In recent decades there has been a great deal of scholarly and scientific work examining both the impact and the transmission of trauma. The focus of this thesis is the transmission of the trauma of genocide and large-scale historical traumas, specifically that seen in the Holocaust and the missionization of the California Indians in the 18th century. Through the analysis of the autobiographical narratives composed by three generations of Holocaust survivors, as well as one composed by a later generation descendant of the California Mission Indians, I argue that silence is not only a manifestation of trauma but also a tool of its transmission. I further argue that when this silence is broken and the stories are told we begin to see a shift in the traumatic memory away from re-traumatizing the later generations and toward preserving an accurate historical memory without the significant psychological cost to the later generations. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

Progress, Regress examines the narrator's journey through the world of mental illness. Psychologist Lisa James has a new client, six-year-old Megan Cooper, who has been diagnosed with child-onset schizophrenia. Megan's young age and the severity of her illness rattle Lisa, and make her question not only her role as a psychologist and a mother, but also her own mental state. / by Michelle Maher. / Thesis (M.F.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Made available in DSpace on 2016-04-27T18:12:26Z (GMT). No. of bitstreams: 1 Rina Tereza Dangelo Nunes.pdf: 994079 bytes, checksum: b60e1414881ace22a45e93c28faf1625 (MD5) Previous issue date: 2007-10-10 / O objetivo central deste trabalho foi reconhecer os diferentes modos como a Fonoaudiologia foi pensada e vivida em Salvador Bahia. Para tanto, foram colhidas narrativas de fonoaudiólogas precursoras, buscando em suas experiências um saber que se configurasse como fonte para compreensão do passado, presente e projeção de futuro. A investigação foi realizada na perspectiva da Metodologia da História Oral, ou seja, a história contada por seus próprios atores, de modo a se preservar fontes e transcender o aspecto estático dos documentos escritos. Os depoimentos foram transcritos, textualizados, transcriados e analisados numa perspectiva fenomenológica, buscando interrogar seus significados e interpretações frente ao contexto social local e à literatura da área. Observou-se que recordar é processo complexo, sendo que a memória de cada um traz elementos de sua singularidade, mas também do grupo e do momento histórico em que vivemos. A reflexão das experiências partilhadas pelas vozes das narradoras emoldura a Fonoaudiologia em Salvador como acontecimento singular e, ao mesmo tempo, característico da forma como a área foi se constituindo no Brasil, sendo destacados aspectos tais como: prevalência de um trabalho fonoaudiológico privatista, como resultado de políticas públicas; o reconhecimento por parte dos pacientes como forma primordial de divulgação da área; investimento no trabalho de institucionalização da área; primeiras práticas fonoaudiológicas voltadas para a educação de pessoas surdas e com deficiência mental; compromisso com a pessoa antes do compromisso com técnicas , escolas e/ou correntes teóricas

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The purpose of this qualitative study was to explore the lived experience of suffering through the 2010 earthquake in Haiti. The experiences of 13 individuals who lived suffering through the 2010 earthquake in Haiti were elicited. Heideggerian hermeneutical phenomenology served as both the guiding philosophy and methodology for this research study, while Eriksson’s (1981) theory of caritative caring provided the caring science lens. Diekelmann, Allen, and Tanner’s (1989) seven-stage method of hermeneutical analysis provided the structure for data analysis. The relational themes that were interpreted were: Experiencing the Unimaginable, Awakening to a Changed Reality, Agonizing for Others, Compounding Losses, Finding a Way Forward, and Being Transformed. These six relational themes are illuminated and aesthetically re-presented in six watercolor paintings. The constitutive pattern Suffering With and For Others expressed the meaning of suffering for participants through the 2010 earthquake in Haiti as a lived experience. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

An estimated 22,000 children were born in England during the Second World War as a result of relationships between British women and .American GIs. Of these children, around 1,200-1,700 were born to African .American servicemen. These figures are estimates only; the actual number of births will never be known. / The research study is based on personal interviews with eleven members of this cohort. The interviews explore their life experience and examines their sense of identity as ex-nuptial children, of mixed-race parentage, who had no contact with and usually little information about their GI fathers. Of the eleven mothers, over half were married with at least one other child at the time of the birth. Nine participants/respondents were raised by their mother or her extended family. Two were institutionalised. At the time of the interviews all of the respondents were either searching for, or had found, their black GI fathers. / This is a qualitative study which aims to bear witness to the lived experience of this cohort and to analyse the meaning individuals gave to their experience. Data collection involved personal interviews with the eleven participants. The data was then subject to a thematic analysis and the major themes and issues identified. Content analysis was undertaken using a constructivist approach. / The interviews are presented as elicited narrative relayed through an interpretive summary. Consistency was maintained by using common questions organised within a loose interview framework. The findings were organised around the major conceptual issues and themes that emerged from the case summaries. Common themes, including resilience, racial identity, self esteem and stress were identified. / The researcher has professional qualifications as a social worker and clinical family therapist. She has ten years experience in the field of adoption, including the transracial placement of Aboriginal and overseas children in Australian families. She is also a member of the researched cohort. Issues arising when the researcher is also a member of the researched cohort are discussed in the methodology. / The experience of this cohort suggests that despite the disadvantages of their birth, they fared better than expected. The majority demonstrated high levels of resilience, successfully developing a sense of identity that incorporated both the black and white aspects of their racial heritage. However, for some this success was only achieved at considerable personal cost, with several participants reporting relatively high levels of stress and/or stress related symptoms, such as anxiety, mental illness and heart disease.

The Great War narrative has been the subject of wide scholarship but there have been no studies that have specifically focused on understanding the ethical and aesthetic struggles of the artist in war, the artist’s dilemma. The generation that experienced the Great War included many giants of twentieth-century intellectual, cultural, and political life, many of whom wrote personal narratives of their experiences. These narratives have contributed to shaping familial stories and the meta-narratives of nation states for generations—sometimes limiting a fuller understanding of the war. Through this thesis I aim to open the field of narrative investigation into a wider inquiry through applying what Brian Lande identifies as the ‘sensual and moral conversion’ of the soldier in war, to the artistic actor in the theatre of war. The proposition is to identify and read beyond generic conventions, then to observe the process, the tasks, and the moral, psychosocial, and aesthetic dilemmas of the artist in the theatre of war. To do this, the work focuses on three robust texts of the Great War: Robert Graves’s Good-bye to All That (1929), Mary Borden’s The Forbidden Zone (1929), and David Jones’s In Parenthesis (1937). The project explores not only the nuance of creative witness, self-witness, and testimony, but proposes a fuller empathic engagement with the narrative within the social contract of war writing. After developing a model of the formal conventions which structure the genre of war writing, and building on the work of Max Saunders, Henri LeFebvre, and others, I have carried out close readings of the three authors’ Great War narratives and related works. With an interdisciplinary approach that encompasses literary, artistic, historical, ethical, and sociological studies, and with extensive archival research, I propose to introduce another perspective on reading between the lines of Great War narratives. This perspective encompasses the ethical and aesthetic dilemmas that faced the artists of the war generation as they acted and reacted to war, a generation that shaped the intellectual, political, scientific, and artistic life of the twentieth century, and the lives of generations to follow.

The approach I have chosen for my study is to analyse the narrative techniques in Wiesel's fiction, with particular emphasis on the role of the narrator and listener in the narratives. This will not only highlight aspects of his authorial strategy involving the reader's response to various dimensions of the Holocaust, but will allow an appraisal of the literary merit of Wiesel's novels. The hushed reverence that tends to accompany allusions to Auschwitz and its literature has impeded certain theoretical investigations, with the result that most critical studies undertaken on Wiesel's works have dealt predominantly with themes and content rather than with form. A narrative approach, however, while it accounts for themes, does so within the narrative process of the work. Form and content are examined as interwoven entities in the particular context of an individual work. My decision to adopt this pursuit is based on the conviction that Wiesel's fiction is a significant contribution to the literature of testimony, not only because of its subject matter, but also because of the way in which his narrators unfold their stories with words suspended by silence in the text. The paradox of the mute narrator, the title of my study, is intended to convey the paradoxical quality of Wiesel's fiction and to show how silence, which is manifested in the themes of his work, is concretized by his strategy of entrusting the transmission of the tale to narrators, who, for various reasons have been silenced. A mute by definition cannot emit an articulate sound. A narrator, on the other hand, is a storyteller who is reliant on verbal articulation for communication. This contradiction in terms is dramatized in the novels and is symptomatic of the dilemma of Wiesel's narrators who are compelled to bear testimony through their silence. In my study of Wiesel's fiction, I will follow the chronological sequence in which the novels were written, although I will not be using a developmental approach, except to point out that the trilogy which marks the beginning of his exploration into narrative strategies, and The Testament, the last book I will be dealing with, are a culmination of his previous fictional techniques. While a developmental analysis of his fiction, particularly from a thematic point of view, enables the reader to gain insight into his background, which is important in a comprehensive study of his works, I feel that this avenue of investigation has been competently dealt with by other critics. Ellen Fine's Legacy of Night, one of the first book-length studies of Wiesel, puts forward a convincing argument for examining his fiction in chronological sequence as a kind of serialized journey from being a witness in l'univers concentrationnaire to bearing - witness in a post-Holocaust world. Furthermore, it is possible to trace the direction Wiesel's fiction follows, as in each book the seeds are sown for new ideas which are expanded upon in subsequent books. My discussion, however, will deal with the narrative process of each novel as an individual work in its own particular context. Apart from the trilogy which is examined in one chapter, and The Testament which serves as a conclusion to the study, I have not used cross references to Wiesel's other fiction when analysing specific books. Moreover, I have deliberately avoided including Wiesel's comments on his works and references to them in his essays, interviews and non-fiction writing. The reason for this approach is that I consider each novel to be a separate narrative work which merits an interpretative response that is independent of the comparative criteria that has up to now influenced the assessment of his fiction. (Introduction, p. 12-14)

Since the end of the Nigcria-Biafra war in 1970, political and social theorists, journalists, and scholars have discussed the significance of the war and the major players. Yet one perspective is often omitted, and that is the experiences of women and the roles they played during the war. This thesis begins to unearth some of those hidden narratives through the use of in-depth interviews with seven Biafran women who lived during and survived the Nigeria-Biafra war. Their stories about the importance of their ethnic and religious identities, their roles and experiences during the war, their encounters with death and refugees, and their discussions of a generational shift are important parts of some of the unearthed narratives.

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