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Trauma and Memory in Women's Photographic Practice: A Diffractive Posthuman Approach

Trauma and Memory in Women's Photographic Practice: A Diffractive Posthuman Approach

Gail Flockhart
Copyright: © 2023 |Pages: 37
ISBN13: 9781668453377|ISBN10: 1668453371|ISBN13 Softcover: 9781668453414|EISBN13: 9781668453384
DOI: 10.4018/978-1-6684-5337-7.ch002
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MLA

Flockhart, Gail. "Trauma and Memory in Women's Photographic Practice: A Diffractive Posthuman Approach." Handbook of Research on the Relationship Between Autobiographical Memory and Photography, edited by Mark Bruce Nigel Ingham, et al., IGI Global, 2023, pp. 22-58. https://doi.org/10.4018/978-1-6684-5337-7.ch002

APA

Flockhart, G. (2023). Trauma and Memory in Women's Photographic Practice: A Diffractive Posthuman Approach. In M. Ingham, N. Milic, V. Kantas, S. Andersdotter, & P. Lowe (Eds.), Handbook of Research on the Relationship Between Autobiographical Memory and Photography (pp. 22-58). IGI Global. https://doi.org/10.4018/978-1-6684-5337-7.ch002

Chicago

Flockhart, Gail. "Trauma and Memory in Women's Photographic Practice: A Diffractive Posthuman Approach." In Handbook of Research on the Relationship Between Autobiographical Memory and Photography, edited by Mark Bruce Nigel Ingham, et al., 22-58. Hershey, PA: IGI Global, 2023. https://doi.org/10.4018/978-1-6684-5337-7.ch002

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Abstract

Situated within the field of women's photographic practice, this chapter investigates the relationship between trauma, memory, and the embodied trace. Using practice examples, the text explores how self-performed modes of self-representation might offer insights into the complex—psychological and physiological—inscriptions left by trauma. Evaluating this relationship, the text draws on analyses by Griselda Pollock, Jill Bennett, and Margaret Iversen. The argument supports post-qualitative research methods that unfold subjective material through the ‘doing-thinking-making' process. Approached through posthuman and new materialist frameworks referencing Karen Barad and Rosi Braidotti, the chapter examines how a diffractive—rather than purely reflective—methodology can synthesise praxis and theory through affective photographic outcomes. The chapter concludes by evaluating how a diffractive approach to photographic self-representation can be productive for re-thinking the self, re-interpreting narratives of trauma, and re-imagining the way we see ourselves in our ‘becoming-with' others.

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