This dissertation examines contemporary responses by Austrian theatre makers from the free theatre sector, that is, those working outside of the state theatre establishment, to the outcome of what came to be known as ‘the big lie’ on which Austrian national identity was built following liberation from German rule by the Allied forces in 1945. The ensuing problem for the post-war generations of having to claim a past that was buried under the carefully constructed official version of history but mediated through the silence of their parents and grandparents – shaping their (inner) lives – and possibilities for representing such experience through the medium of theatre are core issues explored in this study. The main focus of the dissertation is analysis of a selection of three pieces of theatre produced by two free theatre companies in Austria, Auf der Suche nach Jakob / Searching for Jacob / Szukajac Jakuba, and Pola, both by the Projekttheater Studio based in Vienna, and Speaking Stones: images, voices, fragments… from that which comes after by Theater Asou in Graz, Styria. Apart from contextualization of the central thematic concerns of the selected pieces of theatre within the historical events of 20th century Austria, and discussion of the theoretical framework within which the pieces are analysed, this study also offers a consideration of the phenomenon of the free theatre sector in contemporary Austria as a complement and an alternative to the state theatre sector, its roots and development since the post WWII period through to the early 21st century. Interviews with theatre artists, arts administrators and a Holocaust eye witness are also drawn upon to investigate how free theatre can provide a medium though which memory-work, the subtleties of damage and the inexpressible, and the difficult task of claiming the past can be explored.

Alan Burns was one of the key figures in the group of experimental writers working in Britain in the nineteen sixties and early nineteen seventies, which included writers such as B.S. Johnson, Christine Brooke-Rose, Ann Quin and Giles Gordon. All of them sought ways to update and radicalize the techniques of modernism to make them relevant for their contemporary situation. Alan Burns took the novel to more radical extremes than his counterparts, eschewing traditional narrative in favour of a dense accumulation of detail. This is the first full length study of Burns' work, which has largely been neglected by scholars and, for the most part, remains out of print. I provide a thorough account of Burns' life and work and theorise the reasons for his obscurity. I examine the role of trauma in his work. For Burns the experience of the traumatic moment is one in which the violence that underpins everyday society is momentarily unveiled, the sheer and explicit violence of the event produces a rupture that displays the deeper and more insidious violence that exists beneath it and gives it structure. I draw on theories of visual art, music and cinema, both of the 'classical' avant-garde and more recent, as much as of literature and philosophy, to attempt to account for the strategies, techniques and approaches that Alan Burns engaged with in his writing. Avowedly left-wing, in interviews Burns is frequently optimistic about the possibility for political change in the world, and is even confident about the role that literature can play in fostering that change. However, I argue that his novels present a rather different, and much more pessimistic picture: each of them shows the way in which any activism can ultimately be constrained and co-opted.

A major weakness of the literature on the regulation of freedom of expression within the field of political science is the assumption of peaceful, liberal democratic conditions. My project seeks to contribute to a better understanding of the legitimate regulation of speech by analyzing disciplinary approaches to freedom of expression through the lens of countries recovering from intractable conflict. I ask: How appropriate are current understandings of freedom of expression to the regulation of speech in post-conflict environments? Relying on insights from the field of social psychology and the case of post-genocide Rwanda, I argue that greater restrictions on freedom of expression could be legitimate in countries recovering from intractable conflict. However, rights derogations must take place within limits so as not to become a tool of authoritarian rule.

This work situates Patricio Guzmàn's Nostalgia for the Light in the broader field of essay documentary film and unveils it as a locus of discursive resistance and the generative crux of diverse conventionally isolated academic dialogues. In doing so, it addresses the challenging and controversial questions of historical meaning-making, remembrance and oblivion, melancholia and mourning. My thesis also endeavors to detect the dynamic and anxiety-inducing threshold between singularity and collectivity, and the human and the cosmic. I lay the historically unprecedented common ground for trauma theory and the essayistic comportment and argue that bearing the clash of time planes, paradoxicality, ambiguity, and aporias at its heart, the essayistic endeavor simulates the ontology of trauma itself. In my theorization, both operate via the originary metaphorical overleaping of matter between physical and metaphysical spheres, conscious and unconscious themes. These figurative transferences creatively transgress registers, genres, sharply-contoured discourses, and translate between the multiple surfaces of human existence and experience. I propose that the essayistic meandering of moving along residues and fissures opens up a more ethical approach to trauma. Such a disposition diverges from the positivist certitude of polarizing, moralizing, and sublimating narratives which inevitably lead to foreclosure. Filtering my arguments through the film's aestheticization of absence, I offer an ethical and responsible stance toward trauma and reveal its affective force as the substrate of our intricate relations to the other and our organic and non-organic environment.

Black Mourning: Readings of Loss, Desire and Racial Identification explores a diverse archive of African American literary and cultural texts in order to reveal loss as a necessary condition of racial identification. To support this assertion, this study broaches a theoretical gap that persists between black literary and cultural studies and revisionist approaches to psychoanalytic theory. Using the lens of trauma theory, Black Mourning reframes cultural memory and black subjectivity in ways that supplant performances of racial authenticity with an affective politics. Black expressive culture and performance aesthetics undergird this critical model. Chapter One "Jean Toomer's Cane and the Erotics of Mourning" configures cultural memory in relation to the formation of modern blackness. Chapter Two "'Nobody Knows My Name': Ann Petry's The Street and Black Women’s Blues Protest" uses a blues aesthetic to access hidden texts of black female sexual trauma. Chapter Three "The Queerness of Blackness: Marlon Riggs's Black Is … Black Ain't" looks at embodied trauma as an a foundation for reimagining black collectivity. The fourth chapter "Archiving Blackness: Danzy Senna's Caucasia and Post-Soul Aesthetics" moves beyond fixed narratives of race to conceptualize innovative ways of archiving blackness. / text

A major weakness of the literature on the regulation of freedom of expression within the field of political science is the assumption of peaceful, liberal democratic conditions. My project seeks to contribute to a better understanding of the legitimate regulation of speech by analyzing disciplinary approaches to freedom of expression through the lens of countries recovering from intractable conflict. I ask: How appropriate are current understandings of freedom of expression to the regulation of speech in post-conflict environments? Relying on insights from the field of social psychology and the case of post-genocide Rwanda, I argue that greater restrictions on freedom of expression could be legitimate in countries recovering from intractable conflict. However, rights derogations must take place within limits so as not to become a tool of authoritarian rule.

This essay analyses the representation of trauma and gendered violence in Colleen Hoover’s novel It Ends With Us. To do this, trauma theory and the notion of gendered violence are applied in the analysis, as well as Dorrit Cohn’s ideas of diary novels, dissonant narrator and consonant narrator. The findings show that the protagonist, Lily’s, way of coping with her trauma and gendered violence during her teenage years, was to keep a diary, effectively using scriptotherapy. When that was not enough, however, she actively suppressed her problems. The essay also shows that Cohn’s ideas of dissonant and consonant narrator play a part in how Lily’s development is shown throughout the novel.

Women comprise one of the fastest growing populations of the criminal justice system, yet little research exists concerning the success of these women completing a coed pretrial drug court diversion program. Trauma theory was applied to inform the variables in this quantitative correlational study. The predictive nature of age, educational level, marital status, violent criminal history, and mental health problems for women were examined in relation to completion of a coed pretrial drug court diversion program. A convenience sample from secondary, archival data was obtained from a criminal justice agency in Washington, DC. The dataset included women who participated in the program between January 1, 2009 and December 31, 2014. Logistic regression models were used to predict the likelihood of whether these women completed drug court and determine which independent variables were likely to increase or decrease the probability of program completion. Results of the study failed to yield statistically significant relationships between the variables examined. However, the findings indicate possible relationships between marriage and drug court completion, and postsecondary education and drug court completion, which require additional research. Implications for positive social change are drawn for other criminal justice agencies, drug courts, and administrators for enhancing program delivery and reducing women's recidivism.

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This paper investigates garments as containers of stories in Maggie O’Farrell’s The Vanishing Act of Esme Lennox (2007). Michel Foucault’s ideas about penal practice are used to study how items of clothing are used to discipline the female body and sexuality. O’Farrell’s novel is also analyzed from the perspective of trauma theory as presented by Cathy Caruth. In this context, we study how trauma is portrayed through the novel's presence and absence of garments. Further, a didactic perspective is added to our discussion of trauma theory, garments, and Foucault’s theories in the classroom. An issue to be investigated is how a safe space can be created in the classroom so that the teacher may introduce sensitive topics such as rape.   Keywords: garments, Foucault, trauma theory