Practically unknowable and unteachable, then, trauma has nevertheless become a dominant paradigm in
cultural studies. Today’s culture is “saturated with trauma”, Luckhurst argues: politically, it involves government
inquiries, medical task forces and grassroots pressure groups; it has invaded today’s bestseller lists, academic
monographs as well as celebrity media.

ถ้าผมมองไม่ผิด มันจะแบ่งได้ว่า

it involves government inquiries / involves medical task forces และ involves grassroots pressure groups

ถูกหรือเปล่าครับ

เพิ่มเติม ขออีกหนึ่งจุด expository potential คืออะไรครับ

The past decades have seen the emergence of trauma studies as a rapidly expanding and
extremely diversified field. Branching out from the early 1990s via psychology, cognitive
science, law, and cultural and literary studies, it is now regarded as one of today’s signal
cultural paradigms. Since the early 1990s, cultural and literary criticism has taken up the
promise of new expository potential held out by trauma theorists, as for instance by
Geoffrey Hartman, whose “On Traumatic Knowledge and Literary Studies” (1995)
presented the new theory as offering “a change of perspective” not only at the level of
theory but also “of exegesis in the service of insights about human functioning” (544).
Since then, cultural trauma theory has been increasingly employed as a theoretical framework
for literary practice.1