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dc.contributor.authorDyer, Daniel
dc.date.accessioned2015-01-19T03:01:26Z
dc.date.available2015-01-19T03:01:26Z
dc.date.issued2014-12
dc.identifier.urihttp://hdl.handle.net/11122/4802
dc.descriptionThesis (M.A.) University of Alaska Fairbanks, 2014en_US
dc.description.abstractThis thesis examines the three films that constitute director Ingmar Bergman's first trilogy, Through a Glass Darkly, Winter Light, and The Silence. In the thesis I take a multidisciplinary approach to analyzing the films' treatments of language, trauma, and God. Drawing on the Old Testament and work of psychoanalysts dealing with trauma, I argue for the similarities and reciprocity between trauma and communion with God and the ways in which the three films illustrate these relationships. Each film functions on a reflexive level to criticize the tools of filmmaking--images, dialog, and narrative--and points to discordance between symbols and reality. Bringing in Jacques Lacan's model of the imaginary and symbolic orders, I analyze the treatment of language and trauma in the trilogy and the potential for recovery suggested by the end of each film. The thesis culminates by tracing the trilogy toward a new vision of God and his role in the human psyche.en_US
dc.description.tableofcontentsPreface. Beyond Bergman: A New Consideration of the Trilogy of Faith -- Chapter 1.The Terrible Face of God: Correlations between Trauma and Faith -- Chapter 2. Symbolic Discordance in the Trilogy -- Chapter 3. Silencing the Spoken Word -- Chapter 4. A Trilogy of Trauma -- Chapter 5. Post-Trauma: A New Vision of God -- Works Cited.en_US
dc.language.isoen_USen_US
dc.titleSacred trauma: Language, recovery, and the face of God in Ingmar Bergman's trilogy of faithen_US
dc.typeThesisen_US
dc.type.degreemaen_US
dc.identifier.departmentDepartment of Englishen_US
dc.contributor.chairCarr, Richard
dc.contributor.committeeCoffman, Chris
dc.contributor.committeeRuppert, Jim
refterms.dateFOA2020-03-05T08:56:37Z


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