This transnational, interdisciplinary study of traumatic neurosis moves beyond the existing histories of medical theory, welfare, and symptomatology. The essays explore the personal traumas of soldiers and civilians in the wake of the First World War; they also discuss how memory and representations of trauma are transmitted between patients, doctors and families across generations. The book argues that so far the traumatic effects of the war have been substantially underestimated. Trauma was shaped by gender, politics, and personality. To uncover the varied forms of trauma ignored by medical and political authorities, this volume draws on diverse sources, such as family archives and narratives by children of traumatized men, documents from film and photography, memoirs by soldiers and civilians. This innovative study challenges us to re-examine our approach to the complex psychological effects of the First World War.

This collection investigates the social and cultural history of trauma to offer a comparative analysis of its individual, communal, and political effects in the twentieth century. Particular attention is given to witness testimony, to procedures of personal memory and collective commemoration, and to visual sources as they illuminate the changing historical nature of trauma. The essays draw on diverse methodologies, including oral history, and use varied sources such as literature, film and the broadcast media. The contributions discuss imaginative, communal and political responses, as well as the ways in which the later welfare of traumatized individuals is shaped by medical, military, and civilian institutions. Incorporating innovative methodologies and offering a thorough evaluation of current research, the book shows new directions in historical trauma studies.

During the First World War, the Jewish population of Central Europe was politically, socially, and experientially diverse, to an extent that resists containment within a simple historical narrative. While antisemitism and Jewish disillusionment have dominated many previous studies of the topic, this collection aims to recapture the multifariousness of Central European Jewish life in the experiences of soldiers and civilians alike during the First World War. Here, scholars from multiple disciplines explore rare sources and employ innovative methods to illuminate four interconnected themes: minorities and the meaning of military service, Jewish-Gentile relations, cultural legacies of the war, and memory politics.

Is Trauma a transhistorical, transnational phenomenon? Gender and Trauma challenges the standard history that has led to our contemporary understanding of psychological trauma to answer this question, and to explore the impact of gender in the experience and understanding of emotional distress. Bringing together eleven case studies from all over the world, it draws on methods from history, gender and communication studies to consider how trauma has been understood over the 20th and 21st centuries. Encompassing histories from Australia, Britain, Indonesia, Italy, the Soviet Union, Timor Leste, the United States and Vietnam, these examples demonstrate how gender and trauma are inextricably linked, and how the term 'trauma' has evolved over time. With chapters on war, political repression, displacement, rape and childbirth, the cases showcased in this volume highlight two pivotal transformations across the 20th century. First, the transformation of the trauma sufferer from perpetrator to victim, and second, the increased understanding of psychological consequences of sexual assault and domestic violence. Together, these diverse stories yield a more nuanced picture of what trauma is, how we have understood it alongside gender in the past, and how this affects our understanding of it in the present.

This book promotes a historically and culturally sensitive understanding of trauma during and after World War II. Focusing especially on Eastern and Central Europe, its contributors take a fresh look at the experiences of violence and loss in 1939–45 and their long-term effects in different cultures and societies. The chapters analyze traumatic experiences among soldiers and civilians alike and expand the study of traumatic violence beyond psychiatric discourses and treatments. While acknowledging the problems of applying a present-day medical concept to the past, this book makes a case for a cultural, social and historical study of trauma. Moving the focus of historical trauma studies from World War I to World War II and from Western Europe to the east, it breaks new ground and helps to explain the troublesome politics of memory and trauma in post-1945 Europe all the way to the present day. This book is an outcome of a workshop project ‘Historical Trauma Studies,’ funded by the Joint Committee for the Nordic Research Councils in the Humanities and Social Sciences (NOS-HS) in 2018–20. Chapters 4, 5 and 6 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Bringing together a diverse collection of primary source documents, this book illuminates the events and experiences of World War I from a variety of perspectives, from soldiers on the front lines to civilians supporting the war effort at home. Part of Bloomsbury's Voices of an Era series, this carefully curated collection highlight the wartime experiences of a diverse array of individuals from around the globe. In addition to covering major military innovations and turning points, documents explore how issues of gender, race,diplomacy, and empire building impacted individuals' experience of the Great War. Each of the 42 documents includes contextual information and thought-provoking questions to guide readers in their exploration of the text. In addition to high-interest sidebars, in-text glossary definitions, biographical snapshots of key figures, and a comprehensive chronology of the war, the book also includes a guide to evaluating and interpreting primary sources that bolsters readers' analytical and critical thinking skills. Although it was nicknamed "the war to end all wars," World War I heralded the start of modern-day conflicts. The human toll of the Great War was immense-an estimated 9 million soldiers died on the battlefield, while more than 5 million civilians died as the result of military actions, disease, or famine. In the wake of World War I, empires crumbled and new nations won their independence. Although the events and aftermath of World War I happened on an epic scale, the conflict is best understood through the human lens provided by these primary sources.

The First World War has given rise to a multifaceted cultural production like no other historical event. This handbook surveys British literature and film about the war from 1914 until today. The continuing interest in World War I highlights the interdependence of war experience, the imaginative re-creation of that experience in writing, and individual as well as collective memory. In the first part of the handbook, the major genres of war writing and film are addressed, including of course poetry and the novel, but also the short story; furthermore, it is shown how our conception of the Great War is broadened when looked at from the perspective of gender studies and post-colonial criticism. The chapters in the second part present close readings of important contributions to the literary and filmic representation of World War I in Great Britain. All in all, the contributions demonstrate how the opposing forces of focusing and canon-formation on the one hand, and broadening and revision of the canon on the other, have characterised British literature and culture of the First World War.

"French Music and Trauma Between the World Wars illustrates that coping with trauma was a central concern for French musicians active after World War I. The losses and violent warfare of World War I shaped how interwar French musicians-from those fighting in the trenches and working in military hospitals to more well-known musicians-engaged with music. Situated at the intersections of musicology, history, sound and performance studies, and psychology and trauma studies, Resonant Recoveries argues that modernists' compositions and musical activities were sonorous locations for managing and performing trauma. Through analysis of archival materials, French medical, philosophical, and literary texts, and the music produced between the wars, this book illuminates how music emerged during World War I as an embodied technology of consolation. Resonant Recoveries demonstrates that music making came to be understood by French interwar musicians as a consolatory practice that enhanced their abilities to remember lost loved ones, gave them opportunities to perform their grief publicly and privately, allowed them to create healing bonds of friendship, and soothed them with sonic vibrations and the rhythmically regular bodily movements required in order to perform many French neoclassical compositions. In revealing the importance music making held for interwar French musicians, this book refigures French modernist music as a therapeutic medium for creators, performers, and audiences, while also underlining the importance of addressing trauma, mourning, and people's emotional lives in music scholarship"--

Languages of Trauma explores how, and for what purposes, trauma is expressed in historical sources and visual media.