of severe stress is such that it can completely destroy lives. For more than 30 years Gordon Turnbull has treated hundreds of trauma sufferers. This book gives the inside story of the remarkable man responsible for transforming the fortunes of so many people.
This substantive collection of essays by Serene Jones explores recent works in the field of trauma studies. Central to its overall theme is an investigation of the myriad ways both individual and collective violence affect one's capacity to remember, to act, and to love; how violence can challenge theological understandings of grace; and even how the traumatic experience of Jesus' death is remembered. Of particular interest is Jones's focus on the long-term effects of collective violence on abuse survivors, war veterans, and marginalized populations, and the discrete ways in which grace and redemption might be exhibited in each context. At the heart of each essay are two deeply interrelated faith-claims that are central to Jones's understanding of Christian theology: first, we live in a world profoundly broken by violence; second, God loves this world and desires that suffering be met by words of hope, of love, and of grace. This truly cutting-edge book is the first trauma study to directly take into account theological issues.
Can we remember other people's memories? The Generation of Postmemory argues we can: that memories of traumatic events live on to mark the lives of those who were not there to experience them. Children of survivors and their contemporaries inherit catastrophic histories not through direct recollection but through haunting postmemories--multiply mediated images, objects, stories, behaviors, and affects passed down within the family and the culture at large. In these new and revised critical readings of the literary and visual legacies of the Holocaust and other, related sites of memory, Marianne Hirsch builds on her influential concept of postmemory. The book's chapters, two of which were written collaboratively with the historian Leo Spitzer, engage the work of postgeneration artists and writers such as Art Spiegelman, W.G. Sebald, Eva Hoffman, Tatana Kellner, Muriel Hasbun, Anne Karpff, Lily Brett, Lorie Novak, David Levinthal, Nancy Spero and Susan Meiselas. Grappling with the ethics of empathy and identification, these artists attempt to forge a creative postmemorial aesthetic that reanimates the past without appropriating it. In her analyses of their fractured texts, Hirsch locates the roots of the familial and affiliative practices of postmemory in feminism and other movements for social change. Using feminist critical strategies to connect past and present, words and images, and memory and gender, she brings the entangled strands of disparate traumatic histories into more intimate contact. With more than fifty illustrations, her text enables a multifaceted encounter with foundational and cutting edge theories in memory, trauma, gender, and visual culture, eliciting a new understanding of history and our place in it.