{"title":"Traumatizing Images of Belfast in Mary Costello’s Novel Titanic Town","authors":"Stéphanie","doi":"10.1515/9783110693959-010","DOIUrl":"https://doi.org/10.1515/9783110693959-010","url":null,"abstract":"This chapter focuses on mental images of traumatic experiences in Mary Costello’s semi-autobiographic novel Titanic Town, published in 1992. The action is set in Belfast in the 1970s, during the most violent period of the Northern Irish conflict somewhat euphemistically referred to as the Troubles. In the novel, the city of Belfast is described as a place in which “trauma is the shared reality” (Costello 1992: 227). While the plot is inspired by the author’s adolescence in Republican West Belfast, the book was actually written in Melbourne, where Costello has lived since her emigration to Australia in 1981 (Caterson 1994: 6). The action is told from the perspective of Annie McPhelimy, a young girl growing up in the midst of the Troubles with her younger siblings Sinead, Thomas, and Brendan. The novel shows the different ways in which the city, as the center of violence, enters the life of children and adolescents. Its focus lies on the traumatic images that are generated in the protagonist’s mind. In the following chapter, a traumatizing image or picture will be conceived as “a picture of the mind” (2005: xiv). According to W. J. T. Mitchell, a mental picture is “the imagination or memory of an embodied consciousness” in which “a state of affairs” is projected (2005: xiv). Mitchell’s perception of a picture as a mental image can be seen as an extension of Heffernan’s reading of an image as “a verbal representation of a visual representation” (1993: 3). Mitchell explains that the word “image” is “notoriously ambiguous” as it can denote both a “physical object” such as a painting or a sculpture, or a “mental, imaginary entity,” which he calls a “psychological image” (2005: 2). This mental image he sees as the “visual content of dreams, memories and perceptions” (2005: 2). Mitchell further states that a picture does not present the world as is it, but the world as it is “conceived and grasped” by its observer (2005: xiv). Apart from Mitchell’s “picture of the mind,” Kevin Lynch’s concept of “mental maps” (1983) will guide our analysis of Titanic Town. Lynch’s “mental maps” can be compared to Mitchell’s “pictures of the mind” (1983: 1–2). However, they differ from Mitchell’s concept in the sense that they specifically refer to the cognitive perception of urban space. According to Lynch, citizens have personal “mental images” of their environment, which are “soaked in memories and meanings” (1983: 1–2). In the context of Costello’s novel, the traumatic “mental","PeriodicalId":420435,"journal":{"name":"Terrorizing Images","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124307693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reenacting Rape in Édouard Louis’s History of Violence","authors":"Adriana Margareta Dancus","doi":"10.1515/9783110693959-007","DOIUrl":"https://doi.org/10.1515/9783110693959-007","url":null,"abstract":"At the core of the French writer Édouard Louis’s second novel Histoire de la violence (2016) is a traumatic episode experienced by the writer himself: a physical and sexual assault by a young man of Kabyle1 origin, named Reda, whom the writer met on his way home from a Christmas Eve dinner with his best friends Didier and Geoffroy. As Édouard2 crosses Place de la République in Paris by foot, a smiling young man starts following him. Struck by his beauty and attracted to his breath, Édouard gives up his initial impulse to ignore the stranger and the two men start a conversation. After a few minutes, Édouard ends up inviting Reda into his apartment and they make love repeatedly. As Reda gets ready to leave Édouard’s apartment, Édouard realizes his telephone is missing. When he spots his iPad in Reda’s jacket, he confronts him about his now missing phone. This unleashes Reda’s uncontrolled anger and violence: Reda first strangles Édouard with a scarf, then threatens him with a gun, and finally rapes him before leaving the apartment at dawn. Histoire de la violence is constructed as a fragmented, polymorphous, and polyphonic web of renditions of what happened from the moment Édouard left his friends on Christmas Eve to the night of 25 December, when the criminal police left his apartment after securing fingerprints and DNA evidence. Édouard’s sister, Clara, recites in front of her mysteriously silent husband what Édouard told her about the fateful hours before, during, and after the rape. In a mesmerizing narrative mixing her own popular vernacular with standardized language, Clara gives direct and indirect quotes from her brother’s narration. She also makes digressions in which she narrates episodes from Édouard’s earlier life and comments on her brother’s personality, decisions, gestures, and reactions.","PeriodicalId":420435,"journal":{"name":"Terrorizing Images","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128524132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"White Oblivion: Antarctica and the Suspension of Trauma","authors":"K. Sanders","doi":"10.1515/9783110693959-012","DOIUrl":"https://doi.org/10.1515/9783110693959-012","url":null,"abstract":"Trauma is often seen as the accumulation of several events incited and experienced generations apart. In Trauma Culture from 2005, E. Ann Kaplan notes, for example, that the shock experience of the twentieth century, with the Holocaust as the crucial event, has prompted a ripple effect of trauma experiences in the personal lives of those born after the fact. The past haunts the present, sometimes as an uncanny repetition, but almost always as a delayed response. At the other end of the temporal spectrum, anticipation of a future trauma in the form, for example, of the aftershocks of a global ecological disaster can have ripple effects in reverse. The all-too-predictable climate catastrophe of the future is already ascertainable in a generation that has not yet fully experienced it. Instead of a delayed response to a past event, we find an advance response to a future event.","PeriodicalId":420435,"journal":{"name":"Terrorizing Images","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131246410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"De te fabula narratur! Violence and Representation in Peter Weiss’s The Aesthetics of Resistance","authors":"Frederik Tygstrup","doi":"10.1515/9783110693959-002","DOIUrl":"https://doi.org/10.1515/9783110693959-002","url":null,"abstract":"raphy – which the photographic image could never exhaust on its own. This event is an invitation for yet another event – the viewing of the photograph, its reading, taking part in the production of its meaning. The photograph cannot determine the limits of this event.What the photograph shows exceeds that which the participants in the event of photography attempted to inscribe in it. Moreover, their attempt to determine and shape what will be seen in the frame and the power relations between those participants within it leaves traces that enable one to reconstruct the complexity of the event of photography.","PeriodicalId":420435,"journal":{"name":"Terrorizing Images","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116803876","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Remedial Intermediality: Ekphrasis in Sinéad Morrissey’s “The Doctors”","authors":"C. Armstrong","doi":"10.1515/9783110693959-009","DOIUrl":"https://doi.org/10.1515/9783110693959-009","url":null,"abstract":"The idea of a “paragonal” struggle has been repeatedly referred to by critics as a key characteristic of the genre of ekphrasis. “Words and image,” W. J. T. Mitchell has claimed, “seem inevitably to become implicated in a ‘war of signs’ (what Leonardo called a paragone) in which the stakes are things like nature, truth, reality, and the human spirit” (Mitchell 1986: 47). When literature responds to visual images, it is hard to avoid a struggle for supremacy or the workings of an implicit teleology: where the image was, the word shall be. Nevertheless, ekphrasis is complicated: as some sort of representation of the visual given is typically enacted, this opens for power relations that can rarely be summarized in simple terms. The ekphrastic poem may seldom describe the image in a totally subservient gesture, but it does not usually erase it either. Yet a suspicious, critical reading will tend to identify some sort of appropriative gesture between the lines of even the most innocuous of ekphrastic poems. The contrastive attitudes underlying this situation exemplify more general trends concerning the power relations of literary influence. It is no coincidence that important work on ekphrasis was done in the 1980s and 1990s, when literary criticism became increasingly inclined to identify power relations in intertextuality and other relationships of influence.Where Harold Bloom’s (1997) anxiety of influence presents a narcissistic process of self-empowerment, correctives such as Christopher Ricks’s (2002) view of allusion as being a generous homage to one’s predecessors opened up for more mutual relations. A turn from the former to the latter – from appropriation to mutuality – has an obvious ethical attraction, as it potentially brings with it the promise of a movement, within aesthetic practices, from self-regarding acquisitiveness to a more open-handed altruism. In an article entitled “New Ekphrastic Poetics,” which attempts to use a collection of essays on French examples of ekphrasis to identify a major sea-change within the genre, Susan Harrow approaches the promise of such a turning of a leaf with infectious enthusiasm. She writes of a “desire to develop the ekphrastic beyond traditional assumptions of linear influence, mimetic translation, and textual incorporation,” conceiving of the arts not as rivals but as representative of “reciprocal visual and textual cultures” (Harrow 2010: 257). Whereas she derides traditional conceptions of ekphrasis as being charac-","PeriodicalId":420435,"journal":{"name":"Terrorizing Images","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123685254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Phantomogenic Ekphrasis: Traumatizing Images in Michael Cunningham’s Specimen Days and Don DeLillo’s Falling Man","authors":"Falling Man","doi":"10.1515/9783110693959-006","DOIUrl":"https://doi.org/10.1515/9783110693959-006","url":null,"abstract":"The distressing sight of people jumping or falling out of the World Trade Center has become an integral part of our collective imaginary of 9/11. Photographs capturing their jump and subsequent fall into the abyss have burned into our memories. Although such traumatizing images were quickly taken out of circulation in print media, they have had a long afterlife on the Internet and in the arts. In the realm of literature, a number of texts, especially novels, have addressed 9/11’s falling bodies, or “jumpers,” as they were also called: Art Spiegelman’s In the Shadow of No Towers (2004), Frédéric Beigbeder’s Windows on the World (2004), Jonathan Safran Foer’s Extremely Loud and Incredibly Close (2005), and Don DeLillo’s Falling Man (2007) are perhaps the best-known. Michael Cunningham’s Specimen Days (2005), although rarely discussed as a 9/11 novel, and even less so in relation to the falling bodies, also evokes images of the falling people, albeit differently from these novels. This chapter compares Cunningham’s and DeLillo’s novels on the basis of the techniques they employ to represent images of the 9/11 jumpers. The notion of ekphrasis will serve as a lens through which to compare the two novels. An ancient rhetorical tool for describing visual images through words, ekphrasis has been defined and applied in a variety of ways (Hagstrum 1958; Krieger 1967; Heffernan 1993; Wagner 1996). Most significantly for my purposes in this chapter, W. J. T. Mitchell (1994) distinguishes three moments of ekphrasis: indifference, hope, and fear, each of which describes the writer’s emotional disposition towards the image/text dialectic. After discussing the problematic relationship between image and text in relation to photographs of the jumpers, I use Mitchell’s terminology to look at ekphrasis as a means of verbalizing terrorizing images. Subsequently, I introduce the term “phantomogenic ekphrasis” to examine how Specimen Days and Falling Man approximate images of the 9/11 jumpers.","PeriodicalId":420435,"journal":{"name":"Terrorizing Images","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116739329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Encounters between Trauma and Ekphrasis, Words and Images","authors":"C. Armstrong, Unni Langås","doi":"10.1515/9783110693959-001","DOIUrl":"https://doi.org/10.1515/9783110693959-001","url":null,"abstract":"This book seeks to question a juncture, or crossing, between two different discourses or fields of investigation: trauma and ekphrasis. It responds to the recognition that terrorizing images permeate the public sphere in connection with traumatic experiences and conflicts and emphasizes the ways in which such images are described and interpreted in words. Its main intention is to analyze the incorporation of verbally represented images – mental images, media images, and artistic images – in literary texts and to discuss their form and function. The importance of images in the context of political conflicts has been scrutinized in recent criticism, but scholarly attention to their verbal representations is less widespread. This book argues that an examination of the concept and practice of ekphrasis is crucial to understanding how the images in question work and that a foregrounding of their diverse effects and functions in contemporary literature is vital for illuminating and understanding such images. Contemporary literature is analyzed here in the context of its engagement with visual culture in a broader present-day and historic perspective. The interpretations demonstrate how literature provides a meeting place between trauma and the visual image. Rather than scrutinizing this encounter as though it were exclusively the object of visual or cultural studies, we emphasize the specificity of the literary engagement with visual images. This entails neither jettisoning the traditional concept of ekphrasis, typically defined as encompassing “a verbal representation of a visual representation” (Heffernan 2004: 3), nor uncritically reproducing its traditional function, but rather subjecting it to scrutiny and, where necessary, to displacement. The force of this displacement can in part be observed in how contributors seek new turns of phrase – such as “ekphrastic inversion,” “speculative ekphrasis,” and “phantomogenic ekphrasis” – to describe the ekphrastic dimension of the texts interpreted. As the contributions to this volume will show, a traditional interpretation of ekphrasis as also encompassing a wider field of engagement, including pictorial energeia, also underlines how the concept suffers transformation as it travels into new historical and discursive zones. One might construe ekphrasis as a conceptual dinosaur from an earlier age, when literary analysis had yet to face any real challenge from visual studies or","PeriodicalId":420435,"journal":{"name":"Terrorizing Images","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130073668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Ordinariness of Trauma: Reconstructing Intertextuality as an Aesthetics of Trauma","authors":"Joachim Schiedermair","doi":"10.1515/9783110693959-004","DOIUrl":"https://doi.org/10.1515/9783110693959-004","url":null,"abstract":"In 2012, the Whitney Museum of American Art displayed an exhibition by Canadian artist Mischa Grey under the sober title Grey – A Retrospective. Pictures of the series Vietnamization from 1998 were among the pieces of art on display. The catalogue describes this creative phase of the artist with particular detail, and one sentence of the phraseology used there takes us to the core topic of this anthology: the discursive relation between image, trauma, and literature.1 It reads as follows: “By drawing heavily on image material from the Vietnam War era and recirculating it, Grey has created an art series that symbolizes the loss of contact with the self.”2 Vietnam played the lead role in the fight for medical recognition of traumatic suffering: as is commonly known, the American Psychiatric Association decided to react to the mass traumatization of the Vietnam veterans by adding Post-Traumatic Stress Disorder to their manual of mental disorders in 1980 (Mülder-Bach 2000: 8).3 Considering that 18 years later, Grey compiled a series of images under the title Vietnamization, all of which depict “the loss of contact with the self,” this phrasing presents a suitable description for the paradoxical situation of the traumatized person: the sufferer loses contact with his present life because the past – in the form of mental images within the traumatized memory – forces its way between the self and the present. The point of Grey’s art is that she de-","PeriodicalId":420435,"journal":{"name":"Terrorizing Images","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130968187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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