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Memory as Monster : = Trauma and Memory in Horror Novels, Films, TV, and Videogames.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Memory as Monster :/
其他題名:	Trauma and Memory in Horror Novels, Films, TV, and Videogames.
作者:	Ambrose, Jeffrey R.
面頁冊數:	1 online resource (166 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-01, Section: B.
Contained By:	Dissertations Abstracts International85-01B.
標題:	English literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30530477click for full text (PQDT)
ISBN:	9798379899660

Memory as Monster : = Trauma and Memory in Horror Novels, Films, TV, and Videogames.
Ambrose, Jeffrey R.

Memory as Monster :Trauma and Memory in Horror Novels, Films, TV, and Videogames. - 1 online resource (166 pages)

Source: Dissertations Abstracts International, Volume: 85-01, Section: B.

Thesis (Ph.D.)--Indiana University of Pennsylvania, 2023.

Includes bibliographical references

"[H]e suddenly understands why these memories have come back one at a time. If he had remembered everything at once, the force would have been like a psychological shotgun blast let off an inch from his temple. It would have torn off the whole top of his head." Richie, in Stephen King's It, recalls the traumatic memories of his childhood. He, and the other members of the Losers Club, find that returning to the town where they grew up brings with it a terrible toll - monstrous memories born from their traumas flood them and become incarnate in the form of Pennywise the murderous clown. Traumatic memories becoming monstrous is a notable sub-genre of horror - across novels, shows, movies, and videogames. In Toni Morrison's Beloved, Sethe is haunted by a parasitic reincarnation of the daughter she murdered - a daily reminder of painful memories of guilt and loss. In season one of The Sinner, Cora's drug-suppressed traumatic memories make her a monster; she murders someone after a song forces her to automatically act as she did years ago. In the film The Last Will and Testament of Rosalind Leigh, Leon is attacked by a monster born out of the traumatic memories of his strict religious childhood. And in the game The Park, Lorraine personifies her guilt and traumatic memories as a witch since she cannot face the fact that she killed her own son. In the traumatic memory monster sub-genre of horror, memories are literally monstrous because trauma emotionally terrorizes.In a December 2021 article for The New Yorker, Parul Sehgal diminishes trauma plots in literature, arguing "Trauma trumps all other identities" and "evacuates personality." Sehgal cites many works in her piece, but the only work of horror referenced is a minor aside for "A Turn of the Screw." But the "trauma plot" is unique in horror and portrayed differently than in realist texts. In horror, the traumatic memory monster can haunt by its presence or its absence, inhabit a space, affect a whole community, or warp one's sense of time. Jeffrey Jerome Cohen has done work on categorizing monsters with his seven theses, including a type of monster that is "an alluring projection of (an Other) self." However, I oppose his assertion that "[t]he monster is difference made flesh" because in the memory monster texts I analyze, the monster is one's internalized trauma made external. Many trauma theorists have looked at the impact of trauma on memory and the corrosion of time boundaries that trauma can cause. I will use these theories and apply them to works of horror that feature traumatic memory monsters. In this substantial sub-genre, personifying or externalizing one's trauma - rarely by choice - functions as a means of overcoming or confronting the trauma by literally facing it as a monster or a monstrous space.To showcase traumatic memory monsters as extensions of one's trauma in horror, I have chosen works from three specific sub-categories: those where a community or whole town suffers from a shared traumatic experience, those where the acts of remembering or forgetting lead to memory monsters, and those where time or space become monstrous. I have chosen some texts that are not traditionally viewed as horror because I believe the genre is much more expansive than traditionally discussed. As a result, I will present a new way of seeing and understanding horror, trauma, and monsters. Further, by examining how trauma uniquely functions within the horror genre, I will provide a way to conceptualize traumatic memory monsters as a battle for healing. More specifically, I will illuminate a sub-category of horror where traumatic memories are a darkness that can be defeated with light. The question driving my work is: if a recurring theme in horror texts is that monsters or monstrous spaces represent trauma, can externalizing our trauma be the path to healing and/or growth?

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798379899660Subjects--Topical Terms:

516356
English literature.
Subjects--Index Terms:

Harry PotterIndex Terms--Genre/Form:

542853
Electronic books.

Memory as Monster : = Trauma and Memory in Horror Novels, Films, TV, and Videogames.
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520 $a "[H]e suddenly understands why these memories have come back one at a time. If he had remembered everything at once, the force would have been like a psychological shotgun blast let off an inch from his temple. It would have torn off the whole top of his head." Richie, in Stephen King's It, recalls the traumatic memories of his childhood. He, and the other members of the Losers Club, find that returning to the town where they grew up brings with it a terrible toll - monstrous memories born from their traumas flood them and become incarnate in the form of Pennywise the murderous clown. Traumatic memories becoming monstrous is a notable sub-genre of horror - across novels, shows, movies, and videogames. In Toni Morrison's Beloved, Sethe is haunted by a parasitic reincarnation of the daughter she murdered - a daily reminder of painful memories of guilt and loss. In season one of The Sinner, Cora's drug-suppressed traumatic memories make her a monster; she murders someone after a song forces her to automatically act as she did years ago. In the film The Last Will and Testament of Rosalind Leigh, Leon is attacked by a monster born out of the traumatic memories of his strict religious childhood. And in the game The Park, Lorraine personifies her guilt and traumatic memories as a witch since she cannot face the fact that she killed her own son. In the traumatic memory monster sub-genre of horror, memories are literally monstrous because trauma emotionally terrorizes.In a December 2021 article for The New Yorker, Parul Sehgal diminishes trauma plots in literature, arguing "Trauma trumps all other identities" and "evacuates personality." Sehgal cites many works in her piece, but the only work of horror referenced is a minor aside for "A Turn of the Screw." But the "trauma plot" is unique in horror and portrayed differently than in realist texts. In horror, the traumatic memory monster can haunt by its presence or its absence, inhabit a space, affect a whole community, or warp one's sense of time. Jeffrey Jerome Cohen has done work on categorizing monsters with his seven theses, including a type of monster that is "an alluring projection of (an Other) self." However, I oppose his assertion that "[t]he monster is difference made flesh" because in the memory monster texts I analyze, the monster is one's internalized trauma made external. Many trauma theorists have looked at the impact of trauma on memory and the corrosion of time boundaries that trauma can cause. I will use these theories and apply them to works of horror that feature traumatic memory monsters. In this substantial sub-genre, personifying or externalizing one's trauma - rarely by choice - functions as a means of overcoming or confronting the trauma by literally facing it as a monster or a monstrous space.To showcase traumatic memory monsters as extensions of one's trauma in horror, I have chosen works from three specific sub-categories: those where a community or whole town suffers from a shared traumatic experience, those where the acts of remembering or forgetting lead to memory monsters, and those where time or space become monstrous. I have chosen some texts that are not traditionally viewed as horror because I believe the genre is much more expansive than traditionally discussed. As a result, I will present a new way of seeing and understanding horror, trauma, and monsters. Further, by examining how trauma uniquely functions within the horror genre, I will provide a way to conceptualize traumatic memory monsters as a battle for healing. More specifically, I will illuminate a sub-category of horror where traumatic memories are a darkness that can be defeated with light. The question driving my work is: if a recurring theme in horror texts is that monsters or monstrous spaces represent trauma, can externalizing our trauma be the path to healing and/or growth?
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653 $a Memory
653 $a Trauma
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30530477 $z click for full text (PQDT)

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