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Fear of falling: 9/11 and the aesthe...

Pope, Heather E.

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Fear of falling: 9/11 and the aesthetics of absence.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Fear of falling: 9/11 and the aesthetics of absence./
作者:	Pope, Heather E.
面頁冊數:	274 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-01(E), Section: A.
Contained By:	Dissertation Abstracts International77-01A(E).
標題:	English literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3664217
ISBN:	9781339174754

Fear of falling: 9/11 and the aesthetics of absence.
Pope, Heather E.

Fear of falling: 9/11 and the aesthetics of absence. - 274 p.

Source: Dissertation Abstracts International, Volume: 77-01(E), Section: A.

Thesis (Ph.D.)--St. John's University (New York), 2015.

This dissertation considers a wide range of popular and artistic reactions to 9/11, ranging from fiction, photography, journalism, comics, memorial construction, and documentary film. I contend that an aesthetic of absence is prevalent throughout America's cultural responses to 9/11. This absence is figured through the repression and censorship of images of vulnerability, such as the famous "Falling Man" photograph, the carceral disappearance of alleged enemies of the state, and the wholesale suppression of unpatriotic sentiment in the War on Terror. The argument centers on reactions to a psychic wound, a collectively traumatized nation, which, like the fallen Twin Towers themselves, functions as one of the dominant "absences" of our discourse. Part of my argument is that the trauma studies model which has framed much of the paradigm for understanding 9/11 literature has at least partly served to justify the self-censorship of certain narratives. 1 problematize some shortcomings of current trauma studies models, along with notions of collective trauma and identity in a technological world.

ISBN: 9781339174754Subjects--Topical Terms:

516356
English literature.

Fear of falling: 9/11 and the aesthetics of absence.
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520 $a This dissertation considers a wide range of popular and artistic reactions to 9/11, ranging from fiction, photography, journalism, comics, memorial construction, and documentary film. I contend that an aesthetic of absence is prevalent throughout America's cultural responses to 9/11. This absence is figured through the repression and censorship of images of vulnerability, such as the famous "Falling Man" photograph, the carceral disappearance of alleged enemies of the state, and the wholesale suppression of unpatriotic sentiment in the War on Terror. The argument centers on reactions to a psychic wound, a collectively traumatized nation, which, like the fallen Twin Towers themselves, functions as one of the dominant "absences" of our discourse. Part of my argument is that the trauma studies model which has framed much of the paradigm for understanding 9/11 literature has at least partly served to justify the self-censorship of certain narratives. 1 problematize some shortcomings of current trauma studies models, along with notions of collective trauma and identity in a technological world.
520 $a The first chapter studies the important and "disappeared" image of "The Falling Man", tracing its brief appearance and sustained retraction, and the social turmoil behind its repression evident even 11 years later when the television series Mad Men also retracted a similar image featured in its advertising campaign. The second chapter examines questions of the "domestic dramas" of many early novels about 9/11, arguing that a recent wave of fiction frames some of the motifs of the first wave of 9/11 fiction within a more political context. The third chapter argues that comics are pioneering new, disjunctive aesthetic discourses about 9/11, resembling some of the early moments of 20th century cinema and montage. The final chapter studies documentary exposes of Abu Ghraib and Guantanamo Bay to conclude that although these documentaries hunger for greater justice, they are finally unable to think past the legacy of slavery and incarceration that has otherwise driven America's prison-building impulses.
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