Search engine for discovering works of Art, research articles, and books related to Art and Culture
Javascript must be enabled to continue!
A Bodily Haunting
View through CrossRef
Abstract
The woman’s wordless scream in Not I and Happy Days acts as a spectral-yet-embodied rendering of unspoken and apparently unspeakable sexual trauma. If trauma symptomology is itself a form of bodily haunting—the past intruding into the present—the wordless scream performs this phenomenon on Beckett’s stage, as a disruptive return of the repressed through the body itself. This essay explores how the performed scream returns embodied trauma to embodied expression in Not I and Happy Days, emphasising the voice as a simultaneously spectral yet profoundly corporeal force. It then examines the potential therapeutic effect of the scream in performance, drawing on a range of actor testimonies.
Title: A Bodily Haunting
Description:
Abstract
The woman’s wordless scream in Not I and Happy Days acts as a spectral-yet-embodied rendering of unspoken and apparently unspeakable sexual trauma.
If trauma symptomology is itself a form of bodily haunting—the past intruding into the present—the wordless scream performs this phenomenon on Beckett’s stage, as a disruptive return of the repressed through the body itself.
This essay explores how the performed scream returns embodied trauma to embodied expression in Not I and Happy Days, emphasising the voice as a simultaneously spectral yet profoundly corporeal force.
It then examines the potential therapeutic effect of the scream in performance, drawing on a range of actor testimonies.
Related Results
Bodily Concern: Assessment and Personality Variables
Bodily Concern: Assessment and Personality Variables
The purpose of this study was to investigate the relationship between bodily concern and certain personality variables. Four measures of bodily concern were correlated with the sca...
Psychological Distance Shapes Bodily Sensation Patterns
Psychological Distance Shapes Bodily Sensation Patterns
Abstract
What role do bodily experiences play in abstract thought? Although sensorimotor experiences support conceptual processing, their role remains debated, with...
Bodily context sharpens visuotactile synchrony perception through causal inference
Bodily context sharpens visuotactile synchrony perception through causal inference
To maintain stable representations of both the bodily self and the external world, the brain must infer whether sensory signals arise from the same source or from different objects...
The body as terra incognita – cenesthopathy in schizophrenia
The body as terra incognita – cenesthopathy in schizophrenia
Cenesthopathy, a subclinical symptom of schizophrenia, often appears years before full-blown psychosis. The paper outlines the role of normative cenesthesia and its disruptions in ...
“But who is to say what is fake and what is real?” – Spectral and Textual Haunting in Peter Ackroyd’s Chatterton
“But who is to say what is fake and what is real?” – Spectral and Textual Haunting in Peter Ackroyd’s Chatterton
This essay looks at how the phenomenon of haunting is discussed in Peter Ackroyd’s novel Chatterton (1989). It analyses in which forms the idea of haunting appears and which functi...
Filth, Incontinence and Border Protection
Filth, Incontinence and Border Protection
This paper investigates linkages between two apparently disparate government initiatives. Together they function symbolically to maintain Australia’s...
Ready-Made Bodily Sensations
Ready-Made Bodily Sensations
Abstract
Embodiment plays an important role in art engagement, yet it is unclear how expectations shape bodily sensations, especially when interacting with ready-made art. ...
Eleanor’s Entanglement: Quantum Perspectives on Trauma and Space in Shirley Jackson’s The Haunting of Hill House
Eleanor’s Entanglement: Quantum Perspectives on Trauma and Space in Shirley Jackson’s The Haunting of Hill House
Quantum theory gives us a surprising idea: the observer influences what’s being observed, meaning that reality is not fixed. It is flexible, shaped by who is watching and from what...