The Traumatic Imagination

While a number of recent works have linked magical realism to postcolonial trauma, this book expands the trauma-theory-based analysis of magical realism. Borrowing from the Russian Formalist Mikhail Bakhtin, the study adapts his concept of chronotope to that of shock chronotope in order to describe unstable time-spaces marked by extreme events. Besides trauma theory, contemporary theories of representation formulated by Guy Debord, Jean Baudrillard, and Slavoj i ek, among others, corroborate specific literary analyses of magical realist novels by Caribbean, North American, and European authors. The study discusses a series of concepts, such as "spectacle" and "hyperreality," in order to create an analogy between the hyperreal, a spectacle without origins, and magical realism, a representation of events without a history, or a recreation of an absence that first needs to be acknowledged before it can be assigned any meaning. Magical realist hyperreality is meant to be a reconstruction of events that were "missed" in the first place because of their traumatic nature. While the magical realist hyperreal might not explain the unspeakable event, if only to avoid the risk of an amoral rationalization, it makes the ineffable be vicariously felt and re-experienced.This study establishes a somewhat unorthodox nexus between magical realist writing (viewed primarily as a postmodern literary phenomenon) and trauma (understood both as an individual and as an often invisible cultural dominant), and proposes the concept of "traumatic imagination" as an analytical tool to be applied to literary texts struggling to represent the unpresentable and to reconstruct extreme events whose forgetting has proven just as unbearable as their remembering. The traumatic imagination defines the empathy-driven consciousness that enables authors and readers to act out and/or work through trauma by means of magical realist images. Corroborated by elements of trauma theory, postcolonial studies, narrative theory, and contemporary theories of representation, the work posits that the traumatic imagination is an essential part of the creative process that turns traumatic memories into narratives. Magical realism lends traumatic events an expression that traditional realism could not, seemingly because the magical realist writing mode and the traumatized subject share the same ontological ground: being part of a reality that is constantly escaping witnessing through telling. Over more than half a century now, magical realism has demonstrated its versatility by affecting literary productions belonging to various cultural spaces and representing different histories of violence. This book examines novels by traumatized and vicariously traumatized authors who make extensive use of fantastic/magical elements in order to represent slavery, postcolonialism, the Holocaust, and war.The Traumatic Imagination: Histories of Violence in Magical Realist Fiction is an important book for magical realism- and trauma theory-based critical collections.

This work examines novels from Caribbean, North American, and European literatures of the second half of the twentieth century, both Anglophone and in translation, with focus on the chronotopes of slavery, colonialism, the Holocaust, and war. Historical traumata have found their reconstruction in literary works written by either traumatized or vicariously traumatized authors, such as Jean Rhys, Alejo Carpentier, Maryse Conde??, Salman Rushdie, Gabriel Garci??a Ma??rquez, Bernard Malamud, Joseph Skibell, Gu??nter Grass, and Tim O'Brien. The traumatic imagination accounts for the relative prevalence of magical realist writing in postmodernist fiction. As a singular phenomenon of postmodern aporia, magical realist texts write the silence imposed by trauma, and convert it into history.--publisher.

This book explores the close association between the literary representation of historical trauma and the alternative narrative form of magical realism, underscoring the role of memory, empathy and imagination. It discusses the potential of magical realism to give a literary representation to individual and collective trauma arising from the Holocaust, slavery, and apartheid, and to turn those unspoken memories into narratives. It also analyses the role of magical realism in depicting trauma suffered by female victims during and following those events. Again, by dealing with the above-mentioned events, their specific historical context and universal meaning for humankind, this book highlights a universal experience of trauma.

Introducing a proven, pioneering program that empowers trauma survivors to take control of their recovery through imaginative exercises Over the last thirty-five years, our understanding of trauma has dramatically changed. We now know that most people live through at least one traumatic event—which can cause disorders that range from depression, addiction, and anxiety, to cardiovascular disease and diabetes. But when leading German psychotherapist Luise Reddemann became head of a psychosomatic clinic in 1985, many doctors were routinely dismissive of patients’ trauma. Dr. Reddemann has devoted her career to this question: How can survivors of complex trauma and PTSD heal—and even help themselves to heal? In Who You Were Before Trauma, she presents her groundbreaking method, along with positive therapeutic strategies, to therapists and patients alike. Psychodynamic Imaginative Trauma Therapy (PITT) incorporates imagination work at every stage of the three-phase trauma therapy model: Establish safety and stabilization Come to terms with traumatic memories Integrate and reconnect with others. By guiding patients to unearth their buried strengths, envision an inner refuge, evoke helpful guiding figures, and ultimately build an “internal counterweight” to their trauma, Reddemann’s approach avoids the counterproductive dynamic where the therapist becomes the patient’s only source of comfort. This definitive trauma resource shows the way to empower survivors—by making them true partners in their recovery.

"Psychological trauma can be a life-changing experience that affects multiple facets of health and well-being. The nature of trauma is to impact the mind and body in unpredictable and multidimensional ways. It can be a highly subjective that is difficult or even impossible to explain with words. It also can impact the body in highly individualized ways and result in complex symptoms that affect memory, social engagement, and quality of life. While many people overcome trauma with resilience and without long term effects, many do not. Trauma's impact often requires approaches that address the sensory-based experiences many survivors report. The expressive arts therapy-the purposeful application of art, music, dance/movement, dramatic enactment, creative writing and imaginative play-are largely non-verbal ways of self-expression of feelings and perceptions. More importantly, they are action-oriented and tap implicit, embodied experiences of trauma that can defy expression through verbal therapy or logic. Based on current evidence-based and emerging brain-body practices, there are eight key reasons for including expressive arts in trauma intervention, covered in this book: (1) letting the senses tell the story; (2) self-soothing mind and body; (3) engaging the body; (4) enhancing nonverbal communication; (5) recovering self-efficacy; (6) rescripting the trauma story; (7) making meaning; and (8) restoring aliveness"--

Exploring the role of imagination in trauma recovery, the author shares the arresting dreams and stories of traumatized adolescents. Describing the impact of trauma on adolescent health and development, the author provides promising research into the use of breathing skills, HRV Biofeedback, and dream work to promote healthy breathing, emotion regulation, and restorative dreaming. Research suggests that these interventions can decrease post-traumatic distress and assist in the creation of meaningful posttraumatic narratives. The author explores the role of embodied imagination in adolescent spiritual development and posttraumatic growth. These interventions provide clinicians and pastoral caregivers with simple and effective ways of helping adolescents heal from trauma in holistic and dynamic ways that respect the integrated constitution of the human person.

Anyone can fall victim to trauma. Those who do know that the power of severe stress is such that it can completely destroy lives. For more than 30 years Gordon Turnbull has treated hundreds of trauma sufferers. This book gives the inside story of the remarkable man responsible for transforming the fortunes of so many people.

Introducing a proven, pioneering program that empowers trauma survivors to take control of their recovery through imaginative exercises Over the last thirty-five years, our understanding of trauma has dramatically changed. We now know that most people live through at least one traumatic event—which can cause disorders that range from depression, addiction, and anxiety, to cardiovascular disease and diabetes. But when leading German psychotherapist Luise Reddemann became head of a psychosomatic clinic in 1985, many doctors were routinely dismissive of patients’ trauma. Dr. Reddemann has devoted her career to this question: How can survivors of complex trauma and PTSD heal—and even help themselves to heal? In Who You Were Before Trauma, she presents her groundbreaking method, along with positive therapeutic strategies, to therapists and patients alike. Psychodynamic Imaginative Trauma Therapy (PITT) incorporates imagination work at every stage of the three-phase trauma therapy model: Establish safety and stabilization Come to terms with traumatic memories Integrate and reconnect with others. By guiding patients to unearth their buried strengths, envision an inner refuge, evoke helpful guiding figures, and ultimately build an “internal counterweight” to their trauma, Reddemann’s approach avoids the counterproductive dynamic where the therapist becomes the patient’s only source of comfort. This definitive trauma resource shows the way to empower survivors—by making them true partners in their recovery.

How do we approach other people's pain? This question is of crucial importance to the humanities, particularly literary and cultural studies, whenever they address narratives of terror and genocide, injustice and oppression, violence and trauma. Talking about other people's pain inevitably draws attention to the ethical dimension involved in acknowledging stories and histories of violence while avoiding an appropriation - by the reading public, literary critics or cultural historians alike - of the traumatic experiences themselves. The question of how to do justice to the other's pain calls for an academic response that reflects as much on its own status as ethical agent as on literary expression and philosophical accounts or theoretical descriptions. This volume therefore explores the theoretical framework of trauma studies and its place within academic discourse and society, and examines from a multidisciplinary perspective the possibilities and limitations of trauma as an analytical category. A variety of case studies on individual and collective traumatic experiences as portrayed in literature and art highlight the ethical implications involved in the production, reception and analysis of other people's pain.