{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/manifest.json","@type":"sc:Manifest","label":"Traumedy: Dark Comedic Negotiations of Trauma in Contemporary American Literature","metadata":[{"label":"dc.description.sponsorship","value":"This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree."},{"label":"dc.format","value":"Monograph"},{"label":"dc.format.medium","value":"Electronic Resource"},{"label":"dc.identifier.uri","value":"http://hdl.handle.net/11401/77518"},{"label":"dc.language.iso","value":"en_US"},{"label":"dc.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.abstract","value":"This project explores how dark comedy negotiates between varying and paradoxically conflicting reactions to traumatic experience. These reactions unfold in two ways: the specific moments of \u00e2\u20ac\u0153punctual trauma\u00e2\u20ac  and the \u00e2\u20ac\u0153structural traumas,\u00e2\u20ac  wherein illusory structures of the ego \u00e2\u20ac\u201c including sex, gender, race, ethnicity, and the sense of immortality \u00e2\u20ac\u201c are dissembled and deconstructed. Thus, the traumas represented \u00e2\u20ac\u201c in novels by Joseph Heller, Gustav Hasford, Gore Vidal, Chuck Palahniuk, Gary Shteyngart, Thomas King, and Robert Coover; films by Mike Nichols, Stanley Kubrick, and David Fincher \u00e2\u20ac\u201c concern characters facing a seemingly oppositional choice between \u00e2\u20ac\u0153witnessing,\u00e2\u20ac  providing \u00e2\u20ac\u0153testimony\u00e2\u20ac  about the traumatic crimes inflicted on them, and \u00e2\u20ac\u0153disavowing,\u00e2\u20ac  repressing the loss of psychological cohesion that has resulted from their trauma.             This tension \u00e2\u20ac\u201c between witnessing and disavowal \u00e2\u20ac\u201c is complicated by the representational question central to both literature and critical theories of trauma: in giving testimony, must a witness present the literal or \u00e2\u20ac\u0153veridical\u00e2\u20ac  truth of an event, or may he or she instead present the metaphorical or \u00e2\u20ac\u0153affective\u00e2\u20ac  truth of an event? These texts offer no complete resolutions, but each makes use of Freudian comedy to negotiate between witnessing and disavowing trauma, and between literal and metaphorical representation.              Moving from the visceral traumas of war to the more conceptual traumas of identity, each text turns in unique ways to Freud\u00e2\u20ac\u2122s tendentious jokes (from Jokes and Their Relation to the Unconscious) and specifically his skeptical jokes. Shielding both the author and the audience in a protective envelope of comedy, these are \u00e2\u20ac\u0153jokes with a purpose.\u00e2\u20ac  They question our epistemological certainties, or \u00e2\u20ac\u0153speculative possessions,\u00e2\u20ac  chief amongst which are the pillars of our identity. The genre of dark comedy is built on these jokes, which present not the overlap or oscillation but a true ambivalence of the tragic (or traumatic) and the comedic (or disavowing). In this ambivalence, dark comedy partially resolves the tensions revolving around traumatic experience, but does not solve the problems of trauma; these texts all gesture to \u00e2\u20ac\u0153analysis interminable,\u00e2\u20ac  unresolvable neurosis. However, these texts also represent the dangers of eliminating neurosis, including the loss of a self that is sacred in spite of being illusory."},{"label":"dcterms.available","value":"2017-09-20T16:52:51Z"},{"label":"dcterms.contributor","value":"Santa Ana, Jeffrey"},{"label":"dcterms.creator","value":"Schachtman, Benjamin Nathan"},{"label":"dcterms.dateAccepted","value":"2017-09-20T16:52:51Z"},{"label":"dcterms.dateSubmitted","value":"2017-09-20T16:52:51Z"},{"label":"dcterms.description","value":"Department of English"},{"label":"dcterms.extent","value":"322 pg."},{"label":"dcterms.format","value":"Monograph"},{"label":"dcterms.identifier","value":"http://hdl.handle.net/11401/77518"},{"label":"dcterms.issued","value":"2016-12-01"},{"label":"dcterms.language","value":"en_US"},{"label":"dcterms.provenance","value":"Made available in DSpace on 2017-09-20T16:52:51Z (GMT). No. of bitstreams: 1\nSchachtman_grad.sunysb_0771E_13131.pdf: 1935034 bytes, checksum: ad19ecf858e875c45b9fe96a70998b59 (MD5)\n  Previous issue date:    1"},{"label":"dcterms.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.subject","value":"English literature -- American literature -- Literature"},{"label":"dcterms.title","value":"Traumedy: Dark Comedic Negotiations of Trauma in Contemporary American Literature"},{"label":"dcterms.type","value":"Dissertation"},{"label":"dc.type","value":"Dissertation"}],"description":"This manifest was generated dynamically","viewingDirection":"left-to-right","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json","@type":"sc:Canvas","label":"Page 1","height":1650,"width":1275,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/80%2F38%2F24%2F80382428990657668505518102875626292857/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","height":1650,"width":1275,"service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/80%2F38%2F24%2F80382428990657668505518102875626292857","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json"}]}]}]}