Cristina Santos, Ph.D. (2001, University of Toronto), is an Associate Professor in Communication, Popular Culture and Film at Brock University. She is the author of Unbecoming Female Monsters: Witches, Vampires and Virgins (2016) and co-editor of Virgin Envy: The Cultural (In)significance of the Hymen (2016).Adriana Spahr, Ph.D. (2001, University of Toronto), teaches at Brock University as well as Wilfrid Laurier University. She has published articles on testimonial literature, including as co-author of Madre de Mendoza (2013) and co-editor of Virgin Envy: The Cultural (In)significance of the Hymen (2016).Tracy Crowe Morey, Ph.D. (2007, University of Toronto), teaches Spanish at Ridley College and is a graduate student in Educational Studies at Brock University. She has published articles on women’s testimonial literature and twentieth-century Latin American and Spanish film.

• List of IllustrationNotes on ContributorsIntroduction: Testimony and Trauma: Engaging Common GroundTracy Crowe Morey, Cristina Santos, and Adriana SpahrPART 1Testimony, Time (In)Memorial1 Material Testimony: Memorials Bearing Witness to Experiences of Loss and TraumaAlison Atkinson-Phillips2 Spanish Republicans in the Holocaust: Historical Rights and Testimonial LiteratureAntonio Prado del Santo3 Writing Spain’s Fraught History: Testimony or Fiction?Olga BezhanovaPART 2Suffer the Children4 When the Personal Becomes Collective: a Mother’s Re-Membering of a Disappeared Daughter in Madre de MendozaCristina Santos5 Growing Up in Pain: Children of the Victims of the Argentinean DictatorshipAdriana Spahr6 Non-Standard Witness: Lessons from Working with/ for Traumatized ChildrenMelissa BurchardPART 3Scripts and Performances of Testimony7 Trauma and Healing in Izzeldin Abuelaish’s I Shall Not HateMarwa Sayed Hanafy8 The ‘Piercing Breach of a Border’: Irish Cinema as a Mediator of Modern TraumaEmma Kelly9 Performing Witnesses: Frameworks of Memory in Contemporary Performing ArtsMateusz ChaberskiPART 4Testimonial Embodiments10 Sick: Negotiating Body Trauma through Visual Art PracticeCandace Couse11 Very Becoming: Transforming Our Settler Selves in Occupied AustraliaRachel JoyPART 5The Curatorial Turn: Objects, Space, and Frames of Testimony12 Haunted Geographies in Atom Egoyan’s Calendar and Return to the FlockChristine Ramsay13 Atom Egoyan’s Auroras: a Chorus of WitnessesTimothy Long14 Immersive Space and the Place of the WitnessElizabeth MathesonIndex

Cristina Santos, Ph.D. (2001, University of Toronto), is an Associate Professor in Communication, Popular Culture and Film at Brock University. She is the author of Unbecoming Female Monsters: Witches, Vampires and Virgins (2016) and co-editor of Virgin Envy: The Cultural (In)significance of the Hymen (2016).Adriana Spahr, Ph.D. (2001, University of Toronto), teaches at Brock University as well as Wilfrid Laurier University. She has published articles on testimonial literature, including as co-author of Madre de Mendoza (2013) and co-editor of Virgin Envy: The Cultural (In)significance of the Hymen (2016).Tracy Crowe Morey, Ph.D. (2007, University of Toronto), teaches Spanish at Ridley College and is a graduate student in Educational Studies at Brock University. She has published articles on women’s testimonial literature and twentieth-century Latin American and Spanish film.

• List of IllustrationNotes on ContributorsIntroduction: Testimony and Trauma: Engaging Common GroundTracy Crowe Morey, Cristina Santos, and Adriana SpahrPART 1Testimony, Time (In)Memorial1 Material Testimony: Memorials Bearing Witness to Experiences of Loss and TraumaAlison Atkinson-Phillips2 Spanish Republicans in the Holocaust: Historical Rights and Testimonial LiteratureAntonio Prado del Santo3 Writing Spain’s Fraught History: Testimony or Fiction?Olga BezhanovaPART 2Suffer the Children4 When the Personal Becomes Collective: a Mother’s Re-Membering of a Disappeared Daughter in Madre de MendozaCristina Santos5 Growing Up in Pain: Children of the Victims of the Argentinean DictatorshipAdriana Spahr6 Non-Standard Witness: Lessons from Working with/ for Traumatized ChildrenMelissa BurchardPART 3Scripts and Performances of Testimony7 Trauma and Healing in Izzeldin Abuelaish’s I Shall Not HateMarwa Sayed Hanafy8 The ‘Piercing Breach of a Border’: Irish Cinema as a Mediator of Modern TraumaEmma Kelly9 Performing Witnesses: Frameworks of Memory in Contemporary Performing ArtsMateusz ChaberskiPART 4Testimonial Embodiments10 Sick: Negotiating Body Trauma through Visual Art PracticeCandace Couse11 Very Becoming: Transforming Our Settler Selves in Occupied AustraliaRachel JoyPART 5The Curatorial Turn: Objects, Space, and Frames of Testimony12 Haunted Geographies in Atom Egoyan’s Calendar and Return to the FlockChristine Ramsay13 Atom Egoyan’s Auroras: a Chorus of WitnessesTimothy Long14 Immersive Space and the Place of the WitnessElizabeth MathesonIndex

Cristina Santos, Ph.D. (2001, University of Toronto), is an Associate Professor in Communication, Popular Culture and Film at Brock University. She is the author of Unbecoming Female Monsters: Witches, Vampires and Virgins (2016) and co-editor of Virgin Envy: The Cultural (In)significance of the Hymen (2016).Adriana Spahr, Ph.D. (2001, University of Toronto), teaches at Brock University as well as Wilfrid Laurier University. She has published articles on testimonial literature, including as co-author of Madre de Mendoza (2013) and co-editor of Virgin Envy: The Cultural (In)significance of the Hymen (2016).Tracy Crowe Morey, Ph.D. (2007, University of Toronto), teaches Spanish at Ridley College and is a graduate student in Educational Studies at Brock University. She has published articles on women’s testimonial literature and twentieth-century Latin American and Spanish film.

• List of IllustrationNotes on ContributorsIntroduction: Testimony and Trauma: Engaging Common GroundTracy Crowe Morey, Cristina Santos, and Adriana SpahrPART 1Testimony, Time (In)Memorial1 Material Testimony: Memorials Bearing Witness to Experiences of Loss and TraumaAlison Atkinson-Phillips2 Spanish Republicans in the Holocaust: Historical Rights and Testimonial LiteratureAntonio Prado del Santo3 Writing Spain’s Fraught History: Testimony or Fiction?Olga BezhanovaPART 2Suffer the Children4 When the Personal Becomes Collective: a Mother’s Re-Membering of a Disappeared Daughter in Madre de MendozaCristina Santos5 Growing Up in Pain: Children of the Victims of the Argentinean DictatorshipAdriana Spahr6 Non-Standard Witness: Lessons from Working with/ for Traumatized ChildrenMelissa BurchardPART 3Scripts and Performances of Testimony7 Trauma and Healing in Izzeldin Abuelaish’s I Shall Not HateMarwa Sayed Hanafy8 The ‘Piercing Breach of a Border’: Irish Cinema as a Mediator of Modern TraumaEmma Kelly9 Performing Witnesses: Frameworks of Memory in Contemporary Performing ArtsMateusz ChaberskiPART 4Testimonial Embodiments10 Sick: Negotiating Body Trauma through Visual Art PracticeCandace Couse11 Very Becoming: Transforming Our Settler Selves in Occupied AustraliaRachel JoyPART 5The Curatorial Turn: Objects, Space, and Frames of Testimony12 Haunted Geographies in Atom Egoyan’s Calendar and Return to the FlockChristine Ramsay13 Atom Egoyan’s Auroras: a Chorus of WitnessesTimothy Long14 Immersive Space and the Place of the WitnessElizabeth MathesonIndex