American Literature Commons^™

Trauma Before The Name : Impersonal Violence In Nineteenth-Century American Literature, Carolin Alice Hofmann

Legacy Theses & Dissertations (2009 - 2024)

The dissertation studies the pre-history of trauma in US American fiction, examining how experiences of large-scale adversity are represented before the concept of psychological trauma emerges in the late nineteenth century. Distinctly modern forms of violence—diffuse, systemic, lacking direction and intent—bring forth less individual and personal experiences of grief and suffering than those imagined by twentieth-century trauma theory. Studying forms of feeling and of genre that make trauma legible historicizes the way a Western idea of modern subjectivity, as white, self-possessed, agential, and split, has shaped out understanding of how a person processes crisis. The dissertation visits three spaces that …

Reader's Guide: A Foray Into Violence, Trauma And Masculinity In In Our Time, Sara-Rose Beatriz Bockian

CMC Senior Theses

Modernism has been called “a reaction to the carnage and disillusionment of the First World War and a search for a new mode of art that would rescue civilization from its state of crisis after the war” (Lewis, 109) Hemingway attempts this rescue by re-thinking aspects of the novel that were taken for granted in earlier periods, just as the conventions of modern life were taken for granted pre-WWI. Furthermore, his work tries to rectify the dissonance between a pre and post-war self through the exploration of social conventions relating to violence, trauma and masculinity.

"The Imagination And Construction Of The Black Criminal In American Literature, 1741-1910", Emahunn Campbell

Doctoral Dissertations

My dissertation examines the origins of the perception of black people as criminally predisposed by arguing that during eighteenth and nineteenth-century America, crime committed by black people was used as a major trope in legal, literary, and scientific discourses, deeming them inherently criminal. Furthermore, I contend that enslaved and free black people often used criminal acts, including murder, theft, and literacy, as avenues toward freedom. However, their resistance was used as a justification for slavery in the South and discrimination in the North. By examining a diverse set of materials such as confessional literature, plantation management literature, (social) scientific studies, …

There Will Be Violence: A Critical Analysis Of Violence In The Works Of Cormac Mccarthy, Matthew L. Robinson

Honors Projects

This discussion of McCarthy’s use of violence in his western novels will focus primarily on the books Blood Meridian or the Evening Redness in the West and No Country for Old Men.

Both novels feature antagonists who use war and violence to impose a new societal order. They fail in the end – they cannot succeed so long as there are individuals who refuse to conform to a widespread acceptance of violence that follows Judge Holden’s doctrine of war. In McCarthy’s novels, violence is used to impose a new order of existence. The opposition of individuals cause these imposed …

From This Dark Place To The Other: Violence And Connection In The Poetry Of Brian Turner, Alan R. Swirsky

Electronic Theses and Dissertations

Brian Turner is a poet and American soldier who served in Iraq at the start of the 21^st century. His poetry is about his experiences as a soldier interacting with the Iraqi people, his time in America following the war, PTSD, and the endless violence in the war zone. As a comparatively recent entry into the genre of War Poetry, his work pays homage to the writers who preceded him, like Wilfred Owen and Bruce Weigl, while also referencing Middle Eastern poets typically outside the scope of American literature. Through Turner’s recurring themes and motifs, connections are established between …

Edna St. Vincent Millay: Artisan Of Violent Feminine Agency, Carolina Galdiz

Senior Theses and Projects

For decades, scholars have understood Edna St Vincent Millay in two fairly distinctive patterns as either a classical romanticist or ephemeral rebel. This dual reputation has been crafted from the obvious presence of natural imagery, sexual dynamism, feminine voice, and romantic yearning in her work. What critics have failed to see in her poetry are the potent sinister undertones that claim violence as a means to power. I will argue that Millay narrates the gendered struggle that takes place in this violence, in order to ultimately assert feminine agency in the process of forming a cultural identity. Thus, rather than …