Browsing by Subject "Trauma studies"

The medium of performance art locates both the art-making subject and the art object in the body of the artist. Performance art thus serves as an appropriate medium for integrating the complex, repetitive, and often unconscious somatic knowledges developed by two distinct experiences: the practice of religious ritual and the overwhelming conditions of trauma. In this dissertation, I explore the foundational idea that the artist's body can become a site of both theological significance and traumatic memory. I examine the connections among the forms of performance art, bodily worship practices, and traumatic experience in the work of three contemporary U.S. performance artists with devout religious backgrounds. Born between the1940s and the 1960s, Linda Montano, John Duncan, and Ron Athey have all consistently positioned their work in religious contexts. This trans-generational set of artists represents a spectrum of Christian traditions in the United States: Athey's improvisational Pentecostalism, the liturgical tradition of Montano's Catholicism, and mainstream Protestantism in the form of Duncan's Calvinist Presbyterianism. At the same time, all three artists struggle with the persistent affect of traumatic experience, from domestic violence to sexual assault. These artists' works represent their traumatic experiences as mediated through the bodily, visual, intellectual, and aural forms of their respective Christian traditions. My dissertation identifies religion as a neglected foundation of performance art and as a fundamental motivating factor and force in shaping its forms, content, and significance.

With its description of God as wrathful and vengeful and its graphic depiction of war and violence, Nahum has often been treated as a dangerous book, both in church settings and in academic circles. This dissertation is an effort to confront violence, both in my community and in the book of Nahum. It is a contextual reading of Nahum against the background of the wars that have plagued my country, the Democratic Republic of the Congo since the early 1990s. It argues that Nahum’s description of God and its depiction of war scenes were meant to evoke in seventh-century BCE Judahite audiences the memory of war and destruction at the hands of the Assyrians. The vivid images of YHWH’s war against Nineveh do not give readers a historical report on the fall of Nineveh, neither do they intend to foreshadow the historical fall of that Neo-Assyrian capital city in 612 BCE. Rather, they more likely reflect the prophet-poet’s attempt to depict a world that would have spoken to the painful collective memory of those who survived the destruction of Lachish and other Judahite towns during Sennacherib’s invasion of Judah in 701 BCE. The prophet uses lyric poetry to evoke (rather than narrate) Judah’s memory of war and reveal the immediate and comforting presence of YHWH within the conditions of war. He presents that revelation by adapting two traditional literary forms, the biblical Oracle against foreign Nations (OAN) and the Ancient Near Eastern city lament. Given the rhetoric of the book within its early audience, I show that this book can also speak powerfully into the conditions of Congolese Christians who have suffered the trauma of war.