Laub D, Podell D
Int J Psychoanal. 1995 Oct;76 ( Pt 5):991-1005.
The authors of this paper attempt to show that 'the art of trauma', because of its indirect, unaestheticised and dialogic nature, may be the only possible medium for effective representations of trauma. The real witnessing presence created in the art of trauma can act as an antidote to the annihilation of the internal 'other' that occurs in the traumatic experience and to the resulting absence, which both constitutes the core of trauma and precludes its representation. Important elements of the art of trauma are illustrated using the work of Paul Celan, Anselm Kiefer, Claude Lanzmann, Art Spiegelman, and Anne-Marie Levine and texts by Aharon Appelfeld. Examining more closely what Holocaust survivors say in their testimonies, the authors contend that survival itself should be considered as a type of art of trauma when it is made possible by a creative comprehension of reality analogous to that which characterises more conventional forms of the art of trauma. The authors proceed to explore both the possible limits to the extent that trauma may be represented and the continuous struggle involved in attempting to 'know' trauma. They also discuss how art dealing with trauma may circumscribe a double locus: one of witnessing as well as one of emptiness or execution.
本文作者试图表明，“创伤艺术”因其间接、非美化和对话性的本质，可能是有效呈现创伤的唯一可行媒介。创伤艺术中营造出的真实见证在场，可作为一种解药，对抗创伤经历中内在“他者”的湮灭以及由此产生的缺失，而这种缺失既是创伤的核心，又妨碍了对创伤的呈现。作者通过保罗·策兰、安塞尔姆·基弗、克劳德·朗兹曼、阿特·斯皮格曼和安妮 - 玛丽·莱文的作品，以及阿哈龙·阿佩尔费尔德的文本，阐释了创伤艺术的重要元素。通过更深入地研究大屠杀幸存者在证词中的表述，作者认为，当生存是通过对现实的创造性理解实现时，生存本身就应被视为一种创伤艺术，这种理解类似于更传统的创伤艺术形式的特征。作者进而探讨了创伤呈现可能存在的限度，以及试图“了解”创伤所涉及的持续斗争。他们还讨论了处理创伤的艺术如何可能限定一个双重场所：一个是见证的场所，另一个是空虚或施行的场所。
