Trauma Studies Research Papers - Academia.edu (original) (raw)

Biblical poetry, in particular the psalms of lament, provides a model of how composing one's own lament and performing it to God can be a positive element in healing the effects of trauma. In an empirical study, Zulu youth who had experienced various forms of trauma, learned to use the model of biblical psalms of lament to compose their own laments. The process of regaining agency, establishing a sense of justice (with an appeal for the perpetrator of the hurt to be punished), and a rekindling of hope for life going forward, all elements of biblical lament, are also vital parts of the healing process. Thus it is suggested that the use of poetry, in the form of biblical lament, can contribute to the healing of those who have suffered trauma.

טראומה מאופיינת בכך שהיא נותרת כעדות היולית ללא מילים, ללא מספֵּר שיספר את סיפורה וללא אוזן קשבת שתשמע
אותה. מתוך כך, היא אינה ניתנת לעיבוד ומתעתעת ביכולתו של הקורבן להיות עד למה שאירע לו, לדעת את עצמו ולספר
את סיפורו ) 1(. ברצוני להציע את מדיום המוסיקה כלוכד, הן את השבר הטראומתי והן את האפשרות לריפוי, כזה המבקש
לתקשר עם האחר הפנימי ובו־זמנית מחזיק את היעדרו. המוסיקה מהווה פשר לטראומה וגשר לעבר עדות, סימבוליזציה
ושפה, ובה בעת היא מנכיחה את ההיעדר. במאמר זה אדון בתופעת ה־ reverie המוסיקלי, מונח שהצעתי במאמר קודם,
כחלק מתהליך של הפצעת עדות, מעין ׳עדות צלילית׳, במקומות בהם אין ביכולת המילים לנסח ולהכיל את עוצמת הכאב
והאימה. במאמר אתאר את המוסיקה המלווה אותנו לעתים בעבודת האנליזה כזמזום בראש בתוך השעות, כתחושה גופנית
של מקצב פנימי, כהדהוד לאסוציאציות של המטופל או כשירה המלווה אותנו בין השעות. אכנה תופעה זו בשם reverie
מוסיקלי ואציע דרכים להבנה ולעבודה עם ה־ reverie בהקשר של עבודה עם טראומה.

- by Hilit Brodsky
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- Psychoanalysis, Trauma Studies, Interdisciplinary Studies
- by Cordula Reimann and +1
- •
- Global Social Change, Trauma Studies, Complex Systems, Conflict Transformation

An in-depth look at trauma, memory, and PTSD from a biopsychological and neurological perspective.

- by Dani Jacoby, M.A., LMFT
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- Neuroscience, Psychology, Cognitive Psychology, Neuropsychology
- by Greg Forter
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- Psychoanalysis, Southern Studies (U.S. South), Trauma Studies, Sigmund Freud

Kate Grenville’s The Secret River (2005) enacts a narrative return to the violent trauma of Aboriginal dispossession and destruction upon which Australia is founded, situating its reader complexly, as both witness to and complicit in the events it retells. Her use of fiction to represent this trauma made Grenville the focus of heated public debate about the role of fiction in representing the past, a debate that repeatedly cast her project as historically dubious. However, rather than approaching the novel as a corrupted form of history’s reconstruction of past events, it seems more useful to situate this text as an act of memory in the present, which shapes both past and future. Even as it represents the past, Grenville’s novel addresses a present both deeply divided and in danger of forgetting its history. It uses the affective power of fiction to reinscribe and reactivate Aboriginal Australian history in the contemporary historical imaginary.

The corpus of narratives produced in Germany since 1943 about the battle of Stalingrad appears as a multifaceted "grand narrative" in which historiographical and mythical morphology coexist. The Nazi myth of Stalingrad contributed to shaping the cultural memory of the event during the war, and historians lately integrated that myth into the historical discourse about the "overcoming of the past" (Vergangenheitsbewältigung). In the meantime, hundreds of veterans published their witness-accounts about the great battle, blending the two spheres of history and myth on the level of storytelling. While historiographical discourse aims to consolidate positive knowledge of the battle in terms of chronology, witness-narratives blur chronological storytelling with the mythical archetypes of conquest, defeat, fall, and resurrection. I will examine the morphological characteristics of the "grand narrative" of Stalingrad by combining the notion of "structure" (Koselleck) with that of the narrative archetype (Frye) and by integrating these tools with the theory of adaptive and evolutional narratives (Carrol; Scalise-Sugyjama) to claim that the "grand narrative" of Stalingrad can be read as the mythic-historical account of how the German community survived defeat and was reborn from its own ashes.

- by Gianluca Cinelli
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- European History, German Studies, Comparative Literature, Trauma Studies
- by Zoltán Kékesi
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- Visual Studies, Film Studies, Israel Studies, Visual Culture
- by Shawn Stein and +1
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- Sociology of Sport, Sport Psychology, Latin American Studies, Latin American and Caribbean History

This is the introduction to the book, Treating Compassion Fatigue.

- by Charles R Figley
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- Self and Identity, Trauma Studies, Self Compassion, Compassion Fatigue
- by Roar Fosse and +2
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- Psychosis, Trauma Studies, Brain and Cognitive Development

The curator of MOCA Taipei's exhibition, Rosa's Wound, used Paul Celan's poem to name the exhibition, which showcased artworks by artists from various Asian countries to discuss the relationship between art and trauma. The background of these artworks involved a wide range of issues, including the history of martial law, political prisoners, colonization, suppression, racial violence, and war. Without any knowledge of the background and context of these ideas, the general audience would have difficulties understanding the purpose of such an exhibition as well as the curatorial efforts made in the process. In this article, I have sorted out the development and trends of trauma studies in recent years, and proposed that the concept of the "post-trauma era" could help us contextualize this exhibition and gain a better understanding. Modern History and the History of Trauma Etymologically speaking, the English word "trauma" comes from Greek, originally meaning "wound," especially one that penetrates the body. The word was first used in psychology in the nineteenth century to refer to shocking experiences in modern life (such as the shock suffered by WWI soldiers in the battlefield), in which the mind's protective mechanism that was supposed to function like a shield was "penetrated" due to excessive external stimulation. 1 From the psychoanalytical perspective, trauma falls into the domain of the "Thing," which cannot be objectified. "The 'Thing' is traumatic and brings pain. We do not know where it causes pain, or even that it causes pain. It strives to be known by the mind, but fails, and can only be temporarily liberated in symptomatic repetitions." 2 The British art historian, Griselda Pollock, has dedicated her recent years to the study of the relationship between trauma and art by adopting psychoanalytical points of view (especially Israeli psychoanalyst Bracha L. Ettinger's revisions of Lacan's theory). Pollock concluded her study in 2013 and stated five characteristics of trauma: 1. Trauma seems to exist in a non-temporal, non-spatial realm: it exists permanently and is non-temporal. Like a stranger that lives in the mind, it colonizes the host. The 1 Griselda Pollock, Afetr-affects/After-images: Trauma and aesthetic transformation in the virtual feminist museum, Manchester: Manchester, UP, 2013, p. 2. 2 Bracha Lichtenberg Ettinger, " Traumatic Wit(h)ness – and Martrixial Co/in-habit(u)ating " , parallax, vol. 5 no. 1, 1999, p. 89.

- by Chi-Ming LIN
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- Psychology, Psychoanalysis, Contemporary Art, Trauma Studies

Elias Khoury’s novel Bab el Shams (Gate of the Sun), which came out in 1998 symbolically marking fifty years to the Palestinian Nakba, is perhaps the most comprehensive narrative of this ongoing event. This fascinating novel has not yet received the scholarly attention it deserves. My suggested reading of the novel is inspired by and juxtaposed with Holocaust literature
and what might be called ‘Holocaust related critical theory’. This reading, I contend, is invited by the novel itself and is pursued from the perspective of a Jewish Israeli Holocaust and trauma scholar. The main argument of this essay is that the novel deals with the unsettling conjuncture of the extremely destabilizing, traumatized and decentred testimony of the Palestinian victim–
witness and the essential, collective Palestinian national epos that frames these individual traumatized narratives. The former inevitably undermines the latter while, at the same time, the latter collectively frames the former. These tensions, integrations and disintegrations form the core theme of Gate
of the Sun. To put it differently, I contend that this novel is about the unsettling paradoxes of writing a polyphonic non-monolithic decentralized collective epos. This narrative of collective and individual traumas manages to unsettle old national structures and ultimately invites binational thinking.

- by Amos Goldberg
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- Trauma Studies, Israel/Palestine, Palestinian Literature, Literature and Trauma

This dissertation investigates the social world of contemporary filmmakers in the Middle East and the way they use visual media to re-imagine existent forms of identity, envision new modes of social agency, and transform public culture in the face of dramatic instability. In the wake of the Lebanese civil war and through the tenuous postwar period, video art and experimental documentary have critiqued the politics of representation and negotiated the theoretical and structural difficulties in representing the war. These artists have activated intersections where experimental media has generated a vibrant visual culture by both building on local notions of cosmopolitanism and by participating in transnational sites of postcolonial representation. Methodologically, I employ ethnography to grapple with the public culture of Beirut as a site of avant-garde experimentation, but also to examine the city as a contested site affected by periods of rapid growth, intense violence, and urban reconstruction. To explain this cultural phenomenon, I advance the idea of ‘post-orientalist aesthetic’ to describe a mode of intellectual critique and artistic style that goes beyond Edward Said’s critique to give greater attention to self-representation in the post-911 period. This aesthetic interrogates western representational practices and also develops a localized critical analysis of Middle Eastern visual culture. This aesthetic informs a better understanding of postwar subjectivity, particularly in the way memory and lived experience becomes mediated through the materiality of objects, images, and architecture affectively inscribed with destruction and violence. The notion of the archive or the personal collection becomes of particular interest here; especially in the way these artifacts embody personalized narratives and testimonials that push back from abstracted notions of a monolithic historical narrative. Drawing on visual anthropology, media ethnography, and nonwestern film theory, this text examines the way these artists challenge realist modes of representation by utilizing both ethnographic and artistic approaches to grapple with the experience of everyday violence. In order to explore methodologies for conducting visual research in conflict zones, I conclude with an experimental auto-ethnography that appropriates these aesthetics in an effort to interrogate my positionality as an American researcher in the Middle East.

- by Mark Westmoreland
- •
- Anthropology, Film Studies, Middle East Studies, Visual Culture

Although some scholarship has discussed the argumentative tactics of Holocaust deniers and how they persuade some audiences to reject seemingly obvious factual events, no research has addressed how Holocaust survivors themselves confront this direct challenge to their lived experience. Using videotaped oral testimonies in the Shoah Foundation Institute’s Visual History Archive (the world’s largest such collection), this study examines how survivors meet the challenge of Holocaust denial in Germany and in the United States.
Close analysis of the argumentative tactics embedded in survivor testimony reveals that survivors craft narratives with richer dimensions than acknowledged in the twisted historiography of Holocaust denial. Survivors attest not only to the facticity of external events but also to affective memory, chronicling how they process and adapt to trauma. This affective dimension of testimony suggests that survivors’ narratives employ more complex layers of argumentation than simply claiming correspondence to particular historical incidents. [In press--upload coming soon!]

- by Roy Schwartzman
- •
- Testimony, Communication, Rhetoric, Genocide Studies

This study analyzes the herstories of three Chilean women militants who later evolved into political collaborators of Agosto Pinochet's military regime (1973-1990). In addition to looking at the ways in which cultural productions on their stories of survival have added to the misconceptions of their political transformations, this article also seeks to understand the underlying motives for their collaboration as a reparative force that dispels false accusations directed against them.

- by Emily E . Frankel
- •
- Gender Studies, Sexual Violence, Trauma Studies, Argentina
- by Michael Rothberg
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- Critical Theory, French Literature, Film Studies, French Studies
- by Daniel P David, PhD, LCSW
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- Community Resilience, Resilience, Trauma Studies, Compassion

1 Presentación de un campo de investigación El crecimiento continuado de los estudios de la memoria y del trauma es el resultado de una profunda necesidad social, política y cultural de asumir la violencia y la injusticia del pasado. La razón de esta necesidad es simple: el desarrollo de una cul-tura de la memoria es indispensable para que un grupo social se pueda establecer como tal, para tener conciencia y estar seguro de sí mismo y poder entrar en contac-to con otros colectivos y desarrollarse. Los múltiples ejemplos de los siglos pasados han mostrado que las sociedades que no se ocupan de su pasado violento producen una atmósfera social que prolonga el miedo y crea la desconfianza. De hecho, tam-bién fueron silenciadas experiencias traumáticas compartidas por muchos, como la de la conquista, la represión y la violencia durante la época colonial, la esclavitud, las guerras de independencia, las campañas del desierto, el franquismo, el nazismo, el femicidio en México o el stronismo en Paraguay, por poner solo unos pocos ejem-plos de Hispanoamérica y España. Silenciar el pasado es, como fue discutido en los estudios sobre las historias traumáticas (Cienfuegos y Monelli 1983; Danieli 1984; Felman y Laub 1995; Robben 2005), el mejor instrumento para bloquear el presente y el futuro. Por eso, el desarrollo de prácticas y representaciones culturales que pue-dan tematizar los pasados violentos también se ve como una necesidad social. Correspondiendo a esta necesidad publicamos este handbook, que está concebido para ofrecer un panorama del estado de las investigaciones en este ámbito que sigue evolucionando con una dinámica extraordinaria. Otro tomo editado por Silke Segler-Messer e Isabella von Tresskow se dedica al mundo francófono e Italia. Ambas publi-caciones han sido pensadas desde perspectivas multilaterales, las cuales están arrai-gadas en la tradición científica de la romanística alemana. En ese contexto es indispensable abarcar también las relaciones coloniales. Al mismo tiempo, el estudio de los ejemplos de España, Francia e Italia traspasa los conceptos teóricos poscoloniales. En la conciencia del carácter transdisciplinario de los estudios de la memoria nos dirigimos a estudiantes, investigadores e interesados de varias disciplinas, especial-mente de la crítica cultural y literaria, pero también de disciplinas afines, como la sociología, la historia y la psicología. Incluir en este tomo a España y a Hispanoaméri-ca juntas implica tres cuestiones centrales cuya importancia sigue creciendo en un mundo que se sigue globalizando a una velocidad vertiginosa: 1) ¿Los conceptos de la memoria y los paradigmas occidentales de elaborar traumas son adecuados para concebir fenómenos a nivel universal, transcultural y trans-nacional? Entre estas dos opciones existe un espectro de variantes que serán dife-renciadas en este volumen.

- by Kirsten Mahlke and +2
- •
- Cultural History, History and Memory, Trauma Studies, Memory Studies

Charles R. Figley was the 1994 recipient of the Lifetime Achievement Award from the International Society for Traumatic Stress Studies. Figley's impact on the field can be seen in his community involvement and in his nearly 20 years of writing. During those years, byhis actions and words, he has called our attention to both the direct and indirect victims of trauma. M+His most recent book, Compassion Fatigue: Coping with Secondary PTSD Among Those Who reat the Traumatized, is a landmark contribution to the STS literature. In this chapter, Figley outlines the logic of his thinking and helps the reader understand the context from which STS can arise.

- by Charles R Figley
- •
- Traumatic Stress, Resilience, Trauma Studies, Vicarious Trauma
- by Joanne Cacciatore
- •
- Death Studies, Traumatic Stress, Trauma Studies, Bereavement

Este artículo analiza la producción testimonial de ex detenidas desaparecidas de la última dictadura militar en Argentina (1978-1983), poniendo de relieve la presencia de los silencios existentes en estos relatos. Los testimonios de las sobrevivientes Graciela Fainstein, Graciela Lo Prete, Nora Strejilevich y Alicia Partnoy, entre otros, ponen en evidencia las dificultades a las que se enfrenta todo sobreviviente del horror, en tanto debe narrar aquello que dada su naturaleza traumática desafía cualquier tipo de representación. Frente a esta dificultad, las sobrevivientes buscan en la articulación entre lo dicho y lo no dicho, entre la palabra y el silencio, desafiar las limitaciones del lenguaje frente al horror, construyendo un relato que incorpora lo difuso y llama al lector a convertirse en un oyente ético. Este tipo de testimonio se convierte así en documento de la experiencia traumática, que dada su naturaleza, no puede sino estar constituido por interrupciones, huecos y silencios.

Depuis quelques décennies, les théâtres du traumatisme et de la maladie mentale donnent une visibilité de plus en plus accrue à la souffrance psychologique et au trouble psychiatrique sur la scène contemporaine. Dans cette mouvance, un certain nombre de pièces de nature souvent expérimentale insèrent des thèmes, des références et des matériaux issus du domaine de la santé mentale dans les multiples formes qu'elle prend aujourd'hui pour donner la parole à une psyché en détresse – celle, le plus souvent, de personnages féminins. Qu'il s'agisse de psychiatrie, de psychologie clinique, de psychanalyse ou encore de psychothérapie, on trouve ainsi dans des pièces récentes de la scène européenne une assimilation des discours de la médecine et des sciences cognitives. Ces théâtres offrent ainsi une réflexion sur les traumatismes psychologiques et les difficultés existentielles du sujet féminin malade, dont le corps s'efface et dont la voix fragile s'élève sur scène pour dire le drame intérieur de l'errance mentale et/ou du trouble psychique, voire de la pathologie identifiée. Le présent article propose une étude des diverses approches de la maladie mentale et des troubles post-traumatiques adoptées par quatre auteurs contemporains de la scène européenne : les auteurs britanniques Sarah Kane et Martin Crimp, l'homme de théâtre français Gildas Milin, et la dramaturge italienne Francesca Volchitza Cabrini. Les pièces de ces auteurs illustrent à différents niveaux et de différentes manières mais non sans points de convergence forts la façon dont des objets empruntés aux champs de la médecine et de la psychiatrie sont récupérés, dramatisés et mis en scène par le théâtre contemporain. L'originalité commune de ces écritures réside dans le fait qu'elles puisent toutes dans la littérature théorique ou clinique de la psychologie pour recycler des matériaux essentiellement verbaux issus du domaine de la santé mentale et les transformer en poésie de la scène. Cette « psychopoésie » dit la gravité du malaise qui hante l’individu en ce début du XXIème siècle, tout en explorant la nature et les limites de l’humain poussé dans des situations psychologiques extrêmes. Par contraste ou en dialogue avec les discours et les pratiques de la médecine, la psychopathologie devient ressource psychopoétique et se donne ainsi comme une matière qui renouvelle, dans leurs formes aussi bien que dans leurs contenus, le langage, l’écriture et la structure du drame contemporain.

- by Solange Ayache
- •
- Psychology, Psychoanalysis, Psychiatry, Comparative Literature

Disability studies and critical trauma studies are both deeply concerned with the social construction of meaning and identity. However, these disciplines often remain mutually disengaged, inadvertently overlooking shared mechanisms of oppression that foster stigma. This article explores the novel depiction of disability and trauma in the play Amy and the Orphans by Lindsey Ferrentino. Amy, a character with Down syndrome, challenges disability stereotypes by exercising autonomy; she is not solely defined by her disability or her experiences of abuse. The theatrical narrative is one of both disability and trauma, encouraging a nuanced reflection on the origins of stigma and revealing how theatre can be used as a tool of resistance to reclaim agency through performances that challenge conventional 'disability' stereotypes.

- by Josephine Barnett
- •
- Medical Sociology, Media Studies, Theatre Studies, Self and Identity

You care about difference. In this exigent mood we begin to rework reflexivity through disability and trauma studies. Using performative writing, we trouble you, me, and we in order to uncouple analytical rigor from individual bodies and identities. As we consider violence, injury, and ability, we complicate an imperative for personal disclosure. While continuing to insist on accountability to privilege, we highlight queer vulnerabilities, alternative representation, and non-normative emotion. We draw together readers and writers in a recursive textual process, a feminist ethic attentive to inequality and suffering. We call this methodological presence with others reflexive caring.

- by Kate Lockwood Harris
- •
- Organizational Communication, Feminist Theory, Violence, Disability Studies

a/b: Auto/Biography Studies
Volume 14, 1999 - Issue 1
EXTREMITIES: MEMOIRS AT THE FIN DE SIÈCLE

- by Laura Frost
- •
- American Literature, American Studies, Gender and Sexuality, Trauma Studies

This paper explores the intersection of trauma, memory, and identity through the lens of resilience. Here we take resilience in its multiple, even conflicting meanings and resonances – encompassing continuity, persistence, and adaptation. Through the case studies of centenary commemorations in Armenia and Ireland and Northern Ireland, we highlight the ways in which the memory of traumatic historical events both reproduces and challenges dominant narratives of identity. The resilience of memory – its ability to adapt and evolve even as it lays claim to continuity – marks commemoration as a form of haunting, a return with difference that always disrupts the very borders it is deployed to secure. By focusing on resilience understood as the counter-memory that challenges the silencing and overshadowing of mainstream memory, we conclude that it manifests differently in such different cases, and find a surprising point of similarity: the resilience of memory is that it remains. Regardless...

- by Rebecca Graff-McRae
- •
- Irish Studies, Art, Armenian Studies, Resilience

AuThor: Michelle Hulme-Lippert emAil: michellehulme-lipper@rmc.edu AffiliATion: Randolph-Macon College; Department of Modern Languages; Haley Hall 10; 114 College Avenue; Ashland VA 23005 AbsTrAcT: This essay examines Pedro Almodóvar’s Volver in light of present-day memory politics in Spain, positing the film to advocate affective confrontations with the past in contrast to Spain’s limited transitional justice politics and 2007 Ley de Memoria Histórica. The protagonist’s cathartic cante jondo gives language to fourteen years of silenced pain and trauma and sets into motion a healing materialization of specters. These dance-like acts of embodiment restore originary mother-daughter relationships and—in accordance with Elaine Scarry’s The Body in Pain—participate in making the world. However, questions arise regarding the sustainability of the film’s graceful, fluid, and complete forms of restitution, particularly when we take into account the returns of rape and patriarchal violence i...

- by Michelle Hulme-Lippert
- •
- Art, Trauma Studies, Historical memory, Memory Studies
- by Angela Scheres
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- Health Sciences, Nursing, Counseling Psychology, Psychotherapy and Counseling
- by Eva Kovacs
- •
- Jewish Studies, Social Identity, Race and Ethnicity, Trauma Studies
- by Colin Ross
- •
- Psychology, Social Psychology, Mental Health, Trauma Studies
- by Ilit Ferber
- •
- Pain, Aphasia, Trauma Studies, Sigmund Freud
- by Vivian Liska
- •
- Sociology, Deconstruction, Trauma Studies, Literary Theory

Today the hypothesis that experience might alter the cells and behavior of an individual’s children and grandchildren has become widely accepted. In animals, exposure to stress, cold, or high-fat diets has been shown to trigger metabolic changes in later generations. And small studies in humans exposed to traumatic conditions—among them the children of Holocaust survivors—suggest subtle biological and health changes in their children.
The implications are profound. If our experiences can have consequences that reverberate to our children or our children’s children, that’s a powerful argument against everything from smoking to immigration policies that split families.
But proving that emotional trauma, as distinct from physical stress, can be passed on to subsequent generations in people is a challenge.

- by Andrew Curry
- •
- Genetics, Epidemiology, Trauma Studies, Epigenetics

Background: Femoral nonunion is an important complication, which can occur after intramedullary nailing and it requires surgical intervention. Plate augmentation over intramedullary nail is emerging as an acceptable option with... more

- by mehdi abbasi and +1
- •
- Orthopedic Surgery, Trauma Studies
- by Murtaza Vali
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- Architecture, Photography, Contemporary Art, Trauma Studies
- by Stephen Bowman
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- Trauma Studies, Treatment Outcome, Benchmarking, Humans

Objetivo: analizar los resultados en cirugía de control de daño en una institución con alta incidencia de trauma en México. Materiales y métodos: estudio prospectivo descriptivo, realizado en el Hospital General de ciudad Juárez. Se incluyeron 66 pacientes con lesiones severas en abdomen ocasionadas por proyectil de arma de fuego o por arma punzo-cortante, sometidos a cirugía de control de daño durante el periodo de abril del 2008 a diciembre del 2010. El análisis estadístico se realizó con porcentajes como medidas de resumen de variables. Resultados: el promedio de edad fue de 29,6 años, con 59 pacientes heridos por arma de fuego y 7 por arma blanca. El tiempo quirúrgico promedio fue de 97 minutos. La víscera hueca más lesionada fue el intestino delgado con 35 casos y el órgano sólido fue el hígado con 30. Se encontró un hemoperitoneo en promedio de 3350 ml. Además, 64 pacientes presentaron choque hipovolémico grado IV y dos pacientes grado III. La principal complicación fue la presencia de infección de sitio quirúrgico y la principal causa de muerte postquirúrgica la falla orgánica múltiple secundaria a la presencia de la triada mortal la cual consiste en la presencia de hipotermia, acidosis metabolica y coagulopatia. Conclusiones: Los pacientes en edad productiva son los más afectados. El principal mecanismo de acción son las heridas por proyectil de arma de fuego. Se presenta una alta morbimortalidad relacionada en este tipo de pacientes, como son la presencia de sepsis y fi stulas; asociándose la mortalidad principalmente a la falla orgánica múltiple y a la presencia de choque hipovolémico

- by Juan de Dios Díaz-Rosales
- •
- Trauma Studies, General Surgery

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 oeuvre 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.
Re-negotiated in the process are the deconstructivist trauma paradigm that has come to
dominate trauma discourse in the humanities as well as the duality of Barry’s critical reception.
Barry is either being hailed as a rescuer of marginalized, ‘subaltern’ histories or admonished as
too radical a proponent of historical revisionism. A dissociative reading of literature’s
capabilities and limitations in addressing trauma and Barry’s literary mission to work-through
family trauma in his work moves the discourse beyond radical dualities towards a more
integrated understanding of posttraumatic literature.

- by Niko Pomakis
- •
- Psychoanalysis, Irish Studies, Irish Literature, Poststructuralism