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In case studies that examine wrenching historical and contemporary
crises across five continents, cultural sociologists analyze the
contingencies of trauma construction and their fateful social
impact. How do some events get coded as traumatic and others which
seem equally painful and dramatic not? Why do culpable groups often
escape being categorized as perpetrators? Why are some horrendously
injured parties not seen as victims? Why do some trauma
constructions lead to moral restitution and justice, while others
narrow solidarity and trigger future violence? Expanding the
pioneering cultural approach to trauma, contributors from around
the world provide answers to these important questions. Because
Mao's trauma narrative gave victim status only to workers, the
postwar revolutionary government provided no cultural and emotional
space for the Chinese people to process their massive casualties in
the war against Japan. Even as the emerging Holocaust narrative
enlarged moral sensibilities on a global scale, the Jewish
experience in Europe exacerbated Israeli antagonism to Arabs and
desensitized them to Palestinian suffering. Because postwar Germans
came to see themselves as perpetrators of the Holocaust, the
massively destructive Allied fire bombings of German cities could
not become a widely experience cultural trauma. Because political
polarization in Columbia blocked the possibilities for common
narration, kidnapping were framed as private misfortunes rather
than public problems. Because Poland's postwar Communist government
controlled framing for the 1940 Katyn Massacre, the mass killing of
Polish military officers was told as an anti-Nazi not an
anti-Soviet story, and neither individual victims nor the Polish
nation could grieve. If Japanese defeat in World War II was framed
as moral collapse, why has the nation's construction of victims,
heroes, and perpetrators remained ambiguous and unresolved? How did
the Kosovo trauma remain central to Serbian history, providing a
powerful rationale for state violence, despite the changing
contours and contingencies of Serbian history?
The South African Truth and Reconciliation Commission (TRC) is a
modern social drama that enabled the nation 's apartheid past to be
constructed as a cultural trauma, and by doing so created a new
collective narrative of diversity and inclusion. The TRC relied
primarily on testimonies from victims and perpetrators of apartheid
violence who came forward to tell their stories in a public forum.
Rather than simply serving as data for setting the historical
record straight, this book shows that it was not only the content
of these testimonies but also how these stories were told and what
values were attached to them that became significant. Goodman
argues that the performative nature of the TRC process effectively
designated the past as profane and simultaneously imagined a sacred
future community based on democratic idealism and universal
solidarity.
The South African Truth and Reconciliation Commission (TRC) is a
modern social drama that enabled the nation 's apartheid past to be
constructed as a cultural trauma, and by doing so created a new
collective narrative of diversity and inclusion. The TRC relied
primarily on testimonies from victims and perpetrators of apartheid
violence who came forward to tell their stories in a public forum.
Rather than simply serving as data for setting the historical
record straight, this book shows that it was not only the content
of these testimonies but also how these stories were told and what
values were attached to them that became significant. Goodman
argues that the performative nature of the TRC process effectively
designated the past as profane and simultaneously imagined a sacred
future community based on democratic idealism and universal
solidarity.
The cultural and performative turns in social theory have enlivened
sociology. For the first time these new developments are fully
integrated into new approaches to the sociology of the arts in this
important new book. Building on the established research into art
worlds, what is interesting for the new sociology of the arts,
understood in the broad sense to include popular culture as well
the classical focus on music, painting, and literature, is the
relationship between art works and meaning, myth, and performance.
Also reflected in these rich essays, which range from Beethoven to
John Lennon to Chinese avant garde artists, is the lived experience
of the artist and its impact on the process of creation and
innovation.
The cultural and performative turns in social theory have enlivened
sociology. For the first time these new developments are fully
integrated into new approaches to the sociology of the arts in this
important new book. Building on the established research into art
worlds, what is interesting for the new sociology of the arts,
understood in the broad sense to include popular culture as well
the classical focus on music, painting, and literature, is the
relationship between art works and meaning, myth, and performance.
Also reflected in these rich essays, which range from Beethoven to
John Lennon to Chinese avant garde artists, is the lived experience
of the artist and its impact on the process of creation and
innovation.
In case studies that examine wrenching historical and contemporary
crises across five continents, cultural sociologists analyze the
contingencies of trauma construction and their fateful social
impact. How do some events get coded as traumatic and others which
seem equally painful and dramatic not? Why do culpable groups often
escape being categorized as perpetrators? Why are some horrendously
injured parties not seen as victims? Why do some trauma
constructions lead to moral restitution and justice, while others
narrow solidarity and trigger future violence? Expanding the
pioneering cultural approach to trauma, contributors from around
the world provide answers to these important questions. Because Mao
s trauma narrative gave victim status only to workers, the postwar
revolutionary government provided no cultural and emotional space
for the Chinese people to process their massive casualties in the
war against Japan. Even as the emerging Holocaust narrative
enlarged moral sensibilities on a global scale, the Jewish
experience in Europe exacerbated Israeli antagonism to Arabs and
desensitized them to Palestinian suffering. Because postwar Germans
came to see themselves as perpetrators of the Holocaust, the
massively destructive Allied fire bombings of German cities could
not become a widely experience cultural trauma. Because political
polarization in Columbia blocked the possibilities for common
narration, kidnapping were framed as private misfortunes rather
than public problems. Because Poland s postwar Communist government
controlled framing for the 1940 Katyn Massacre, the mass killing of
Polish military officers was told as an anti-Nazi not an
anti-Soviet story, and neither individual victims nor the Polish
nation could grieve. If Japanese defeat in World War II was framed
as moral collapse, why has the nation s construction of victims,
heroes, and perpetrators remained ambiguous and unresolved? How did
the Kosovo trauma remain central to Serbian history, providing a
powerful rationale for state violence, despite the changing
contours and contingencies of Serbian history?"
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