This book provides a comprehensive analysis of major works in Japanese literature and film through the interpretive lens of trauma and PTSD studies. Focusing critical attention on the psychodynamics and enduring psychosocial aftereffects of social trauma, it also evaluates the themes of dissociation, failed mourning, and psychological defence fantasies. Building on earlier studies, this book emphasizes the role of protagonists in managing to effect partial recovery by composing memoirs in which they transform dissociated traumatic memory into articulate, narrative memory or bring about advanced recovery by pioneering alternative means of orally communicating, working through, and overcoming debilitating personal histories of traumatization and victimization. In so doing, Stahl also demonstrates that what holds true on the individual and microcosmic level, also does so on the collective and macrocosmic level. This new critical approach sheds important new light on canonical Japanese novels and films and enables recognition and appreciation of integral psychosocial aspects of these traumatic narratives. As such, the book will be of huge interest to students and scholars of Japanese film and literature, as well as those of trauma studies.

Japanese literature and film have frequently been approached using lenses such as language, genre and ideology. Yet, despite a succession of major social traumas that have marked, and in many ways shaped and defined much of modern Japan, Japanese fiction and cinema have not often been examined psychoanalytically. In this book, David Stahl conducts in-depth readings and interpretations of a set of Japanese novels and film. By introducing the methodology of trauma/PTSD studies, Stahl seeks to provide a better understanding of the insights of Japanese writers and directors into their societies, cultures and histories. In particular, by building on the work of practitioner-theoreticians, such as Pierre Janet and Judith Herman, Stahl analyses a number of key texts, including Kawabata Yasunari's Sleeping Beauties (1961), Enchi Fumiko's Female Masks (1958) and Imamura Sho- hei's Vengeance is Mine (1979). Consequently, through using concepts of social trauma, dissociation, failed mourning, revenge and narrative memory, this book sheds new light on the psychological aftereffects and transgenerational legacies of trauma depicted in Japanese works. Trauma, Dissociation and Re-enactment in Japanese Literature and Film will be of interest to students and scholars of Japanese Literature and Cinema, as well as those interested in Japanese History and Trauma Studies.

Japanese literature and film have frequently been approached using lenses such as language, genre and ideology. Yet, despite a succession of major social traumas that have marked, and in many ways shaped and defined much of modern Japan, Japanese fiction and cinema have not often been examined psychoanalytically. In this book, David Stahl conducts in-depth readings and interpretations of a set of Japanese novels and film. By introducing the methodology of trauma/PTSD studies, Stahl seeks to provide a better understanding of the insights of Japanese writers and directors into their societies, cultures and histories. In particular, by building on the work of practitioner-theoreticians, such as Pierre Janet and Judith Herman, Stahl analyses a number of key texts, including Kawabata Yasunari's Sleeping Beauties (1961), Enchi Fumiko's Female Masks (1958) and Imamura Sho- hei's Vengeance is Mine (1979). Consequently, through using concepts of social trauma, dissociation, failed mourning, revenge and narrative memory, this book sheds new light on the psychological aftereffects and transgenerational legacies of trauma depicted in Japanese works. Trauma, Dissociation and Re-enactment in Japanese Literature and Film will be of interest to students and scholars of Japanese Literature and Cinema, as well as those interested in Japanese History and Trauma Studies.

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This book provides a comprehensive analysis of major works in Japanese literature and film through the interpretive lens of trauma and PTSD studies. Focusing critical attention on the psychodynamics and enduring psychosocial aftereffects of social trauma, it also evaluates the themes of dissociation, failed mourning, and psychological defence fantasies. Building on earlier studies, this book emphasizes the role of protagonists in managing to effect partial recovery by composing memoirs in which they transform dissociated traumatic memory into articulate, narrative memory or bring about advanced recovery by pioneering alternative means of orally communicating, working through, and overcoming debilitating personal histories of traumatization and victimization. In so doing, Stahl also demonstrates that what holds true on the individual and microcosmic level, also does so on the collective and macrocosmic level. This new critical approach sheds important new light on canonical Japanese novels and films and enables recognition and appreciation of integral psychosocial aspects of these traumatic narratives. As such, the book will be of huge interest to students and scholars of Japanese film and literature, as well as those of trauma studies.

When I think of the depth of this book my teacher and mentor Charles Haun comes to mind. As we would move from duty station to duty station, Charles would find time to stop and spend time with us. When he would open up the word of God at our family devotions or at the church we were attending, "Did not our heart burn within us . . " (Luke 24:32). I will never forget our last conversation. I could hear his failing health in his voice. So I asked if he had any words of wisdom for me. He kind of paused and said, "Just give them Jesus and your will do fine." And then he said, "Just go along for the ride, I love you" then hung up. Well now, I thought I understood his words that day, but 12 years later I am just now coming to realize the impact of his word in my life and ministry. You know we can work and do all for God and never know Him. How could this be? In God is not what we have done that counts, but how we do things. What is our intentions and motives? When we allow God to work this process of the word in us, whereby we come to know Him, we also come to the realization our good works cannot save us. It is these "Thoughts (along the process mentioned in this book) for Consideration" we get to come to know God. It is these "thoughts" that is the heart and life of God to us and the world. Take heart and take heed the road is long, not for the faint, courage is required and most of all obedience and integrity will be the measure of success or failure.

Throughout history miracles have had a dramatic and significant impact on the affairs of "man" (mankind, both man and woman). Man longs for God's supernatural intervention in their lives. This touch of God is a part of God's Spirit that He personally deposits deep within man's soul. A loving call, an insatiable desire and hunger of the redeemed out from His heart to man's heart, "deep calleth unto deep." And God expects us to answer His call. It is a call unto repentance, restoration, and salvation. It is a call unto life, the life that is contained in the very heart and life of God. It is a call to know Him and His ways. Just the touch of His closeness sustains the hope and assurance that a loving God is personally involved with our daily human concerns. A God of power and authority is ever standing at the gates of our heart and soul knocking, ever ready to touch our human failures and heal our lack with His plenty. Praise God, for His love is ever overshadowing and uplifting our souls. The God of the harvest, from His store houses, stands at the ready to forgive us of our iniquity (translated from the Greek as lawlessness) and develop us so that we may be delivered from all unrighteous and disease. "Who forgives all your iniquities (lawlessness), Who heals all your diseases." (Palms 103: 3)