Trauma theory: Contexts, Politics, Ethics

This article discusses the current ‘popularity’ of trauma research in the Humanities and examines the ethics and politics of trauma theory, as exemplified in the writings of Caruth and Felman and Laub.Written from a position informed by Laplanchian and object relations psychoanalytic theory, it begins by examining and offering a critique of trauma theory’s model of subjectivity, and its relations with theories of referentiality and representation, history and testimony. Next, it proposes that although trauma theory’s subject matter—the sufferings of others—makes critique difficult, the theory’s politics, its exclusions and inclusions, and its unconscious drives and desires are as deserving of attention as those of any other theory. Arguing that the political and cultural contexts within which this theory has risen to prominence have remained largely unexamined, the article concludes by proposing that trauma theory needs to act as a brake against rather than as a vehicle for cultural and political Manicheanism

The women's room : women and the confessional mode

This thesis analyses the cultural work performed by confessional discourses. It contributes to feminist cultural theory by refining and extending the Foucauldian theory of confession through a comparison of the cultural instrumentality of the mainstream, male-authored confession and women's versions of the mode. The thesis begins by arguing that though the mainstream, male-authored confession constructs and addresses a mutable subject suited to the requirements of modern power techniques, the polyvalence of confessional discourse also registers a resistance to subjection to contemporary forms of power/knowledge. The second section of the thesis extends and refines this argument by contending that the gynocentric deployment of confession by the woman's confessional novel produces a double-voiced discourse, which mutedly resists patriarchal forms of femininity. The application of psycho-analytic literary theory to a close reading of Marilyn French's The Women's Room leads to the conclusion that this novel's deployment of confessional discourse allows for a muted venting of repressed active female desire. The third section of the thesis extends the preceding examination of the cultural work performed by gynocentric confessional discourse through an analysis of the madefor- TV-movie version of French's The Women's Room. This section argues that that though the application of a film studies and a TV studies approach to the movie appears to produce two contradictory readings of it s cultural instrumentality, this divergence results from the different emphases of film and TV theory: while film theory emphasises text at the expense of context, TV theory tends to reverse this trend. In conclusion, the thesis argues that discourse theory points the way towards a perspective which can address the relationship between textual and social subjects. This thesis examines the textual negotiation of confessional discourse by gynocentric forms; it also points towards the need for a perspective which can more adequately address the question of reception as negotiation

Memory, history, nation : contested pasts /

Originally published: Contested pasts. New York : Routledge, 2003.Includes bibliographical references and index