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These chapters gathered from two special issues of the journal Life Writing take up a major theme of recent work in the Humanities: Trauma. Autobiography has had a major role to play in this ‘age of trauma’, and these essays turn to diverse contexts that have received little attention to date: partition narratives in India, Cambodian and Iranian rap, refugee letters from Nauru, graffiti in Tanzania, and the silent spaces of trauma in Chile and Guantanamo. The contexts and media of these autobiographical trauma texts are diverse, yet they are linked by attention to questions of who gets to speak/write/inscribe autobiographically and how and where and why, and how can silences in the wake of traumatic experiences be read. These essays deliberately set out to establish some new fields for research in trauma studies by reaching out to a broader global context, into various texts, media and artifacts, representing diverse histories with specific attention to different voices, bodies, memories and subjectivities. This collection addresses the contemporary circuits of trauma story, and the media and icons and narratives that carry trauma story to political effect and emotional affect. This book was previously published as two special issues of Life Writing.
This book examines trauma in late twentieth- and twenty-first century American popular culture. Trauma has become a central paradigm for reading contemporary American culture. Since the early 1980s, an extensive range of genres increasingly feature traumatised protagonists and traumatic events. From traumatised superheroes in Hollywood blockbusters to apocalyptic-themed television series, trauma narratives abound. Although trauma is predominantly associated with high culture, this project shows how popular culture has become the most productive and innovative area of trauma representation in America. Examining film, television, animation, video games and cult texts, this book develops a series of original paradigms through which to understand trauma in popular culture. These include: popular trauma texts’ engagement with postmodern perspectives, formal techniques termed ‘competitive narration’, ‘polynarration’ and ‘sceptical scriptotherapy’, and perpetrator trauma in metafictional games.
Moral injury is a profound violation of a human being's core moral identity through experiences of violence or trauma. This is the first book in which scholars from different faith and academic backgrounds consider the concept of moral injury not merely from a pastoral or philosophical point of view but through critical engagement with the sacred texts of Judaism, Christianity, Islam, Buddhism and American Civil Religion. This collection of essays explores the ambiguities of personal culpability among both perpetrators and victims of violence and the suffering involved in accepting personal agency in trauma. Contributors provide fresh and compelling readings of texts from different faith traditions and use their findings to reflect on real-life strategies for recovery from violations of core moral beliefs and their consequences such as shame, depression and addiction. With interpretations of the sacred texts, contributors reflect on the concerns of the morally-injured today and offer particular aspects of healing from their communities as support, making this a groundbreaking contribution to the study of moral injury and trauma.
"Examines the implications of conflating texts with people in a broad range of texts: Art Spiegelman's Maus, Ray Bradbury's Fahrenheit 451, the poetry of Sylvia Plath, Binjamin Wilkomirski's fake Holocaust memoir Fragments, and the fiction of Saul Bellow, Philip Roth, and Don Delillo."--Jacket.
E. Ann Kaplan explores the relationship between the impact of trauma on individuals and on entire cultures and nations. Arguing that humans possess a need to draw meaning from personal experience and to communicate what happens to others, she examines the forms that are used to bridge the experience.
This book looks at the way writers present the effects of trauma in their work. It explores narrative devices, such as OCymetafictionOCO, as well as events in contemporary America, including 9/11, the Iraq War, and reactions to the Bush administration.
Over the last few decades, the field of trauma studies has shed new light on biblical texts that deal with individual and collective catastrophe. In The Language of Trauma in the Psalms, Danilo Verde advances the conversation, moving beyond the emphasis on healing that prevails in most literary trauma studies. Using the lens of cognitive linguistics and combining insights from trauma studies and redaction criticism, Verde explores how trauma is expressed linguistically in the book of Psalms, how trauma-related language was rooted in ancient Israel’s external realities, and how psalms helped define Yehud’s cultural trauma in the Persian period (539–331 BCE). Rather than assuming the psalmists’ personal experiences are reflected in these texts, Verde focuses on the linguistic strategies used to express trauma in the Psalms, especially references to the body and highly dramatic metaphors. Current analyses often approach trauma texts as tools intended to help sufferers heal. Verde contends that many group laments in the book of Psalms were transmitted not only to heal but also to wound the community, ensuring that the pain of a previous generation was not forgotten. The Language of Trauma in the Psalms shifts our understanding of trauma in biblical texts and will appeal to literary trauma scholars as well as those interested in ancient Israel.
The question of the relation between the visual and the textual in literature is at the heart of an increasing number of scholarly projects, and in turn, the investigation of evolving visual-verbal dynamics is becoming an independent discipline. This volume explores these profound literary shifts through the work of twelve talented, and in some cases, emerging scholars who study text and image relations in diverse forms and contexts. The inter-medial conjunctures investigated in this book play with and against the traditional roles of the visual and the verbal. The Future of Text and Image presents explorations of the incorporation of visual elements into works of literature, of visual writing modes, and of the textuality and literariness of images. It focuses on the special potential literature offers for the combination of these two functions. Alongside examinations of major forms and genres such as memoirs, novels, and poetry, this volume expands the discussion of text and image relations into more marginal forms, for instance, collage books, the PostSecret collections of anonymous postcards, and digital poetry. In other words, while exploring the destiny of text and image as an independent discipline, this volume simultaneously looks at the very literal future of text and image forms in an ever-changing technological reality. The essays in this book will help to define the emergent practices and politics of this growing field of study, and at the same time, reflect the tremendous significance of the visual in today’s image culture.
German Jewish novelist Grete Weil fled to Holland, but her husband was arrested there and murdered by the Nazis. Chilean novelist Isabel Allende fled her country after her uncle Salvador Allende was assassinated, and she later lost her daughter to disease."
The 9/11 attacks brought large-scale violence into the 21st century with force and have come to epitomize the entanglement of intimate vulnerability and virtual spectacle that is typical of the globalized present. This book works at the intersection of trauma studies, affect theory, and literary studies to offer radically new interpretive frames for interrogating the challenges inherent in representing the initial moments of the terrorist encounter. Beyond the paradigm of traumatic unspeakability, post-9/11 texts expose the materiality of the human body in its universal vulnerability. The intersubjective empathy this engenders is politically subversive, as it undermines the discourse of historical singularity and exceptionalism by establishing a global network of reference and dialogue. Innovative theoretical interconnections between clinical pathology, concepts of cultural trauma, and political aesthetics lay the foundations for exploring formally and geographically diverse texts. Close readings of works by Jonathan Safran Foer, Art Spiegelman, Don DeLillo, and William Gibson map the relationship between representations of 9/11 and complex aspects of trauma theory. This detailed approach makes a case for revisiting trauma theory and bringing its Freudian origins into the digitized present. It showcases trauma as a physical and psychological wound as well as an experience that is simultaneously pre-discursive and inhibited by the virtuality of the present-day real. Exploring how contemporary trauma studies can take into account the digitization and virtuality of present-day realities, this book is a key intervention in establishing a contemporary ethics of witnessing terror.