Abstract:Decolonizing trauma theory has been a major project in postcolonial literary scholarship ever since its first sustained engagements with trauma theory. Since then, trauma theory and postcolonial literary studies have been uneasy bedfellows, and the time has now come to take stock of what remains in postcolonial trauma studies from the original formulations of trauma theory, and see which further steps must be envisaged in order to reach the ideal of a truly decolonized trauma theory today. To this end, this article presents a detailed overview of the short history and the present situation of the trajectory of decolonizing trauma theory for postcolonial studies, clarifying the various re-routings that have so far taken place, and delineating the present state of the project, as well as the need for further developments towards an increased expansion and inclusiveness of the theory. I argue that openness to non-Western belief systems and their rituals and ceremonies in the engagement with trauma is needed in order to achieve the remaining major objectives of the long-standing project of decolonizing trauma theory.Keywords: trauma theory; postcolonial scholarship; literary criticism; postcolonial trauma; Freudian psychoanalysis; resilience; spirituality
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In this groundbreaking book, therapist Resmaa Menakem examines the damage caused by racism in America from the perspective of trauma and body-centered psychology. My Grandmother's Hands is a call to action for all of us to recognize that racism is not only about the head but about the body, and introduces an alternative view of what we can do to grow beyond our entrenched racialized divide.
An exploration of the healthful powers of curanderismo, a combination of Aztec, Spanish, Native American, and African medicine, from a registered nurse and professional curandera, advocates a holistic approach to healing, showing how to creatively combine Western and folk medicines.
The 1970s and 1980s saw the awakening of social awareness and political activism in Mexican-American communities. In San Diego, a group of Chicana women participated in a political theatre group whose plays addressed social, gender, and political issues of the working class and the Chicano Movement. In this collective memoir, seventeen women who were a part of Teatro de las Chicanas (later known as Teatro Laboral and Teatro Raíces) come together to share why they joined the theatre and how it transformed their lives. Teatro Chicana tells the story of this troupe through chapters featuring the history and present-day story of each of the main actors and writers, as well as excerpts from the group's materials and seven of their original short scripts.
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