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Hatoum works in an unpredictable array of materials, spaces, and visual genres; the only real consistency in Hatoum's work is her destabilization of "home." Hatoum imagines home broadly, as a web of images, objects, and institutions that establish the imaginary outlines and shape the material foundations of both the foreign and the familiar. In her 1996 piece entitled Doormat, Hatoum critiques ordinary thresholds of perception, comfort, and knowledge. Doormat is a "Welcome Mat" made of stainless steel pins, enacting the latent danger within the most benign spatial image of welcome. Hatoum destabilizes our associations of the foreign with danger and the familiar with safety, and therefore contributing to feminists' investigations into the multiple ways spatial politics invisibly underscore and justify hierarchical gender relations. In the billboard Over My Dead Body (1988) Hatoum disinters the gendered and spatial politics buried beneath the surface of familiar, idiomatic expressions. She has placed her face in a direct confrontation with a toy soldier. This image—made into a billboard in London—mockingly literalizes the image of women's victimization in war and violent conflict. Hatoum not only calls attention to war as the play of patriarchy, but by putting a toy soldier on the physical landscape of her scowling face, she also literalizes the idea that an image of woman is often the material and ideological "ground" upon which war's theatre of conquest takes place.

Because Hatoum alludes to violent political circumstances, recent theorizations of trauma can enrich our interpretations of her work by highlighting its latent but compelling feminist critique. Therefore, part of this essay involves interpreting Hatoum's work chronologically through theorizations of trauma, witnessing, and exile. Hatoum's work enacts the repetitions that are the tell-tale signs of trauma, but her struggles with exile complicate current understandings of it. [6] Trauma is an experience that can't be fully assimilated epistemologically or psychically—its actuality remains in the reserves of the unconscious—and it is impossible to fully represent it, as theorists of trauma and witnessing stress. When the trauma's concrete actuality is over, victims and their witnesses only have access to it through the traces and gaps the unconscious leaves in language. In the space between trauma and its witnesses there is an absence, a gap, but an ethical response to trauma entails attempting to witness what cannot be fully known. Exile may be an extreme dramaticization of trauma's most distinct elements: an experience that can't be fully assimilated or claimed. Hatoum's work provokes the questions exile brings to trauma: How can you represent a trauma you are prevented or spared from witnessing but affects you nevertheless? How can you link exile to the pain of those who experience the danger or imminent threat you've escaped? And how does one's gender complicate these questions, particularly when the female body is so often imagined as the site of compassion, empathy, even ethics?

The distance Hatoum's work struggles with leads to critiques of the role images of women play in the ideological borders of the nation and the images of victimized, traumatized women on the screens of the transnational imaginary. To the extent that Western feminism informs the discourse of trauma, feminism has helped to construct an image that places female trauma, along with female flesh and political victimization, into an emotionally and rhetorically convincing constellation, even though feminist critiques of trauma and the discourses and images used to theorize it are relatively rare. Cathy Caruth begins her study Unclaimed Experience: Trauma, Narrative, and History by calling attention to the allusions to Tasso's romantic epic Geruslamme Liberata in Freud's Beyond the Pleasure Principle. In Tasso's story, Tancred mistakenly kills Clorinda in a duel because she wears the enemy's armor, and then unwittingly wounds her again when he slashes at the tree her soul is imprisoned within. For Freud and for Caruth, this story represents "...the way that the experience of trauma repeats itself, exactly and unremittingly, through the unknowing acts of the survivor and against his very will." [7] However, Caruth fails to draw attention to the gendered dimensions of this story: the violent exposure of Clorinda's gender despite her disguise, her essentialized after-life as a voice embodied in a tree, and Tancred's masculinized act of violence. Caruth describes Clorinda's voice from the tree as "...a voice that is paradoxically released through the wound" and a cry for recognition that speaks to the importance of language within trauma's repetitions. [8] Yet this cry could also be read as the cry of a woman reduced to and imprisoned within an image of nature, essentialized and repeatedly violated because of that essentialization.

If Caruth's text is blind to the gendered dimensions of trauma, others offer universalizing formulations. In What Does a Woman Want? Reading and Sexual Difference, Shoshana Felman makes the overarching claim that "every woman's life contains, implicitly or explicitly, the story of trauma." [9] Recognizing that Felman articulates an assumption informing feminism gives Chandra Talpade Mohanty's critique of feminist analysis in "Under Western Eyes: Feminist Scholarship and Colonial Discourses," all the more validity. Mohanty writes that "in any given piece of feminist analysis, women are characterized as a singular group on the basis of a shared oppression." [10] This characterization fosters "an elision" between the discursive formation of women and historically and materially specific subjects. [11] In The Return of the Real, Hal Foster offers a pithy formulation that helps link the unexamined feminization of trauma and feminism's generalizations about women's oppression: "In trauma discourse, then, the subject is evacuated and elevated at once" (original emphasis). [12] In the imaginary of western feminism, the non-western woman is the most visible and ready-made image of women's traumatic experiences within patriarchy, evacuated from historical contexts and elevated by feminists' appropriations.

Through its exploration of the trauma particular to exile, Hatoum's work develops a critique about women's multi-dimensional oppression within violent political circumstances. Hatoum's work reveals how women are, in the words of McClintock, "[e]xcluded from direct action as national citizens," and "are subsumed symbolically into the national body politic as its boundary and metaphoric limit." [13] These mutual exclusions and incorporations become even more extreme in "pathological geograph[ies] of power." [14] The placelessness of exile allows for insight into women's symbolic place and political placelessness in postcolonial and transnational politics. One must stress that women's "place" or "placelessness" cannot be easily imagined or unproblematically assumed, particularly from the West's privileged vantage point. In the last thirty years, feminists have questioned Western feminism's representation of women's lives in "other" parts of the world, particularly as emblems of pity and objects of research through which feminist scholarship builds and justifies its body of knowledge. Mohanty argues for the necessity of seeing feminist scholarship within colonialism's discursive terrain of power and oppression, as it has obscured the "heterogeneity of the subject(s) in question" for an implicit, unexamined universalism. [15] Again, Mohanty is trenchant about the imaginary dialectics at work in western feminism's construction of the "'average third world woman'":

The fictional construction of the "'average third world woman'" relies on the assumption that women embody trauma; it also helps solidify the corresponding fiction of western women's freedom and control, prized possessions belonging to the enlightened. Though they are cited all too often, I think Jacques Lacan's theorization of ego formation in "The mirror stage as formative of the function of the 'I' as revealed in psychoanalytic experience" and "Aggressivity in Psychoanalysis" helps to delineate the scenario Mohanty describes. [17] yCunt Meetingstrippeddevi J Stripped Meeting Stripped Devi En Category Holidays Meeting Stripped Devi Seeing Feminism in Exile; The Imaginary Maps of Mona Hatoumc Porn Meeting Stripped Devi iCunt Meetingstrippeddevi J Stripped Meeting Stripped Devi En Category Holidays Meeting Stripped Devi Seeing Feminism in Exile; The Imaginary Maps of Mona Hatoumv h l Porn Meeting Stripped Devi c c Meeting Stripped Devi 91.porn