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![]() Hence, traumatic experiences are not representable since the brain cannot understand and process the event properly. In addition to the above mentioned, Cathy Caruth says in her book Unclaimed Experience: Trauma, Narrative, and History that trauma is not locatable in the simple violent or original event in an individual’s past, but rather in the way that is very unassimilated nature – the way it was precisely not known in the first instance – returns to haunt the survivor later on (4). However, as Tal noted, the remembrance of trauma is an approximate account of the past, as traumatic experiences preclude knowledge and, therefore, representation. Additionally, repetition is an essential term in this context as trauma only exists through repetitions, which works as the fundemental aspect of the novel. In other words, this concept of trauma and memory emphasises the necessity to recreate through narrative recall of the experience. To further elaborate on the dissolutions of the self, In addition to this notion, Kali Tal writes in his book Worlds of Hurt that accurate representation of trauma “can never be achieved without creating the event since, by its very definition, trauma lies beyond the bounds of ‘normal’ conception” (15). Hence, this model asserts that traumatic experience produces a temporal gap and dissolution of the self (Balaev 150). ![]() An example of such, is where the character, Ted constructs the other alters in order to, among others, take over the unbearable pain his body was exposed to, thus distancing himself from the traumatic experiences. In the case of Catriona Ward’s novel, The Last House on Needless Street the event resulting in the protagonist developing DID is violence and manipulation.īalaev further argues that the trauma theory depends upon the abreactive model of trauma (150), which is based on an emotional, unconscious reaction that one has in response to something that brings back a painful situation one has experienced. For example, the event may include, among others, an unexpected death, sexual abuse, and so on. However, the external event that results in an extreme response from the protagonist is not necessarily bound to a collective human or natural disasters such as wars and earthquakes. This is seen in terms of how Ted constructs the narrative, along with how his trauma experience affected Ted’s perception of himself and the world, by acknowledging the different alters that live within him. In the case of our project, the notion of self refers to the protagonist’s individual self. The defining feature of such a novel is the transformation of the self ignited by an external, often terrifying experience that illuminates the process of coming to terms with the dynamics of memory that inform the new perceptions of the self and the world (Balaev 150). In her article, Balaev introduces the term “trauma novel,” which refers to a work of fiction that conveys the profound loss of intense fear on an individual or collective level. In addition to that, Balaev defines trauma as referring to a person’s emotional response to an overwhelming event that disrupts previous ideas of an individual’s sense of self and the standards by which one evaluates society (Balaev 150). ![]() Michelle Balaev denotes in her article “Trends in Literary Trauma Theory” that the central claim of trauma theory asserts that trauma creates a speechless fright that divides or destroys identity (149). In order to give an account of DID, the article “Dissociative Identity Disorder: A Controversial Diagnosis”, by Paulette Marie Gillig, will be used as reference. Finally, the mental health condition, Dissociative Identity Disorder (abbreviated DID) will be introduced and explained since the novel The Last House on Needless Street deals with this particular disorder. This section will provide an account of trauma theory, defined and used by Michelle Balaev, Kali Tal, and Cathy Caruth, as well as how this theory is applied in literature.
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