Trauma is a universal human experience. While each person responds differently to trauma, its presence in our lives nonetheless marks a continual thread through human history and prehistory. In Critical Trauma Studies, a diverse group of writers, activists, and scholars of sociology, anthropology, literature, and cultural studies reflects on the study of trauma and how multidisciplinary approaches lend richness and a sense of deeper understanding to this burgeoning field of inquiry. The original essays within this collection cover topics such as female suicide bombers from the Chechen Republic, singing prisoners in Iranian prison camps, sexual assault and survivor advocacy, and families facing the devastation of Hurricane Katrina. As it proceeds, Critical Trauma Studies never loses sight of the way those who study trauma as an academic field, and those who experience, narrate, and remediate trauma as a personal and embodied event, inform one another. Theoretically adventurous and deeply particular, this book aims to advance trauma studies as a discipline that transcends intellectual boundaries, to be mapped but also to be unmoored from conceptual and practical imperatives. Remaining embedded in lived experiences and material realities, Critical Trauma Studies frames the field as both richly unbounded and yet clearly defined, historical, and evidence-based.

This book focuses on the way literary texts articulate embedded cultural assumptions about monetary value and reflect the logic of certain economic practices. In its simplest formulation, Underwriting is an investigation of the cultural history of insurance in early America. It seeks a large part of that cultural history in the lives and works of five American authors of the eighteenth and nineteenth centuries: Benjamin Franklin, Phillis Wheatley, Noah Webster, Herman Melville, and Ralph Waldo Emerson. It hinges on an odd-sounding assumption: that insurance, as a textual procedure requiring signatures to conserve property, is a writing business, theoretically and practically. Insurance articulates a nexus (in the form of contractual and monetary obligations) between property and text, attempting to mark and reconcile with its voracious application of assurances these two cornerstones of capitalist logic. The plot of Underwriting that Wertheimer pursues is then manifold: a meditation on theories of writing; a cultural and social history of the practices that make mutually defining modes of loss and reparation profitable and pleasurable; and a reading of certain literary texts that might lead us to new understandings of the relationship between artistic and commercial discourses in America.

Trauma is a universal human experience. While each person responds differently to trauma, its presence in our lives nonetheless marks a continual thread through human history and prehistory. In Critical Trauma Studies, a diverse group of writers, activists, and scholars of sociology, anthropology, literature, and cultural studies reflects on the study of trauma and how multidisciplinary approaches lend richness and a sense of deeper understanding to this burgeoning field of inquiry. The original essays within this collection cover topics such as female suicide bombers from the Chechen Republic, singing prisoners in Iranian prison camps, sexual assault and survivor advocacy, and families facing the devastation of Hurricane Katrina. As it proceeds, Critical Trauma Studies never loses sight of the way those who study trauma as an academic field, and those who experience, narrate, and remediate trauma as a personal and embodied event, inform one another. Theoretically adventurous and deeply particular, this book aims to advance trauma studies as a discipline that transcends intellectual boundaries, to be mapped but also to be unmoored from conceptual and practical imperatives. Remaining embedded in lived experiences and material realities, Critical Trauma Studies frames the field as both richly unbounded and yet clearly defined, historical, and evidence-based.

Imagined Empires, first published in 1999, demonstrates that early American culture, and in particular literature, took great interest in South American civilisations, especially the Incas and Aztecs, and in so doing made a statement about the role of the United States as an empire in the emerging political order of New World colonies and states. By examining the work of Philip Freneau, Joel Barlow, William Prescott, Herman Melville, and Walt Whitman, the long-contested concept of 'indigenous origins' is given expanded meaning beyond traditional critiques of American culture. Eric Wertheimer recovers the Incas and Aztecs in Anglo-American literature, and thus sheds new light on national sovereignty, identity and the development of an American history narrative.

Imagined Empires demonstrates that early American culture took great interest in South American civilizations, especially the Incas and Aztecs, and in so doing made a statement about the role of the United States as an empire in the emerging political order of New World colonies and states. By examining the work of Philip Freneau, Joel Barlow, William Prescott, Herman Melville, and Walt Whitman, the long-contested concept of "indigenous origins" is given expanded meaning beyond traditional critiques of American culture.