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The Strange Aching of Suppressed Div...

University of California, Davis., Comparative Literature.

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The Strange Aching of Suppressed Dives: Irony and the Representation of Trauma.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Strange Aching of Suppressed Dives: Irony and the Representation of Trauma./
作者:	Waggoner, Joshua Neil.
面頁冊數:	242 p.
附註:	Source: Dissertation Abstracts International, Volume: 74-10(E), Section: A.
Contained By:	Dissertation Abstracts International74-10A(E).
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3565569
ISBN:	9781303154935

The Strange Aching of Suppressed Dives: Irony and the Representation of Trauma.
Waggoner, Joshua Neil.

The Strange Aching of Suppressed Dives: Irony and the Representation of Trauma. - 242 p.

Source: Dissertation Abstracts International, Volume: 74-10(E), Section: A.

Thesis (Ph.D.)--University of California, Davis, 2013.

Paul Fussell has remarked that our understanding of modernity throughout the last century; "is essentially ironic; and that it originates largely in the application of mind and memory to the events of the Great War." What this dissertation demonstrates is that World War I, while serving as the most prominent nexus of trauma and irony, also represents only one point (and not the earliest) in a constellation of events that have altered the way the human psyche assimilates and processes its experience of the traumas of the modern world. In other words, it argues that the persistent shocks of modernity, since Baudelaire, have resulted in the heavy reliance on ironic understanding because the mode/trope of irony bears a structure that is often homologous to the psychological effect of trauma and the pathology of its subsequent neurosis.

ISBN: 9781303154935Subjects--Topical Terms:

530051
Literature, Comparative.

The Strange Aching of Suppressed Dives: Irony and the Representation of Trauma.
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520 $a Paul Fussell has remarked that our understanding of modernity throughout the last century; "is essentially ironic; and that it originates largely in the application of mind and memory to the events of the Great War." What this dissertation demonstrates is that World War I, while serving as the most prominent nexus of trauma and irony, also represents only one point (and not the earliest) in a constellation of events that have altered the way the human psyche assimilates and processes its experience of the traumas of the modern world. In other words, it argues that the persistent shocks of modernity, since Baudelaire, have resulted in the heavy reliance on ironic understanding because the mode/trope of irony bears a structure that is often homologous to the psychological effect of trauma and the pathology of its subsequent neurosis.
520 $a Because of the tendency of irony to create distance, recent developments in trauma theory have largely omitted it because working through trauma has generally depended upon the suturing of ruptures and closing of gaps to repair the damage done by traumatic events. However, in moving the focus from working through to representing or writing trauma, this dissertation reincorporates irony by regrafting the branches of trauma theory and theories of ironies, which, despite developing along similar pathways, have been purposefully separated. This correlation of irony and trauma arises in part from the Lacanian conception of language and the unconscious. It builds from the premise that, just as Lacan viewed condensation and displacement in dream work as unconscious manifestations of metaphor and metonymy, traumatic neurosis tends to imprint itself on the psyche in the form of irony because both revolve around an underlying, irresolvable tension between what the subject knows and what he does not know. The rhetoric employed in theories of trauma and of irony---displacement, dissociation, obscurity, incomprehensibility, the mask, and the fall, for example---consistently overlaps, and this dissertation, like an astrologer tracing figures in the stars, connects these textual moments in Freud, Celan, Camus, Sassoon, and Sebald in order to discover the often inextricable relationship between trauma and irony.
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