This edited volume is the first to propose new readings of Italian and transnational female-authored texts through the lens of Trauma Studies. Illuminating a space that has so far been left in the shadows, Trauma Narratives in Italian and Transnational Women’s Writing provides new insights into how the trope of trauma shapes the narrative, temporal and linguistic dimension of these works. The various contributions delineate a landscape of female-authored Italian and transnational trauma narratives and their complex textual negotiation of suffering and pathos, from the twentieth century to the present day. These zones of trauma engender a new aesthetics and a new reading of history and cultural memory as an articulation of female creativity and resistance against a dominant cultural and social order.

Featuring contributions from a wide array of international scholars, the book explores the variety of representational strategies used to depict female traumatic experiences in texts by or about women, and in so doing articulates the complex relation between trauma, gender and signification.

This volume offers new approaches to considering Italy’s traumatic experiences through a wide array of media, including film, documentaries, docufiction, websites, YouTube videos, advertisements, newspapers, and literature, that have not yet been fully analyzed. It looks at the trauma inflicted on Italians not, simply, as national or cultural traumas but, rather, as the creation/identification of subnational and transnational communities shaped by these trauma cases. The term “subnational”, or “transnational”, community is used mostly in reference to human beings, as they form those communities; however, they are also connected to a specific place, namely Italy. In addition, whereas “things” cannot become traumatized, this book also considers “living things,” such as the environment and the nature, which may create further trauma(s) for people.

This project investigates the way in which the figure of the hysterical woman has been taken up and reworked by Italian women writers in the decades following WWI. The first section identifies the importance of surgical imagery in the works of Enif Robert, Goliarda Sapienza, and Elena Ferrante, and proposes that such imagery shifts characterization away from madness towards an experience of woundedness. With the help of Adriana Cavarero's feminist narrative philosophy and in dialogue with contemporary thinking on trauma, this section complicates the simplistic tendency to equate storytelling with agency and healing. The second section focuses on envied or desired wounds and wounds that cross generations, with a focus on Elsa Morante and Elena Ferrante. This analysis identifies the fervent witnessing of the wounds of others as significant for the feminist project of countering isolation; woundedness can then be understood as part of the work of a dark feminism. Taking Ferrante's call for the exploration of the dark sides of female experience as a theoretical point of departure, the third section analyzes four recent works of Italian film that explore maternity beyond the confines of traditional representation. The project identifies a strong Italian contribution to contemporary transnational feminist thought, and its connection to a long, underrecognized, pattern of carving out artistic space for darkly feminist forms of expression, particularly those that emphasize wounds as both evidence of painful experience and opportunities for deepened understanding.

Race as Narrative in Italian Women's Writing Since Unification explores racist ideas and critiques of racism in four long narratives by female authors Grazia Deledda, Matilde Serao, Natalia Ginzburg, and Gabriella Ghermandi, who wrote in Italy after national unification. Starting from the premise that race is a political and socio-historical construction, Melissa Coburn makes the argument that race is also a narrative construction. This is true in that many narratives have contributed to the historical construction of the idea of race; it is also true in that the concept of race metaphorically reflects certain formal qualities of narration. Coburn demonstrates that at least four sets of qualities are common among narratives and central to the development of race discourse: intertextuality; the processes of characterization, plot, and tropes; the tension between the projections of individual, group, and universal identities; and the processes of identification and otherness. These four sets of qualities become organizing principles of the four sequential chapters, paralleling a sequential focus on the four different narrative authors. The juxtaposition of these close, contextualized readings demonstrates salient continuities and discontinuities within race discourse over the period examined, revealing subtleties in the historical record overlooked by previous studies.

This dissertation calls for and works to create a new awareness of PTSD and of the literature that is crafted to speak to, about, and for PTSD. The first chapter seeks to [re-]define the trauma narrative and to situate these testimonies as vital cultural artifacts both in raising societal awareness to PTSD and in assisting in the recovery process for individual trauma survivors. The second chapter comprises a collection of creative work, trauma literature that ventures to embody and give voice to the traumatic condition. The final chapter addresses and responds to a call to action posed by current scholarship in creative writing pedagogy by proposing an approach to creative writing instruction through trauma theory as an alternative to the standard workshop format in order to promote more critical thinking, more personal investment, and more social consciousness in the classroom. The dissertation as a whole is aware of and invested in an astute comprehension of trauma theory and its implications for survivors as well as for audiences of both readers and writers. The work within promotes understanding and empathy as the foundations of social betterment.

Trauma and Motherhood in Contemporary Literature and Culture repositions motherhood studies through the lens of trauma theory by exploring new challenges surrounding conception, pregnancy, and postpartum experiences. Chapters investigate nine case studies of motherhood trauma and recovery in literature and culture from the last twenty years by exploring their emotional consequences through the lens of trauma, resilience, and “working through” theories. Contributions engage with a transnational corpus drawn from the five continents and span topics as rarely discussed as pregnancy denial, surrogacy, voluntary or involuntary childlessness, racism and motherhood, carceral mothering practices, surrogacy, IVF, artificial wombs, and mothering through war, genocide, and migration. Accompanied by an online creative supplement, this volume deals with silenced aspects of embodied motherhood while enhancing a better understanding of the cathartic effects of storytelling.