Writing about psychological trauma, cultural history, and literary theory in the year 2011 requires conceptual precision. It seems that the field of literary and media studies is finally in the process of substantially revising a powerful paradigm of cultural trauma analysis that has been with us since the early 1990s. As we have tried to show on other occasions, this deconstructive tradition of cultural interpretation embraced trauma on an abstract, metaphorical level as a theoretical vantage point offering insights into the opportunities and limits of human self-reflexivity. But its protagonists displayed little interdisciplinary curiosity about the suffering of actual trauma victims and the knowledge of people treating them. Moreover, they held an apodictically negative view of the cultural effects of narrativizing traumatic experiences -which is an essential element of therapy -and were also otherwise uninterested in the complex empirical interplay of violence, trauma, and media experiences. As a result, some scholars developed ambiguous ontologizing statements claiming for instance that trauma is »always already inscribed in (any) memory« and that any conscious representation of trauma is essentially »inadequate« because »trauma is the inaccessible truth of remembering«.Viewed from this perspective, disciplines like philosophy and history supposedly simply »make us forget about the traumatic flipside of all memory« (Weinberg 1999, 204-206; cf. Weilnbçck 2007c;2008b). 1 By aestheticizing and valorizing trauma in such a fashion, the paradigm has raised a lot of questions about the empirical foundations and ethical implications of its analyses, especially concerning the representation of actual victims of violence (cf. Weilnbçck 2008a; Kansteiner/ Weilnbçck 2008; Kansteiner 2004). 1 The deconstructive trauma paradigm was certainly originally launched with the best of intentions seeking to develop new critical perspectives on contemporary culture. But the philosophical reflections often evolved into rather vague -and from an interdisciplinary point of view even counterproductive -aesthetic and aestheticizing speculations. Consider for example Manfred Weinberg's emphatic quote of Friedrich Kittler in the former's 1999 essay on trauma, psychoanalysis and cultural interpretation: »In the forgetting of the word ›forget‹ the expressed concurs with the expression. And the delirium of this concurrence is the truth« (Weinberg 1999, 203).