By Susan Kingsley Kent
This e-book examines the influence of collective trauma coming up out of the good struggle at the politics of the Nineteen Twenties in Britain. Aftershocks reviews how meanings of shellshock and imagery proposing the traumatized psyche as shattered contributed to Britons understandings in their political selves within the Twenties. It connects the strength of feelings to the political tradition of a decade which observed striking violence opposed to these considered as un-English.
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Extra resources for Aftershocks: The Politics of Trauma in Britain, 1918-1931
For commemoration can actually foreclose the very work of reconciliation with loss it seeks to effect. com - licensed to University of South Florida - PalgraveConnect - 2011-04-30 32 acceptance but anger, and may serve to justify vengeance against those perceived to be responsible for continuing hardship. ”46 In order for individuals and societies to begin their healing through the construction of narrative accounts that integrate traumatic experiences, a felt condition of safety must be established, and the two processes can take a long time; the ten year gap between the end of the war and the appearance of the war literature might be seen as the period in which that sense of safety and the coherent narrative developed.
Miranda, screaming, ran with her arms over her head; her voice echoed and came back to her like a wolf’s howl, Hildesheim is a Boche, a spy, a Hun, kill him, kill him before he kills you. com - licensed to University of South Florida - PalgraveConnect - 2011-04-30 Britons’ Shattered Psyche 23 Aftershocks an unknown period of time. In a passage recalling the gaps in memory opened up by traumatic events, Burgess remembered an early period of his life “sitting on a shoulder in Manchester’s Piccadilly while a flagwaving crowd cheers the Armistice.
26 Ivy Compton-Burnett came down with the flu in the summer of 1918 and was discovered by mere chance lying unconscious on the floor of her flat. ” She asked to be read to, but could not tolerate much stimulus, asking her sister to “read, but don’t put any expression into it. 27 In Katherine Anne Porter’s fictional account of the flu epidemic, her protagonist, Miranda, contracts the flu, becoming delirious and hallucinating scenes that explicitly recalled the war. She believed she saw her physician killing a child in a set of horrifying images.