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By Ann Cvetkovich

During this daring new paintings of cultural feedback, Ann Cvetkovich develops a queer method of trauma. She argues for the significance of spotting - and archiving - money owed of trauma that belong as a lot to the normal and daily as to the area of disaster. Cvetkovich contends that the sphere of trauma experiences, restricted via too strict a department among the general public and the personal, has ignored the stories of girls and queers. Rejecting the pathologizing understandings of trauma that permeate scientific and scientific discourses at the topic, she develops as an alternative a sex-positive technique lacking even from so much feminist paintings on trauma. "An Archive of Feelings" demanding situations the sector to have interaction extra absolutely with sexual trauma and the big variety of emotions in its area, together with these linked to butch-femme intercourse and aids activism and caretaking."An Archive of Feelings" brings jointly oral histories from lesbian activists excited about act/up long island; readings of literature via Dorothy Allison, Leslie Feinberg, Cherrie Moraga, and Shani Mootoo; movies by way of Jean Carlomusto and Pratibha Parmar; and, performances through Lisa Kron, Carmelita Tropicana, and the bands Le Tigre and Tribe eight. Cvetkovich unearths how those cultural formations - activism, functionality, and literature - provide upward push to public cultures that either paintings via trauma and rework the stipulations generating it. through having a look heavily at connections among sexuality, trauma, and the production of lesbian public cultures, Cvetkovich makes these studies which were driven to the peripheries of trauma tradition the defining rules of a brand new development of sexual trauma - one during which trauma catalyzes the production of cultural documents and political groups. additionally of curiosity woman masulinity Judith Halberstam.

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Additional resources for An Archive of Feelings: Trauma, Sexuality, and Lesbian Public Cultures

Example text

5 Minute Ride with a metaphor from the theater. " In the end, she cannot tell her father's story or an Auschwitz one; she can best represent these through roller coaster rides and wedding sentiments, told in her own queer way. I've begun with an example that occupies the terrain of both queer cul­ ture and the Holocaust to highlight the differences betw·een this book and the more customary sit·es of trauma studies. 5 Minute Ride than Holocaust testimony, occupying a frequently oblique relation both in content and genre to historical sites of trauma.

Or their conjunction. tion of trauma thus becomes an inquiry into how affective experie11ce that bUs outside of institutionalized or stable forms of identity or politics can form the basis for public culture In opening with a discussion of trauma as a social and cultural cate­ gory, tllis book signals its recognition that trauma is the subject of a dis­ course that has a history. �ly referred to a physical wound, came to be applied to mental or psychic dis1ress. � can be understood as mutually constitutive categories; trauma is one of the affective experi­ ences, or to use Raymond \Villiams's phrase, "structures of feeling," that characterizes the lived experience of capitalism.

He describes the effects of the long working day, cramped and inhumane workplaces, and the monotony of mechanized mass production in graphic terms.

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