Tatjana Pavlov-West

Images of the Wounded Mouth

Dissonant Approaches to Trauma in Literary, Visual and Performance Cultures
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Images of ‘wounded mouths’ occur frequently in literary and visual artworks artefacts from both the Global South and the Global North and often imply some form of language loss in relation to trauma. There is, however, a decisive difference between language loss as a symptomatic reaction towards a single traumatic event as explained by Western trauma theorists, and language loss as part of an insidious trauma, caused and perpetuated by continuing forms of structural discrimination. This study contrasts literary and visual images from the Global South to the Global North so as to understand strategies of trauma confrontation within the ambit of what it terms Global South trauma theory.
Hardcover
Images of ‘wounded mouths’ occur frequently in literary and visual artworks artefacts from both the Global South and the Global North and often imply some form of language loss in relation to trauma. There is, however, a decisive difference between language loss as a symptomatic reaction towards a single traumatic event as explained by Western trauma theorists, and language loss as part of an insidious trauma, caused and perpetuated by continuing forms of structural discrimination. This study contrasts literary and visual images from the Global South to the Global North so as to understand strategies of trauma confrontation within the ambit of what it terms Global South trauma theory.

Inhalt:
INTRODUCTION: Images of the Wounded Mouth

1) Concept and Purpose
2) The loss of language and the absence of speech: Western vs. Global South Trauma
Theory?
3) Outline of chapters

PART I: TONGUE-TIED

TONGUE-TIED: INTRODUCTION
a) Methodology
b) Structure

CHAPTER ONE: Vitiated Voices in Gail Jones’s Sorry 38
a) Western Trauma
b) Insidious trauma
c) Affective Ties

CHAPTER TWO: Audible Crying in Philip Miller’s REwind
a) Western Trauma Theory
b) Insidious Trauma
c) Affective Ties/Cries

CHAPTER THREE: Silent Weeping in Berni Searle’s Mute
a) Western Trauma
b) Insidious Trauma
c) Affective Ties

TONGUE-TIED CONCLUSION: Ingrid De Kok’s A Room Full of Questions

PART II: MUTED MOUTHS

MUTED MOUTHS: INTRODUCTION
a) Methodology
b) Structure

CHAPTER FOUR: Muzzled Mouths

EXAMPLE 1: Brett Bailey’s “Still-life with Negro” and the victimization of the ‘Other’
a) Aestheticized Horror
b) The Returned Gaze
c) Framing the Victim

EXAMPLE 2: Marissa Lôbo’s Iron Mask, White Torture – A History of Black Women’s Empowerment
a) Anastácia’s Defiant Blue-eyed Gaze
b) Taking off the Muzzle
c) The Female Black Panther
d) The Performance – Speech as Resistance
e) Conclusion: An Entangled History of Black Female Empowerment

CHAPTER FIVE: Sealed Lips

EXAMPLE 1: Brett Bailey’s “Survival of the Fittest” – The Migrant as Contemporary Homo Sacer
a) Ethnography
b) Social Darwinism
c) Contemporary Migration Policies

EXAMPLE 2: Lip Sewing as Resistance Speech – Mehmet Al Assad’s “Asylum” in Dialogue with Mike Parr’s Close the Concentration Camps
a) The Refugee Camp as a Zone of Indistinction
b) Homo Sacer as a Threat
c) Denial of a Shared Humanity

CHAPTER SIX: Suffocating Silence 1

EXAMPLE 1: Waterboarding and the Perpetuation of Victimization
a) Waterboarding as and in a State of Exception: The South African TRC and the Jeffrey Benzien Amnesty Hearing
b) The Ticking Bomb Threat and the Global War on Terror
c) The Loss of Humanity: Re-present-ations of Waterboarding

EXAMPLE 2: An Exception to the Exception – Empowering Protest
a) Questioning the State of Exception: Yazir Henry
b) World Can’t Wait: Turning the Threat Inside Out
c) Ingrid De Kok’s “What kind of man?” and the Loss of Humanity

MUTED MOUTHS: CONCLUSION
CONCLUSION: The Cut-Off Tongue

APPENDIX
1) “Tongue-Tied” by Ingrid de Kok from Terrestial Things (2002)
2) “The Archbishop chairs the first session” by Ingrid de Kok from Terrestial Things (2002)
3) “The transcriber speaks” by Ingrid de Kok from Terrestial Things (2002)
4) “Sorry Song” (1998; 2007) by Kerry Fletcher
5) South Africa’s national anthem “Nkosi sikelel' iAfrika” (1997)
6) “Beasts of No Nation” (1989) by Fela Kuti
7) “On My Way Out I Passed Over You and the Verrazano Bridge” (1986) by Audre Lorde

BIBLIOGRAPHY


Autoreninformation:
Tatjana Pavlov-West ist Research Associate der Universität von Pretoria in Südafrika, Dozentin für englischsprachige Literatur- und Kulturwissenschaften, Visual Cultural Studies sowie Lehrkraft für Englisch und Französisch an einer Waldorfschule.
Mehr Informationen
ISBN 978-3-8233-8412-0
EAN 9783823384120
Seiten 250
Format gebunden
Höhe 220
Breite 150
Ausgabename 18412
Verlag Gunter Narr Verlag
Autor Tatjana Pavlov-West
Erscheinungsdatum 23.11.2020
Lieferzeit 1-3 Tage
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