Psychological trauma is interference of the psyche that occurs due to a traumatic experience. A traumatic event might involve a one event or a recurring event that overcomes one’s ability to deal with the emotions and circumstances involved with that occurrence. Psychological trauma may sometimes lead to severe life-long negative mental consequences. Psychological trauma can result from a wide of occurrences. On the other hand, there are the most common aspects that are likely to cause psychological trauma. These are frequent violation of one’s familiar ideas about the world and violation of basic human rights. These aspects put an individual in a state of fear and overwhelming confusion. In case of recurring events, the victim of psychological trauma experiences intense feelings of anger due to fear. Frightening memories, such as images, thoughts, and nightmares are common (Gilbert et al, 2008).
There are several theories that explain psychological disorder. The constructivist self development theory proposes that adaptation trauma results from a complex interplay between life and experiences inclusive of personal history, specific traumatic events and the social cultural context. The experience of trauma begins with exposure to a non-normative or distressing event or series of events that potentially disrupts the self. An individual’s response to trauma is a complex process that includes the personal meanings and images of the event extends to the deepest parts of a person’s inner experience of self and world, and results to in an individual adaptation. The major underlying premise of constructivist self-development theory is that individuals possess an inherent capacity to construct their own personal realities as they interact with their environment. This constructivist position asserts that human beings actively create their representational models of the world. This theory proposes that psychological development depends upon the evolution of increasingly complex and differentiated psychological systems. The psychological systems include the self-sense of one self complete with capacities to regulate self-esteem and negotiate relationship with others, psychological needs to motivate behavior and cognitive schemes for organizing and interpreting experience (Gilbert et al, 2008).
Psychological traumas of the main characters distort the historical accuracy of the film. Joan for instance gives wrong explanation hence misleading information. Initially, she had heard al the stories and legends of Clovis and knew exactly what to the truth was. Joan gave a very different view of the messenger movie. The France unexpected victory against the imperial English did play a providential role in the church’s history. Maid of Orleans preserved its Catholicism by preserving France’s .The mission of St Joan of Arc is supernatural. However, the messenger disregards the supernatural sense. The presentation of the messenger is a cultic Christ. In the rendition, the figured of the lord Christ is presented in the early scenes as a young boy with the appearance of child druid seated on a throne, emanating a disagreeable occultist aura. The other figure portraying our lord was –perhaps even more contradicting a vitiated hippie with deep bags under his eyes giving the impression of a close familiarity with drugs. This figure twirls with Joan entwined around him in an erotic wild dance. This is an absolute desacralization of Christ and St.Joan. The final portrait of this evolving Christ completes the cycle as an aged, new-age pacifist god clothed in a miserably brown cloak. His voice of reason finally convinces Joan that her mission is a delusion inspired by her desire for revenge and her own self-love. This god provokes her private admission of guilt, a denial of her mission as a messenger sent by God to save France. This finally earns her absolution and the right to die a martyr. Nevertheless, this let it be said clearly, is an outright lie. This reconstructed history of the life of the Maid of Domremy not only lacks objectivity, but also goes against sound historical records and all Catholic tradition (Bruce, 2006).
The second message the film sends is a disturbing distortion of the messenger herself. History teaches us that the real Joan of Arc was a sane, strong, and solid peasant girl. The soldiers who followed her won over by her compelling earnestness and faith. In her answers at the trial staged by the English, her simplicity, piety, and good sense appear at every turn. Twenty-four years later, at a revision of her trial, all the witnesses were eager to render their tribute to the virtues and supernatural gifts of the maid. Later, the same Christ appears again to Joan in the middle of a battle, and blood begins to pour down his despairing face in revolting profusion. Joan claims that she had voices that recriminates the glory of her mission. These shocking and blasphemous portrayals of Our Lord reveal a conception of the Savior far from Catholic and closer to some occult (Bruce, 2006).
The final portrait of this evolving Christ completes the cycle as an aged, new-age pacifist god clothed in a miserably brown cloak. His voice of reason finally convinces Joan that her mission is a delusion inspired by her desire for revenge and her own self-love. This god provokes her private admission of guilt, a denial of her mission as a messenger sent by God to save France. This finally earns her absolution and the right to die a martyr. Nevertheless, this is an outright lie. Until the last, said Mention, the recorder at the trial of Joan Domremy Arc, she declared that her voices came from God and had not deceived her. This reconstructed history of the life of the Maid of Domremy not only lacks objectivity, but also goes against sound historical records and all Catholic tradition. The anachronistic elements in this film distort the historical accuracy of the film in extremely (Phyllis & Joshua, 2004).
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