Traumatic Experience And Repressed Memory In Magical Realist Novels

This book explores the close association between the literary representation of historical trauma and the alternative narrative form of magical realism, underscoring the role of memory, empathy and imagination. It discusses the potential of magical realism to give a literary representation to individual and collective trauma arising from the Holocaust, slavery, and apartheid, and to turn those unspoken memories into narratives. It also analyses the role of magical realism in depicting trauma suffered by female victims during and following those events. Again, by dealing with the above-mentioned events, their specific historical context and universal meaning for humankind, this book highlights a universal experience of trauma.

The Palgrave Handbook of Magical Realism in the Twenty-First Century examines magical realism in literatures from around the globe. Featuring twenty-seven essays written by leading scholars, this anthology argues that literary expressions of magical realism proliferate globally in the twenty-first century due to travel and migrations, the shrinking of time and space, and the growing encroachment of human life on nature. In this global context, magical realism addresses twenty-first-century politics, aesthetics, identity, and social/national formations where contact between and within cultures has exponentially increased, altering how communities and nations imagine themselves. This text assembles a group of critics throughout the world—the Americas, Europe, Africa, Asia, the Middle East, and Australia—who employ multiple theoretical approaches to examine the different ways magical realism in literature has transitioned to a global practice; thus, signaling a new stage in the history and development of the genre.

By dealing with various traumatic events, this volume shows the impact of trauma on the victims' memory and identity on both individual and collective levels. Bringing together scholars from varying social, cultural, ethnic and political backgrounds, it foregrounds the suffering of the marginalised, thus giving them a narrative, a voice. The book shows the way in which the victims of trauma confront the past, instead of running away from it, share their stories with others, and thus (re)assert their shattered identity. It also highlights the way in which (trauma) narratives can enable the traumatised to challenge official history and to come up with an alternative version of it. Put another way, trauma narratives provide the victims and survivors the opportunity to reimagine, to reinvent and to rewrite the past in order to secure a peaceful future, and help them find a place in history.

By employing the lens of the most recent critical studies on intermediality, the author analyses the interaction between literature and photography in three contemporary hybrid novels ( Miss Peregrine's Home for Peculiar Children by Ransom Riggs, 2011, Extremely Loud and Incredibly Close by Jonathan Safran Foer, 2005, and The Dark Room by Rachel Seiffert, 2001) sharing the narration of traumatic historical events. The intermedial dimension realised by the confluence of the two media devices offers new ways to create meaning and to reflect upon the nature of collective and individual trauma, by re-enacting the distortion and the inaccessibility to the memories of those experiences. In this context, the reader emerges as an active participant in the process of fiction-making, as the act of reading becomes a renewed act of witnessing.

Seminar paper from the year 2013 in the subject American Studies - Literature, grade: 1,7, , language: English, abstract: This term paper is concerned with the topic of trauma reflected in Toni Morrison’s novel "Beloved", published in 1987. The aim of the term paper is to exemplify the widespread topics of trauma and memory and to analyse in how far Morrison manages to illustrate them in "Beloved". Besides, I will concentrate on Morrison’s strategies to integrate the themes of trauma and memory into the novel and to illustrate these subjects to the reader. The first part of the term paper will be concerned with a general overview of the issue of trauma. More precisely, I will define trauma and analyse in how far it is related to the idea of memory. The themes of memory and trauma are wide-spread so that I will concentrate on the most important characteristics which can be linked to the novel. In the second part of the term paper I am going to figure out in which ways the topic of trauma is symbolised in Beloved. In this context, my focus is on the use of the colour red as a symbol and metaphor. The next step will be to handle the repression of memory. At this point, I will briefly mention Sethe’s strategies of repressing memory. After that, I am going to concentrate on the return of the repressed memory. In doing so, I will refer to the memories of Sweet Home, the place Sethe lived as a slave, and to the memories of the Infanticide. For the most part, these memories belong to Sethe but I will also refer to other main characters of the novel which are important in this context. When referring to the memories of Sweet Home, Paul D plays an important role as Sethe’s interaction partner whereas the role of the ghost and afterwards girl named "Beloved" is significant by regarding the memories of the Infanticide.

This work examines novels from Caribbean, North American, and European literatures of the second half of the twentieth century, both Anglophone and in translation, with focus on the chronotopes of slavery, colonialism, the Holocaust, and war. Historical traumata have found their reconstruction in literary works written by either traumatized or vicariously traumatized authors, such as Jean Rhys, Alejo Carpentier, Maryse Conde??, Salman Rushdie, Gabriel Garci??a Ma??rquez, Bernard Malamud, Joseph Skibell, Gu??nter Grass, and Tim O'Brien. The traumatic imagination accounts for the relative prevalence of magical realist writing in postmodernist fiction. As a singular phenomenon of postmodern aporia, magical realist texts write the silence imposed by trauma, and convert it into history.--publisher.

BOOKER PRIZE WINNER • NATIONAL BESTSELLER • A novel that follows a middle-aged man as he contends with a past he never much thought about—until his closest childhood friends return with a vengeance: one of them from the grave, another maddeningly present. A novel so compelling that it begs to be read in a single setting, The Sense of an Ending has the psychological and emotional depth and sophistication of Henry James at his best, and is a stunning achievement in Julian Barnes's oeuvre. Tony Webster thought he left his past behind as he built a life for himself, and his career has provided him with a secure retirement and an amicable relationship with his ex-wife and daughter, who now has a family of her own. But when he is presented with a mysterious legacy, he is forced to revise his estimation of his own nature and place in the world.

Uncertain Mirrors realigns magical realism within a changing critical landscape, from Aristotelian mimesis to Adorno's concept of negative dialectics. In between, the volume traverses a vast theoretical arena, from postmodernism and postcolonialism to Lévinasian philosophy and eco-criticism. The volume opens and closes with dialectical instability, as it recasts the mutability of the term "mimesis" as both a "world-reflecting" and a "world-creating" mechanism. Magical realism, the authors contend, offers another stance of the possible; it also situates the reader at a hybrid aesthetic matrix inextricably linked to postcolonial theory, postmodernism, Bakhtinian theory, and quantum physics. As Uncertain Mirrors explores, magical realist texts partake of modernist exhaustion as much as of postmodernist replenishment, yet they stem from a different "location of culture" and "direction of culture;" they offer complex aesthetic artifacts that, in their recreation of alternative geographic and semiotic spaces, dislocate hegemonic texts and ideologies. Their unrealistic excess effects a breach in the totalized unity represented by 19th century realism, and plays the dissonant chord of the particular and the non-identical.