Catastrophe and Catharsis


Book Description

Destroying human habitat and taking human lives, disasters, be they natural, man-made, or a combination, threaten large populations, even entire nations and societies. They also disrupt the existing order and cause discontinuity in our sense of self and our perceptions of the world. To restore order, not only must human beings be rescued and affected areas rebuilt, but the reality of the catastrophe must also be transformed into narrative. The essays in this collection examine representations of disaster in literature, film, and mass media in German and international contexts, exploring the nexus between disruption and recovery through narrative from the eighteenth century to the present. Topics include the Lisbon earthquake, the Paris Commune, the Hamburg and Dresden fire-bombings in the Second World War, nuclear disasters in Alexander Kluge's films, the filmic aesthetics of catastrophe, Yoko Tawada's lectures on the Fukushima disaster and Christa Wolf's novel St rfall in light of that same disaster, Joseph Haslinger and the tsunami of 2004, traditions regarding avalanche disaster in the Tyrol, and the problems and implications of defining disaster. Contributors: Carol Anne Costabile-Heming, Yasemin Dayioglu-Y cel, Janine Hartman, Jan Hinrichsen, Claudia Jerzak, Lars Koch, Franz Mauelshagen, Tanja Nusser, Torsten Pflugmacher, Christoph Weber. Katharina Gerstenberger is Professor and Chair of the Department of Languages and Literature at the University of Utah. Tanja Nusser is DAAD Visiting Associate Professor of German at the University of Cincinnati.




The Poetics of Aristotle


Book Description




Consuming Catastrophe


Book Description

Horrified, saddened, and angered: That was the American people’s reaction to the 9/11 attacks, Hurricane Katrina, the Virginia Tech shootings, and the 2008 financial crisis. In Consuming Catastrophe, Timothy Recuber presents a unique and provocative look at how these four very different disasters took a similar path through public consciousness. He explores the myriad ways we engage with and negotiate our feelings about disasters and tragedies—from omnipresent media broadcasts to relief fund efforts and promises to “Never Forget.” Recuber explains how a specific and “real” kind of emotional connection to the victims becomes a crucial element in the creation, use, and consumption of mass mediation of disasters. He links this to the concept of “empathetic hedonism,” or the desire to understand or feel the suffering of others. The ineffability of disasters makes them a spectacular and emotional force in contemporary American culture. Consuming Catastrophe provides a lively analysis of the themes and meanings of tragedy and the emotions it engenders in the representation, mediation and consumption of disasters.




Disaster Drawn


Book Description

In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima’s Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war. Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman’s first “Maus” story about his immigrant family’s survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa’s inaugural work of “atomic bomb manga,” the comic book Ore Wa Mita (“I Saw It”)—a title that alludes to Goya’s famous Disasters of War etchings. Chute explains how the form of comics—its collection of frames—lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.




After Fukushima


Book Description

The renowned philosopher offers “a powerful reflection on our times . . . and the fate of our civilization, as revealed by the catastrophe of Fukushima” (François Raffoul, Louisiana State University). In 2011, a tsunami flooded Japan’s Fukushima Daiichi Nuclear Power Plant, causing three nuclear meltdowns, the effects of which will spread through generations and have an impact on all living things. In After Fukushima, philosopher Jean-Luc Nancy examines the nature of catastrophes in the era of globalization and technology. He argues that in today’s interconnected world, the effects of any disaster will spread in the way we currently associate only with nuclear risk. Can a catastrophe be an isolated occurrence? Is there such a thing as a “natural” catastrophe when all of our technologies—nuclear energy, power supply, water supply—are necessarily implicated, drawing together the biological, social, economic, and political? In this provocative and engaging work, Nancy examines these questions and more. Exclusive to this English edition are two interviews with Nancy conducted by Danielle Cohen-Levinas and Yuji Nishiyama and Yotetsu Tonaki.




The Poetics of Aristotle


Book Description

In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama - comedy, tragedy, and the satyr play - as well as lyric poetry and epic poetry). They are similar in the fact that they are all imitations but different in the three ways that Aristotle describes: 1. Differences in music rhythm, harmony, meter and melody. 2. Difference of goodness in the characters. 3. Difference in how the narrative is presented: telling a story or acting it out. In examining its "first principles," Aristotle finds two: 1) imitation and 2) genres and other concepts by which that of truth is applied/revealed in the poesis. His analysis of tragedy constitutes the core of the discussion. Although Aristotle's Poetics is universally acknowledged in the Western critical tradition, "almost every detail about his seminal work has aroused divergent opinions."




Catharsis


Book Description

The mesmerizing debut novel from a new author! Every villain is the HERO of their own story... One night after dinner Catarina Perez gets into an argument with her sister and parents and storms out of the restaurant to walk home and blow off steam. And that's the last thing she remembers. Waking up in an alley several hours later, Catarina can't remember anything that's happened to her since leaving her family at the restaurant. But even worse than a faulty memory is the realization that she's covered in blood. Someone else's blood. And that particular "someone else" is lying dead in the alley next to her. As she flees the alley where she awoke (and the street thugs who politely stop and attempt to mug her), Catarina realizes her body is undergoing a radical (and frightening, but still exciting) transformation. She had always been athletic (Krav Maga classes with her dad), but now she can sprint for miles without even breaking a sweat (or needing to pause and rest). Her five-foot-one-inch frame was never known for strength, and now punching a solid oak door off its hinges isn't even a challenge (But it is unnerving and moderately thrilling.). Her body hasn’t just stopped at developing enhanced speed and strength, though. All five senses have begun to reach new heights of sensitivity, too. She can hear a person's heartbeat from across the room or see in absolute darkness like it was a brightly lit and sunny day. Ever since she woke up next to that blood-covered corpse (Not a phrase any teenaged girl ever wants to have to utter.), Catarina has been developing powers beyond her wildest dreams. But she is discovering that they come with some seriously lousy drawbacks. She now has to wear sunglasses during the day to cut back on the painfully bright lights around her (like the sun, fluorescent overheads and even the one in the fridge), all food is beginning to lose its taste (even her beloved liquid of choice – Mountain Dew) and her heightened sense of smell has made gym class absolutely unbearable. Oh, and there's one other small thing...she's developed an uncontrollable urge to eat other humans. There's that, too. As Catarina slowly adjusts to her new powers and the repercussions of what they bring to her life (both the breath-takingly good, and the tear-inducingly bad), she realizes that sometimes you have to accept just a little evil in your life in order to accomplish the greater good.




All Is Well


Book Description

In the shadow of leviathans seen and unseen -- Corner pieces -- Marseille 1720 : administrative catharsis as disaster management -- Portugal 1755 : empire of accident -- Bengal 1770 : famine, corruption, and the climate of legal despotism -- Risk thinking and the enduring structure of vicissitudes -- The past-imperfect future.




Into Thin Air


Book Description

#1 NATIONAL BESTSELLER • The epic account of the storm on the summit of Mt. Everest that claimed five lives and left countless more—including Krakauer's—in guilt-ridden disarray. "A harrowing tale of the perils of high-altitude climbing, a story of bad luck and worse judgment and of heartbreaking heroism." —PEOPLE A bank of clouds was assembling on the not-so-distant horizon, but journalist-mountaineer Jon Krakauer, standing on the summit of Mt. Everest, saw nothing that "suggested that a murderous storm was bearing down." He was wrong. By writing Into Thin Air, Krakauer may have hoped to exorcise some of his own demons and lay to rest some of the painful questions that still surround the event. He takes great pains to provide a balanced picture of the people and events he witnessed and gives due credit to the tireless and dedicated Sherpas. He also avoids blasting easy targets such as Sandy Pittman, the wealthy socialite who brought an espresso maker along on the expedition. Krakauer's highly personal inquiry into the catastrophe provides a great deal of insight into what went wrong. But for Krakauer himself, further interviews and investigations only lead him to the conclusion that his perceived failures were directly responsible for a fellow climber's death. Clearly, Krakauer remains haunted by the disaster, and although he relates a number of incidents in which he acted selflessly and even heroically, he seems unable to view those instances objectively. In the end, despite his evenhanded and even generous assessment of others' actions, he reserves a full measure of vitriol for himself. This updated trade paperback edition of Into Thin Air includes an extensive new postscript that sheds fascinating light on the acrimonious debate that flared between Krakauer and Everest guide Anatoli Boukreev in the wake of the tragedy. "I have no doubt that Boukreev's intentions were good on summit day," writes Krakauer in the postscript, dated August 1999. "What disturbs me, though, was Boukreev's refusal to acknowledge the possibility that he made even a single poor decision. Never did he indicate that perhaps it wasn't the best choice to climb without gas or go down ahead of his clients." As usual, Krakauer supports his points with dogged research and a good dose of humility. But rather than continue the heated discourse that has raged since Into Thin Air's denouncement of guide Boukreev, Krakauer's tone is conciliatory; he points most of his criticism at G. Weston De Walt, who coauthored The Climb, Boukreev's version of events. And in a touching conclusion, Krakauer recounts his last conversation with the late Boukreev, in which the two weathered climbers agreed to disagree about certain points. Krakauer had great hopes to patch things up with Boukreev, but the Russian later died in an avalanche on another Himalayan peak, Annapurna I. In 1999, Krakauer received an Academy Award in Literature from the American Academy of Arts and Letters--a prestigious prize intended "to honor writers of exceptional accomplishment." According to the Academy's citation, "Krakauer combines the tenacity and courage of the finest tradition of investigative journalism with the stylish subtlety and profound insight of the born writer. His account of an ascent of Mount Everest has led to a general reevaluation of climbing and of the commercialization of what was once a romantic, solitary sport; while his account of the life and death of Christopher McCandless, who died of starvation after challenging the Alaskan wilderness, delves even more deeply and disturbingly into the fascination of nature and the devastating effects of its lure on a young and curious mind."




A Fire Story


Book Description

The award-winning author and illustrator presents a personal account of the Northern California wildfires of 2017 in this moving graphic memoir. On October 9th, 2017, wildfires burned through Northern California, resulting in forty-four fatalities and the destruction of thousands of homes. In A Fire Story, Brian Fies shares an unflinching account of this tragedy as he and his wife experienced it—including losing their house and every possession that didn’t fit in their car. As the fires continued to burn through the area, Brian pulled together A Fire Story and posted it online. It immediately went viral. He later expanded the webcomic to include environmental insight and the fire stories of his neighbors. A Fire Story is a candid testimony of the wildfires that left homes destroyed, families broken, and a community determined to rebuild. This updated and expanded edition includes thirty-two pages of all-new material, extending the story past the events of the hardcover edition to include updates on the rebuilding, wrestling with insurance, wrangling with contractors, the management of sometimes volatile emotions, and the threats of yet another wildfire.