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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.
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