By Susan D. Rose (auth.)
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Additional resources for Challenging Global Gender Violence: The Global Clothesline Project
1057/9781137388483 Black Heart words “NO” and “STOP” and “No Más” illuminate the shirts that women and girls created, independent of one another, to express the abuse they suffered. The consistency of images suggests the kind of textual itinerary that Cathy Caruth (1996) points to in her analysis of literary texts that deal with trauma. The “insistently recurring images” found in the trauma texts, as well as on the shirts, suggest that “reenactment” of traumatic experience occurs not only at the psychological level but the cultural one as well.
But even when we went back on weekends to Pennsylvania to visit his parents, I couldn’t visit my parents—I was also so embarrassed by what I had done—and I had hurt them so much. And I couldn’t admit what was happening to me—I was supposed to me an independent woman, a married lady! ” Nancy did find the strength to leave the marriage after seven long years—with her daughter, Randi, who was born a healthy little girl. “She was beautiful. My strength was my daughter. 1057/9781137388483 Black Heart While many of the hearts depicted emptiness and despair, others represented positive feelings of strength and hope.
Who’s judging me? My mother even said she recalled that now I was kinda the taboo little girl because now I knew about sex. I might taint some of the other little cousins of mine. So the aunties kept them away from me in fear that I might, you know, tell them about what happened to me. 1057/9781137388483 Challenging Global Gender Violence: The Global Clothesline Project Lenore Terr in Too Scared to Cry (1990) follows the life trajectories of children who have been traumatized. She discovered that how well children fared had less to do with the type and severity of the traumatic experience and more to do with whether a child could talk about it and be heard.
Challenging Global Gender Violence: The Global Clothesline Project by Susan D. Rose (auth.)