By Marie-Luise Kohlke, Christian Gutleben
This assortment constitutes the 1st quantity in Rodopi's Neo-Victorian sequence, which explores the accepted, yet usually troublesome, re-vision of the lengthy 19th century in modern tradition. here's awarded for the 1st time a longer research of the conjunction of neo-Victorian fiction and trauma discourse, highlighting the numerous interventions in collective reminiscence staged by means of the belated aesthetic working-through of ancient catastrophes, in addition to their lines within the current. The neo-Victorian's privileging of marginalised voices and its contestation of masternarratives of old development build a patchwork of competing yet both valid types of the prior, highlighting on-going crises of existential extremity, fact and which means, nationhood and subjectivity. This quantity should be of curiosity to either researchers and scholars of the transforming into box of neo-Victorian reports, in addition to students in trauma concept, ethics, and reminiscence and background reports. Interrogating techniques of cultural commemoration and forgetting and the way to ethically signify the agony of cultural and temporal others, the gathering negotiates the enticements of appropriative empathy and voyeuristic spectacle, whereas for all time suffering from the significant paradox: the moral critical to endure after-witness to history's silenced sufferers within the face of the aptitude unrepresentability of utmost soreness.
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Extra info for Neo-Victorian Tropes of Trauma: The Politics of Bearing After-Witness to Nineteenth-Century Suffering.
Troping Trauma The question of poetics brings us back to the title of our collection, namely to the actual process of translating or ‘troping’ trauma. The figurative language here invoked, however, proves another contentious issue with regards to testimonial writing and witness bearing. As Hatley explains, some critics, including Berel Lang and Lawrence Langer, have argued strongly against the use of figurative language, believing that testimony “must free itself from any influence that would stand between the reader and the event itself” (Hatley 2000: 108).
Not knowing grounds the self as subject to its moment, while referentiality gives to that ground a historical trajectory within the epoch, which trajectory is not to be understood as a grand narrative, but the ‘sussuration’ of haunting, recurrent myths of subjectivity. Even Baudrillard, in spite of his uncompromising condemnation of the postmodern destruction of the indispensable distance between the real and the rational, propounds 3 To this death roll could be added Lyotard’s statements about the “terminal exhaustion of philosophy” (qtd.
Harmondsworth: Penguin. Keen, Suzanne. 2006. ‘The Historical Turn in British Fiction’, in English, James F. ), A Concise Companion to Contemporary British Fiction. Malden, Massachusetts and Oxford: Blackwell Publishing: 167-187. LaCapra, Dominick. 1994. Representing the Holocaust: History, Theory, Trauma. Ithaca: Cornell University Press. –––. 2001. Writing History, Writing Trauma. Baltimore & London: The Johns Hopkins University Press. Levi, Primo. 1988. The Drowned and the Saved (tr. Raymond Rosenthal).
Neo-Victorian Tropes of Trauma: The Politics of Bearing After-Witness to Nineteenth-Century Suffering. by Marie-Luise Kohlke, Christian Gutleben