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This paper takes as its point of departure the assumption that the experience of total war in the twentieth century can be appropriately viewed from the perspective of "trauma". Comments on the intractable nature of trauma provide a methodological basis for a critical assessment of the twentieth century's war commemorations. No other century has left behind so many discourses, memoirs and artistic representations about war experiences. Such a excess of memory, however, cannot be hasty identified as having come to terms with the past. The extraordinary meaning, texture, and representational strategies of these works indicate traumatic war experiences that have not been adequately incorporated within existing historical narrative.
As some post-Freudian scholar put it, trauma does not simply serve as record of the past, but also registers the force of an experience that is not yet fully owned. The experience of trauma consists in an inherent "latency" within the experience itself, so that the trauma preserves the very dissociation between past and present. In its refusal to be simply located, in its insistent appearance outside the boundaries of any single place or time, lies the indirect referentiality of history.
For this reason, trauma must preserve a kind of historical truth that cannot be objectified by any explanatory or narrative framework. It sounds, instead, a moving and sorrowful voice that cries out, a voice that witnesses a truth that the survivor himself cannot fully know. If trauma must preserve the intractable "otherness" of the lost object, it is only subsequently that trauma can awaken awake us and remind us of our responsibility for the other.
The only way we can win access to trauma may be the "empathy" preached by the American theoretician of history Dominick La Capra teaches us. Empathy in this sense tends to be responsive to the traumatic experience of others, notably of victims; it eschews any appropriation of their experience and refuses any harmonizing or spiritually uplifting accounts of extreme events. With such a empathy we may overcome a narrowly cognitive relation to the past and expose ourselves to an "unsettlement."
This methodological approach would help us deepen the commemoration of the wars of the twentieth century. The function of any "reenactment" of war scenes in the various forms of war narrative should be to assess not only from the functionalistic viewpoint, but also from the psychoanalytic. The cultural historian of war commemoration should empathetically try to come near to the unspeakable experiences of the lost other by retrogressing and deconstructing existing war narratives of different stripes. This work requires a methodological swing of historian's pendulum between affection and critical judgement, between melancholy and mourning.
As some post-Freudian scholar put it, trauma does not simply serve as record of the past, but also registers the force of an experience that is not yet fully owned. The experience of trauma consists in an inherent "latency" within the experience itself, so that the trauma preserves the very dissociation between past and present. In its refusal to be simply located, in its insistent appearance outside the boundaries of any single place or time, lies the indirect referentiality of history.
For this reason, trauma must preserve a kind of historical truth that cannot be objectified by any explanatory or narrative framework. It sounds, instead, a moving and sorrowful voice that cries out, a voice that witnesses a truth that the survivor himself cannot fully know. If trauma must preserve the intractable "otherness" of the lost object, it is only subsequently that trauma can awaken awake us and remind us of our responsibility for the other.
The only way we can win access to trauma may be the "empathy" preached by the American theoretician of history Dominick La Capra teaches us. Empathy in this sense tends to be responsive to the traumatic experience of others, notably of victims; it eschews any appropriation of their experience and refuses any harmonizing or spiritually uplifting accounts of extreme events. With such a empathy we may overcome a narrowly cognitive relation to the past and expose ourselves to an "unsettlement."
This methodological approach would help us deepen the commemoration of the wars of the twentieth century. The function of any "reenactment" of war scenes in the various forms of war narrative should be to assess not only from the functionalistic viewpoint, but also from the psychoanalytic. The cultural historian of war commemoration should empathetically try to come near to the unspeakable experiences of the lost other by retrogressing and deconstructing existing war narratives of different stripes. This work requires a methodological swing of historian's pendulum between affection and critical judgement, between melancholy and mourning.
목차
Ⅰ. 들어가는 말 - 트라우마와 전쟁 기념
Ⅱ. 역사적 경험으로서의 트라우마
Ⅲ. 타인의 부름으로서의 트라우마
Ⅳ. 방법론적 원리로서의 트라우마
Ⅴ. 나오는 말
〈Abstract〉
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