Analyzing two key figures in Elif Shafak’s novel The Island of Missing Trees—a schoolgirl’s scream and a narrating fig tree—this essay analyzes the intersection between susceptibility and resilience, particularly as these terms are developed in psychology, trauma studies, and ecology. I argue that the novel’s resonant scream critiques the discourse of psychological resilience on multiple counts: its inadequacy as a response to complex trauma, its focus on autonomous individuals, its assumption that responsibility for resilience rests on victims rather than perpetrators (...) of harm, its construction of a “resistance imperative” and its disavowal of the inequalities in access to resilience-building resources. By contrast, the novel’s fig tree, I contend, exemplifies an ecological model of resilience rooted in a recognition of the interdependence of the multiple and diverse organisms that comprise an ecosystem, and of susceptibility as an advantageous suite of capacities that are crucial to resilience. These contrasting conceptions of resilience lead me to advocate for a politics of susceptibility, an eco-psychosocial politics based on the recognition that individuals cannot become resilient on their own, through their own volition, intention, or “self-efficacy”, and that focuses instead on building systemic and sustainable forms of resilience inclusive of the diverse subjects that comprise a community, society or ecosystem; that, rather than fetishizing independence, liberty and rights, fortifies interdependence and reinforces mutual responsibilities; and that rather than exploiting susceptibility as a weakness, nurtures it as the soul of resilience itself. (shrink)

Although post-traumatic stress disorder is now constituted by a set of characteristic symptoms, its roots lie in Post-Vietnam Syndrome, a label generated by a Vietnam-era advocacy movement that focused not on symptoms but on war’s traumatic context. When Post-Vietnam Syndrome was subsumed into the abstract, individualistic, symptom-centered language of DSM-III and rendered as PTSD, it not only lost this focus on context but also neglected the experiences of veterans who suffer from things done or witnessed, not primarily from what was (...) done to them, in war. This agent-related trauma has been rediscovered in contemporary work on moral injury, but moral injury too is increasingly subjected to the hegemony of the symptom. Focusing on symptoms, however, unhelpfully pathologizes and individualizes trauma, neglects traumatic context, and legitimates problematic therapeutic approaches. Trauma researchers and clinicians should decenter the language of symptoms and focus instead on context and on alternative accounts of trauma. (shrink)

Artistic images, of a universal nature and validated by global culture, are carriers of an emotional potential that can be used for therapeutic purposes in cultural centers as well as in clinical spaces. Esthetic studies reveal the mobilizing power in their contemplation and the capacity to bring out personal stories with healing potential. The general objective of this paper is to design and validate the PROJECTA instrument, consisting of the therapeutic use of artistic images to approach trauma or difficult conditions (...) in therapy, by means of the association between art images and emotions, feelings or states of mind related with a traumatic experience. A mixed approach of investigation with a concurrent triangulation design has been used for the integration of qualitative and quantitative results, where qualitative research outweighs quantitative, but both have been QUAL → quan sequentially developed. The study was carried out in two phases. The first was a systematic review of the literature. The second, divided into five steps, consisted of the validation of artworks and the associated emotions with the participation of students, experts in art therapy, psychologists and educators through focus groups, interviews and an online questionnaire. The analysis techniques were qualitative and quantitative. A set of 220 artistic images linked to emotional states were proposed by experts in education, psychology and art therapy, and validated through an online questionnaire. The respondents included 228 students and professionals and for 64.55% of these images a consensus of over 80% was obtained. These images and their associated emotions were again reviewed by a confirmatory focus group. Finally, 92 artistic works were linked to primary, secondary and tertiary emotions such as love, joy, victory, surprise, balance, sense of humor, anger, sadness, fear, and emptiness. In addition, there are mobilizing images that have not been related to any emotion because of the polysemy of their meanings. It concludes that PROJECTA is a visual art therapy tool that provides professionals with a resource that helps facilitate the identification, expression or demonstration of emotions or feelings related with trauma, and in challenging situations of vulnerability, psychological discomfort or post-traumatic stress. (shrink)

New coverage of the recent wars in Afghanistan and Iraq, and the ensuing public education campaigns by the Department of Veterans Affairs and private veterans advocacy groups combine to call the public's attention to the many potential mental health problems associated with traumatic event exposure. Indeed, since 2001, Operation Iraqi Freedom and Operation Enduring Freedom combat and peacekeeping missions have been characterized by high levels of exposure to acts of extreme violence, with often gruesome effects. Less publically discussed is the (...) fact that a surprisingly large number of United States civilians also report exposure to traumatic events, such as severe interpersonal violence, natural disasters, and serious automobile accidents. In fact, approximately 70% of randomly sampled respondents indicated that they have experienced an incident characterized by significant perceived life threat at some point during their lives. (shrink)

This article examines the way aspects of recent history were excluded in key studies emerging from psychoanalytic social psychology of the mid-20th century. It draws on work by Erikson, Marcuse and Fromm, but focuses in particular on Alexander Mitscherlich. Mitscherlich, a social psychologist associated with the later Frankfurt School, was also the most important psychoanalytic figure in postwar Germany. This makes his work significant for tracing ways in which historical experience of the war and Nazism was filtered out of psychosocial (...) narratives in this period, in favour of more structural analyses of the dynamics of social authority. Mitscherlich’s 1967 work The Inability to Mourn, co-authored with Margarete Mitscherlich, is often cited as the point at which the ‘missing’ historical experience flooded back into psychoanalytic accounts of society. I argue that this landmark publication does not hail the shift towards the psychoanalysis of historical experience with which it is often associated. These more sociological writers of the mid-century were writing before the impact of several trends occurring in the 1980s–90s which decisively shifted psychoanalytic attention away from the investigation of social authority and towards a focus on historical trauma. Ultimately this is also a narrative about the transformations which occur when psychoanalysis moves across disciplines. (shrink)

Experimental psychology has much to offer the current debate about memories of childhood abuse. However, laboratory scientists, with their enormous cognitive authority to define reality for the rest of the population, must be especially conservative when arguing that laboratory results on memory generalize to contested memories of abuse. Researchers must make an effort to untangle the appropriate from inappropriate application of research results to this debate. A crucial untangling strategy for future research on general phenomena involves taking care to pose (...) questions separately. When the research is disseminated, its relevance and its limitations must be carefully communicated. Finally, scientists must attend to their power to define reality for others. (shrink)