Madness decolonized?: Madness as transnational identity in Gail Hornstein’s Agnes’s Jacket

The US psychologist Gail Hornstein’s monograph Agnes’s Jacket: A Psychologist’s Search for the Meanings of Madness (2009) is an important intervention in the identity politics of the mad movement. Hornstein offers a resignified vision of mad identity that embroiders the central trope of an “anti-colonial” struggle to reclaim the experiential world “colonized” by psychiatry. A series of literal and figurative appeals make recourse to the inner world and (corresponding) cultural world of the mad, as well as to the ethno-symbolic cultural materials of dormant nationhood. This rhetoric is augmented by a model in which the mad comprise a diaspora without an origin, coalescing into a single transnational community. The mad are also depicted as persons displaced from their metaphorical homeland, the “inner” world “colonized” by the psychiatric regime. There are a number of difficulties with Hornstein’s rhetoric, however. Her “ethnicity-and-rights” response to the oppression of the mad is symptomatic of Western parochialism, while her proposed transmutation of putative psychopathology from limit upon identity to parameter of successful identity is open to contestation. Moreover, unless one accepts Hornstein’s porous vision of mad identity, her self-ascribed insider status in relation to the mad community may present a problematic “re-colonization” of mad experience

Behind the stiff upper lip: war narratives of older men with dementia.

The concept of the stiff upper lip stands as a cultural metaphor for the repression and figurative ¿biting back¿ of traumatic experience, particularly in military contexts. For men born in the first half of the 20th century, maintaining a stiff upper lip involved the ability to exert high levels of cognitive control over the subjective, visceral and emotional domains of experience. In the most common forms of dementia, which affect at least one in five men now in their 80s and 90s, this cognitive control is increasingly lost. One result is that, with the onset of dementia, men who have in the intervening years maintained a relative silence about their wartime experiences begin to disclose detailed memories of such events, in some cases for the first time. This article draws on narrative biographical data from three men with late-onset dementia who make extensive reference to their experience of war. The narratives of Sid, Leonard and Nelson are used to explore aspects of collective memory of the two World Wars, and the socially constructed masculinities imposed on men who grew up and came of age during those decades. The findings show that in spite of their difficulties with short term memory, people with dementia can contribute rich data to cultural studies research. Some aspects of the narratives discussed here may also be considered to work along the line of the counter-hegemonic, offering insights into lived experiences of war that have been elided in popular culture in the post-War years

Cultural trauma, counter-narratives, and dialogical intellectuals: the works of Murakami Haruki and Mori Tatsuya in the context of the Aum affair

In this article, we offer a new conceptualization of intellectuals as carriers of cultural trauma through a case study of the Aum Affair, a series of crimes and terrorist attacks committed by the Japanese new religious movement Aum Shinrikyō. In understanding the performative roles intellectuals play in trauma construction, we offer a new dichotomy between “authoritative intellectuals,” who draw on their privileged parcours and status to impose a distinct trauma narrative, and “dialogical intellectuals,” who engage with local actors dialogically to produce polyphonic and open-ended trauma narratives. We identify three dimensions of dialogical intellectual action: firstly, the intellectuals may be involved in dialogue with local participants; secondly, the intellectual products themselves may be dialogical in content; and thirdly, there might be a concerted effort on the part of the intellectuals to record and to disseminate dialogue between local participants. In the context of the Aum Affair, we analyze the works of Murakami Haruki and Mori Tatsuya as dialogical intellectuals while they sought, with the help of local actors’ experiences, to challenge and to alter the orthodox trauma narrative of Aum Shinrikyō as exclusively a social evil external to Japanese society and an enemy to be excluded from it. Towards the end of the article, we discuss the broader significance of this case study and suggest that in light of recent societal and technological developments, the role and scope of dialogical intellectuals as carriers of trauma are changing and possibly expanding

Psychoanalytic sociology and the traumas of history: Alexander Mitscherlich between the disciplines

This article examines the way aspects of recent history were excluded in key studies emerging from psychoanalytic social psychology of the mid-twentieth century. It draws on work by Erikson, Marcuse and Fromm, but focuses in particular on Alexander Mitscherlich. Mitscherlich, a social psychologist associated with the later Frankfurt school, was also the most important psychoanalytic figure in postwar Germany. This makes his work significant for tracing ways in which historical experience of the war and Nazism was filtered out of psychosocial narratives in this period, in favour of more structural analyses of the dynamics of social authority. Mitscherlich?s 1967 work The Inability to Mourn, co-authored with Margarete Mitscherlich, is often cited as the point at which the ?missing? historical experience flooded back into psychoanalytic accounts of society. I argue that this landmark publication doesn?t hail the shift towards the psychoanalysis of historical experience with which it is often associated. These more sociological writers of the mid-century were writing before the impact of several trends occurring in the 1980s-90s which decisively shifted psychoanalytic attention away from the investigation of social authority and towards a focus on historical trauma. Ultimately this is also a narrative about the transformations which occur when psychoanalysis moves across disciplines

Domesticating Fears and Fantasies of ‘the East’: integrating the Ottoman legacy within European heritage

'Europe' has no fixed geographical, historical, religious or cultural boundaries. Claims for the existence of European civilization as a discrete construct are continually made yet dissolve on close scrutiny. Here, we examine these claims at one of the grandest points of existential crisis and belonging for Europe, the relationship with the 'Other within': Turkey, the Balkans and Ottoman heritage in Europe. Through a hybrid semiotic and Foucauldian analysis of catalogues of eight high-profile exhibitions in the United Kingdom, Turkey, Belgium and Portugal we argue that an unsettled discursive struggle is at play, in which one 'Europe' articulates 'reconciliation' of profound civilizational difference while another, Ottoman, 'Europe' stakes a claim of right as an intrinsic component of what it means to be European in a contemporary context. We attempt to trace the role of museum marketing in the perennial accommodation/exclusion of the Ottoman Empire as an intrinsic component in the diversity of Europe’s cultural heritage

Exploring perceptions of advertising ethics: an informant-derived approach

Whilst considerable research exists on determining consumer responses to pre-determined statements within numerous ad ethics contexts, our understanding of consumer thoughts regarding ad ethics in general remains lacking. The purpose of our study therefore is to provide a first illustration of an emic and informant-based derivation of perceived ad ethics. The authors use multi-dimensional scaling as an approach enabling the emic, or locally derived deconstruction of perceived ad ethics. Given recent calls to develop our understanding of ad ethics in different cultural contexts, and in particular within the Middle East and North Africa (MENA) region, we use Lebanon—the most ethically charged advertising environment within MENA—as an illustrative context for our study. Results confirm the multi-faceted and pluralistic nature of ad ethics as comprising a number of dimensional themes already salient in the existing literature but in addition, we also find evidence for a bipolar relationship between individual themes. The specific pattern of inductively derived relationships is culturally bound. Implications of the findings are discussed, followed by limitations of the study and recommendations for further research

Hierarchies of Pain

Trauma has become a pervasive cultural model for representing individual and collective injuries and suffering. This process has produced what may be called a trauma aesthetic, a set of recognizable tropes in widespread use in trauma narratives. This chapter examines the adoption of this aesthetic in graphic narratives, focusing on the special capacities of the form. Familiar tropes, such as dissociation and the somatic trace, are presented in complex combinations of visual and textual components, often exploiting the differential appearance of text and image to introduce a dynamic of belatedness or disarticulation. This chapter analyses five works ordered according to their diminishing reliance on ‘trauma’. The trauma aesthetic is used, though not explicitly, in Catherine Meurisse’s La Légèreté (2016) about the Charlie Hebdo attack, Jean-Philip Stassen’s Déogratias (2000/2006) about the genocide in Rwanda, and Emmanuel Lepage’s Un printemps à Tchernobyl (2012) about the aftermath of the Chernobyl nuclear disaster. By contrast, it is absent from Mazen Kerbaj’s Beirut Won’t Cry (2007/2017) about the Israel-Hezbollah conflict and Josh Neufeld’s A.D. about Hurricane Katrina (2009). These works’ reliance on formalized and sanctioned trauma tropes not only is influenced by narrative characteristics, such as temporal distance from the event or the presence of a single narrator-protagonist but may also be motivated by the prestige conferred by trauma as recognized suffering, affecting the canonization and translatability of the graphic narratives in question

Signifying Trauma in the Post-9/11 Combat Film: The Hurt Locker and In the Valley of Elah

This is an accepted manuscript of an article published by Taylor and Francis in Journal of War and Culture Studies on 13/05/2019, available online: https://www.tandfonline.com/doi/full/10.1080/17526272.2019.1615706 The accepted version of the publication may differ from the final published version.This article addresses two Iraq War films, The Hurt Locker (Bigelow 2008) and In the Valley of Elah (Haggis 2007), through the lens of trauma theory. Uniquely, it engages with Slavoj Žižek’s account of the Real in its analysis of how victim/perpetrator trauma is signified in their respective narrative structures and visual style. The primary argument is that the pattern of traumatic memory is reflected in their narrative modes. At the same time, it claims that the unfolding narrative of In the Valley of Elah mimics certain forms of trauma treatment, operating in a therapeutic mode for its characters (as well as offering narrative resolution for spectators). Such analysis of trauma differs from other scholarly approaches to these films that have variously considered them from perspectives of: embodiment in the war film (Burgoyne 2012); the ethics of viewing traumatic suffering (Straw 2011); the de-politicisation of torture by the inclusion of posttraumatic stress disorder (PTSD) (Barker 2011); indifference to post-9/11 war films as an inability to respond to the trauma and loss that terrorism poses (Toffoletti and Grace 2010); trauma and the militarised body (Andreescu 2016); and the narration of trauma in Iraq War Films (Kopka 2018)

Beyond trauma? memories of Joi/y and memory play in Blade Runner 2049

Cultural memory studies finds itself at an impasse: whereas ‘cultural memory’ is conceptualized as mediated, dynamic, imaginative and shaped by the present, the dominant paradigm of ‘trauma’ illuminates the hold the past has on us, casting the shadow of a melancholic subjectivity that threatens to obscure our agency as (political) subjects. This article asks what lies in store for memory studies beyond the focus on (classic) trauma (theory). Using the movie Blade Runner 2049 (US 2017; dir: Denis Villeneuve) as an illustrative example, it explores how creative and joyful forms of meaning-making through play and acts of memory inform each other in what the psychoanalyst DW Winnicott described as ‘cultural experience’