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Avant d’être un cinéaste hollywoodien reconnu, Samuel Fuller aiguisa son œil de cameraman en tant que militaire chargé par ses supérieurs de filmer la libération de l’Europe par les troupes américaines en 1945. La découverte de la ville tchécoslovaque de Falkenau et du camp de concentration situé à la périphérie des quartiers d’habitations fut pour lui une expérience traumatique, sur laquelle il est revenu quarante ans plus tard dans le cadre du documentaire Falkenau, vision de l’impossible (1986). Les images filmées en 16 mm qu’il dévoile et qu’il redécouvre lui-même pour la première fois éclairent rétrospectivement le style formel que Fuller a développé dans son œuvre. La confrontation au sein d’un même espace sensible entre le quotidien normalisé de la ville et l’horreur concentrationnaire, que laisse explicitement apparaître son film d’époque, semble s’être répercutée plus tard, dans ses longs métrages, à travers une poétique filmique des enchaînements hétérogènes et contradictoires. En témoigne l’ouverture de Verboten! (1959) dans les ruines d’une ville allemande, premier film dans lequel Fuller se confronte directement à ses souvenirs de vétéran, ceux de la libération de l’Europe et de la découverte des camps. Before becoming a famous Hollywood director, Samuel Fuller honed his visual sensibility as a soldier whose superior officers had entrusted with the task of filming the liberation of Europe by US troops in 1945. The discovery of the Czechoslovakian town of Falkenau and the nearby concentration camp was a traumatic experience for him, which he evoked forty years later in the documentary Falkenau, The Impossible (1986). The 16 mm footage he recorded there illuminates, in hindsight, the visual style Fuller developed in his films. The confrontation within the same sensible space between the normalized mendacity of the city and the horrors of the concentration camp, which the 16 mm footage explicitly reveals, seems to have had repercussions throughout his feature films, notably though a poetics of heterogeneity and contradiction. This is particularly the case in the opening sequence of his WW2 film Verboten! (1959). Set among the ruins of a German city, it is Fuller’s first film dealing with his memories of the war, the liberation and the discovery of the concentration camps.

L’articolo delinea il quadro teorico di riferimento per quanto riguarda il concetto di memoria culturale in generale e di postmemoria in particolare, evidenziando come gli ultimi interventi critici riconducibili al campo dei Memory Studies, soprattutto in ambito statunitense, considerino la memoria culturale un concetto complesso da scandagliare. Tale campo di studi, connesso anche ai Trauma Studies, assegna una certa importanza a quelli che Lucy Bond, Stef Craps e Pieter Vermeulen hanno chiamato «vettori di mobilità», ossia i concetti di transculturalità, transgenerazionalità, transmedialità e transdisciplinarietà. Dopo aver messo in evidenza il profondo legame che intercorre tra memoria, storia e identità nazionale l’articolo esplora le problematiche connesse all’idea di passaggio intergenerazionale della memoria e analizza in particolare il caso di Signora Auschwitz (1999) di Edith Bruck ponendolo a confronto con due opere di Elena Loewenthal: Conta le stelle se puoi (2008) e Contro il giorno della memoria (2014). Si affrontano infine alcune questioni legate al genere letterario, soffermandosi in particolare sui romanzi La ragazza con la Leica di Helena Janeczek (2017) e Le variazioni Reinach di Filippo Tuena (2005, nuova ed. 2015)., Novecento transnazionale. Letterature, arti e culture, Vol. 5 No. 2 (2021): New Studies in Comparative Literature

In the present essay, I will take into account some Italian war films made in the 1950s, such as “Carica eroica” (“Heroic Charge”, 1952, Francesco De Robertis), “I sette dell’Orsa maggiore” (“Hell Raiders of the Deep”, 1953, Duilio Coletti), “Mizar - Sabotaggio in mare” (Mizar, 1954, Francesco De Robertis), “Divisione Folgore” (“Folgore Division“, 1954, Duilio Coletti), “La grande speranza” (“Submarine Attack”, 1954, Duilio Coletti) in order to reflect upon their role in building Italy’s memory of its past as well as the perception of Italian war crimes in public opinion. These productions extend a unifying narrative of the war, consolidating the myth of the “good Italian” (“italiani brava gente”). Through the inclusion of the soldier in collective memory by silencing his role as aggressor, Italian combat films participated and consolidated the process of collective amnesia about the fascist regime and how they influenced the way in which Italian viewers constructed a shared sense of the past., Schermi. Storie e culture del cinema e dei media in Italia, V. 5 N. 9 (2021)

This interview of Tammy Berberi, Associate Professor at the University of Minnesota, discusses the advent and challenges of disability studies in the United States and in Europe. Cet entretien avec Tammy Berberi, Associate Professor à l’Université du Minnesota, aborde l’apparition et les défis posés par les études sur le handicap aux États-Unis et en Europe.

This article presents a non-canonical reading of Miguel de Cervantes Saavedra’s canonical novel Don Quixote. Using a trauma theory lens (from both cultural studies and psychiatry) to understand the pre-Don Quixote character Alonso Quijano, this research first advances several new arguments as to why Quijano appears to have endured a traumatic experience of ageing. Instead of interpreting his obsessive behaviour as madness, it is argued that he engages in a form of both individual and collective therapy consisting of reading to educate himself about emotions; engaging the body in adventures; listening to others’ stories of traumatic suffering; and stimulating “empathic unsettlement” toward others and his previously traumatized self, one of the main critical suggestions advanced. This article takes an original turn in trauma studies too by putting forward that Quijano’s therapy is effective because it addresses the “central dialectic of psychological trauma.” He embarks on an imaginative and collective adventure of self-identity, transforming himself into another who is exempt from the traumatic experience; he knows without knowing and speaks without speaking. His trauma therapy occurs outside the reality of trauma or inside the “unreality” of creative expression, and this is how he endures a traumatic experience of ageing.

One should not underestimate the impact suffering has on a community. Therefore in biblical studies we are aware, more than ever before, of the impact traumatic events had on individuals and groups. Trauma studies have become an important part of the textual analysis as the exegete turns to potential markers of trauma in the literary prophecy of the HB. The aim of this article is, first of all, to give an overview of the development of trauma studies, as well the influence trauma studies had on Biblical Studies. Secondly, this article will reflect on trauma and experiences of trauma – especially collective trauma of a community – as portrayed in the book of Micah. This is illustrated by an analysis of Micah 4:1-5, a pericope that is part of a biblical book that seems to accentuate that restoration and transformation can only take place after judgement.

En este ensayo nos proponemos debatir la relación entre el conflicto árabe-israelí y su representación en el teatro español actual. Para hacerlo analizaremos un corpus dramático relacionado con el tema, basándonos en tres hipótesis de trabajo. La producción teatral así determinada se estudiará a partir de su entramado con el contexto histórico y con el contexto mediático en el que se ha producido; se prestará particular atención a los modos de representación de los eventos traumáticos y su relación con la recuperación de la memoria histórica. The aim of this essay is to debate the relationship between the Israeli–Palestinian conflict and its representation in contemporary Spanishtheatre. In order to do so, three working hypothesis will be formulatedto examine the plays, that will be studied in connection with itshistorical context and the media environment; a special attention willbe payed to the modes of the representation of traumatic events andits relationship with the politics of memory.

War was pervasive in the 20th century, and the 21st century seems to hold little promise of improvement. War is still one of the world’s most destructive forces, which on a daily basis touches the lives of millions of people. To increase the understanding of the pervasiveness and destructiveness of the institution of war, all possible frameworks of knowledge must be mobilized. Cultural War Studies has an important role to play in adding to this knowledge, by putting the critical vocabulary of Cultural Studies to good use in analyzing the constructions that push us towards a glorified killing of fellow human beings and then try to make us forget the intensity and durability of the trauma. The first part of this book focuses on the diversity of the media that generate meanings and definitions of past and contemporary wars. These chapters are not restricted to the more traditional analyses of media content, but utilize these media products to reflect on contemporary cultural condition(s) in the USA and Europe. The second part of the book moves (at least partially) away from media representations and focuses on torture and incarceration. Although in this part, the materiality of war and conflict is very present, these analyses again show the importance of the constructions of enemy identities and of (the acceptability of) violent practices.The third and final part of the book is related to memory and trauma. A series of 20th century conflicts and wars are revisited to demonstrate the cultural durability of war and the interconnection of these wars with present-day discourses and practices through the dialectics of remembering, commemorating and forgetting.

The use of analepsis in representations of traumatic experience is not a new phenomenon in traumatic art in general or comics in particular. However, in GB Tran’s family narrative of the Vietnam War, Vietnamerica (2011), this trope is used in a particular fashion. While discussing his father’s imprisonment at the hands of the Vietnamese Government, Tran uses heavy black art before ‘flashing back’ into his father’s past, all of which is drawn in a style highly reminiscent of Ligne Claire . The high contrast of Tran’s two artistic styles is especially interesting when we consider that he is trying to recreate a traumatic experience told in analepsis and also when we remember the French occupation of Vietnam and, invariably, the influence of French art on Tran’s father. Why does Tran use this iconic style for the flashback? How does this shift in style affect the narrative? How does it assist in the representation of the traumatic experience within the text?

In this article I analyse the evolution of Ramsey Nasr (Rotterdam 1974) from neo-romantic to committed “political” poet. I particularly focus on the way he positioned himself, poetically and mediatically, during the years 2009-2013 – a period of economic crisis and social and political unrest – in his capacity of Poet Laureate of The Netherlands, a highly symbolic function. Supposed to represent the “nation”, in public lectures/performances he fully engaged in the polarised debate around the boundaries of historical and contemporary Dutchness. Being self half-allochtonous (Dutch-Palestinian) with a transcultural background, in his poetry he performed a multiple, plural, instable personal and collective identity, questioning any essentialistic and seemingly stable definition of the Dutch cultural identity, as of any other identity construction: the Christian, the Calvinist, the European etc. Nasr did not hesitate to provoke the political establishment, by topicalizing and investigating traumas in Dutch history and in contemporary society (Holocaust, multiculturalism and integration of Muslim migrants, Israeli-Palestinian conflict etc). Instead of erasing these traumas from collective memory, or turning them into museum-pieces, he stated the necessity for everyone to meditate on them in new, daring, hybridized forms., LEA - Lingue e Letterature d'Oriente e d'Occidente, Vol 2 (2013)