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When authors write fiction about real, traumatic events, they face ethical challenges about how to portray trauma and its impacts. This dissertation employs methods of close reading and application of theory to investigate authorial choices. I argue that authors writing fiction about trauma often make aesthetic choices that blur the line between figurative and literal language in order to portray bodily experiences. This dissertation takes as its subject novels from sub-Saharan Africa that depict traumas caused directly and indirectly by colonialism. Authors including David Diop (1966-) and Birago Diop (1906-1989) have used these techniques to write about tirailleurs sénégalais, West African men conscripted to serve France’s military in the nineteenth and twentieth centuries. I bring these authors together with Boris Boubacar Diop (1946-) and Véronique Tadjo (1955-), who wrote books about the Rwandan genocide, because they also perform this translation for the body, asking readers to approach these works with a sensitivity to the ways the body endures trauma. The effect of these choices is a humanizing and integrated portrayal of trauma as a phenomenon that challenges the mind-body separation of cartesian influence and complicates human experience of time as linear. These works create space to think about trauma and recovery as individual as well as communal, to map similarities of human responses to trauma without pathologizing it. Ultimately, these works point to the conclusion that living through/with trauma is possible when the trauma can be incorporated into a new conception of the self.

Thesis (Ph. D.)--Ohio State University, 2006. / Full text release at OhioLINK's ETD Center delayed at author's request

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI/Dissertation Abstracts International.

This thesis focuses on the representation of physical violence in the first Romantic French dramas of the 19th century. Before 1829, the Classic movement forbade spectacles of violence in the major theatres. However, with the production of the first Romantic play, Henri III et sa cour, the stage was transformed into a space of murder, physical brutality and suicide. In this study, we will interrogate the reasons for which violent acts reappear on the French stage. The influence of the guillotine will be examined as well as the sublime and grotesque nature of murder. The theories of Christine Marcandier-Colard, which explore the supreme beauty of criminality, will lead us to determine which ideologies are communicated through the depictions of death. We will also analyze the reaction of the public in regard to brutality in the theatre, as well as the role that violence plays in the development of a new society. Although violence inherently possesses a destructive value, its aesthetic value in the theatre advocates a veritable evolution of the French society towards democracy.

Thesis--Valladolid, 1973. / Includes bibliographical references (p. [213]-224) and index.

Thesis--Universität Mainz, 2005. / Includes bibliographical references.

Thesis (M.A.)--Brandeis University, 2009. / Title from PDF title page (viewed on May 29, 2009). Includes bibliographical references.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2009. / Title from title screen (site viewed July 21, 2009). PDF text: v, 208 p. ; 1 Mb. UMI publication number: AAT 3350257. Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Vita. Includes bibliographical references (leaves 177-187). Available also in a digital version from Dissertation Abstracts.