Trauma Studies

Biblical poetry, in particular the psalms of lament, provides a model of how composing one's own lament and performing it to God can be a positive element in healing the effects of trauma. In an empirical study, Zulu youth who had experienced various forms of trauma, learned to use the model of biblical psalms of lament to compose their own laments. The process of regaining agency, establishing a sense of justice (with an appeal for the perpetrator of the hurt to be punished), and a rekindling of hope for life going forward, all elements of biblical lament, are also vital parts of the healing process. Thus it is suggested that the use of poetry, in the form of biblical lament, can contribute to the healing of those who have suffered trauma.

טראומה מאופיינת בכך שהיא נותרת כעדות היולית ללא מילים, ללא מספֵּר שיספר את סיפורה וללא אוזן קשבת שתשמע
אותה. מתוך כך, היא אינה ניתנת לעיבוד ומתעתעת ביכולתו של הקורבן להיות עד למה שאירע לו, לדעת את עצמו ולספר
את סיפורו ) 1(. ברצוני להציע את מדיום המוסיקה כלוכד, הן את השבר הטראומתי והן את האפשרות לריפוי, כזה המבקש
לתקשר עם האחר הפנימי ובו־זמנית מחזיק את היעדרו. המוסיקה מהווה פשר לטראומה וגשר לעבר עדות, סימבוליזציה
ושפה, ובה בעת היא מנכיחה את ההיעדר. במאמר זה אדון בתופעת ה־ reverie המוסיקלי, מונח שהצעתי במאמר קודם,
כחלק מתהליך של הפצעת עדות, מעין ׳עדות צלילית׳, במקומות בהם אין ביכולת המילים לנסח ולהכיל את עוצמת הכאב
והאימה. במאמר אתאר את המוסיקה המלווה אותנו לעתים בעבודת האנליזה כזמזום בראש בתוך השעות, כתחושה גופנית
של מקצב פנימי, כהדהוד לאסוציאציות של המטופל או כשירה המלווה אותנו בין השעות. אכנה תופעה זו בשם reverie
מוסיקלי ואציע דרכים להבנה ולעבודה עם ה־ reverie בהקשר של עבודה עם טראומה.

Kate Grenville’s The Secret River (2005) enacts a narrative return to the violent trauma of Aboriginal dispossession and destruction upon which Australia is founded, situating its reader complexly, as both witness to and complicit in the events it retells. Her use of fiction to represent this trauma made Grenville the focus of heated public debate about the role of fiction in representing the past, a debate that repeatedly cast her project as historically dubious. However, rather than approaching the novel as a corrupted form of history’s reconstruction of past events, it seems more useful to situate this text as an act of memory in the present, which shapes both past and future. Even as it represents the past, Grenville’s novel addresses a present both deeply divided and in danger of forgetting its history. It uses the affective power of fiction to reinscribe and reactivate Aboriginal Australian history in the contemporary historical imaginary.

The corpus of narratives produced in Germany since 1943 about the battle of Stalingrad appears as a multifaceted "grand narrative" in which historiographical and mythical morphology coexist. The Nazi myth of Stalingrad contributed to shaping the cultural memory of the event during the war, and historians lately integrated that myth into the historical discourse about the "overcoming of the past" (Vergangenheitsbewältigung). In the meantime, hundreds of veterans published their witness-accounts about the great battle, blending the two spheres of history and myth on the level of storytelling. While historiographical discourse aims to consolidate positive knowledge of the battle in terms of chronology, witness-narratives blur chronological storytelling with the mythical archetypes of conquest, defeat, fall, and resurrection. I will examine the morphological characteristics of the "grand narrative" of Stalingrad by combining the notion of "structure" (Koselleck) with that of the narrative archetype (Frye) and by integrating these tools with the theory of adaptive and evolutional narratives (Carrol; Scalise-Sugyjama) to claim that the "grand narrative" of Stalingrad can be read as the mythic-historical account of how the German community survived defeat and was reborn from its own ashes.

This chapter draws from George Monbiot’s (2017) thoughts on the political power of storytelling. He emphasizes that stories function as schema through which people organize information and develop a sense of order and purpose. It is a mistake, he warns, to try to rely on data to challenging a misleading story since ‘[t]he only thing that can displace a story is a story’ (Monbiot, 2017, p 3). In short, information is not sufficient to challenge disinformation: we must also supply a meaningful framework in which that information makes sense. In this chapter, I suggest that the success of ‘false memory’ was due, largely, to its compelling narrative features. False memory advocates were skilled at retelling the story of child abuse as a drama with heroes (people falsely accused of abuse and their allies) and villains (therapists, social workers, feminists) locked in a battle of good (science, reason, rationality) against the forces of darkness (dogma, fantasy, hysteria). Attempts by experts in trauma and dissociation to counter this story with data have, at times, struggled for purchase, since they have not challenged the affective foundations of the ‘false memory’ narrative.

In this chapter, I argue that we have the opportunity to tell a new, and more hopeful, story about abuse and trauma. While the ‘false memory’ story persists, it has been destabilized by revelations of widespread clergy and institutional abuse, and its valorization of staunch individualism and devaluing of health and welfare services has lost much of its sheen. At the same time, the conceptual apparatus of trauma has taken on increasing social and political as well as psychological significance as a descriptor for the violation of human relationality and the restorative power of care and support. Increased public interest and understanding of trauma provides much of the material for counter-narratives that oppose the alienating individualism and cynicism promoted by ‘false memory’ advocates. As public and professional interest in trauma grows, ‘storifying’ trauma in principled and solutions-focused ways offers a genuine alternative to the outmoded narratives of the past.

The curator of MOCA Taipei's exhibition, Rosa's Wound, used Paul Celan's poem to name the exhibition, which showcased artworks by artists from various Asian countries to discuss the relationship between art and trauma. The background of these artworks involved a wide range of issues, including the history of martial law, political prisoners, colonization, suppression, racial violence, and war. Without any knowledge of the background and context of these ideas, the general audience would have difficulties understanding the purpose of such an exhibition as well as the curatorial efforts made in the process. In this article, I have sorted out the development and trends of trauma studies in recent years, and proposed that the concept of the "post-trauma era" could help us contextualize this exhibition and gain a better understanding. Modern History and the History of Trauma Etymologically speaking, the English word "trauma" comes from Greek, originally meaning "wound," especially one that penetrates the body. The word was first used in psychology in the nineteenth century to refer to shocking experiences in modern life (such as the shock suffered by WWI soldiers in the battlefield), in which the mind's protective mechanism that was supposed to function like a shield was "penetrated" due to excessive external stimulation. 1 From the psychoanalytical perspective, trauma falls into the domain of the "Thing," which cannot be objectified. "The 'Thing' is traumatic and brings pain. We do not know where it causes pain, or even that it causes pain. It strives to be known by the mind, but fails, and can only be temporarily liberated in symptomatic repetitions." 2 The British art historian, Griselda Pollock, has dedicated her recent years to the study of the relationship between trauma and art by adopting psychoanalytical points of view (especially Israeli psychoanalyst Bracha L. Ettinger's revisions of Lacan's theory). Pollock concluded her study in 2013 and stated five characteristics of trauma: 1. Trauma seems to exist in a non-temporal, non-spatial realm: it exists permanently and is non-temporal. Like a stranger that lives in the mind, it colonizes the host. The 1 Griselda Pollock, Afetr-affects/After-images: Trauma and aesthetic transformation in the virtual feminist museum, Manchester: Manchester, UP, 2013, p. 2. 2 Bracha Lichtenberg Ettinger, " Traumatic Wit(h)ness – and Martrixial Co/in-habit(u)ating " , parallax, vol. 5 no. 1, 1999, p. 89.

Elias Khoury’s novel Bab el Shams (Gate of the Sun), which came out in 1998 symbolically marking fifty years to the Palestinian Nakba, is perhaps the most comprehensive narrative of this ongoing event. This fascinating novel has not yet received the scholarly attention it deserves. My suggested reading of the novel is inspired by and juxtaposed with Holocaust literature
and what might be called ‘Holocaust related critical theory’. This reading, I contend, is invited by the novel itself and is pursued from the perspective of a Jewish Israeli Holocaust and trauma scholar. The main argument of this essay is that the novel deals with the unsettling conjuncture of the extremely destabilizing, traumatized and decentred testimony of the Palestinian victim–
witness and the essential, collective Palestinian national epos  that frames these individual traumatized narratives. The former inevitably undermines the latter while, at the same time, the latter collectively frames the former. These tensions, integrations and disintegrations form the core theme of Gate
of the Sun. To put it differently, I contend that this novel is about the unsettling paradoxes of writing a polyphonic non-monolithic decentralized collective epos. This narrative of collective and individual traumas manages to unsettle old national structures and ultimately invites binational thinking.

This dissertation investigates the social world of contemporary filmmakers in the Middle East and the way they use visual media to re-imagine existent forms of identity, envision new modes of social agency, and transform public culture in the face of dramatic instability. In the wake of the Lebanese civil war and through the tenuous postwar period, video art and experimental documentary have critiqued the politics of representation and negotiated the theoretical and structural difficulties in representing the war. These artists have activated intersections where experimental media has generated a vibrant visual culture by both building on local notions of cosmopolitanism and by participating in transnational sites of postcolonial representation. Methodologically, I employ ethnography to grapple with the public culture of Beirut as a site of avant-garde experimentation, but also to examine the city as a contested site affected by periods of rapid growth, intense violence, and urban reconstruction. To explain this cultural phenomenon, I advance the idea of ‘post-orientalist aesthetic’ to describe a mode of intellectual critique and artistic style that goes beyond Edward Said’s critique to give greater attention to self-representation in the post-911 period. This aesthetic interrogates western representational practices and also develops a localized critical analysis of Middle Eastern visual culture. This aesthetic informs a better understanding of postwar subjectivity, particularly in the way memory and lived experience becomes mediated through the materiality of objects, images, and architecture affectively inscribed with destruction and violence. The notion of the archive or the personal collection becomes of particular interest here; especially in the way these artifacts embody personalized narratives and testimonials that push back from abstracted notions of a monolithic historical narrative. Drawing on visual anthropology, media ethnography, and nonwestern film theory, this text examines the way these artists challenge realist modes of representation by utilizing both ethnographic and artistic approaches to grapple with the experience of everyday violence. In order to explore methodologies for conducting visual research in conflict zones, I conclude with an experimental auto-ethnography that appropriates these aesthetics in an effort to interrogate my positionality as an American researcher in the Middle East.

Although some scholarship has discussed the argumentative tactics of Holocaust deniers and how they persuade some audiences to reject seemingly obvious factual events, no research has addressed how Holocaust survivors themselves confront this direct challenge to their lived experience. Using videotaped oral testimonies in the Shoah Foundation Institute’s Visual History Archive (the world’s largest such collection), this study examines how survivors meet the challenge of Holocaust denial in Germany and in the United States.
Close analysis of the argumentative tactics embedded in survivor testimony reveals that survivors craft narratives with richer dimensions than acknowledged in the twisted historiography of Holocaust denial. Survivors attest not only to the facticity of external events but also to affective memory, chronicling how they process and adapt to trauma. This affective dimension of testimony suggests that survivors’ narratives employ more complex layers of argumentation than simply claiming correspondence to particular historical incidents. [In press--upload coming soon!]

This study analyzes the herstories of three Chilean women militants who later evolved into political collaborators of Agosto Pinochet's military regime (1973-1990). In addition to looking at the ways in which cultural productions on their stories of survival have added to the misconceptions of their political transformations, this article also seeks to understand the underlying motives for their collaboration as a reparative force that dispels false accusations directed against them.

La première pièce de Joanna Laurens, The Three Birds, (2000) propose une révision dramatique du mythe grec de Philomèle qui s’inscrit en contrepoint de la fable telle qu’elle est relatée dans les Métamorphoses d’Ovide. Le rapport à la langue et à la figure du barbare, paradigme de l’Autre, engage une réflexion sur la question des minorités, la voix de l’étranger et l’idée d’une réversibilité des postures. Barbarismes, irrégularités syntaxiques, « babélisation » font ici violence au langage ainsi qu’aux différentes langues parlées dans la pièce qui s’altèrent et se barbarisent à l’image des personnages, incarnant ainsi dans la chair du verbe la mutilation de la langue qui fait la matière cruelle du mythe. Au cœur de la pièce, elle-même réécriture d’une autre pièce – celle, perdue, du Térée de Sophocle – on retrouve en effet l’écriture d’une autre scène – celle, tabou, du viol et de l’amputation de la langue de Philomèle – qui, à défaut de pouvoir se dire, vient s’écrire sur la tapisserie que brode la jeune fille à l’attention de sa sœur pour révéler le crime étouffé par les mensonges en cascades de Térée en même temps qu’elle se reflète dans la trituration du langage. Cet article s’intéressera donc aux enjeux de la réécriture en tant que mise en place d’une alternative fondamentale à partir d’une perspective neuve – celle du barbare amoureux, ou plutôt de la barbarie de l’amour impossible – qui se reflète dans le motif intradiégétique de l’activité de tissage en tant qu’écriture de « l’Autre » (réécriture par l’Autre, la femme, de l’autre scène ou de l’autre pièce, qui ne peut être dite). Avec la duplicité intrinsèque du langage et l’exploration de son potentiel de transformation, nous verrons dès lors comment l’altérité se donne plutôt à voir comme altération, voire aliénation, jusqu’au creux de la langue où elle prend naissance pour la faire délirer (Deleuze). Le langage de la pièce reflète ainsi la façon dont l’humain vient faire trace dans la langue du barbare et montre comment, par-delà l’humanisation du Thrace, la barbarie vient à son tour réinvestir l’humain et marquer de son empreinte l’acte et le langage d’amour devenus viols. En déroulant à l’extrême le fil ténu qui sépare humanité et barbarie, les expérimentations poétiques de Laurens, où le langage et « l’autre » du langage se rencontrent dans leurs contradictions-mêmes, permettent ainsi de renouveler le sens du mythe grec autant que le langage dramatique sur la scène théâtrale à l’aube du vingt-et-unième siècle.

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Joanna Laurens’ first play The Three Birds (2000) is a retelling of the Greek myth of Philomela in which language undergoes a poetic treatment unprecedented on the contemporary British stage. Mirroring and enacting the characters’ evolution from innocence to barbarism, language is distorted and altered to an extreme through a creative process involving word coinage (i.e. barbarisms), syntactic irregularities, and ‘babelisation,’ thus bringing out and performing the violence of the myth. Departing from Ovid’s poem which is itself a reworking of the original fable, as well as from the feminist takes on the story during the second half of the twentieth century, Laurens’ dramatic writing offers a new approach to the language and figure of the Barbarian, a traditional paradigm of the Other. She addresses such issues as the oppression of minorities, the voice of the stranger, and the reversibility of ethical positions by providing a reflection on the intrinsic duplicity of language itself and by exploring its potential for ‘metamorphosis’ and manipulation, thus presenting otherness as alienation. At the core of the play, which is a rewriting of another (lost) tragedy – that of Sophocles’ Tereus –, are Tereus’ lies, which are a rewriting of another (taboo) story – that of Philomela’s rape and amputated tongue. Although it can’t be verbally expressed by the young woman, this traumatic episode is nonetheless revealed through a tapestry she weaves for her sister Procné to denounce the crime of the lying husband, the needlework compensating her lost voice. This article thus looks at the issues at stake in Laurens’ rewriting, which can be read as the Other of the Greek myth and its famous feminist interpretations. Not only does her play propose an alternative which stems from an unusual, profoundly humane perspective – the suffering of a man whose love is thwarted – but this reversal is also mirrored in the intradiegetic motif of the tapestry as a writing of the Other (the scene behind the scenes, unheard of) by the Other (the abused, silenced woman). I propose to study how the Other comes to be inscribed at the core of language where it takes shape, rendering it delirious (Deleuze), as humanity can be traced in the Barbarian and barbarism can in turn affect humanity beyond the figure of the Thracian. As the act and language of love are turned into linguistic abuse and physical rape, Laurens’ formal experimentations, where language and the Other of language meet at the crossroad of their own contradictions, allow for a renewal in the meaning of the Greek myth as well as in the dramatic language on the British stage at the start of the twenty-first century.

Charles R. Figley was the 1994 recipient of the Lifetime Achievement Award from the International Society for Traumatic Stress Studies. Figley's impact on the field can be seen in his community involvement and in his nearly 20 years of writing. During those years, byhis actions and words, he has called our attention to both the direct and indirect victims of trauma. M+His most recent book, Compassion Fatigue: Coping with Secondary PTSD Among Those Who reat the Traumatized, is a landmark contribution to the STS literature. In this chapter, Figley outlines the logic of his thinking and helps the reader understand the context from which STS can arise.

Este artículo analiza la producción testimonial de ex detenidas desaparecidas de la última dictadura militar en Argentina (1978-1983), poniendo de relieve la presencia de los silencios existentes en estos relatos. Los testimonios de las sobrevivientes Graciela Fainstein, Graciela Lo Prete, Nora Strejilevich y Alicia Partnoy, entre otros, ponen en evidencia las dificultades a las que se enfrenta todo sobreviviente del horror, en tanto debe narrar aquello que dada su naturaleza traumática desafía cualquier tipo de representación. Frente a esta dificultad, las sobrevivientes buscan en la articulación entre lo dicho y lo no dicho, entre la palabra y el silencio, desafiar las limitaciones del lenguaje frente al horror, construyendo un relato que incorpora lo difuso y llama al lector a convertirse en un oyente ético. Este tipo de testimonio se convierte así en documento de la experiencia traumática, que dada su naturaleza, no puede sino estar constituido por interrupciones, huecos y silencios.

Depuis quelques décennies, les théâtres du traumatisme et de la maladie mentale donnent une visibilité de plus en plus accrue à la souffrance psychologique et au trouble psychiatrique sur la scène contemporaine. Dans cette mouvance, un certain nombre de pièces de nature souvent expérimentale insèrent des thèmes, des références et des matériaux issus du domaine de la santé mentale dans les multiples formes qu'elle prend aujourd'hui pour donner la parole à une psyché en détresse – celle, le plus souvent, de personnages féminins. Qu'il s'agisse de psychiatrie, de psychologie clinique, de psychanalyse ou encore de psychothérapie, on trouve ainsi dans des pièces récentes de la scène européenne une assimilation des discours de la médecine et des sciences cognitives. Ces théâtres offrent ainsi une réflexion sur les traumatismes psychologiques et les difficultés existentielles du sujet féminin malade, dont le corps s'efface et dont la voix fragile s'élève sur scène pour dire le drame intérieur de l'errance mentale et/ou du trouble psychique, voire de la pathologie identifiée. Le présent article propose une étude des diverses approches de la maladie mentale et des troubles post-traumatiques adoptées par quatre auteurs contemporains de la scène européenne : les auteurs britanniques Sarah Kane et Martin Crimp, l'homme de théâtre français Gildas Milin, et la dramaturge italienne Francesca Volchitza Cabrini. Les pièces de ces auteurs illustrent à différents niveaux et de différentes manières mais non sans points de convergence forts la façon dont des objets empruntés aux champs de la médecine et de la psychiatrie sont récupérés, dramatisés et mis en scène par le théâtre contemporain. L'originalité commune de ces écritures réside dans le fait qu'elles puisent toutes dans la littérature théorique ou clinique de la psychologie pour recycler des matériaux essentiellement verbaux issus du domaine de la santé mentale et les transformer en poésie de la scène. Cette « psychopoésie » dit la gravité du malaise qui hante l’individu en ce début du XXIème siècle, tout en explorant la nature et les limites de l’humain poussé dans des situations psychologiques extrêmes. Par contraste ou en dialogue avec les discours et les pratiques de la médecine, la psychopathologie devient ressource psychopoétique et se donne ainsi comme une matière qui renouvelle, dans leurs formes aussi bien que dans leurs contenus, le langage, l’écriture et la structure du drame contemporain.

Disability studies and critical trauma studies are both deeply concerned with the social construction of meaning and identity. However, these disciplines often remain mutually disengaged, inadvertently overlooking shared mechanisms of oppression that foster stigma. This article explores the novel depiction of disability and trauma in the play Amy and the Orphans by Lindsey Ferrentino. Amy, a character with Down syndrome, challenges disability stereotypes by exercising autonomy; she is not solely defined by her disability or her experiences of abuse. The theatrical narrative is one of both disability and trauma, encouraging a nuanced reflection on the origins of stigma and revealing how theatre can be used as a tool of resistance to reclaim agency through performances that challenge conventional 'disability' stereotypes.

You care about difference. In this exigent mood we begin to rework reflexivity through disability and trauma studies. Using performative writing, we trouble you, me, and we in order to uncouple analytical rigor from individual bodies and identities. As we consider violence, injury, and ability, we complicate an imperative for personal disclosure. While continuing to insist on accountability to privilege, we highlight queer vulnerabilities, alternative representation, and non-normative emotion. We draw together readers and writers in a recursive textual process, a feminist ethic attentive to inequality and suffering. We call this methodological presence with others reflexive caring.

This paper explores the intersection of trauma, memory, and identity through the lens of resilience. Here we take resilience in its multiple, even conflicting meanings and resonances – encompassing continuity, persistence, and adaptation. Through the case studies of centenary commemorations in Armenia and Ireland and Northern Ireland, we highlight the ways in which the memory of traumatic historical events both reproduces and challenges dominant narratives of identity. The resilience of memory – its ability to adapt and evolve even as it lays claim to continuity – marks commemoration as a form of haunting, a return with difference that always disrupts the very borders it is deployed to secure. By focusing on resilience understood as the counter-memory that challenges the silencing and overshadowing of mainstream memory, we conclude that it manifests differently in such different cases, and find a surprising point of similarity: the resilience of memory is that it remains. Regardless...

AuThor: Michelle Hulme-Lippert emAil: michellehulme-lipper@rmc.edu AffiliATion: Randolph-Macon College; Department of Modern Languages; Haley Hall 10; 114 College Avenue; Ashland VA 23005 AbsTrAcT: This essay examines Pedro Almodóvar’s Volver in light of present-day memory politics in Spain, positing the film to advocate affective confrontations with the past in contrast to Spain’s limited transitional justice politics and 2007 Ley de Memoria Histórica. The protagonist’s cathartic cante jondo gives language to fourteen years of silenced pain and trauma and sets into motion a healing materialization of specters. These dance-like acts of embodiment restore originary mother-daughter relationships and—in accordance with Elaine Scarry’s The Body in Pain—participate in making the world. However, questions arise regarding the sustainability of the film’s graceful, fluid, and complete forms of restitution, particularly when we take into account the returns of rape and patriarchal violence i...

Today the hypothesis that experience might alter the cells and behavior of an individual’s children and grandchildren has become widely accepted. In animals, exposure to stress, cold, or high-fat diets has been shown to trigger metabolic changes in later generations. And small studies in humans exposed to traumatic conditions—among them the children of Holocaust survivors—suggest subtle biological and health changes in their children.
The implications are profound. If our experiences can have consequences that reverberate to our children or our children’s children, that’s a powerful argument against everything from smoking to immigration policies that split families.
But proving that emotional trauma, as distinct from physical stress, can be passed on to subsequent generations in people is a challenge.

Die bewegten Biografien Geflüchteter in unserer Stadt
»Weißt Du, wer ich bin?« Diese Frage ist eine Herausforderung an uns alle, die geflüchteten Menschen tagtäglich begegnen.
»Wer bin ich? Wer bist Du?«, sind manchmal die ersten Fragen, die eine Tür zu einem Gespräch öffnen. Im Gespräch kommt man sich näher, baut Vorurteile und Unkenntnis ab. Bei der Begegnung mit Geflüchteten aus unterschiedlichen Kulturkreisen, mit unterschiedlichen Biografien, mit Andersdenkenden und Andersgläubigen,gibt es gibt viel zu entdecken: Unbekanntes und Fremdes, aber auch viel Gemeinsames.
Dieses Buch erzählt von den Lebenswegen und Geschichten 28 Geflüchteter.

Hrsg. von EMFA/Integrationsagentur
Autoren: Hidir Eren Celik, J. Michael Fischell, Christoph Gappa, Giorgia Sogos

Objetivo: analizar los resultados en cirugía de control de daño en una institución con alta incidencia de trauma en México. Materiales y métodos: estudio prospectivo descriptivo, realizado en el Hospital General de ciudad Juárez. Se incluyeron 66 pacientes con lesiones severas en abdomen ocasionadas por proyectil de arma de fuego o por arma punzo-cortante, sometidos a cirugía de control de daño durante el periodo de abril del 2008 a diciembre del 2010. El análisis estadístico se realizó con porcentajes como medidas de resumen de variables. Resultados: el promedio de edad fue de 29,6 años, con 59 pacientes heridos por arma de fuego y 7 por arma blanca. El tiempo quirúrgico promedio fue de 97 minutos. La víscera hueca más lesionada fue el intestino delgado con 35 casos y el órgano sólido fue el hígado con 30. Se encontró un hemoperitoneo en promedio de 3350 ml. Además, 64 pacientes presentaron choque hipovolémico grado IV y dos pacientes grado III. La principal complicación fue la presencia de infección de sitio quirúrgico y la principal causa de muerte postquirúrgica la falla orgánica múltiple secundaria a la presencia de la triada mortal la cual consiste en la presencia de hipotermia, acidosis metabolica y coagulopatia. Conclusiones: Los pacientes en edad productiva son los más afectados. El principal mecanismo de acción son las heridas por proyectil de arma de fuego. Se presenta una alta morbimortalidad relacionada en este tipo de pacientes, como son la presencia de sepsis y fi stulas; asociándose la mortalidad principalmente a la falla orgánica múltiple y a la presencia de choque hipovolémico

Can language and literature cure psychological trauma? If so, what forms do they (have to) take
in doing so? When does language hit the wall where the unspeakable mandates silence? And
where might literature come in as the rescuing hand by offering forms of expression which are
rooted in speech but transcend the merely spoken? This study confronts these issues through
the double lenses of Sebastian Barry’s oeuvre and the complex of dissociative disorders that
are at work both in his creative output and the ways in which he fictionalizes dark and traumatic
biographical data.
Re-negotiated in the process are the deconstructivist trauma paradigm that has come to
dominate trauma discourse in the humanities as well as the duality of Barry’s critical reception.
Barry is either being hailed as a rescuer of marginalized, ‘subaltern’ histories or admonished as
too radical a proponent of historical revisionism. A dissociative reading of literature’s
capabilities and limitations in addressing trauma and Barry’s literary mission to work-through
family trauma in his work moves the discourse beyond radical dualities towards a more
integrated understanding of posttraumatic literature.