Titlebook: September 11, 2001 as a Cultural Trauma; A Case Study through Christine Muller Book 2017 The Editor(s) (if applicable) and The Author(s) 20

BADGE

intuition

Introduction: September 11, 2001, Cultural Trauma, and Popular Culture,ade of the twenty-first century. Popular press oral histories, literary fiction, television, and film are among the multiple, ubiquitous sites evidencing preoccupations with existential crisis, vulnerability, and moral ambivalence, with fate, no-win scenarios, and anti-heroes now pervading commonly told and readily accessible stories.

Lyme-disease

,Limning the “Howling Space” of September 11 Through Don DeLillo’s ,,1 by elaborating World Trade Center survivors’ compromised subjectivity and agency, witnesses’ ambivalent identifications with the plight of those who jumped from the towers, questions about choice and fate, and doubts about whether the aftermath of September 11 will ever reach any form of resolution.

apiary

Hallowed

Condense

, and the Fantasy of Closure,he ethics of action in the wake of September 11. Accordingly, rather than certifying closure, as some regarded bin Laden’s death on the evening of May 1, 2011, . draws viewers into self-reflexive involvement in the as-yet unresolved implications of September 11 and the US responses that followed.

SEED

會(huì)議

Book 2017ble forms of popular culture can similarly focalize evaluation of other moments of acute and profoundly troubling historical change. The attacks confounded the traditionally dominant narrative of the American Dream, which has persistently and pervasively featured optimism and belief in a just world

疲勞

,Conclusion: Cultural Trauma—September 11, 2001, and Beyond,world which affirms and rewards self-determination. Yet the use of widely distributed, easily accessible forms of popular culture, such as the nonfiction, literary fiction, television, and film considered here, can similarly focalize evaluation of other moments of acute and profoundly troubling historical change.

文件夾

Introduction: September 11, 2001, Cultural Trauma, and Popular Culture,has persistently and pervasively featured optimism and belief in a just world that affirms and rewards self-determination. This shattering of a worldview fundamental to mainstream US experience and cultural understanding has manifested as a cultural trauma throughout popular culture in the first dec