Women, Terror and Trauma in Italian Culture

研究背景：我的研究考察了妇女，恐怖和创伤的文化表征在20世纪70年代及以后的意大利国内恐怖主义的背景下。它探讨了意大利文化与长期政治暴力和恐怖主义的关系，并记住了这一时期被称为anni di piombo（“铅年”，约1969-83年）。它的主要重点是妇女在那个时期积极参与政治暴力和恐怖主义是如何在回忆录、小说和电影中作为集体和文化创伤被表达出来的。我探讨的关键问题集中在女性暴力造成的特殊创伤上。我分析了大众媒体和电影中女性恐怖分子的表现如何被解读为创伤叙事，并将其与最近出版的女性前恐怖分子回忆录进行比较，重点是她们自己如何将自己在最近的政治暴力中的参与表述为创伤。目的和目标：我在研究休假期间进行的工作推进了我长期研究项目的前两个部分，重点是女性恐怖分子的电影表现，以及这些电影表现与女性恐怖分子在最近出版的回忆录中的自我表现之间的比较。这涉及到：1。对女性恐怖分子的电影表现进行初步研究，包括对罗马cinecitta工作室拍摄的电影进行研究。这导致了一次会议报告和随后发表的一篇文章：-“恐怖主义，一种女性疾病”提交给Ruth Glynn， Giancarlo Lombardi和Alan O' leary，恐怖主义，意大利风格：意大利政治暴力的电影呈现（2008年）。将已经完成的研究再写进另外两篇文章中：“通过创伤的镜头：在《第二章》和《布昂吉奥诺》中女性恐怖分子的形象”，2006年10月提交给Pierpaolo Antonello和Alan O’leary（主编），“想象恐怖主义：1969-2005年意大利政治暴力的修辞和表现”（Legenda, 2008）。“书写恐怖分子的自我：次等性和女性犯罪者”，将于2007年4月提交给《现代意大利》杂志。提交四篇相关的会议论文。于2006年11月协办一个跨学科会议。潜在的应用和好处：我的研究将有助于理解意大利文化如何被解读为试图通过长期暴露于政治暴力所产生的集体创伤。这本书的独特之处在于，它持续地将这场战争解读为文化创伤，并在当代重新审视这一时期时，把重点放在妇女参与政治暴力和恐怖主义所造成的特殊创伤上。在提出诸如为什么女性恐怖分子的形象在最近的文化中获得了高度的关注，以及恐怖分子形象的“女性化”如何影响集体“通过”创伤过去的问题时，我的工作不仅有助于理解意大利文化记忆中“anni di piombo”的固有过程，以及当前对暴力女性电影表现的探索，还有助于创伤研究：在后一个领域，它将揭示创伤理论中关于性别和暴力的隐含但未明确的观念，并呼吁对政治暴力的创伤采取对性别问题更敏感的办法。

Research Context:My research examines cultural representations of women, terror, and trauma in the context of domestic terrorism in Italy in the 1970s and beyond. It explores the ways in which Italian culture engages with and remembers the prolonged political violence and terrorism of the period known as the anni di piombo ('years of lead', c. 1969-83). Its primary focus is on the ways in which women's active participation in political violence and terrorism in that period is articulated as collective and cultural trauma in memoir, fiction and film. The key issues I have explored cluster around the particular kind of trauma generated by female violence. I analyse how representations of women terrorists in the popular media and film may be read as trauma narratives, and compare these with recently published memoirs by female ex-terrorists, focusing on how they themselves articulate as trauma their own participation in political violence in the recent past.Aims and Objectives:The work I carried out while on research leave has advanced the first two sections of my longer-term research project, focusing on cinematic representations of women terrorists and the comparison between those cinematic representations and the self-representations by women terrorists in their recently published memoirs.This has involved:1. Carrying out primary research into cinematic representations of female terrorists, including a study of films held at theCinecitta studios in Rome. It resulted in a conference presentation and the subsequent publication of an article:-'Terrorism, a Female Malady'Submitted in August 2006 to Ruth Glynn, Giancarlo Lombardi and Alan O'Leary, Terrorism, Italian Style: CinematicRepresentations of Political Violence in Italy (2008).2. Writing up research already completed in two further articles:-'Through the Lens of Trauma: The Figure of the Female Terrorist in II prigioniero and Buongiorno, notte'Submission in October 2006 to Pierpaolo Antonello and Alan O'Leary (ed.), Imagining Terrorism: The Rhetoric andRepresentation of Political Violence in Italy, 1969-2005 (Legenda, 2008)-'Writing the Terrorist Self: Subalternity and the Female Perpetrator'Submission forthcoming in April 2007 to the journal, Modern Italy.3. Presenting four further, related conference papers.4. Co-organising an interdisciplinary conference in November 2006.Potential Applications and Benefits:My research will contribute significantly to understanding how Italian culture may be read as attempting to work through the collective trauma generated by the prolonged exposure to political violence in the anni di piombo. It is unique in providing a sustained reading of the anni di piombo as cultural trauma and in bringing to the contemporary re-examination of the period a focus on the particular trauma inflicted by women's participation in political violence and terrorism. In asking such questions as why the figure of the female terrorist has gained a heightened profile in recent culture and how the 'feminisation' of the terrorist figure impacts on the collective 'working through' of the traumatic past, my work will contribute not only to an understanding of the processes inherent in the Italian cultural memory of the anni di piombo and current explorations into around cinematic representations of violent women, but also to trauma studies: in this latter field, it will expose the implicit but unarticulated ideas about gender and violence within trauma theory and call for a more gender-sensitive approach to the trauma of political violence.