Geometry of the SL(3,ℂ)-character variety of torus knots.

Let G be the fundamental group of the complement of the torus knot of type (m, n). It has a presentation G = . We find a geometric description of the character variety X(G) of characters of representations of G into SL(3,ℂ), GL(3,ℂ) and PGL(3,ℂ).

E-polynomial of the SL(3,C)-character variety of free groups.

We compute the E-polynomial of the character variety of representations of a rank r free group in SL(3,C). Expanding upon techniques of Logares, Muñoz and Newstead (Rev. Mat. Complut. 26:2 (2013), 635-703), we stratify the space of representations and compute the E-polynomial of each geometrically described stratum using fibrations. Consequently, we also determine the E-polynomial of its smooth, singular, and abelian loci and the corresponding Euler characteristic in each case. Along the way, we give a new proof of results of Cavazos and Lawton (Int. J. Math. 25:6 (2014), 1450058).

E-polynomials of the SL(2, C)-character varieties of surface groups

We compute the E-polynomials of the moduli spaces of representations of the fundamental group of a once-punctured surface of any genus into SL(2, C), for any possible holonomy around the puncture. We follow the geometric technique introduced in [12], based on stratifying the space of representations, and on the analysis of the behavior of the E-polynomial under fibrations.

E-polynomial of SL(2,C)-character varieties of complex curves of genus 3.

We compute the E-polynomials of the moduli spaces of representations of the fundamental group of a complex curve of genus g = 3 into SL(2, C), and also of the moduli space of twisted representations. The case of genus g = 1, 2 has already been done in [12]. We follow the geometric technique introduced in [12], based on stratifying the space of representations, and on the analysis of the behaviour of the E-polynomial under fibrations.

The Ultimate Secrecy: Feminist Readings of Masculine Trauma in Vietnam War Literature

It is a widely acknowledged and often unquestioned fact that patriarchy and its modes of behaviour and social organization favour the appearance of trauma on the weakest (and defenceless) members of society: women. In the last decades, trauma seems to have taken the baton of typically female maladies such as 19th c. hysteria or 20th c. madness. Feminists in the 20th c. have long worked to prove the connection between the latter affections (and their reflection in literary texts) and patriarchal oppression or expectations of feminine behaviour and accordance to roles and rules. With Trauma Studies on the rise, the approach to the idea of the untold as related to femininity is manifold: on the one hand, is not trauma, which precludes telling about one’s own experience and keeps it locked not only from the others, but also from ourselves, the ultimate secrecy? On the other hand, when analyzing works that reflect trauma, one is astounded by the high number of them with a female protagonist and an almost all-female cast: in this sense, a ‘feminist’ reading is almost compulsory, in the sense that it is usually the author’s assumption that patriarchal systems of exploitation and expectations favour traumatic events and their outcome (silence and secrets) on the powerless, usually women. Often, traumatic texts combine feminism with other analytical discourses (one of the topics proposed for this panel): Toni Morrison’s study of traumatic responses in The Bluest Eye and Beloved cannot be untangled from her critique of slavery; just as much of Chicana feminism and its representations of rape and abuse (two main agents of trauma) analyze the nexus of patriarchy, new forms of post-colonialism, and the dynamics of power and powerlessness in ethnic contexts. Within this tradition that establishes the secrecies of trauma as an almost exclusively feminine characteristic, one is however faced with texts which have traumatized males as protagonists: curiously enough, most of these characters have suffered trauma through a typically masculine experience: that of war and its aftermath. By analyzing novels dealing with war veterans from Vietnam or the Second World War, the astounding findings are the frequent mixture of masculine or even ‘macho’ values and the denial of any kind of ‘feminine’ characteristics, combined with a very strict set of rules of power and hierarchy that clearly establish who is empowered and who is powerless. It is our argument that this replication of patriarchal modes of domination, which place the lowest ranks of the army in a ‘feminine’ situation, blended with the compulsory ‘macho’ stance soldiers are forced to adopt as army men (as seen, for example, in Philip Caputo’s Indian Country, Larry Heinemann’s Paco’s Story or Ed Dodge’s DAU: A Novel of Vietnam) furthers the onset and seriousness of ulterior trauma. In this sense, we can also analyze this kind of writing from a ‘feminist’ point of view, since the dynamics of über-patriarchal power established at the front at war-time deny any display of elements traditionally viewed as ‘feminine’ (such as grief, guilt or emotions) in soldiers. If trauma is the result of a game of patriarchal empowerment, how can feminist works, not only theoretical, but also fictional, overthrow it? Are ‘feminine’ characteristics necessary to escape trauma, even in male victims? How can feminist readings of trauma enhance our understanding of its dynamics and help produce new modes of interaction that transcend power and gender division as the basis for the organization of society?