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My second monograph, titled Ceremonial Storytelling: Ritual and Narrative in Post-9/11 US Wars, has been out since early 2019. A few days ago, the term of copyright restrictions has run out and, under the “green rule” of open access publishing, the book can now be accessed online and free of charge.
The book can be downloaded here:
Here is a quick abstract from the back cover:
“US society has controversially debated civil-military relationships and war trauma since the Vietnam War. Civic activists today promote Indigenous warrior traditions as role models for non-Native veteran reintegration and health care. They particularly stress the role of ritual and narrative for civil-military negotiations of war experience and for trauma therapy. Applying a cultural-comparative lens, this book reads non-Native soldiers’ and veterans’ life writing from post-9/11 wars as «ceremonial storytelling.» It analyzes activist academic texts, «milblogs» written in the war zone, as well as «homecoming scenarios.» Soldiers’ and veterans’ interactions with civilians constitute jointly constructed, narrative civic rituals that discuss the meaning of war experience and homecoming.”
The work largely follows a cultural-studies approach with forays into Indigenous studies, (new) media studies, and psychology, as well as tying in aspects of various fields of history. As such, it also reflects on the role of digital media for future historical research.
The book is organized into four major chapters: “Narrating War: Activist Discourse and Cultural Comparison” observes how segments of the US public, particularly veterans-affairs activists and mental health specialists, discuss veteran reintegration and war trauma from a community-oriented perspective, arguing that US society should learn from close-knit communities, to provide social support for veterans and trauma survivors. They often cite Native American military traditions, especially the fact that contemporary Indigenous veterans seem to have a better chance to cope with PTSD when undergoing traditional war-related ceremonies in their communities.
The following chapter, “Milblogs as Rituals: War, Citizenship, and the Sacred“, investigates how blogs written by non-Native soldiers from the combat zone can be understood as contemporary (secular) war rituals. It argues that the blogs’ audience actively participates to the blogs and, thus, that the sequencing of posts and comments denotes a civic ritual of discussing war experience in a public forum.
In the chapter “Beyond the Call of Duty: War Experience, Relationship-Building, and Community Service,” I argue that milbloggers understand their writing as an additional form of service to their communities (e.g., how-to advice for fellow and future soldiers, or a notion of “what it’s like out there” for civilians). The chapter discusses how such a sense of service can work as ‘help to help yourself’ and can therefore be seen as a form of working through, possibly even overcoming, traumatic experience.
The final chapter, “Singing their ‘Song’: Veterans, Civilians, and the Trials of Homecoming,” asks how veterans deal with war experience after their return. Only a few of the many soldiers who blogged from deployment continue to blog once back home. This chapter, therefore, looks into other forms of narrative self-expression, such as creative writing workshops, veteran lecture projects, documentaries, and theater. This chapter also goes beyond the many references to Native American war-related traditions that are currently used by activists and psychologists, and includes the popular references to classical Greek tragedy. Many of these ancient texts were written and performed by war veterans and detail the challenges of returning home from war. Reference to these classics has been a popular form of civic engagement and professional health care regarding veterans.
I have been touring a number of US museums in the last two weeks in order to prepare exhibits in Saxony, for networking, and for pleasure.
The first tour stop was Oklahoma. I returned to the Fred Jones Jr. Museum of Art at Oklahoma University in Norman. From my earlier visit, I remembered their vast collection of art on the American West. This section, based on the Eugene B. Adkins collection, combines non-Native American, Native American, and European representations of the West to explain its role in American history as an idea, a symbol, a story, and a sacred place. The collection contains paintings, basketry, pottery, and jewelry. Among the featured artists are Americans and Europeans from the Taos artist tradition, as well as Native American artists such as Fritz Scholder and Harry Fonseca.
I was also excited to learn about the tradition of brightly colored wood carvings of fantastic animals from Oaxaca, Mexico, the so-called ‘alebrijes,’ especially since our museum in Leipzig currently works on a special exhibition about mythical and fantastic animals throughout the world:
Particularly fascinating was the temporary exhibit “Misunderstood! Indigenous Art and Poetry as Political Resistance”. It featured political cartoons, poetry, drawings, and paintings. Topics ranged from the Red Power movement, representation and racist stereotypes, to contemporary politics.
I also took the chance to visit the 45th Infantry Division Museum in Oklahoma City. The 45th was a National Guard unit in the Southwest, formed in the 1920s. During World War II, it consisted of c. one third Native American soldiers. They landed in Italy in 1943, and again in southern France in August 1944, before moving through southwest Germany and liberating Dachau concentration camp and Munich in April 1945. The division then served in the Korean War and the early phases of Vietnam.
Notably, the unit at first used shoulder patches showing a yellow swastika on red to represent a pan-tribal spiritual symbol, abandoning its use to dissociate from Nazi symbolism in 1939, in favor of the Thunderbird, another pan-tribal symbol.
Two Native American soldiers, Ernest Childers (Muskogee/Creek) and Jack C. Montgomery (Cherokee), were awarded the Congressional Medal of Honor during the Italy campaign 1943. The 45th Infantry Division, or “Thunderbirds”, is a vivid example of the role of modern military service for self-determined and renewed military traditions and group identity among Native American communities.
I’m happy to announce that my new monograph, Ceremonial Storytelling. Ritual and Narrative in Post-9/11 US Wars, was released with Peter Lang a few days ago.
Initially designed as a series of close readings about soldier blogs written from deployment in Afghanistan, the project quickly expanded into a discussion of the public discourse about war experience, civil-military relationships, and military firsthand writing on the wars in Afghanistan and Iraq. Especially fascinating was the perspective of scholars, medical practitioners, and civic activists on the role of firsthand reports about war experience in Native American warrior traditions. It seems that, in postulating the ‘forever wars’ of Vietnam, Afghanistan, and Iraq as social crises, many Americans come to understand psychological injury and PTSD as a social issue, rather than a personal affliction.
Consequently, the book observes how civic activists and activist scholars promote Indigenous warrior traditions as role models for non-Native American veteran reintegration and health care. They particularly stress the role of ritual and narrative for civil-military negotiations of war experience and for trauma therapy. Applying a cultural-comparative lens, this book reads non-Native soldiers’ and veterans’ life writing from post-9/11 wars as “ceremonial storytelling.” It analyses activist academic texts, “milblogs” written in the war zone, as well as “homecoming scenarios,” that is, multimedial texts and performative practices in which returned veterans share their war experiences with civilians in a ceremonial setting. Soldiers’ and veterans’ interactions with civilians in these texts and scenarios constitute jointly constructed, narrative civic rituals that discuss the meaning of war experience and homecoming.
The monograph follows an American-cultural-studies approach but also draws on ideas, concepts, and methodologies from literary theory, Native American studies, (new) media studies, (new) military history, cultural history, psychology, ritual studies, narratology, and cultural anthropology.
I will present select aspects of the project, namely observations on the popular depiction of US soldiers as “warriors,” at the annual meeting of the German Association for American Studies in Hamburg in June.
I’m glad to announce that two articles from my research on veterans and war narratives have been released recently. This work is part of the larger research initiative “Selbst-Bewusste Erzählungen” on the interrelations of textuality and social relevance in contemporary US literature and culture, originated as a research collaboration between TU Dresden and Leipzig University.
One article, “’To Put Others Before Yourself’: Volunteerism and Mental Health in US Veterans’ Projects,” discusses two NGOs organized by and for veterans to analyze how their activism responds to the sense of social crisis prevalent in these public debates on veterans’ affairs (The Mission Continues and Team Rubicon). It presents the projects’ online self-representation and their documentation in activist scholarship and journalism to carve out how civic engagement in veterans’ affairs challenges the traditional myth of American individualism to promote volunteerism and community service as vehicles for reintegration, promoting – and enacting – the civil-military social contract.
The other article, “’Writing Yourself Home’: US Veterans, Creative Writing, and Social Activism” explores how public discourse about civil-military relationships, war experience, and trauma, simmering since the domestic divisions over Vietnam, turned to first-person narratives in recent years to discuss the psychological costs of war and homecoming. It interprets the proliferation of veterans’ writing projects as part of a civic activist movement that seeks to address veterans’ social and emotional struggles through community (re)building and social therapy. The writing projects promote themselves as a means to bridge the experiential gap between civilians and veterans and, in doing so, they enact social reintegration.
The manuscript for the project’s main publication, my second monograph Ceremonial Storytelling. Ritual and Narrative in Post-9/11 Wars, was recently submitted to Peter Lang Publishing and will be released in their American Culture series.
In early May, I was invited to participate in the symposium “The Art of Misdirection,” discussing the exhibition “Present Continuous” of Berlin-based Israeli video artist Omer Fast at the BALTIC Centre for Contemporary Art in Gateshead, UK. Many of the works exhibited here tackled issues relevant for my project on war experience, discussing the struggles of homecoming and reintegration, but also moral implications of warfare, and guilt.
As the Guardian‘s review of the exhibition states, Fast’s works warn us over and over “that the world is not to be trusted.” Films like his 5000 Feet is the Best (based on Fast’s interview with a US Predator drone pilot) subvert genre conventions: they suggest ‘authenticity’ and ‘truth’ in their gestures toward the documentary mode but insert orator’s tangents and flashbacks, time loops, and obviously veer into fiction at times, making the observer wonder if the interviewees and/or the filmmaker are lying to us, and why. It didn’t help here that I recognized the actor representing the drone pilot, Denis O’Hare, from the TV series True Blood, where he played the vampire Russell Edgington, a particularly untrustworthy character.
In A Tank Translated, the crew of an Israeli tank share their experience about fighting in the conflict with Palestine. Lighting, the positioning of the interviewees, the sequence of questions and answers, all suggest an oral history documentary, until the English subtitles subtly begin to take on a life of their own: words disappear or change, often altering or even contradicting the meaning of what was just said.
I was fascinated and confused by this blurring of genres. My researcher self longed for the documentary mode, to be able to trust the films as sources (as far as oral history can be trusted as a historical source in the first place), and take home more information on how war experience can be narrated. Yet, I also enjoyed how the films played with the viewer, and how their rejection of genre conventions visualized not only possible renditions of traumatic war experience, but also hinted at a veteran’s struggle to talk to a stranger about his experience, the decision on whether or not to be truthful, and what repercussions one’s personal tale might have―on one’s reputation, one’s sense of self, or on the public imagination and memory of that particular conflict.
The Symposium’s contributions marked a truly trans-disciplinary approach to Fast’s work. While I contextualized it with my take of milblogs as a form of ceremonial storytelling, other scholars approached it via historical perspectives on visual artists as military spies, via trauma studies in literary theory, via critical observations on militarization in urban studies, or historians’ efforts to protect cultural heritage sites in conflict zones.
A few days ago, I attended this year’s meeting of historians in the GAAS in Tutzing at Lake Starnberg, southwest of Munich. The meeting’s central theme was “Auto/Biographies in American History,” which gave me an opportunity to look at milblogs from a perspective of autobiographical writing.
I had worked through a number of books on Anglo Saxon war diaries and memoirs early last year, among them Samuel Hynes’s The Soldier’s Tale. I enjoyed the way Hynes discusses various war narratives’ medium and genre specifics; he develops a fascinating overview of how personal war narratives interrelate with other genres, such as historiography, travel writing, and autobiography. His observations on commonalities and differences between these text types and personal war narratives make Hynes’s work fruitful material for teaching: It explicitly invites students to engage in source criticism, e.g., by addressing that, while both travel writing and war narratives have a ‘touristic’ perspective in that they discuss foreign and exotic places and peoples, war narratives depict the radical cognitive gap between civilian and war experience, focusing on the battlefield as an “anti-landscape,” and, thus, revealing that war “is not a place we could travel to” (7-8).
However, Hynes’s approach seems too narrow to do justice to the various forms of personal war narratives. He argues that war narratives “are by their nature retrospective. To perceive the changes that war has made in a man requires the passage of time and the establishment of distance from the remembered self” (4). In this and similar statements, Hynes favors the memoir over the diary or the letter as a source on personal war experience, positing that a soldier-author does not have time to reflect on war experience during the war itself and, more importantly, that it needs a post-war self to bring memories in order and create a coherent narrative of one’s war.
I’ve found this emphasis on an author’s temporal distance to the actual experience of war to be problematic and used my presentation at Tutzing to discuss how milblogs, especially their technological specifics and the corresponding cultural practices of public discourse between bloggers and audience, invite and nurture dialog among soldiers and civilians and, thus, facilitate reflection on the impact of war on the self even during deployment. According to Hynes, war narratives―being a form of conversion literature―have autobiographic elements but, unlike autobiographies, they do not depict “continuous lives” and focus on war as an interruption. Veteran (memoir) authors look back on their old war selves as strangers: “For everyone except career soldiers, military service is a kind of exile from one’s own real life, a dislocation of the familiar that the mind preserves as life in another world” (7-8). However, it is worthwhile to study texts focusing on this interruption as they reveal that, indeed, reflection takes place in the war zone and that these texts convey fruitful information for historians, and literary and cultural studies scholars, as well as psychologists.
A researcher’s focus on milblogs written during deployment can help explore the causes and effects of the “dislocation of the familiar” as they happen, and it illustrates the soldiers’ and civilians’ discourse on these extreme circumstances while the soldier is still embroiled in the war. As historical sources, memoirs are limited because, although their authors had time to reflect on their old war selves, they might depict selective or distorted memories, and will probably have been influenced by collective memory, i.e., by the public, interpretation of that war shaped by media and the arts. While milbloggers may not have had much time to sort out and come to terms with their experience yet, their interaction with their audience provides a public forum for reflection; this exchange, in addition to depicting personal experience, illustrates how collective memory of that event is being constructed.
Public exchange on personal war experience has also begun to play a larger role in psychology in recent years. The growing focus on narrative in psychology, especially on a narrator’s interaction with a supportive and responsive audience, reveals that reflection and meaning-making may take place through narrating experience and bearing witness. Recent psychological works on war stress and PTSD suggest that research emphasis on personal war narratives may even help integrate the frequently opposed branches of cognitive/neuro-psychology and experimental social psychology. Milblogs and other social media demonstrate the role of reflection and meaning-making through social support, because they facilitate exchange between deployed soldiers and civil society.
In addition, working with methods and concepts from popular culture studies, e.g., fandom studies, allows us to see milblogs as a joint effort between soldier-authors and a (mostly) civilian audience to make meaning of war experience and negotiate one’s place in US society, that is, to constitute community in an effort to create a joint narrative (for a detailed discussion, see my article “Keep that Fan Mail Coming”). Reflections on individual as well as collective impacts of war are part and parcel of the exchanges in milblogs. As such, these public debates and the social support for soldiers through interactive communication are not a new phenomenon. While Web 2.0 provides the technology to engage in such exchanges on a global scale and in almost synchronous communication (minimal time delay between narrative and response), such public debates were already observed during the US Civil War, when soldiers’ letters were widely distributed among home communities and frequently republished by local newspapers.
Between 3 and 6 April 2014, the European Association for American Studies held its biennial conference at The Hague. I was surprised to see so many conferences on war in so many different disciplines over the last few years. This cannot simply be related to this year’s Great War anniversary, but is probably also because the recent wars in Iraq and Afghanistan have either officially ended or “Western” engagement draws to a close. In addition, the outbreaks of these wars are more than ten years in the past now which has given scholars a bit of time to reflect and connect the dots.
I went to The Hague because I co-chaired a workshop on “War Narratives and Web 2.0: Justification, Storytelling and Public Discourse” with my Danish colleague Morten Braender. We developed this workshop out of observations that, in recent years, a number of European scholars have reflected on the steep rise of war narratives in the new media from various methodological angles. We brought these different approaches into dialog and opened the topic to scrutiny for a variety of disciplines relevant for American studies within both the humanities and the social sciences. Our presenters’ academic backgrounds illustrated these different angles: Johanna Roering’s work centers on media research, Morten Brænder is a political scientist, Mikkel Bruun Zangenberg teaches comparative literature, and my own work uses historical, anthropological, and cultural studies approaches. These presentations supplement were mutually supportive in addressing the common theme of public discourse by deployed soldiers in online media.
The point of departure for Johanna Roering’s presentation was the shared experience of researchers within this field that studying web 2.0 technology is studying a moving object, and that scholarly conclusions about, say, early blogs from 2003 are likely to be outdated already because of the fast pace of changing information technology and corresponding cultural practices. By drawing on Henry Jenkins’s concept of ‘converging cultures,’ she demonstrated, however, that the challenges of studying the how the representation of a single person’s identity is articulated in different media (from blogs to tweets to YouTube vlogs) can be turned into an analytical advantage. Roering also explained the technological specifics and media-related aspects of a military blog, which constituted a common ground for all participants and thus further contextualized the field of research for the following presentations.
Morten Brænder’s talk centered on how blogs can be used in the social sciences as a source to explore different justificatory practices. He employed the concept of “sacrificial ideology” (Hubert and Mauss (1929); Girard, Violence and the Sacred, 1979) and distinguished between the sacrifice’s ‘explicit function’ (the justification itself), and its ‘implicit function’ (to show that something is perceived as worth dying for). He argued that the explicit function of sacrifice can only be maintained as long as its implicit function is not articulated. Drawing on this conceptual framework, Braender compared how two bloggers from the same American unit in Iraq perceived the deaths of three of their colleagues in an incident on 8 February 2008 and thus, how milbloggers discuss and and make meaning of death.
Mikkel Bruun Zangenberg’s presentation also emphasized the importance of justifying military action in blogs. His approach addressed that any justificatory practice articulates a particular view on justice, a view that does not cover what justice is in a genuine ethical perspective. Hence, Zangenberg illustrated in his reading of a blog featured in the New York Times how the blogger justified the war in Iraq but, at the same time, ignored the question of the civilian costs of the war by unequivocally focusing on the higher purpose of fighting terrorism.
My own contribution explored the cultural work and the therapeutic potential of milblogs by comparing them to Native American ceremonial narrative practices of re-integrating war veterans into their communities. Many Native vets employ their war experience in their continuing reciprocal relationship with their communities. Similarly, the interaction between bloggers and their audience negotiates the social contract between soldiers and civil society and thus facilitates an interpretation of war experience as an asset for the community.
The discussion following the presentations addressed Army censorship of online communication, identity construction in online narratives, reliability and source value in regard to the authors’ narratives and audience responses, blank spots and (mis-)representation in online communication, as well as notions of ritual and symbolism in online narratives.
The conference organizers announced that they requested short reports from all workshops and will publish them on the conference website – if you are interested in the many other presentations on such topics as war and food, women at war, human rights, international law, representations of trauma etc., please check back visit either http://www.eaas2014.org or http://www.eaas.eu/conferences. I am curious about information from all the panels I missed myself.