Trauma and Narrative Fetishism as the Source for Creativity in the Urban Space [Trauma ir naratyvinis fetišizmas kaip kūrybingumo šaltinis miesto erdveje]

The paper analyzes trauma as the source for creativity in the urban space. There are two strategies to find a way to live with traumatic experience. The first way, according to Sigmund Freud, is "the work of mourning", which by constant remembering and repeating trauma in the language of tropes and figures allows to integrate discontinuous traumatic experience thus partly expunging trauma. Another strategy for dealing with trauma was described by Eric L. Santner's term "narrative fetishism". This strategy supposes a refusal or inability to admit trauma substituting mourning for narratives, which seemingly do not have any connection to trauma itself. I can find outcomes of this traumatic creative strategy in urban spaces of contemporary megalopolises. The paper analyzes art objects in Yekaterinburg city, namely, the gangsters' tombstones and the cathedral that has been used for political and ideological purposes, the street art activity of painter Radya. © 2011 Copyright Vilnius Gediminas Technical University (VGTU) Press Technika

Madness decolonized?: Madness as transnational identity in Gail Hornstein’s Agnes’s Jacket

The US psychologist Gail Hornstein’s monograph Agnes’s Jacket: A Psychologist’s Search for the Meanings of Madness (2009) is an important intervention in the identity politics of the mad movement. Hornstein offers a resignified vision of mad identity that embroiders the central trope of an “anti-colonial” struggle to reclaim the experiential world “colonized” by psychiatry. A series of literal and figurative appeals make recourse to the inner world and (corresponding) cultural world of the mad, as well as to the ethno-symbolic cultural materials of dormant nationhood. This rhetoric is augmented by a model in which the mad comprise a diaspora without an origin, coalescing into a single transnational community. The mad are also depicted as persons displaced from their metaphorical homeland, the “inner” world “colonized” by the psychiatric regime. There are a number of difficulties with Hornstein’s rhetoric, however. Her “ethnicity-and-rights” response to the oppression of the mad is symptomatic of Western parochialism, while her proposed transmutation of putative psychopathology from limit upon identity to parameter of successful identity is open to contestation. Moreover, unless one accepts Hornstein’s porous vision of mad identity, her self-ascribed insider status in relation to the mad community may present a problematic “re-colonization” of mad experience

Facing the stranger in the mirror: Staged complicities in recent South African performances

The staging of complicity has developed into one of the most prevalent trends in recent South Africa theatre. The audience may become aware of their own complicity in injustice, or complicity may feature as a subject to be explored in the play. I will argue that one can identify three broadly defined performance modalities which shape current engagements with complicity. These modalities are identified by the adjectives, 'thick' (as in densely layered, complex, deep), 'reflective' (as in reflecting upon as well as revealing), and 'hard' (in the sense of direct, uncompromising, difficult to penetrate). Rather than signifying distinct categories, these terms are attributed to a cluster of performance dynamics.DHE

Behind the stiff upper lip: war narratives of older men with dementia.

The concept of the stiff upper lip stands as a cultural metaphor for the repression and figurative ¿biting back¿ of traumatic experience, particularly in military contexts. For men born in the first half of the 20th century, maintaining a stiff upper lip involved the ability to exert high levels of cognitive control over the subjective, visceral and emotional domains of experience. In the most common forms of dementia, which affect at least one in five men now in their 80s and 90s, this cognitive control is increasingly lost. One result is that, with the onset of dementia, men who have in the intervening years maintained a relative silence about their wartime experiences begin to disclose detailed memories of such events, in some cases for the first time. This article draws on narrative biographical data from three men with late-onset dementia who make extensive reference to their experience of war. The narratives of Sid, Leonard and Nelson are used to explore aspects of collective memory of the two World Wars, and the socially constructed masculinities imposed on men who grew up and came of age during those decades. The findings show that in spite of their difficulties with short term memory, people with dementia can contribute rich data to cultural studies research. Some aspects of the narratives discussed here may also be considered to work along the line of the counter-hegemonic, offering insights into lived experiences of war that have been elided in popular culture in the post-War years

Autobiography as unconventional history: Constructing the author

The experience of historians as autobiographers has led them to reconsider the nature of historical knowledge and the function of the historian as an intermediary between the past and present. In the new theoretical context of the social sciences and historiography, we can take this proposal further and consider autobiography as a valid form of history—or, at least, as ‘unconventional history’, understood as negotiations with history that transcend or subvert traditional chronological monographs, posit the ‘subjective’ as a useful form of knowledge, and engage the constructed nature of the text. Taking this hypothesis as a starting point, this article reads historians' autobiographical texts to explore if we can/should continue to defend the classic distinction between subject and object, historian scientist and historian author. In this article I compare the work of several historian autobiographers that permit us to identify different methodologies in approaching the story of the self that also reflects different theoretical conceptions of history. I argue that historians that may be considered ‘constructionist’, such as Fernand Braudel, Annie Kriegel, George Duby, and Eric Hobsbawm, design their autobiographies in the same way they articulate their historical texts: by foregrounding objectivity and establishing critical distance between the subject—the historian who narrates the story—and the object—one's own life. Unconventional or experimental approaches, such as those espoused by Robert Rosenstone, Dominick LaCapra, or Clifford Geertz, result in more self-conscious autobiographies, which are, paradoxically, often more realistic and more revealing of the epistemological nature of life writing. ----------------- La experiencia de los historiadores como autobiógrafos les ha llevado a reconsiderar la naturaleza del conocimiento histórico y la función del historiador como un intermediario entre el pasado y el presente. En el nuevo contexto teórico de las ciencias sociales y la historiografía podemos tomar esta propuesta más allá y considerar la autobiografía como una forma válida de historia-o, al menos, de historia ‘poco convencional’-, entendida como negociaciones con la historia que trascienden o subvierten las tradicionales monografías cronológicas, plantean lo "subjetivo" como una forma útil de conocimiento y participan de la naturaleza construida del texto. Tomando esta hipótesis como punto de partida, este artículo lee los textos autobiográficos de los historiadores para explorar si se puede / debe seguir defendiendo la clásica distinción entre sujeto y objeto, historiador científico e historiador escritor. En este artículo comparo el trabajo de varios historiadores autobiógrafos que nos permiten identificar las diferentes metodologías para acercarse a la historia del yo y que también reflejan las diferentes concepciones teóricas de la historia. Sostengo que los historiadores que pueden considerarse "constructivistas", como Fernand Braudel, Annie Kriegel, George Duby y Eric Hobsbawm, diseñan sus autobiografías de la misma forma que articulan sus textos históricos: poniendo en primer plano la objetividad y estableciendo una distancia crítica entre el sujeto -el historiador que narra la historia-y el objeto- la vida de cada uno. Enfoques no convencionales o experimentales, como los expuestos por Robert Rosenstone, Dominick LaCapra, o Clifford Geertz, resultan autobiografías más autoconscientes, que son, paradójicamente, a menudo más realistas y más reveladoras de la naturaleza epistemológica de la escritura de la vida

Hierarchies of Pain

Trauma has become a pervasive cultural model for representing individual and collective injuries and suffering. This process has produced what may be called a trauma aesthetic, a set of recognizable tropes in widespread use in trauma narratives. This chapter examines the adoption of this aesthetic in graphic narratives, focusing on the special capacities of the form. Familiar tropes, such as dissociation and the somatic trace, are presented in complex combinations of visual and textual components, often exploiting the differential appearance of text and image to introduce a dynamic of belatedness or disarticulation. This chapter analyses five works ordered according to their diminishing reliance on ‘trauma’. The trauma aesthetic is used, though not explicitly, in Catherine Meurisse’s La Légèreté (2016) about the Charlie Hebdo attack, Jean-Philip Stassen’s Déogratias (2000/2006) about the genocide in Rwanda, and Emmanuel Lepage’s Un printemps à Tchernobyl (2012) about the aftermath of the Chernobyl nuclear disaster. By contrast, it is absent from Mazen Kerbaj’s Beirut Won’t Cry (2007/2017) about the Israel-Hezbollah conflict and Josh Neufeld’s A.D. about Hurricane Katrina (2009). These works’ reliance on formalized and sanctioned trauma tropes not only is influenced by narrative characteristics, such as temporal distance from the event or the presence of a single narrator-protagonist but may also be motivated by the prestige conferred by trauma as recognized suffering, affecting the canonization and translatability of the graphic narratives in question

Reiterated Commemoration: Hiroshima as National Trauma *

Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/75748/1/j.1467-9558.2006.00295.x.pd

Signifying Trauma in the Post-9/11 Combat Film: The Hurt Locker and In the Valley of Elah

This is an accepted manuscript of an article published by Taylor and Francis in Journal of War and Culture Studies on 13/05/2019, available online: https://www.tandfonline.com/doi/full/10.1080/17526272.2019.1615706 The accepted version of the publication may differ from the final published version.This article addresses two Iraq War films, The Hurt Locker (Bigelow 2008) and In the Valley of Elah (Haggis 2007), through the lens of trauma theory. Uniquely, it engages with Slavoj Žižek’s account of the Real in its analysis of how victim/perpetrator trauma is signified in their respective narrative structures and visual style. The primary argument is that the pattern of traumatic memory is reflected in their narrative modes. At the same time, it claims that the unfolding narrative of In the Valley of Elah mimics certain forms of trauma treatment, operating in a therapeutic mode for its characters (as well as offering narrative resolution for spectators). Such analysis of trauma differs from other scholarly approaches to these films that have variously considered them from perspectives of: embodiment in the war film (Burgoyne 2012); the ethics of viewing traumatic suffering (Straw 2011); the de-politicisation of torture by the inclusion of posttraumatic stress disorder (PTSD) (Barker 2011); indifference to post-9/11 war films as an inability to respond to the trauma and loss that terrorism poses (Toffoletti and Grace 2010); trauma and the militarised body (Andreescu 2016); and the narration of trauma in Iraq War Films (Kopka 2018)

Psychoanalytic sociology and the traumas of history: Alexander Mitscherlich between the disciplines

This article examines the way aspects of recent history were excluded in key studies emerging from psychoanalytic social psychology of the mid-twentieth century. It draws on work by Erikson, Marcuse and Fromm, but focuses in particular on Alexander Mitscherlich. Mitscherlich, a social psychologist associated with the later Frankfurt school, was also the most important psychoanalytic figure in postwar Germany. This makes his work significant for tracing ways in which historical experience of the war and Nazism was filtered out of psychosocial narratives in this period, in favour of more structural analyses of the dynamics of social authority. Mitscherlich?s 1967 work The Inability to Mourn, co-authored with Margarete Mitscherlich, is often cited as the point at which the ?missing? historical experience flooded back into psychoanalytic accounts of society. I argue that this landmark publication doesn?t hail the shift towards the psychoanalysis of historical experience with which it is often associated. These more sociological writers of the mid-century were writing before the impact of several trends occurring in the 1980s-90s which decisively shifted psychoanalytic attention away from the investigation of social authority and towards a focus on historical trauma. Ultimately this is also a narrative about the transformations which occur when psychoanalysis moves across disciplines