This thesis analyzes both Tezer &Ouml / zl&uuml / &rsquo / s life as an intellectual and her novels, The Chilly Nights of Childhood and Journey to the End of Life, in order to demonstrate &Ouml / zl&uuml / &rsquo / s portrayal of the inner life of the intellectual in her works and her unique way of expressing the effects of the political circumstances of the time on the individual intellectual. Through an analysis of her works from the standpoint of trauma theory, this study aims to demonstrate that &Ouml / zl&uuml / is engaged with the political problems of the era that she lives in although she does not express it explicitly in her works.

Research examining language in written and oral trauma narratives indicates that exposure and cognitive processing are important processes responsible for therapeutic change. Bio-informational theory, which defines emotions as the activation of response, stimulus, and meaning units in memory, provides a meaningful structure for evaluating language in traumatic and neutral essays. This study examined the effects of imagery training procedures designed to prime activation of response or stimulus units on word usage. The effect of writing instructions on activation of meaning units was also investigated. Unscreened undergraduates (n=246) were randomly assigned in a 2 writing condition (traumatic or neutral) x 3 training condition (response-training, stimulus-training, or no-training) design. Word count dictionaries were used to capture the effects of training and instructions on language. Overall, results supported predicted effects of stimulus training and trauma writing, but anticipated effects of response-training were inconsistent. Implications for theory and the use of language to measure emotion are discussed.

Through a study of the work of three important writers, this thesis engages with the traumatic memories of the second half of the twentieth century in Czechoslovakia in order to highlight the value of literature in widening critical understandings of the continuing legacy of this complex era, which was dominated by totalitarian regimes under the Communist governments which gained control after the upheaval of the Second World War. Whilst these years were not unilaterally traumatic, many lives were dramatically affected by border closures and by the experience of living under a regime that maintained control through methods including confiscation of property, surveillance, arbitrary imprisonment, show trials, and executions. Many of the stories of this era could not be published openly because of censorship, and the persecution of intellectuals led to a wave of emigration, during which a number of writers moved to France. Using theories of trauma, exile, illness, and of self and other, this thesis opens up a dialogue between the work of three writers who engage, albeit from very different perspectives, with this little-explored intersection between Czech and French. The first chapter explores Daniela Hodrová's translated Prague trilogy as a first-hand witness to her nation's dispossession and as a form of resistance to the deletion of memory. The second chapter considers the painful transgenerational legacy of the era as it plays out in the work of bilingual writer Jean-Gaspard Páleníček. Chapter Three considers the ways in which the Prague novels of established French author Sylvie Germain negotiate the fine line between an appropriation of the stories of the other and a moral responsibility to bear witness. By bringing these authors together for the first time and locating their work within French Studies, my work foregrounds the need for Western criticism to pay attention to other valuable voices who can contribute to our understandings of the traumatic experience that has shaped modern history.

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This essay argues that Bill Konigsberg depicts the traumatic experience of being raped and the inner conflict of being a male rape survivor with harsh immediacy by implementing internal focalisation in his young adult novel The Music of What Happens (2019). Additionally, the essay argues that the novel is a useful teaching resource in the Swedish EFL classroom by discussing the pedagogical implementations. This essay conducts an analysis from a trauma theory perspective, allowing a closer scrutiny of how the protagonist is affected by trauma. Lastly, it is concluded that although broaching sexualized trauma in the EFL classroom can be triggering, the novel can in fact vicariously represent students who have undergone traumatic events and therefore validate their feelings.

In 1979, the socio-­political landscape of Iran was transformed beyond recognition. After years of conflict between the Shah and a myriad of political opposition groups, it seemed that the people had indeed triumphed over an authoritarian monarch. As is now widely known, their short lived victory transformed into a systematic programme of terror that turned back on and attacked those that the Islamic Republic deemed contrary to its values. The ‘bloody decade' of the 1980s saw thousands of executions and disappearances under the cloak of the war with neighbouring Iraq. The records of these massacres are still largely unreliable and/or incomplete. The programme of terror in question, that ensued and persists up to the present day, has instigated a sprawling transnational Diaspora with a familiar but rarely divulged public secret. My doctoral thesis comprises two main parts in relation to these events. They are connected by the running theme of alternative narratives of past violence, and a post-­traumatic political activism. This is an intimate ethnography that examines global processes (revolution, Diaspora, transnational activism) from the vantage point of local and particular histories of Lur, former Fadaiyan guerilla fighters in Oslo. In the second part of this work, these histories are located within the collective movement of the Iran Tribunal, a literal attempt to make secrets public and to bring together subjective experiences of violence into a truth-‐telling process. Opening up a new space for critical reflection, this study proposes an alternative lens of analysis of tumultuous historical processes. With regards to their actors, efforts are made to better understand how lives and narratives are ordered around the characteristic disorder of violence, fear and Diaspora itself, and how subjective traumas manifest into collective, and in this case transnational, movements. My ethnography of disordered and interrupted lives works to inform studies of such critical contemporary realities as well as to ethnographically introduce the Iranian Diasporas' public secret of violence for wider anthropological enquiry, and to contribute towards its critical analysis.

《寵兒》（Beloved, 1987）是美國作家童妮‧摩里森（Toni Morrison）的第五本小說。如同她的前四本小說，《寵兒》關注的主題是黑人族群生活在美國所面臨的困境，探討非裔美國人如何在種族歧視的壓迫下求生存。與前四本小說不同的是，《寵兒》所敘述的故事發生在奴隸制度廢除之際，是摩里森第一次直接處理黑人在奴隸制度中遭受虐待的歷史事實。《寵兒》的主角是一群被解放的黑奴，摩里森藉著他們對過去的回憶來訴說奴隸制度對黑人族群所造成的集體創傷。受創的角色活在有關創傷的回憶中。他們不願去回想痛苦的過去，卻又被揮之不去的創傷記憶所纏繞。他們試著彼此扶持，並企圖走出受創的陰霾，找尋一個新的生活。 《寵兒》的故事以女主角柴特（Sethe）弒嬰的秘密為中心，加上其他黑奴的創傷記憶編織而成。既然小說本身是一個有關創傷的故事，批評家對《寵兒》的研究也就常涉及小說中的記憶、創傷與敘事風格。不過這些有關記憶、創傷與敘事的討論總是以種族或性別等議題為出發點，很少批評家純粹分析記憶、創傷與敘事在《寵兒》中的互動關係。有別於以往的研究，本論文試著以「創傷敘述」（trauma narrative）為主軸，採用佛洛伊德（Sigmund Freud）與赫曼（Judith Herman）的創傷理論來分析《寵兒》中記憶、創傷與敘事如何互相影響。首先，本論文探討創傷如何影響記憶的形成與敘事，以及創傷記憶為何是「一個不可說的故事」（an unspeakable story）。其次，本論文將創傷敘述的特色與《寵兒》中複雜難解的敘事風格相比較，討論摩里森如何運用創傷敘述的特色來再現小說中主角們難以啟齒的創傷記憶。最後，本論文討論創傷敘述與創傷治療（trauma healing）之間的關係，說明創傷敘述如何成為創傷治療過程中不可或缺的一環。 / Beloved (1987) is Toni Morrison’s fifth novel. Like her first four novels, Beloved centers on the social injustice which the black people are confronted with in their lives, depicting how African Americans struggle to survive under the oppression of racism. What renders Beloved different is its subject—the history of slavery, which was never dealt with in Morrison’s novels. The main characters in Beloved are ex-slaves who have undergone the atrocities of slavery. By recounting the characters’ experiences, the novel represents the horrors of slavery and the atrocities traumatizing the black people. In their post-traumatic lives, the characters are trapped in their traumatic memory. Although they show reluctance to recall the painful past, the traumatized characters are haunted by their indelible memories. However, the story is not completely tragic since, in the end, the characters are not defeated by their trauma. They endeavor to support each other, trying to rid themselves of traumatic memory and to rebuild a new life. The story of Beloved, which revolves around Sethe’s secret of infanticide, is constructed from the characters’ traumatic memory. Since the story is closely related to trauma, most critics explore Beloved in terms of memory, trauma, and its narrative style. However, critics often discuss only one or two topics of the above three. There are some critics analyzing the interrelation of memory, trauma and narrative in Beloved but their discussions are often the portions pertaining to the more extensive explorations based on the topic of history, race, or gender. Differing from these critical approaches, the present thesis adopts the concept of trauma narrative, using Sigmund Freud and Judith Herman’s trauma theories to analyze the interplay of trauma, memory, and narrative in Beloved. Firstly, the thesis discusses how the traumatic event affects the formation and narration of memory. The discussion also demonstrates why the traumatic memory is “an unspeakable story.” Secondly, the thesis compares the characteristics of trauma narrative with the intricate narrative of Beloved. The discussion centers on how Morrison adopts the characteristic of trauma narrative to represent a story of trauma. Lastly, the thesis explores the interrelation between trauma narrative and trauma healing. The discussion intends to clarify how trauma narrative becomes a prerequisite for trauma healing.