Attachment Patterns and Gay Male Identity in a Case of Complex Trauma

Author(s):  
Michael Jarrette-Kenny
Author(s):  
Simon Partridge

I argue the time has come to expand the now recognised clinical diagnosis of boarding school syndrome to take account of its invisible precursors in the avoidant attachment patterns of British upper-class culture. This elite, comprising less than 1% of the population, has sustained fee-paying boarding “public” schools, and is sustained by them, in a remarkably effective nexus of power and influence. I propose to call this avoidant culture with its severe affective limits and entitled assumptions, “British upper-class complex trauma condition”. Until we can recognise it and understand it as a form of group trauma, we will not be able to deal with its grave incapacity when it comes to empathy with the lives of others. Like Bowlby1, I advocate the abolition of early boarding as a key part of transforming the condition’s psychosocial limitations, which profoundly impact us all.


2018 ◽  
Vol 9 ◽  
Author(s):  
Guido Giovanardi ◽  
Roberto Vitelli ◽  
Carola Maggiora Vergano ◽  
Alexandro Fortunato ◽  
Luca Chianura ◽  
...  

Author(s):  
Philip M. Gentry

The premiere of John Cage’s 4′33″ in 1952 is considered against the backdrop of McCarthyist persecution of gay men. Drawing upon the “aesthetic of indifference,” Cage’s work is situated within the postwar development of gay male identity, contrasting Cage with philosophical rivals such as his old friend Harry Hay and the queer anarchist writer Paul Goodman. The chapter also looks in detail at the origins of the premiere, making the case that later versions miss out on the work’s historic presence, especially its first score in which the silence was more strictly notated rather than left as an abstract context. Together, this historical context of an emergent gay cultural identity alongside a carefully crafted musical experience provides an excellent closing example of the possibilities of these new postwar tools of self-fashioning.


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