Post-Traumatic Art in the City comprises an original analysis of the nexus of war, art and urban society in two specific contexts: late 20th-century Beirut and Sarajevo. With an emphasis on conceptions of the 'post-traumatic', De le Court explores how cities and art are mutually formative in war and post-war contexts, providing unique insight into the politically and psychologically driven art scenes from within the works of art themselves. Grounded in close analyses and new research, the book makes an important contribution to the fields of art history and trauma studies.

That which does not kill us makes us stronger. (Nietzsche) The phenomenon of positive personal change following devastating events has been recognized since ancient times, but given little attention by contemporary psychologists and psychiatrists, who have tended to focus on the negative consequences of stress. In recent years, evidence from diverse fields has converged to suggest the reality and pervasive importance of the processes the editors sum up as posttraumatic growth. This volume offers the first comprehensive overview of these processes. The authors address a variety of traumas--among them bereavement, physical disability, terminal illness, combat, rape, and natural disasters--following which experiences of growth have been reported. How can sufferers from posttraumatic stress disorder best be helped? What does "resilience" in the face of high risk mean? Which personality characteristics facilitate growth? To what extent is personality change possible in adulthood? How can concepts like happiness and self-actualization be operationalized? What role do changing belief systems, schemas, or "assumptive worlds" play in positive adaptation? Is "stress innoculation" possible? How do spiritual beliefs become central for many people struck by trauma, and how are posttraumatic growth and recovery from substance abuse or the crises of serious physical illnesses linked? Such questions have concerned not only the recently defined and expanding group of "traumatologists," but also therapists of all sorts, personality and social psychologists, developmental and cognitive researchers, specialists in health psychology and behavioral medicine, and those who study religion and mental health. Overcoming the challenges of life's worst experiences can catalyze new opportunities for individual and social development. Learning about persons who discover or create the perception of positive change in their lives may shed light on the problems of those who continue to suffer. Posttraumatic Growth will stimulate dialogue among personality and social psychologists and clinicians, and influence the theoretical foundations and clinical agendas of investigators and practitioners alike.

In this “deeply original” (Elif Batuman) and “violently funny” (Myriam Gurba) story, a young lawyer finally confronts her dark past so she can live in a more peaceful future. To the outside observer, Vivian is a success story—a dedicated lawyer who advocates for mentally ill patients at a New York City psychiatric hospital. Privately, Vivian contends with the memories and aftereffects of her bad childhood—compounded by the everyday stresses of being a Black Latinx woman in America. She lives in a constant state of hypervigilant awareness that makes even a simple subway ride into a heart-pounding drama. For years, Vivian has self-medicated with a mix of dating, dieting, dark humor and smoking weed with her BFF, Jane. But after a family reunion prompts Vivian to take a bold step, she finds herself alone in new and terrifying ways, without even Jane to confide in, and she starts to unravel. Will she find a way to repair what matters most to her? A debut from a stunning talent, Post-traumatic is a new kind of survivor narrative, featuring a complex heroine who is blazingly, indelibly alive. With razor-sharp prose and mordant wit, Chantal V. Johnson performs an extraordinary feat, delivering a psychologically astute story about the aftermath of trauma that somehow manages to brim with warmth, laughter, and hope.

POST-TRAUMATIC URBANISM Urban trauma describes a condition where conflict or catastrophe has disrupted and damaged not only the physical environment and infrastructure of a city, but also the social and cultural networks. Cities experiencing trauma dominate the daily news. Images of blasted buildings or events such as Hurricane Katrina exemplify the sense of 'immediate impact'. But how is this trauma to be understood in its aftermath, and in urban terms? What is the response of the discipline to the post-traumatic condition? On the one hand, one can try to restore and recover everything that has passed, or otherwise see the post-traumatic city as a resilient space poised on the cusp of new potentialities. While repair and reconstruction are automatic reflexes, the knowledge and practices of the disciplines need to be imbued with a deeper understanding of the effect of trauma on cities and their contingent realities. This issue will pursue this latter approach, using examples of post-traumatic urban conditions to rethink the agency of architecture and urbanism in the contemporary world. Post-traumatic urbanism demands of architects the mobilisation of skills, criticality and creativity in contexts in which they are not familiar. The post-traumatic is no longer the exception; it is the global condition.

From pioneering therapist Cathy A. Malchiodi, this book synthesizes the breadth of research on trauma and the brain and presents an innovative framework for treating trauma through the expressive arts. The volume describes powerful ways to tap into deeply felt bodily and sensory experiences as a foundation for safely exploring emotions, memories, and personal narratives. Rich clinical examples illustrate the use of movement, sound, play, art, and drama with children and adults. Malchiodi's approach not only enables survivors to express experiences that defy verbalization, but also helps them to transform and integrate the trauma, regain a sense of aliveness, and imagine a new future. Purchasers get access to a companion website where they can download and print reproducible tools from the book in a convenient 8 1/2" x 11" size, as well as full-color versions of 26 figures.

Drawing on a range of cities and conflicts from Europe, Africa and the Middle East, the collection explores the post-conflict condition as it is lived and expressed in modern cities such as Berlin, Belfast, Bilbao, Beirut, Derry, Skopje, Sarajevo, Tunis, Johannesburg and Harare. Post-Conflict Performance, Film and Visual Arts: Cities of Memory investigates how the memory of conflict can be inscribed in historical monuments, human bodies and hermeneutic acts of mapping, traversing, representing, and performing the city. Several essays explore the relations between memory, history and urban space; where memory is located and how it is narrated, as well as various aspects of embodied memory; testimonial memory; traumatic memory; counter-memory; false memory; post-memory. Other essays examine the representations of post-war cities and how cultural imaginations relate to the politics of reconstruction in places devastated by protracted urban warfare. Post-Conflict Performance, Film and Visual Arts: Cities of Memory offers a comparative survey of the complex and often controversial encounters between public art, political memory and commemoration in divided societies, as well as offering insights into the political and ethical difficulties of balancing the dynamics of forgetting and remembering.

I am deeply terrified by the obsessions crawling over my body, whether they come from within me or from outside. I fluctuate between feelings of reality and unreality. I, myself, delight in my obsessions.'Yayoi Kusama is one of the most significant contemporary artists at work today. This engaging autobiography tells the story of her life and extraordinary career in her own words, revealing her as a fascinating figure and maverick artist who channels her obsessive neuroses into an art that transcends cultural barriers. Kusama describes the decade she spent in New York, first as a poverty stricken artist and later as the doyenne of an alternative counter-cultural scene. She provides a frank and touching account of her relationships with key art-world figures, including Georgia O'Keeffe, Donald Judd and the reclusive Joseph Cornell, with whom Kusama forged a close bond. In candid terms she describes her childhood and the first appearance of the obsessive visions that have haunted her throughout her life. Returning to Japan in the early 1970s, Kusama checked herself into a psychiatric hospital in Tokyo where she resides to the present day, emerging to dedicate herself with seemingly endless vigour to her art and her writing. This remarkable autobiography provides a powerful insight into a unique artistic mind, haunted by fears and phobias yet determined to maintain her position at the forefront of the artistic avant-garde. In addition to her artwork, Yayoi Kusama is the author of numerous volumes of poetry and fiction, including The Hustler's Grotto of Christopher Street, Manhattan Suicide Addict and Violet Obsession.