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Historical Trauma : = Literary and Testimonial Responses to Hiroshima.
紀錄類型:
書目-語言資料,手稿 : Monograph/item
正題名/作者:
Historical Trauma :/
其他題名:
Literary and Testimonial Responses to Hiroshima.
作者:
Ghonim, Mariam Mohamed Barakat Abdelfattah.
面頁冊數:
1 online resource (108 pages)
附註:
Source: Masters Abstracts International, Volume: 85-05.
Contained By:
Masters Abstracts International85-05.
標題:
Military studies. -
電子資源:
click for full text (PQDT)
ISBN:
9798380721271
Historical Trauma : = Literary and Testimonial Responses to Hiroshima.
Ghonim, Mariam Mohamed Barakat Abdelfattah.
Historical Trauma :
Literary and Testimonial Responses to Hiroshima. - 1 online resource (108 pages)
Source: Masters Abstracts International, Volume: 85-05.
Thesis (M.A.)--The American University in Cairo (Egypt), 2023.
Includes bibliographical references
The concept of trauma is controversial in literature. While one may be able to come up with ways to describe trauma in fiction, representing historical trauma is a hard task for writers. Some argue that trauma can not be described through those who did not experience it, while others claim that, provided some elements are added, one can represent trauma to the reader. This thesis focuses on twentieth-century historical traumas related to a nuclear catastrophe and explores the different literary and testimonial responses to the catastrophic man-made event of Hiroshima (1945). In this thesis, Kathleen Burkinshaw's historical fiction The Last Cherry Blossom (2016) is used as the primary text while exploring varieties of literary and documentary works, presenting the Hiroshima traumatic events: John Hersey's Hiroshima (1946), Richard H. Minear's Hiroshima: Three Witnesses (1990) -focusing on only two witnesses Hara Tamiki and Ota Yoko- and Steven Okazaki's White Light/Black Rain: The Destruction of Hiroshima and Nagasaki(2007). Each work differs in genre, narrative, style, and retelling of the nuclear catastrophe while covering a wide spectrum of literary presentations of historical trauma. The thesis compares the different narrative strategies and depictions in relaying traumas to readers who have not experienced the event firsthand. Furthermore, it sheds light on the political agenda of the nuclear catastrophe in Hiroshima, and how it contributed to the trauma of the survivors.
Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024
Mode of access: World Wide Web
ISBN: 9798380721271Subjects--Topical Terms:
1148605
Military studies.
Index Terms--Genre/Form:
554714
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Historical Trauma : = Literary and Testimonial Responses to Hiroshima.
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The concept of trauma is controversial in literature. While one may be able to come up with ways to describe trauma in fiction, representing historical trauma is a hard task for writers. Some argue that trauma can not be described through those who did not experience it, while others claim that, provided some elements are added, one can represent trauma to the reader. This thesis focuses on twentieth-century historical traumas related to a nuclear catastrophe and explores the different literary and testimonial responses to the catastrophic man-made event of Hiroshima (1945). In this thesis, Kathleen Burkinshaw's historical fiction The Last Cherry Blossom (2016) is used as the primary text while exploring varieties of literary and documentary works, presenting the Hiroshima traumatic events: John Hersey's Hiroshima (1946), Richard H. Minear's Hiroshima: Three Witnesses (1990) -focusing on only two witnesses Hara Tamiki and Ota Yoko- and Steven Okazaki's White Light/Black Rain: The Destruction of Hiroshima and Nagasaki(2007). Each work differs in genre, narrative, style, and retelling of the nuclear catastrophe while covering a wide spectrum of literary presentations of historical trauma. The thesis compares the different narrative strategies and depictions in relaying traumas to readers who have not experienced the event firsthand. Furthermore, it sheds light on the political agenda of the nuclear catastrophe in Hiroshima, and how it contributed to the trauma of the survivors.
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