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Preliminary material /Editors Ethics and Trauma in Contemporary British Fiction -- INTRODUCTION /JEAN-MICHEL GANTEAU and SUSANA ONEGA -- READING TRAUMA IN PAT BARKER'S REGENERATION TRILOGY /LENA STEVEKER -- THE ETHICAL CLOCK OF TRAUMA IN EVA FIGES' WINTER JOURNEY /SILVIA PELLICER-ORTÍN -- “NOBODY'SMEAT”: REVISITING RAPE AND SEXUAL TRAUMA THROUGH ANGELA CARTER /CHARLEY BAKER -- “A NEW ALGEBRA”: THE POETICS AND ETHICS OF TRAUMA IN J.G. BALLARD'S THE ATROCITY EXHIBITION /JAKOB WINNBERG -- TRAUMA AS THE NEGATION OF AUTONOMY: MICHAEL MOORCOCK'S MOTHER LONDON /JEAN-MICHEL GANTEAU -- WHERE MADNESS LIES: HOLOCAUST REPRESENTATION AND THE ETHICS OF FORM IN MARTIN AMIS' TIME'S ARROW /MARÍA JESÚS MARTÍNEZ-ALFARO -- WORLDWAR II FICTION AND THE ETHICS OF TRAUMA /GERD BAYER -- A TERRIBLE BEAUTY: ETHICS, AESTHETICS AND THE TRAUMA OF GAYNESS IN ALAN HOLLINGHURST'S THE LINE OF BEAUTY /JOSÉ M. YEBRA -- “THE ETERNAL LOOP OF SELF-TORTURE”: ETHICS AND TRAUMA IN IANMCEWAN'S ATONEMENT /GEORGES LETISSIER -- CONJUNCTURES OF UNEASINESS: TRAUMA IN FAY WELDON'S THE HEART OF THE COUNTRY AND IN IAN MCEWAN'S ON CHESIL BEACH /ANGELA LOCATELLI -- REPRESENTING THE CHILD SOLDIER: TRAUMA, POSTCOLONIALISM AND ETHICS IN DELIA JARRETTMACAULEY'SMOSES, CITIZEN AND ME /ANNE WHITEHEAD -- THE TRAUMA PARADIGM AND THE ETHICS OF AFFECT IN JEANETTE WINTERSON'S THE STONE GODS /SUSANA ONEGA -- NOTES ON CONTRIBUTORS /Editors Ethics and Trauma in Contemporary British Fiction -- INDEX /Editors Ethics and Trauma in Contemporary British Fiction.
Present book Voices of Marginalisation: Literary Records of Trauma a legendry collection of chapters from notable faculties across India. Book has an effort to present some weaknesses of our Indian society and how to overcome from this scenario. Book has following contents: Contents: Preface Introduction to Voices of Marginalisation Literary Records of Trauma Gender Violence 1. Reading Rape Narratives: Re-living Trauma and Re-constructing the Self. Kanika Katyal 2. Of Ferris Wheels and Love Motels: An Inquiry into the Nature of Pain in Haruki Murakami’s Fiction. Chaandreyi Mukherjee 3. Trauma, Memory and New Alternatives: A Study of Shashi Deshpande’s Female Protagonists. Madhu Batta Conflict and Trauma 4. Fictionalising Trauma: Narrating Experiences of Women Caught in the Webs of Conflict. Mukuta Borah 5. Delineating the Alienated Writings: The Manipuri Vernacular in the Context of Armed Forces Special Powers Act. Raja Boboy Chiru and Bijit Sinha Pressures of Modernity and the Neo-Colonial State 6. Understanding Trauma Through Post-1947 Literary Production in India from Conflict Zones in India’s Northeast. Anuradha Ghosh ix 7. Recording National Emergency: Literature as History in Times of Censorship. Yamini Trauma and Caste 8. Trauma and Memory: Sociology of Dalit Autobiographies and Biographies. Vivek Kumar 9. Dalit Narratives: Frozen Trauma & Caste in Karukku and Joothan. Charu Arya 10. Representing Trauma: The Dalit Refugees of Bengal. Brati Biswas 11. Memory, History and Power: A Study of Kalyan Rao’s Untouchable Spring. Mukesh Kumar Bairva Memory and History 12. Stuttering Walks and Conflicting Archives: Moments of Trauma in W.G. Sebald’s Austerlitz. Krishnan Unni P. 13. We Played at Disappearing: Analysing Memory and History in Alejandro Zambra’s Ways of Going Home. Mubashir Karim Notes on Contributors
A collection of essays by an international group of scholars, The Edges of Trauma: Explorations in Visual Art and Literature addresses the vast cultural and discursive construction that trauma has become in recent decades. Unravelling aspects of representing, narrating, testifying to trauma and of sharing or conveying traumatic non-experience, many of the essays offer new perspectives on traditionally central topics of trauma studies, including shellshock, sexual abuse, the Holocaust, AIDS and 9/11, or on canonical trauma texts, such as Art Spiegelman’s Maus, W. G. Sebald’s Austerlitz and Virginia Woolf’s autobiographical writings. Some authors take issue with the at least partly commercially-motivated canonisation of trauma fiction, and with the automatic linking of certain textual features with traumatic experiences. In other essays, trauma works as an interpretative device that allows us to see otherwise familiar texts like Paul Scott’s Raj Quartet and the fiction of Beckett and Agota Kristof in a new light. Other contributors interrogate less obvious cultural and artistic representations – including First World War British painting, Jean-Richard Bloch’s wartime writings, Félix González-Torres’s candy-spills, the photography of Peter Piller and Ori Gersht, and recent American television comedy – in the context of trauma, while one author explores her own artistic practice as part of the working through of traumatic experiences. The Edges of Trauma differs from other volumes concerned with trauma and art in that it gathers together essays on both literature and visual art. These essays are concerned with the relationship between trauma and art, traumatic non-experience and aesthetic experience; exploring how the non-experience of trauma finds its way into artistic representations.
Many millions of people are affected by the trauma of war. Psychologists have a good understanding of how experiences of war impact on memory, but the significance of external environmental influences is often disregarded. Memory, War and Trauma focuses on our understanding of the psychosocial impact of war in its broadest sense. Nigel C. Hunt argues that, in order to understand war trauma, it is critical to develop an understanding not only of the individual perspective but also of how societal and cultural factors impact on the outcome of an individual's experience. This is a compelling book which helps to demonstrate why some people suffer from post-traumatic stress while other people don't, and how narrative understanding is important to the healing process. Its multidisciplinary perspective will enable a deeper understanding of both individual traumatic stress and the structures of memory.
Can language and literature cure psychological trauma? If so, what forms do they (have to) take in doing so? When does language hit the wall where the unspeakable mandates silence? And where might literature come in as the rescuing hand by offering forms of expression which are rooted in speech but transcend the merely spoken? This study confronts these issues through the double lenses of Sebastian Barry's œuvre and the complex of dissociative disorders that are at work both in his creative output and the ways in which he fictionalizes dark and traumatic biographical data.
Drawing on a variety of theoretical approaches including trauma theory, psychoanalysis, genre theory, narrative theory, theories of temporality, cultural theory, and ethics, this book breaks new ground in bringing together trauma and romance, two categories whose collaboration has never been addressed in such a systematic and in-depth way. The volume shows how romance strategies have become an essential component of trauma fiction in general and traumatic realism in particular. It brings to the fore the deconstructive powers of the darker type of romance and its adequacy to perform traumatic acting out and fragmentation. It also zooms in on the variations on the ghost story as medium for the evocation of trans-generational trauma, as well as on the therapeutic drive of romance that favors a narrative presentation of the working-through phase of trauma. Chapters explore various acceptations and extensions of psychic trauma, from the individual to the cultural, analyzing narrative texts that belong in various genres from the ghost story to the misery memoir to the graphic novel. The selection of primary sources allows for a review of leading contemporary British authors such as Peter Ackroyd, Martin Amis, Ian McEwan, Salman Rushdie, Graham Swift, Sarah Waters and Jeanette Winterson, and of those less canonical such as Jackie Kay, Alan Moore and Dave Gibbons, Justine Picardie, Peter Roche and Adam Thorpe.
This volume explores the current state of student mental health and trauma while offering theories and practice of trauma-informed teaching and learning. The interdisciplinary authors gathered in this collection discuss the roles, practices, and structures in higher education that can support the wellness and academic success of students who suffer from the effects of traumatic experiences. Chapters cover topics on teaching traumatic materials ethically and effectively, reading and writing to support recovery and healing from trauma, inclusive pedagogies responsive to systemically inflicted trauma, and developing institutional structures to support trauma-informed pedagogies. This timely and important book is designed for faculty in institutions of higher education seeking to meaningfully cultivate trauma-informed classes and learning experiences for their students.
Traumatic experiences with an overwhelming life-threatening feel affect numerous people’s lives. Death and disablement through accident, illness, war, family violence, natural and human-induced disaster can be experienced variously at an individual level through to whole communities and nations. Traumatic memories are intrusive and insistent but fragmented and distorted by the power of sensory information frozen in time. This volume examines the ways individuals, families, communities and nations have engaged with representations of traumas and the ethical dimensions embedded in those re-presentations. Contributors also explore the work of recovering from trauma and finding resilience through working with narrative and embodied forms such as dance and breathing. The ubiquity of trauma in human experience means that pathways to recovery differ, emerging from the way each engages with the world. Sharing, and reflecting on, the ways each copes with trauma contributes to its understanding as well as pathways to recovery and new strengths. Contributors are Svetlana Antropova, Peter Bray, Kate Burton, Mark Callaghan, Marie France Forcier, Monica Hinton, Gen’ichiro Itakura, Danielle Schaub, Zeina Tarraf and Paul Vivian.
Offering an interdisciplinary approach to narrative, this book investigates storyworlds and minds in narratives across media, from literature to digital games and reality TV, from online sadomasochism to oral history databases, and from horror to hallucinations. It addresses two core questions of contemporary narrative theory, inspired by recent cognitive-scientific developments: what kind of a construction is a storyworld, and what kind of mental functioning can be embedded in it? Minds and worlds become essential facets of making sense and interpreting narratives as the book asks how story-internal minds relate to the mind external to the storyworld, that is, the mind processing the story. With essays from social scientists, literary scholars, linguists, and scholars from interactive media studies answering these topical questions, the collection brings diverse disciplines into dialogue, providing new openings for genuinely transdisciplinary narrative theory. The wide-ranging selection of materials analyzed in the book promotes knowledge on the latest forms of cultural and social meaning-making through narrative, necessary for navigating the contemporary, mediatized cultural landscape. The combination of theoretical reflection and empirical analysis makes this book an invaluable resource for scholars and advanced students in fields including literary studies, social sciences, art, media, and communication.
Existential semiotics is a new paradigm in the studies of signs, signification and communication. This book develops its theory further starting from the continental philosophy (Kant, Hegel, Jaspers, Heidegger, Arendt, Sartre) on one hand, yet remaining also faithful to the tradition of the European semiotics, particularly the Paris school. From the notions of being, doing and appearing the study applies them to crucial social problems of the contemporary world, and moreover to various so-called 'lesser arts' like performance and gastronomy. It also introduces some precursors of the approach. The book represents what can be called neosemiotics, the search for new theories and fields of the discipline.