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dc.contributor.supervisorGrant, Jane
dc.contributor.authorWalker, Anna M
dc.contributor.otherFaculty of Arts, Humanities and Businessen_US
dc.date.accessioned2017-08-08T11:30:11Z
dc.date.available2017-08-08T11:30:11Z
dc.date.issued2017
dc.identifier10393967en_US
dc.identifier.urihttp://hdl.handle.net/10026.1/9692
dc.descriptionSix Fragments, (Moving Imagery and sound, 32.58 minutes, 2014-2016) and Remembering, (Moving Imagery and sound, 18.53 minutes, 2015-2017) were submitted as part of this thesis, and viewed by examiners as part of the viva voce, on May 8th, 2017, in the Jill Craigie Cinema, Plymouth University.en_US
dc.description.abstract

In and out of memory: exploring the tension between remembering and forgetting when recalling 9/11, a traumatic event.

My research is an unravelling of a traumatic memory to describe, understand and answer questions about the 'trauma body.' In my research, I put forward the idea that traumatic memories are detached memories with an emotional resonance that fixes them historically in a specific place and time, unwieldy anchors for a body that is neither here (present), nor there (in the past). I analyse this paradox from philosophical and psychoanalytical perspectives. Through a layered arts practice of text, sonic art work, and moving and still imagery I examine the tension where trauma meets memory, whether in an attempt to forget, or an effort to remember. Memory in this context is perceived as crucial towards understanding oneself socially, culturally and personally, whilst trauma is understood as an experience borne by the act of ‘leaving,’ wherein the mind’s coping mechanism overwhelmed by shocking external events fractures or splits.

I began this process by revisiting a journal written on the day of and days following the terrorist attacks on September 11, 2001. A journal that had remained closed and unread until starting my research in 2012. My aim was to deconstruct my memory of this traumatic event, lay it to rest and explore the latent witnessing that defies assimilation into a narrative. I employ autoethnography as a methodology to facilitate a greater understanding of trauma and its wider cultural implications, overlaying my personal memories upon a well-established collective memory of 9/11. Autoethnography, in this

instance, is a reformulation of ethnography or anthropology, an in-depth examination of context incorporating cross-disciplinary approaches. With an emphasis on self-reflection and subjective participation, as both the artist and the owner of certain memories, my intention was to engage a larger epistemological discussion of the meeting place of trauma and memory.

en_US
dc.language.isoen
dc.publisherUniversity of Plymouth
dc.rightsAttribution-NonCommercial-NoDerivs 3.0 United States*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/us/*
dc.subjectArten_US
dc.subjectMedia
dc.subjectArts Practice
dc.subject9/11
dc.subjectConflict
dc.subjectTerrorism
dc.subjectSeptember 11th 2001
dc.subjectMoving Imagery
dc.subjectPhotography
dc.subjectMemory
dc.subject.classificationPhDen_US
dc.titleIn and Out of Memory: Exploring the Tension Between Remembering and Forgetting When Recalling 9/11, a Traumatic Eventen_US
dc.typeThesis
plymouth.versionnon-publishableen_US
dc.identifier.doihttp://dx.doi.org/10.24382/1190
dc.rights.embargoperiodNo embargoen_US
dc.type.qualificationDoctorateen_US
rioxxterms.versionNA
plymouth.orcid.id0000-0003-1330-2465en_US


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