Dissertations / Theses on the topic 'Mourning'
To see the other types of publications on this topic, follow the link: Mourning.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Mourning.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Crowder, Julie. "Teaching Mourning." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/215.
Full textAbstract:
Abstract TEACHING MOURNING By Julie Ann Crowder, MAE A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art Education at Virginia Commonwealth University. Virginia Commonwealth University, 2011 Major Director: Sara Wilson McKay, Ph.D. Interim Department Chair and Associate Professor, Art Education As a researcher I sought to understand the following research questions: 1) What were the official policies and protocols that went into effect at William Fox Elementary School after the murder of the Harvey family in January of 2006? 2) What were the experiences of the staff and parents at William Fox Elementary School after the murder of the Harvey family? 3) What critiques and or suggestions do the employees and parents have of the personal or official policies or protocols, which were carried out after the murder of the Harvey family? The purpose of this research was layered. This research was necessary in order to create an accurate picture of the difficult emotional reactions of teachers attempting to teach students how to mourn while mourning themselves. Additionally, this study identified how teachers were able to continue about the business of every day life and education when they were dealing with difficult emotional issues. Participants at William Fox Elementary experienced the tragic death of the Harvey family on New Year’s Day 2006. This research illuminated possible new ways of looking at mourning, the public/media, and ways of handling these difficulties. This research could lead to the creation of new policies or protocols that would better serve the mourning populations in schools, which lose members to violence. The members of this study were William Fox Elementary employees or parents who were on present during and after the Harvey murders. Special attention was given to the IRB process. Seven participants who had a great deal of contact with Stella were selected. The PTA-funded Art Explosions teacher, Stella Harvey’s classroom teacher, the principal, the guidance counselor, a parent, the music teacher, and the librarian were all participants. Significant findings include: the importance of the speed and selection of information given to adults at the time of a tragedy, and the child information networks that form when children are not completely informed. Additionally a variety of information and thoughts are given on the subject of mourning, both public and private. Implemented and suggested healing techniques were investigated. Lastly, several uncomfortable issues that arose, such as race and rage were explored.
2
Veder, Robin. "Dying Virgins and Mourning Mothers: A Study in American Mourning Iconography." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625944.
Full text
3
Pecora, Jennifer. "Women Mourners, Mourning "NoBody"." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2220.
Full textAbstract:
Historian David Bell recently suggested that scholars reconsider the impact of the Revolutionary and Napoleonic Wars (1793-1815) upon modern culture, naming them the first "total war" in modern history. My thesis explores the significance of the wars specifically in the British mourning culture of the period by studying the war literature of four women writers: Anna Letitia Barbauld, Amelia Opie, Jane Austen, and Felicia Hemans. This paper further asks how these authors contributed to the development of a national consciousness studied by Georg Lukács, Benedict Anderson, and others. I argue that women had a representative experience of non-combatants' struggle to mourn war deaths occurring in relatively foreign lands and circumstances. Women writers recorded and contributed to this representative experience that aided the development of a national consciousness in its strong sense of shared anxieties and grief for soldiers. Excluded physically and experientially, women would have had an especially difficult time attempting to mourn combatant deaths while struggling to imagine the places and manners in which those deaths occurred, especially when no physical bodies came home to "testify" of their loved ones' experiences. Women writers' literary portraits of imagined women mourning those whose bodies never came home provide interesting insights into the strategies employed during the grieving process and ultimately demonstrate their contribution to a collective British consciousness based on mourning. The questions I explore in the first section of this thesis circle around the idea of women as writers and mourners: What were writers saying about war, death, and mourning? What common themes begin to appear in the women's Romantic war literature? And, perhaps most importantly, how did such mourning literature affect the growing sense of nationality coming out of this period? In the second section, I consider more precisely how these literary contributions affected mourning culture when no bodies were present for burial and advanced the development of a national consciousness that recognized the wars' "nobodies." How did women's experiences of being left behind and marginalized in the war efforts prepare them to conceptualize destructive mass deaths abroad, and, conceptualizing them, to mourn them?
4
CARAMORE, JULIANA DE FARIA. "ASPECTS OF MOURNING IN LACAN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4764@1.
Full textAbstract:
O objetivo desta dissertação é o estudo do tema do luto na
obra de Lacan. É com este intuito que se pretende
desenvolver alguns aspectos do luto no ensino lacaniano.
Lacan aborda o luto do ponto de vista do ato, o ato
inibido. Assim, pode-se tomar como exemplo Hamlet,
personagem que se encontra numa relação problemática com
seu ato, em função de seu desejo. Ele não consegue cumprir a
missão que lhe foi atribuída, Hamlet só consegue realizar
seu ato, quando conclui o trabalho de luto, recuperando seu
desejo. A dissertação se desenvolve partindo da formulação
freudiana de que a perda exige a realização de um luto,
sendo que este luto pode ser realizado naturalmente, com o
tempo, sem qualquer intervenção o que seria o luto normal.
De outro modo, o luto desencadeado pode não alcançar um
fim espontâneo, permanecendo travado. Nessa situação, o
luto irá se transformar em luto patológico. Lacan demonstra
que o enlutado encontra-se numa posição problemática com
relação ao desejo do Outro, assim, a dificuldade do luto se
relaciona à perda da possibilidade de saber que objeto era
para o desejo do Outro. Para Lacan, o que está implicado no
trabalho de luto é a manutenção dos vínculos por onde o
desejo está suspenso. Para se chegar ao desejo, há o tempo
da angústia, a angústia aqui é a angústia da castração.
Quanto mais angústia, mais inibição, menos trabalho de
luto. A direção do tratamento analítico do enlutado seria
transformar o luto patológico em trabalho de luto,
transformar inibição em desejo.The objective of this dissertation is the study of mourning within Lacan works. With this, it will be developed some aspects of mourning within Lacan teaching. Lacan approaches mourning in the perspective of the act, the inhibited act. Thus, it is possible to take Hamlet as an example, a character that finds himself bound to a tough and problematic connection with his act because of his desire. He fails in fulfilling the mission assigned to him, Hamlet can act only when he lives the mourning and pulls his desire back. The dissertation unfolds from the freudian formulation based on which the loss demands mourning and this mourning can only be lived naturally, with time, without any intervention; this would be the normal mourning. Otherwise, the mourning unleashed can t reach its spontaneous end, and remains blocked. Within this circumstance, mourning will turn into pathological mourning. Lacan demonstrates that the individual in mourning is in a problematic position in relation to the desire of the Other, thus, the difficulty of the mourning is connected to the loss of the possibility of knowing what the object meant to the Other s desire. Lacan believes that what is implied in the mourning is the maintenance of the bonds through where desire is suspended. To reach desire, there is a time of anguish, and said anguish is the anguish of castration. The greater the anguish, the greater is the inhibition, and less mourning. The direction of the psychoanalytical treatment of the individual in mourning would be to transform the pathological mourning into normal mourning, transform inhibition in desire.
5
O'Neill, Mary. "Ephemeral art : mourning and loss." Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/8012.
Full textAbstract:
Ephemeral art is usually understood as reflecting a desire to dematerialize the art object in order to evade the demands of the market, or to democratize or challenge art museums. However, in many ephemeral artworks something much more fundamental is involved. In this thesis I explore the hypothesis that the use of ephemerality by some artists is best understood, not solely in terms of art world issues but of the relationship between ephemerality, mourning and loss. I will begin with a refinement of the definition of ephemeral art, which is often confused with temporary works. This definition identifies four characteristics of ephemeral art: time, communicative act, inherent vice and directive intent. Ephemeral art often involves works that do not exist in a steady state, but change or decay slowly. This temporal aspect is examined through a discussion of the boredom they consciously evoke, which can be seen not only as an acute awareness of time but also a form of mouming for lost desire. The different physical state of ephemeral works represents a shift from the art object to communicative act. This shift is exemplified by artists working in the 1960s, particularly those influenced by John Cage. Cage's engagement with Buddhism and the subsequent work he produced demonstrates that the appreciation of transience is a reflection of wider cultural values. The growing interest in Buddhist philosophy and the engagement with transience at that period are discussed, not as cause and effect, but as both stemming from the same desire to find alternative forms of meaning and expression at a time when traditional structures of meaning were in decline. The use of non-traditional, non-durable materials and the incorporation of chance and ephemerality mean that the resulting worlds possess an 'inherent vice' which results in the demise or disappearance of the work. This is a key feature of ephemeral art, which distinguishes it from temporary works. The latter are designed to function for a fixed period, after which they are discarded or destroyed. The conclusions drawn have implications that reach beyond artworld concerns with durable or at least preservable commodities. These works offer insights into the mourning process which are powerful and profound reflections on the human condition. These works can act as a means of engaging with bereavement, disenfranchised grief and ambiguous loss. In a world where many societies may be deemed post-religious traditional myths and rituals that once served to alleviate fear or mortality and the pain of bereavement are no longer viable or effective, this is of immense significance.
6
McCarthy, Andrew D. "Mourning men in early English drama." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Dissertations/Spring2010/a_mccarthy_020910.pdf.
Full text
7
Norling, Margaretha. "Änglar och sorg : Angels and mourning." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12559.
Full textAbstract:
What psychologial processes are activated in experiencing mourning after a loss of a belovedperson? How is death described in other authors’ novels and short stories compared to mine? This essay aims at analysing my two short stories The follower and The price for love fromdifferent aspects. I discuss the psychological realism and the spirituality using the method ofclose reading, interpreting and applying ideas of texts from other authors in my short stories. Death is a central phenomenon in both of my texts. Therefore I discuss death frompsychological and philosophical aspects in this essay. To get a philosophical frame of death Iturn to Jacques Derrida, Emmanuel Levinas and Martin Heidegger. They express different opinions but important to point out is their truism that death is waiting for us all. Then I turn to Sigmund Freud, Ann-Kristin Lundmark and Lars Rönnmark to get the psychological view of death. Because of the character of the texts, I use concepts of mourning and losses from Sigmund Freud, Barbro Lennéer Axelson and Lars Rönnmark. I discuss the characters, their inner psychological processes, and relationships between persons. In this essay I indicate that mourning is a natural reaction to the loss of a beloved person. The usual mourning often follow four phases. The first phase is the chock phase, then comes the reaction phase, followed by the process phase. Finally comes the reorientation phase. The religious aspect of the stories is also explored. There my starting point is authors as Staffan Ljungman and Inger Waern, who discuss the occurrence of angels in human beings lifes. The narrator in The follower is a guardian angel, something that makes the question ofangels interesting to study. The reality aspect in the short stories is also discussed in this essay. I turn to James Wood and compare his ideas and hypotheses with my texts. James Wood present the importance of giving the reader an appearance of reality and creating vitality of the literary characters. My stories are planted in a realistic environment, the characters act and react the way real people could do in their culture and epoch. Their mourning is also similar to what human beings could experience. Therefore I come to the conclusion that my stories could regard realistic for some readers but not to other. My intention is to give the reader an atmosphere of probability. If I success is both depending on the way I send my messages as well as on the way the reader receives it. I use no special school of philosophy or psychology to analyse these texts. I analyse from the point of view of a social worker. My own conclusion of this essay is that relationships are important in my stories, as well as a capability of mourning. The religious facet is an attempt to raise the question of a possible invisible world.
8
Russell, Fiona Elizabeth. "Possession : mourning, childhood and J.M. Barrie." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321731.
Full text
9
Findlay, Jules. "Fragmentation : materialising mourning from complicated grief." Thesis, Royal College of Art, 2018. http://researchonline.rca.ac.uk/3465/.
Full textAbstract:
This research by project is asking whether the affect of embodied materiality can be materialised from complicated grief, in an investigation into the relationship between the affect of grief and the creative, embodied encounters with paper materials. In some types of traumatic loss, complicated grief can subsume the bereaved in a way like no other. Mourning can be a very difficult process. The research integrates creative practice, working with fibre-based materials, with the scholarly and cultural exploration of the literature and theory of mourning as a specific psychological state of mind. It is an exploration of the experience of mourning a complicated grief, through the sustained process of an embodied encounter with the materiality of making paper. Paper becomes the metaphor to discuss research questions that connect the maternal with affect in maternal grief, that paper can be the Symbolic and the body that inputs Cartesian culture is feminised using affect of the embodied encounter with materials. This research is not into art therapy, nor into art as illustrative of psychology. I use a hybrid approach to methodology, involving auto-ethnography and subjective experience as a medium through which to reflect on the relationship between materiality and affect. The substrate uses play; judgment is suspended, whilst the substrate is being handmade to create individual materiality. Culture and social theory, which enabled the methods of auto-ethnography and creative practice research to emerge, is the paradigm of postmodern and post positivist accounts of new relations between ‘subjectivity’ and ‘objectivity’. Moving forward from Glaser and Strauss’s thinking on grounded theory, display, together with reflective practice, is compatible with the emergence of feminist thinking on the significance of subjectivity and affect. The submission comprises a written dissertation, which reflects on the six years of creative practice, making new sense of the conventional silence surrounding complex mourning. The practice itself, connotes affect through the materialities of paper.
10
Hirschmann, Gregory Scott. "Filled With Absence: Spaces for Mourning." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/36449.
Full textAbstract:
Long ago the stories common to men were clearly present in their architecture. Sculpture, mosaics, paintings, stained-glass windows, all blatantly told the beginning, the morals, the epics, and future of humanity. Today these elements have all but disappeared along with the stories that they told. One story still common to humanity is the act of death, transcending culture, nationality, or creed. The pages to follow disclose an architecture for the emotional state of mourning. The seven spaces of this architecture exist in three dimensions: the narrative, the emotive, and sacred.Master of Architecture
11
Scott, Jill. "Electra after Freud, death, hysteria and mourning." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0017/NQ53895.pdf.
Full text
12
Frank, Lucy Elizabeth. "Sarah Piatt and the politics of mourning." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/54791/.
Full textAbstract:
The American poet Sarah Piatt (1836-1919) addresses crucial dilemmas of modem identity, in particular the traumatic effects of war, the complexities of racial relationships and the unsettling dynamics of urban life. Although a respected poet in her day, Piatt's work disappeared after her death from the canon of American literature, and it is only in the last five years that scholars have begun to realise the importance of her poetry and to assess its depth and scope. This thesis contributes to the process of assessing the significance of Piatt's work, and contextualises her in relation to a number of other nineteenth-century American writers, including Elizabeth Stuart Phelps, Walt Whitman, Harriet Beecher Stowe, Mary Chestnut and Frederick Douglass. I focus on the rift between Piatt's Southern plantation childhood and her married life in the industrial North, and upon how the Civil War created irreconcilable conflicts and divided loyalties in her life, which are played out in her writing. I emphasise the Civil War as a moment of personal and cultural trauma, which inaugurates what I term Piatfs 'politics of mourning'. I explore her politics of mourning in relation to psychoanalytic theory. While Freud sought to rid mourning of its ambivalence and interminability, and to displace these onto melancholia, Piatt's writing blurs the boundary between them. Instead of dispensing with mourning too quickly, too easily, Piatt recognises that one cannot avoid being haunted by the past and by the dead. She engages in a dialogue with the past and explores how the desire of the dead continues to be played out by the living. In contrast to Northern writers like Phelps, Stowe and Whitman, who seek to heal the nation by appealing to the idea of sacrifice, and the pastoral, in order to console the bereaved and envisage a redeemed body politic, Piatt turns away from consolation. Instead, she takes mourning in a direction that leads towards an exploration of the uncanny, the ghost-like and the hallucinatory. She explores the stifling effects of mourning in the South, and the way in which the North buried the unpleasant realities of the war, in the process of memorialising it. Piatt remained deeply emotionally invested in the South, yet she was also very critical of the Confederate Cause, and in her work she repeatedly interrogates her own investment in an idealised version of the antebellum South. I examine the ways in which Piatt scrutinises Southern discourses of race and slavery. I focus in particular on how she seeks to articulate a language of mourning for the South while also repeatedly exposing, and destabilising Southern fictions of mastery.
13
Middlemass, Cara Sian. "Mourning jewellery in England, c.1500-1800." Thesis, University of Newcastle upon Tyne, 2018. http://hdl.handle.net/10443/4188.
Full textAbstract:
This thesis explores the historical importance and social function of memorial jewellery within the funerary and mourning cultures of early modern England. Mourning jewellery represented a particularly distinctive facet of mourning and funerary ritual and etiquette, and this study reveals the customary role which mourning jewellery grew to occupy, as a method for the memorialisation and commemoration of the dead, over the course of three centuries, c.1500- 1800. The thesis introduces and defines the broad parameters of the primary research, with a discussion of the source materials employed, including the creation of a database which analysed a large body of wills from Essex, Middlesex, and Surrey, as a means of understanding the place which mourning jewellery occupied within the funerary and remembrance strategies of early modern testators. Beginning with the material objects themselves, the following two chapters provide a chronological overview of the jewellery itself, looking at what kinds of pieces were actually being produced and utilised, introducing form and fashions, and detailing evolving stylistic modes, conventions, and decorative motifs. Placing these material markers within their proper social, cultural, and economic contexts offers a greater understanding of the customary function of mourning jewellery as a whole and the ways in which it was bequeathed and utilised as a means of mourning and commemorating the dead. The fourth chapter offers an insight into the types of people who were typically giving and receiving mourning jewellery, and how the processes, functions, and relationships, which lay behind these exchanges, actually worked in practice. The fifth chapter assesses the overall significance and widespread popular impact of mourning jewellery as a whole, both socially and over time, within the funerary provisions and customary remembrance strategies of testators and the bereaved. The role, significance, and import of mourning jewellery fluctuated according to its employment; it lay within an intricate web of attachments and obligations, ritual and observance, mourning and memory. The final part of the thesis ends by providing some insight into this process, looking at the ways in which mourning jewellery was used in practice and the prospective lifecycle of such objects. It also deals with thornier issues surrounding contemporary emotional responses towards death and loss, observing how mourning jewellery operated, why it was used, and whether it could provide any comfort for the bereaved.
14
Khosa-Nkatini, Hundzukani Portia. "Liturgical inculturation of Tsonga widows’ mourning rituals." Thesis, University of Pretoria, 2019. http://hdl.handle.net/2263/75256.
Full textAbstract:
Liturgical inculturation of Tsonga widows’ mourning rituals is a dissertation prepared in the department of Practical Theology. The research studied mourning rituals and ceremonies that are practised by Tsonga widows in Ka-Mhinga village in Limpopo, Republic of South Africa. The researcher limited her study to widows within that area, and all participants were members of the Evangelical Presbyterian Church in South Africa (EPCSA) at the time of the interviews. The researcher being a minister in the church has observed the exclusion of widows in the church and this exclusion was not based on any doctrine of the church but on the widows’ choice to be excluded as part of respecting Tsonga traditions. The exclusion of the widow is also respected and understood by members of the church because they believe in respecting people's cultures and traditions; the majority of members of the EPCSA are Tsonga speaking.
The research starts with a brief introduction and also gives an overview of the study. The research methodology was a combination of literature review and qualitative empirical research. Christianity in sub-Saharan Africa and beliefs were investigated and how these beliefs relate to Tsonga traditional beliefs regarding ancestral worship, African religion, African hermeneutic and death and rituals in Africa. Ubuntu and mourning practices in the Tsonga culture were discussed; in Africa, a person does not exist without the other. African rituals and practices in Africa are known and respected by the whole community. A funeral does not belong to the deceased family but to the whole community.
The empirical chapter summarised both the focus group and individual interviews. The participants in this study are members of EPCSA who have experienced widowhood. These interviews allowed participants to share their experiences on mourning rituals that they had to undergo as Tsonga widows. Data were analysed by means of Python, a software that is used to analyse data for qualitative research. Python was used to analyse individual interviews and coding analysis was used to analyse focus group data. The researcher then combined both data by using thematic analysis. The following was found from the analyses; for some participants, these Tsonga mourning rituals were seen as a sign of respect and a form of protection from ancestors and the spirit of their late husband. Collected data and analyses, found the following themes from all data; Patriarchy, Exclusion/Inclusion, Graduation, Clean/Unclean, Ritual Space, church and culture. Some of the participants were very proud of having mourned for their husbands for twelve months. However, there were a few who felt mourning rituals are downgrading to women and not of any benefit for women. These participants can serve as an indication for a need for a praxis theology for EPCSA.
A praxis theory was developed to create a new inculturated praxis for EPCSA by identifying some mourning rituals elements that can be embraced without downgrading widows and others that should not be embraced because they discriminate Tsonga widows. The findings of the research confirm that there is a current liturgical moratorium on liturgical rituals of mourning for widows in the EPCSA in Tsonga culture.Thesis (PhD)--University of Pretoria, 2019.
Practical Theology
PhD
Unrestricted
15
Paul, Haajra. "Rituals of Mourning and Melancholia in Dubliners." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21346.
Full text
16
Fowler, Rebekah Mary. "Mourning, Melancholia, and Masculinity in Medieval Literature." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/336.
Full textAbstract:
This dissertation examines male bereavement in medieval literature, expanding the current understanding of masculinity in the Middle Ages by investigating both the authenticity and affective nature of grief among aristocratic males. My focus is on the pattern of bereavement that surfaces across genres and that has most often been absorbed into studies of lovesickness, madness, the wilderness, or more formalist concerns with genre, form, and literary convention, but has seldom been discussed in its own right. This pattern consists of love, loss, grief madness and/or melancholy, wilderness lament/consolation, and synthesis and application of information gleaned from the grieving process, which is found is diverse texts from the twelfth century romance of Chrétien de Troyes' Yvain to the fifteenth century dream vision/consolatio Pearl. A focused study of how bereavement is represented through this pattern gains us a deeper understanding of medieval conceptions of emotional expression and their connections to gender and status. In other words, this project shows how the period imagines gender and status not just as something one recognizes, but also something one feels. The judgments and representations of bereavement in these texts can be explained by closely examining the writings of such religious thinkers as Augustine and Aquinas, who borrow from the neo-Platonic and Aristotelian schools of thought, respectively, and both of whom address the potential sinfulness and vanity of excessive grief and the dangers for this excess to result in sinful behavior. This latter point is also picked up in medical treatises and encyclopedic works of the Middle Ages, such as those of Avicenna and Isidore of Seville, which are also consulted in this project. The medieval philosophical and medical traditions are blended with contemporary theories of gender, authenticity, and understanding, as well as an acknowledgement of the psychoanalytic contributions of Freud and Lacan. Through these theories, I explore the capacity for the men in these texts to move beyond the social strictures of masculinity in order to more authentically grieve over the loss of their loved ones, which often constitutes a type of lack. However, my purpose is not to view losses as lack, but rather, to see them as a positive impetus to push beyond the limits of social behavior in order to realize textually various outcomes and to suggest the limitations of such socially sanctioned conventions as literary forms, language, rituals, understanding, and consolation to govern the enactment of grief.
17
Ayling-Smith, Beverly. "The space between mourning and melancholia : the use of cloth in contemporary art practice to materialise the work of mourning." Thesis, University of Brighton, 2016. https://research.brighton.ac.uk/en/studentTheses/5952ed65-1680-4182-9e67-4a7e1bd6fcae.
Full textAbstract:
This research project examines the language of grief in textile art practice. It takes as its starting point the idea that, as individuals with experience of bereavement, we may carry with us an element of unresolved mourning. This is not the pathological condition of melancholia or complicated mourning, nor the fully resolved, completed state where mourning is over, but is a space between; a set of emotions which continue to be felt and may be brought to the surface by an event, situation, set of circumstances or encounter with, for example, artwork which may bring back feelings of grief and loss long after the death of someone close. This project investigates how cloth can be used in textile artwork to make a connection with this unresolved mourning and thereby contribute to the progression of the viewer’s work of mourning. The aims of the research are to explore how textile art can be used as a metaphor for grief and mourning and to consider how the staining and mending of cloth in contemporary art practice has been used in my studio practice as a way of understanding and expressing mourning. This is a practice based research project, the outcomes of which consist of a written thesis and a body of artworks created through studio practice. The dialogic relationship between the practice and the written research is integral to the outcomes of both the written work and in the studio practice. The written thesis builds on existing research into the psychoanalytical interpretation of mourning and melancholia; the development of the understanding of the process of mourning, trauma theory and the material culture of mourning to establish a rationale for the use of cloth in textile art practice to materialise the work of mourning. The thesis and body of studio practice make an original contribution to knowledge by bringing together the sociological and cultural use of cloth with psychoanalytical theory and the consideration of the affectivity of artwork. The overarching approach of the thesis is a two-part focus on the use of cloth and how it can be used in textile artwork. The first chapter sets out the context of the research both in terms of previously published written work and the studio practice of other artists. Chapter 2 examines the methodology of the research and how the work has been shown to viewers and the means by which any responses have been obtained. Both written and verbal responses to the work by viewers have been used to substantiate the proposal that textile artwork can connect with the viewer in such a way as to allow a progression of their work of mourning. Chapter 3 considers the materiality of cloth; its manipulation and transformation using processes such as staining and mending, and the utilisation of metaphor and metonymy in the creation of artworks in cloth. The final chapter ‘Connecting with the Viewer’ explores the affectivity of artwork and how it is able to facilitate an emotional connection with the audience.
18
Spahr, Travis Osborne. "The open and the still mourning in thought /." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/spahr/SpahrT0508.pdf.
Full textAbstract:
This project is an architectural study of the practice of mourning and the pursuit of the humble heart. Mourning, dream, the meditative man, and the human condition were studied and used to construct a philosophy from which tectonic design could begin. To substantiate the design, a graphic process was used to analyze the poetry of Jorge Luis Borges. From this analysis arose both verbal and architectural expressions that were further developed into the design of a cenotaph. This design was refined and presented in the form of drawings and physical models. The project brought to light questions concerning humanity\'s attempted conformation to ideal virtues and the definite ruinous nature of things made by men.
19
Robinson, Rebecca. "Ritual and sincerity in early Chinese mourning rituals." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106338.
Full textAbstract:
This thesis examines the emphasis Eastern Han (24 – 220 CE) men placed on mourning their mothers and peers within the context of ritual theory and practice. The ritual texts, used as the basis for an imperial ritual reform in 31 BCE, provided instructions on how to properly perform the mourning rites, as well as whom to mourn. Full mourning was to be worn for fathers and superiors, yet in the Eastern Han, many did not heed these prescriptions, choosing in addition to mourn their mothers, equals, or inferiors, thereby subverting the traditional patriarchal model. By examining theories of ritual current in the Han, the mourning prescriptions themselves, and introducing the concept of sincerity in ritual, I argue that the changes in mourning patterns during the Eastern Han are indicative of the beginnings of a fundamental change in beliefs towards ritual and the ancestors.Cette thèse examine l'importance que les hommes des Han orientaux (24 – 220 EC) accordaient au deuil envers leurs mères et leurs semblables dans le cadre de la théorie et de la pratique du rituel. Les textes rituels, sur lesquels fut établie une réforme impériale du rituel en 31 AEC, fournissaient les instructions nécessaires pour déterminer comment performer correctement les rituels de deuil, de même que ceux et celles à qui ces rituels pouvaient être adressés. Le deuil complet devait être observé pour les pères et les supérieurs, mais chez les Han orientaux, plusieurs n'observèrent pas ces directives et choisirent plutôt de porter le deuil de leurs mères, de leurs égaux, voire de leurs subordonnés, renversant ainsi le modèle patriarcal traditionnel. Grâce à une analyse des théories du rituel pratiqué chez les Han, des directives relatives au deuil elles-mêmes, et en introduisant le concept de la sincérité dans le rituel, j'avance que les changements dans les structures du deuil au cours de la période des Han orientaux révèlent les premier changement fondamentaux dans les croyances envers le rituel et les ancêtres.
20
Campbell, Maria Regina. "Mourning the father-figure in modern American poetry." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551595.
Full textAbstract:
The purpose of this thesis is to illustrate the process of mourning within the works of five key 'confessional' poets: Robert Lowell, Theodore Roethke, John Berryman, Sylvia Plath and Anne Sexton. I will use a psychoanalytical framework to explore the reverberations of a father's death in their poetry. I will illustrate the various methods employed by these poets to reconnect with this deceased figure in their poetry. By using psychoanalytical theories from Sigmund Freud to John Bowlby, I will illustrate the various pathways of mourning adopted by each of these poets and show how contemporary grief studies offer an enhanced understanding of the struggles implicit within their recovery from a father's death. I will ascertain whether these poets were driven by their need for psychological closure or whether they were searching for a means to express previously repressed and often contradictory emotions. I will also evaluate the extent of cathartic relief experienced on imaginatively exhuming their fathers in their poetry, illustrating the psychic dangers inherent within this aesthetic intrusion into the sensitive area of a father's death. I will argue that, more often than not, this process of revisiting unsatisfactory father-child relationships, rather than signalling psychic recovery, actually serves to inflate old grievances and mire the poets deeper within the trauma of that loss. Finally, I will consider the future of personalised verse through the poetry of Sharon Olds while evaluating the achievements and limitations of her predecessors.
21
Ellis, Christopher. "The primacy of mourning : Heidegger, Hegel and death." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390964.
Full text
22
Rushworth, Jennifer Frances. "Discourses of mourning in Dante, Petrarch, and Proust." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4efea31d-85c5-4a68-893e-ac694ebfa08d.
Full textAbstract:
This thesis interpolates medieval and modern authors and theorists, namely Dante, Petrarch, and Proust on the one hand, and Freud, Kristeva, and Derrida on the other. I propose that these writers are intimately connected and differentiated by their meditations on grief and loss. I compare, confront, and contrast these narratives of mourning in a discursive shuttling to and fro between medieval and modern, French and Italian, and literature and theory, in order to delineate the specificities of different forms of melancholia as legible in Dante’s Commedia, Petrarch’s Canzoniere, and Proust’s A la recherche du temps perdu, and as illuminated by Freudian melancholia, Kristeva’s Soleil noir, and Derrida’s concept of ‘demi-deuil’. I challenge the homogeny of the modern concept of melancholia and juxtapose it with the medieval sin of acedia in Dante (Inferno VII) and Petrarch (considering both the Secretum and the Canzoniere). From the examples of the treatment of the myth of Orpheus and the book of Lamentations, I argue that discourses of mourning are trapped in a fruitful tension between a desire for uniqueness or originality and a desire for legibility or the comfort of communality. In Girardian terms, I define literary representations of mourning as ‘mimetic’, that is, caught in a web of intertextual imitation and preoccupations of genre and tradition which are at odds with a quest for new forms of writing. Finally, I contend that the relationship between content and form is particularly close in grief-stricken texts, and characterise my chosen primary texts – including Dante’s Vita nuova – according to the twin poles of endlessness (which I equate with melancholia) and finitude (the teleological, closed nature of the work of mourning), with a Derridean alternative of unstable oscillation between the two (‘demi-deuil’).
23
Lewis, Simon Mikio. "A wild hunt : memory and mourning in Belarus." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708735.
Full text
24
Smith, Michael. "Death, mourning and commemoration in 19th century Edinburgh." Thesis, Glasgow Caledonian University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555979.
Full text
25
Scantlebury, Gordon M. "The mourning of the land in the Prophets." Thesis, Scantlebury, Gordon M. (1990) The mourning of the land in the Prophets. Honours thesis, Murdoch University, 1990. https://researchrepository.murdoch.edu.au/id/eprint/50489/.
Full textAbstract:
Prophetic writers within the Old Testament have spoken of the land or natural environment 'mourning'. Though this concept is likely an ancient one based in agrarian lamentation, the literary motif of 'The Mourning of the Land' does not appear to have been employed in Israel until Exilic or post-Exilic times.
The land's mourning is in a figurative sense, that is witnessed by the environment's drying up, infertility and devastation. In speaking of the land's mourning, the writers are seen to be including the wider creation, where 'mourning' becomes an expression of the totality of the creation's destruction. The motif of Chaos may also be employed, with the implication of some passages that a return to 'uncreation' is being envisaged.
The context of the land's mourning is that of judgement, with the land being destroyed. The mourning may be either as part of the judgement, or as a response to the judgement.
The land mourns because of the human inhabitants of the land, who have either sinned or broken covenant. For the majority of texts, no agent for the land's destruction can be identified: the mourning of the land follows on directly from the sin of the people. In a few passages, YHWH is the one who initiates the land's destruction, however. In a single text, it is the human rulers of the land who are identified as the ones who reek its destruction, leadind to its mourning.
Though not based on any particular covenant or treaty, the mourning of the land as a response to the actions of the inhabitants of the land, is seen to operate out of the conceptuality of the covenantal curse traditions. This is within the context of Creation, and is seen to have its closest links with the curses of Leviticus 26.
26
Frankowski, Alfred, and Alfred Frankowski. "The Cassandra Complex: On Violence, Racism, and Mourning." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12463.
Full textAbstract:
The Cassandra Complex is a work in the traditions of critical philosophy and psychoanalysis. In The Cassandra Complex, I examine the intersection of violence, racism, and mourning. I hold that analysis of this intersection gives birth to a critical view on the politics of memory and the politics of racism as it operates in its most discreet forms. What makes violence discreet is that it escapes identity or is continually misidentified. I call that structure of violence that escapes being identified as such "White violence" and argue that this structure of violence undermines our normative ways of addressing racist violence in the present. This creates a continual social pattern of misidentification, mistaken memory, and mistaken practices of thinking about the violence of racism, both past and present. The present form of this misidentification could be called post-raciality, but it is specific to how we understand and remember our own history of anti-Black violence. I argue that post-racial memory produces memory only to facilitate forgetting and thus is only seen as a social pathology in the public sphere. The term "Cassandra Complex" provides an identity for the type of social pathology that appears at the critical edge of political discursivity.
From the analysis of this social pathology, I argue that aesthetic sorrow, allegorical memory, and a sublime sense of mourning disrupt the normative functioning of the social pathology. Indeed, I argue that aesthetic sorrow makes the present strange by making the politically unbearable aesthetically unrepresentable. This sense of loss constitutes its own history, appearing first as an aesthetics of anesthesia, then as a memory that is also an amnesia. Thus, I hold that a robust notion of allegory that can be translated into the public sphere as a way of exposing the degenerative effects of post-racial memory. Moreover, I hold that allegory allows for a social analysis of those political conditions that make public that which has gone silent. I argue that an understanding of the political significance of that continual movement of silence is the task of understanding the present form of violence in the post-racial.
27
Tabony, Joanna. "Death, Death, I Know Thee Now!' Mourning Jewelry in England and New Orleans in the Nineteenth Century." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/134.
Full textAbstract:
Descriptions of mourning adornments in England and New Orleans in the nineteenth century are used to argue that many of the customs of mourning in England -- the designs, themes, and materials -- also were present in New Orleans. This study draws from these observations and sources to suggest that mourning practices involving jewelry and costume became more functional and less formal in both England and New Orleans as the century progressed, while French customs retained and even grew in complexity. The high level of trade between Britain and New Orleans during the nineteenth century, reflected in the jewelry and costume of Louisiana, supports an argument that this new world city was influenced by, absorbed and incorporated social customs and activities that were useful to them, drawn from a wider range of cultures and peoples than perhaps are usually mentioned in historical accounts.
28
Munoz, Anna Maria. "Nesting ecology of mourning doves in changing urban landscapes." Texas A&M University, 2004. http://hdl.handle.net/1969.1/1405.
Full textAbstract:
Texas A&M University (TAMU) supports a substantial breeding population of mourning doves (Zenaida macroura) with one of the highest nest densities in Texas. There has been a long history of mourning dove research on the TAMU Campus, with initial population studies conducted in the 1950s, and the most recent studies occurring in the 1980s. The TAMU Campus and surrounding areas have experienced substantial changes associated with urbanization and expansion over the last 50 years, altering mourning dove habitat on and around campus. The objective of this study was to examine mourning dove nesting and production in an urban setting and determine how microhabitat and landscape features affect nest-site selection and nest success. Specifically, I (1) examined trends in mourning dove nesting density and nest success on the TAMU Campus, and (2) identified important microhabitat and landscape features associated with nest-site selection and nesting success. Mourning dove nests were located by systematically searching potential nest sites on a weekly basis from the late-March through mid-September. Nests were monitored until they either failed or successfully fledged at least 1 young. A total of 778 nests was located and monitored
on campus. All nest locations were entered into ArcView GIS. An equal number of nests were randomly generated in ArcView and assigned to non-nest trees to evaluate habitat variables associated with nest-site selection for mourning doves. Binary logistic regression was used to evaluate the significance of microhabitat and landscape variables to nest-site selection and nest success. Comparisons with data collected in 1950, 1978, and 1979 showed relatively similar nesting densities, but a significant decrease in nest success over time. A comparison of microhabitat features between actual nest trees and random locations (non-nest trees) indicated increasing values of tree diameter at breast height and tree species were important predictors of mourning dove nest-site selection. Landscape features found important in dove nest-site selection were proximity to open fields, roads, and buildings. Proximity to roads and buildings also were significant predictors of nest success. Combining significant microhabitat and landscape variables for nest-site selection increased the predictability of the model indicating a possible hierarchical nest-site selection strategy.
29
Japaridze, Tamar. "The Kantian subject, sensus communis, mimesis, work of mourning." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ27788.pdf.
Full text
30
Riegel, Christian Erich. "The work of mourning and Margaret Laurence's Manawaka fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0010/NQ59554.pdf.
Full text
31
White, R. H. G. "Freud's memory : textuality, art and the problem of mourning." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286635.
Full text
32
Brennan, Michael. "Mourning identities : Hillsborough, Diana and the production of meaning." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/50750/.
Full textAbstract:
‘Mourning Identities: Hillsborough, Diana and the Production of Meaning’ explores the meaning-making processes which contributed to the widespread public mourning that followed the Hillsborough stadium disaster of 1989 and the death of Princess Diana in 1997. It does so by the textual analysis of a sample of the public condolence books signed following these events and by drawing upon autobiographical stories related to each of them produced using the method known as ‘memory work’. Drawing upon a variety of theoretical frameworks, including psychoanalytic, poststructuralist and Bakhtinian influenced dialogics, it suggests that a range of social identities were ‘hailed’ and discursively mobilised in the public mourning events that followed the Hillsborough disaster and the death of Princess Diana. It further suggests that identification is an indispensable and precursory aspect of public mourning, which is summoned and given shape by epistolary and narrative practices of the self. Public mourning of the sort considered here is theorised along two principal lines: the iconic and the totemic. The former, it is argued, can be seen to relate to the largely feminine global structures of feeling through which the public mourning for Princess Diana were articulated, whilst the latter can be seen to relate to the largely masculine local structures of feeling through which the public mourning following the Hillsborough disaster were configured. In turn, it suggests that aspects of resistance to the public mourning following each of the events considered as case studies here can in themselves be considered as aspects of mourning, albeit for something other than the obvious referents of loss during these events. It further points to the situated social identity of the researcher as both instrumental not only to the motivation for, but to the outcomes of social research.
33
Pearl, Monica B. "Alien tears : mourning, melancholia, and identity in AIDS literature." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4310/.
Full textAbstract:
This thesis examines the literary response to the AIDS crisis. It concentrates on literature produced between 1988 and 1995, published in English, and available in Britain and the United States. The AIDS texts investigated here are representative of other AIDS literature produced during this time period in the way that they both enact and construct the identities of those affected by AIDS. Mourning and melancholia are the operative responses revealed in the literature, and revealed as the formative components of changing identities in response to AIDS and its manifestations. The thesis is structured in six chapters: a theoretical introductory chapter that proposes mourning and loss as pre-existing concerns in gay men's literature, followed by a chapter addressing gay AIDS fiction and its narrative response to mourning. The next two chapters examine hybrid texts, that is, AIDS texts that do not conform to a conventional narrative form, and that are connected more firmly to a queer sensibility than to a gay identity. These texts, the thesis claims, are engaged with the processes (and resistances) of melancholia rather than with the work of mourning. The subsequent chapter addresses fictions of caretaking and witnessing, that is, novels written from the point of view of one who is caring for an other ill with AIDS. These are identified as more mainstream texts as they involve representations that are not connected to declared sexual identities and therefore mean to address a wider audience and to work out a more public discourse of grief around AIDS. In conclusion, the thesis suggests that although AIDS literature is involved in an effort to resist loss through narrative form, in fact it is the literature that in some instrumental ways makes the work of mourning and melancholia in response to AIDS productive rather than debilitating.
34
Morgan, Marie Allyson. "Contingency, death and mourning in Hegel, Heidegger and Kierkegaard." Thesis, University of Winchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503850.
Full textAbstract:
The point of departure for my thesis is this: the work of mourning, when comprehended in certain ways, holds an educative significance for life that is formative and transformative. It is my argument that the profundity of the educative significance of mourning lies in the way in which its work re-acquaints the mourning soul with its own human truth, which is, that to be human is to be contingent. Thus if we are to comprehend the educative significance of mourning it is first necessary to examine the contingent nature of the life that mourns and its relation to death. To enable me to undertake this task I have chosen to examine the work of three philosophers from the continental tradition. These are: Hegel, Heidegger and Kierkegaard.
35
Weiner, Eva. "Photography and Mourning: Excavating Memories of My Great-Grandmother." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1096.
Full textAbstract:
This paper explores how photographs have affected mourning processes in the past and how photo-technology may be able to change the way in which we mourn in the future. It includes an overview of the history of post-mortem photography and discusses the perspectives of well-known media theorists such as Roland Barthes and Susan Sontag. It engages with psychologists by including their perspectives on the effect that photographs have on the mourning process. A project was created to investigate how photo-technology can affect the bereaved. The project places photographs of a mother into pictures of her children taken after she had passed away. These photographs were later shown to her sons in order to explore how this impacts their memories and mourning processes.
36
Nelson, Elizabeth Ellison. "Mourning loss community and consolation in 20th century elegy /." Connect to Electronic Thesis (CONTENTdm), 2008. http://worldcat.org/oclc/441821175/viewonline.
Full text
37
Fusaro, Anaïs. "Mourning, writing, (self-)transformation : the autofiction of Serge Doubrovsky." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15583.
Full textAbstract:
This thesis investigates the capacity of mourning to transform one's life into writing. Since mourning impacts each individual in a very unique way, its effect in the field of life-writing is incommensurable. In this respect, the changes brought about in the 20th century by the works of Serge Doubrovsky are remarkable: through the exploration of his eight autofictions (word which he coined in 1977) in addition to his six essays on literature, this study demonstrates how his experience of mourning has challenged and redefined the borders of autobiography. This investigation starts with the observation of the writer-narrator's writing drive, which emerges from a threefold experience of death: the loss of his mother, the trauma of World War II, and the perspective of his own death. The first section argues that writing transforms the private experience of mourning into memory. Since forgetfulness threatens memory, memory must be saved and disseminated; this is why Serge Doubrovsky composes his autofiction as literature which is made of, and which belongs to, memories. The second section observes how mourning transforms the experience of writing and reading: a focus on ‘ressassement' shows the impact of mourning on writing and how the writer-narrator turns this uncontrollable sign of trauma into his own distinct writing style, called ‘écriture consonnantique'. These transformations participate in the mutation of the writer-reader, fiction-reality, and autobiography-autofiction relationships. The last section observes these abnormal alloys through the lens of the monster. Autofiction could be considered as a monstrous genre, insofar as it recognises the work of the writer to fashion a whole new story out of fragmented and repeated memories in a creative process. Overall, this study assesses Serge Doubrovsky's ability to challenge existing literary boundaries, and to create, beyond the breach of mourning and within the splits of language, an interdisciplinary work that deeps on renewing literature.
38
Beutel, Andrew Leo. "THE REVOLT AGAINST MOURNING: WOOLF, JOYCE, FAULKNER, AND BEYOND." UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/95.
Full textAbstract:
The Revolt against Mourning calls into question the widespread critical alignment of literary modernism with Freudian melancholia. Focusing instead on “mourning,” through close readings of Virginia Woolf’s Mrs. Dalloway, James Joyce’s Ulysses, and William Faulkner’s The Sound and the Fury, I demonstrate how their depictions of this notion overturn both its traditional and contemporary understandings. Whereas Freud conceives mourning as a psychic labor that the subject slowly and painfully carries out, Woolf, Joyce, and Faulkner convey it as a destabilizing, subversive, and transformative force to which the subject is radically passive. For Freud, mourning is a matter of severing one’s libidinal bond to the lost other and reinvesting the free libido in a new object. But these modernists show that this bond is not in fact something we have the power to sever. Rather, precisely because we must stay internally bound to the lost other, we are always exposed to being usurped and altered by its alterity. Indeed, what my readings disclose is that these novels end up being (dis)possessed by the spectral force unleashed in them. I argue, however, that each writer can be read as attempting a textual exorcism to free his or her novel from this force by invoking a vital, dynamic movement I call “life.” But although Woolf, Joyce, and Faulkner seek such liberation, their narrative experiments ultimately fail to achieve it. And yet, for that very reason, Mrs. Dalloway, Ulysses, and The Sound and the Fury further illuminate how mourning both precedes and exceeds our desire to master it and binds us to the others we lose, perhaps for the entirety of our lives.
39
McKeown, Kathleen. "Mourning men : the elegiac in James Merrill and Richard Howard." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0004/MQ43543.pdf.
Full text
40
Scott, Amy. "Finding faith between the infidelities: historiography as mourning in Shakespeare." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92327.
Full textAbstract:
This dissertation considers early modern historiography as a form of mourning; the mourner's vision of the afterlife for the dead is a fitting parallel to the afterlife of the past in the historiographical text. Protestants comforted the living and the dying with the notion that the dead would temporarily rest after death. The idea of rest was comforting because it was only provisional; the dead would be resurrected by Christ in the future and would be reunited with their loved-ones.The prospect that the dead rested was comforting, but it could also be unsettling in many ways. The funeral rituals that made the dead appear restful in fact testify to the ongoing effects of decay. Moreover, the mourner did not necessarily wish to put the dead to rest completely; this would constitute a troubling break of a meaningful affective bond. Thus, even as the mourner puts the dead to rest, she launches an ongoing interpretive address to the dead. A history of early modern waking, prophetic utterances and burial materials supplies evidence for this argument. The value of thinking of early modern mourning in this way is that it mirrors the work of history, which is, as Michel de Certeau argues, "a labour of death and a labour against death" (The Writing of History 5). Historians, like mourners, attempt to preserve the integrity of the dead even as they acknowledged that the dead could only be preserved in the imaginative and emotional address by the living.
In connecting early modern historiography to mourning, this dissertation argues that many "unhistorical" moments in Shakespeare's Cymbeline and Shakespeare and Fletcher's Henry VIII are profound considerations of the work of history; this view is supported by thinking of these plays in conjunction with Richard III. All three plays test the border between the living and the dead, often by staging burials, and, also, supernatural visitations of ghosts and gods. Shakespeare advances a notion of ethical historiography in which the site of burial is also the site of ongoing interpretive energy.
Cette thèse considère le début de l'historiographie moderne comme une sorte de deuil ; la vision qu'a la personne en deuil, du défunt dans la vie après la mort est un parallèle pertinent à l'au-delà du passé dans le texte historiographique. Les protestants conciliaient la vie et la mort dans l'idée que la mort se reposerait temporairement après son décès. L'idée de repos était réconfortante car elle n'était que provisoire ; les morts seraient ressuscités par le Christ à l'avenir et seraient réunis avec leurs proches.
La perspective que le défunt se reposait était réconfortante, mais elle aurait pu également être troublante à bien des égards ; les rituels funéraires qui montraient le cadavre reposé, en fait, témoignaient de l'effet persistant de la décadence. En outre, la personne plongée dans le deuil ne souhaitait pas nécessairement le repos complet du disparu, constituant une rupture significative du lien affectif. Ainsi, alors même que le trépassé repose en paix, la personne qui le pleure maintient un dialogue interprétatif avec ce dernier. Un éveil dans l'histoire du monde moderne, énonciations prophétiques et préparatifs matériels autour de l'inhumation étayant cette allégation. La valeur de la pensée accordée au deuil dans le monde moderne, en ce sens, est le reflet du travail de l'histoire, qui est, comme le soutient Michel de Certeau : "le travail de la mort et le travail contre la mort", (L'écriture de l'histoire 5). Les historiens, tout comme les pleureurs, tentèrent de préserver l'intégrité de la mort alors même qu'ils reconnaissaient que celle-ci pouvait, seule, subsister dans l'imagination ainsi que dans l'émotion des vivants.
En reliant le début de l'historiographie moderne au deuil, cette thèse soutient que beaucoup de moments 'non historiques' comme dans Cymbeline de Shakespeare, et dans Henry VIII de Shakespeare et Fletcher, sont d'une importance extrême dans l'uvre de l'histoire, ce point de vue est soutenu par la pensée de ces pièces, en conjonction avec Richard III. Ces trois pièces interrogent la frontière entre la vie et la mort, souvent en mettant en scène des enterrements, ainsi qu'en organisant des visites surnaturelles de fantômes et de dieux. Shakespeare avance la notion d'éthique de l'historiographie selon laquelle l'espace de l'inhumation est également celui de l'interprétation d'énergie continue.
41
Elsner, Anna Magdalena. "Mourning and creativity in A la recherche du temps perdu." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609265.
Full text
42
MENDES, LUIZA DA COSTA. "SPLITTING AND IDEALIZATION: ABOUT THE IMPOSSIBLE MOURNING IN BORDERLINE PATHOLOGIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=28986@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Este trabalho consiste numa discussão sobre o destino do objeto nos casoslimite diante das dificuldades envolvidas nas relações primárias com o objeto absolutamente necessário no início da vida psíquica. Quando este objeto falha sucessivamente em desempenhar suas funções adequadamente, em um momento muito primitivo de despreparo subjetivo, a constituição psíquica é marcada por traumatismos primários que impedem o luto e o trabalho do negativo estruturante, ocasionando negativizações que desorganizam o interior do aparelho psíquico e impedem a construção de um espaço de ausência fecundo para o surgimento de representações que estruturam o pensamento. Ao fracassar em sua ação constitutiva, o trabalho do negativo vai operar de forma patológica, impossibilitando o apagamento do objeto primário que é insistentemente mantido no campo psíquico por meio de sucessivas clivagens e idealizações que cristalizam e purificam o objeto. Enquanto a clivagem consiste em uma saída negativizante mal-sucedida que visa afastar as partes não representáveis da vivência traumática que ameaçam retornar desorganizando a frágil delimitação intrapsíquica e intersubjetiva, a idealização excessiva, por sua vez, é uma estratégia defensiva que confere ao objeto uma posição inacessível, rígida e fixa, ação que entrava o trabalho de luto, resultando, assim, no entupimento do espaço pessoal e na obstrução do pensamento.
This dissertation intends to discuss the vicissitudes of the object in borderline patients faced with difficulties involved in relationships with the object absolutely necessary at the beginning of psychic life. When this object successively fails to perform its functions adequately, in a very primitive moment of subjective unpreparedness, the psychic constitution is marked by primary traumatisms that prevent mourning and the structuring work of the negative, causing negative actions that disrupt the interior of the psychic apparatus and prevent the building up of an empty space that could make possible the emergence of representations that structure thought. By failing in its constitutive act, the work of the negative operates in a pathological way, preventing the effacement of the primary object that is consistently maintained in the psychic sphere as a result of hrough successive splittings and idealizations that crystallize and purify the object. Thus splitting consists in an unsuccessful negative action which attempts to get rid of the unrepresentable aspects linked to the traumatic experience, which threaten to return, disorganizing the fragiles intrapsychic and intersubjective boundaries. Excessive idealization, on the other hand, is a defensive strategy that gives the object an inaccessible rigid and fixed position that interferes with the work of mourning, thus resulting in the clogging of personal space and the obstruction of thought.
43
FRANQUEIRA, ANA MARIA RODRIGUES. "NERVES ON EDGE: BETWEEN RITUALS AND MEANINGS OF PARENTAL MOURNING." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=36721@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
O presente estudo teve como objetivo investigar o fenômeno do luto de pais que perdem filhos por acidente de trânsito, focalizando o papel dos rituais e dos sentidos construídos por eles. Realizamos uma pesquisa qualitativa com 10 pais enlutados (dois pais e oito mães). Os dados foram obtidos por meio de entrevistas com roteiro semiestruturado, analisadas posteriormente de acordo com o método de análise de conteúdo. A partir das narrativas, emergiram cinco categorias de análise: vivências emocionais, físicas e comportamentais; rituais; construção de sentidos; continuação do vínculo e suporte social. Esse estudo foi apresentado no formato de quatro artigos. A partir dos resultados da pesquisa, concluímos que o luto parental por morte acidental é um fenômeno complexo, exigindo dos pais um trabalho psíquico intenso que demanda tempo, além de gerar mudanças em suas vidas psíquica, familiar e social. Os rituais públicos e privados realizados pelos pais se mostraram de enorme importância para o desenvolvimento do luto parental, bem como a possibilidade de continuação do vínculo com seus filhos mortos. A religiosidade se revelou um poderoso recurso de enfrentamento, fornecendo sentido à perda inesperada dos filhos. O suporte social recebido funcionou como fator de proteção durante o processo de luto, destacando-se o papel importante dos grupos de apoio. Os resultados da pesquisa são úteis para o desenvolvimento de ferramentas de avaliação e intervenção que se baseiem em um modelo de luto que leve em conta as idiossincrasias e particularidades de cada situação e considere a construção de sentido como determinante crucial de ajuste à perda, auxiliando, assim, os pais enlutados em seu enfrentamento pós-perda.
The present study aimed to investigate the mourning process of parents who lost their children in traffic accidents, focusing on the role of rituals and senses built by them. We conducted a qualitative research with 10 mourning parents (two fathers and eight mothers). The data were obtained through interviews with semi-structured script, analyzed later according to the content analysis method. The authors interviewed 10 subjects – 2 fathers and 8 mothers – and analyzed the interviews using the content analysis method. From the narratives, five categories of analysis emerged: emotional, physical and behavioral experiences; rituals; construction of meaning; continuation of the bond and social support. This study was presented in the format of four articles. From the results, we can suggest that parental mourning by accidental death is a complex phenomenon, demanding of the parents an intense psychic work that demands time, besides generating changes in their psychic, familiar and social lives. The public and private rituals performed by the parents were of enormous importance for the development of parental mourning process, as well as the possibility of continuing the bond with their dead children. Religiousness has proved to be a powerful coping resource, providing meaning to the unexpected loss of children. The received social support functioned as a protection factor during the mourning process, highlighting the important role of support groups. The results of the research are useful for the development of evaluation and intervention tools that are based on a model of mourning that takes into account the idiosyncrasies and peculiarities of each situation and considers the meaning as crucial determinant of adjustment to the loss, helping bereaved parents to their confrontation.
44
Capp-Taber, Sheila Putnam. "Grief and mourning among African American elders after spousal bereavement." Diss., Columbia, Mo. : University of Missouri-Columbia, 2009. http://hdl.handle.net/10355/6154.
Full textAbstract:
Thesis (Ph.D.)--University of Missouri-Columbia, 2009.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Vita. "May 2009" Includes bibliographical references.
45
Pham, Thi Xuan Huong. "Mourning in the Ancient Near East and the Hebrew Bible /." Sheffield : Sheffield academic press, 1999. http://catalogue.bnf.fr/ark:/12148/cb371146726.
Full text
46
Spargo, R. Clifton. "The ethics of mourning : grief and responsibility in elegiac literature /." Baltimore (Md.) ; London : the J. Hopkins university press, 2004. http://catalogue.bnf.fr/ark:/12148/cb39275034x.
Full text
47
Frazer, Sophie. "Distempered Visions: Reading Narratives of Specular Mourning in Victorian fiction." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18601.
Full textAbstract:
This thesis questions the phenomenological force and function of mourning in the fiction of Charlotte Brontë and George Eliot, bringing together models of contemporary visuality with modalities of loss, to emphasise a dialectic of affective pain as intimate vision. While Victorian visual culture has been substantially addressed by recent scholarship, there remains a paucity of investigation into what I read as an optic chiasmus of altered modes of seeing and modes of feeling. With a focus on two of the key novelists of the period, I have selected four novels that are fascinated by the nature of warped vision and blindness, questioning how literature might depict mourning in a world newly crowded by the visual. From this starting point, I examine the ways in which both novelists appropriated optical tropes to articulate the lived experience of a traumatised consciousness. The mourning subject becomes the site of specular, phantasmal inquiry in their works, and thus my own method follows the conditions of this connection. This particularised account of the themes of loss and mourning has not been significantly addressed in the scholarship, despite the fact that all four texts explicitly emphasise subjective trauma. How is the private and intimate altered by the fluid specularity of the new optics of the period? Weaving together nineteenth-century physics, optics, and visual technologies with changing notions of subjectivity and the experience of consciousness, my work foregrounds the phenomenological depictions of visualised suffering in the novels. Exploring the intersection of the technologized Victorian eye and the feeling, grieving subject, I draw out the transitivity of optical fragmentation that Brontë and Eliot manipulate to extend the textual scope of elegiac representation. By looking closely at the slippage of socio-cultural modes of vision and inner life, I argue that the precarious nature of the visual became a space in which both writers could articulate a phenomenology of loss. Taking Brontë’s fears for her father’s encroaching blindness as a point of departure, I begin with Jane Eyre (1847), conventionally read as a narrative of resolute visual authority. Through a series of close readings, I draw out the anxiety that shadows the novel’s depiction of the eye. I am interested in the ways the biographical meets the socio-cultural in Brontë’s discourse of vision, and Jane Eyre’s theme of blindness is a fruitful place of entry into that query. Villette (1853) was written after Brontë’s visits to London’s Great Exhibition and offers a distinct engagement with the Victorian visual culture, employing a more sophisticated and complex imbrication of the private and the social modes of visualised loss. This chapter explores how Brontë’s most devastating and final work accommodates the problem of the mourning subject in a hyper-visual sphere. In the second half of the thesis, I turn to Eliot’s The Lifted Veil (1859) andRomola (1862-3), two works which have traditionally garnered the least amount of critical attention, often described as misplaced in the author’s oeuvre. In The Lifted Veil the various epistemological crises of the mid-century moment find expression in Eliot’s horrifying first-person account of delimited, inescapable sensory experience. Contravening the established critical view of the tale, with an emphasis on the protagonist’s preternatural visionary capacities, I focus on Eliot’s use of the terms of Victorian lens culture to elucidate the blind spots of this first-person narrative. In Romola, Eliot depicts a heroine who imagines more profoundly than her counterparts what it might mean to live with the endlessness of mourning. Taking up Eliot’s exploration of phenomenal embodiment, which contrasts with the empirical, observational aesthetic of traditional realism, I point to the tension that defines the sensory life in the novel. Through being attentive to the correspondences of mourning and decentralized perspectival geographies, I argue for a closer look at the phenomenally descriptive in its own right as performing a different ontology of radical loss.
48
Dobbs, Katie. "'The Name of a Problem': Ethics, mourning and literary text." Thesis, Dobbs, Katie (2013) 'The Name of a Problem': Ethics, mourning and literary text. PhD thesis, Murdoch University, 2013. https://researchrepository.murdoch.edu.au/id/eprint/40784/.
Full textAbstract:
This dissertation consists of two distinct components: a novella titled 'Rare,' and an accompanying exegesis. Both components are concerned with what literature has to contribute to our understanding of the ethical challenges occasioned by mourning: namely, the question of our responsibilities to the dead once they are given over to us, and with what is at stake in any attempt to represent singular grief or loss. The novella employs techniques of narrative to explore the competing demands of mourning, depicting a bereaved protagonist's fraught attempts to negotiate between the dead and the living, the past and the present, the other and the self. The accompanying exegesis, informed by Jacques Derrida's critique of the Freudian discourse of 'successful' mourning, offers new critical readings of three texts: Anne Sexton's 45 Mercy Street, Don DeLillo's The Body Artist and Marie Darrieussecq's Tom is Dead. Eschewing any elegiac performance of a 'successful mourning,' these texts, I argue, are traversed by the knowledge that mourning, following Derrida, must remain an impossible performative. This impossibility, crucially, is not to be interpreted negatively: as in Derrida's oeuvre, it signals a prolonged engagement with the question of our responsibilities to the other. In order to explore the questions of responsibility raised by these representations of unresolved mourning, I draw on the philosophy of Emmanuel Levinas. Taking into account his reservations about the aesthetic, I argue that the texts under review are marked by a profound self-reflexivity about the creative process; that it is precisely through staging an encounter with the limitations of the medium that their authors explore what it might mean - psychically, socially and ethically - for the bereaved to reconcile their loss.
Positioned at the fault-lines of psychoanalytic, literary and ethical discourse, and informed by the theories of Nicolas Abraham, Maria Torok and R. Clifton Spargo, the exegesis complements (rather than explicates) the accompanying novella by examining the nuanced ways in which specific texts might function to bring the reader into a space of ethical enquiry. More broadly, the exegesis argues the relevance of ethical philosophy to the problematic of mourning as explored in contemporary literature.
49
Pucill, Sarah. "Mourning, materiality and the feminine : Sarah Pucill's films 2004-2010." Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/964y8/mourning-materiality-and-the-feminine-sarah-pucill-s-films-2004-2010.
Full textAbstract:
The writing-up of this PhD has examined experimental films I made between 2004 and 2010, in all five 16mm films: Stages Of Mourning, (17min, 2004), Taking My Skin, (35min, 2006), Blind Light (21min, 2007), Fall In Frame (19min, 2009), Phantom Rhapsody (19min, 2010). As I have been making films that have been exhibited and funded in the public field since 1990, the films included here constitute just less than half of my total films to date. The commentary is divided into three sections, each of which analyses the films from a particular perspective. In each section the five films are considered in turn, in chronological order. The rationale for having three different perspectives to analyse each film is that this provides a means of acknowledging and preserving a sense of the alterity of artists’ film, where readings are understood more as interpretations than as explanations. The choice of focus in each section summarises key considerations that have been relevant to my filmmaking practice over this time period, if not since the start of my filmmaking in 1990. In addition to providing contextual international film artists from both avantgarde and feminist film, I also reference theorists from philosophy to film and feminist studies who have been instrumental in the rationale for the films. The first section explores the films from the point of view of cinematic space, examining factors such as camera frame, angle, lens and edit as well as qualities of lighting, and durational qualities where for example a slowing of time might expand an idea of the space. Cinematic space is as much expressed through sound, so where relevant this is also discussed. The second section focuses on qualities of texture through both image and sound. In particular, as all the films were shot and printed onto 16mm, the question of the haptic in relation to the films is discussed, as is the low-budget hand-made texture of image and sound that is the materiality of the unpolished. Vivian Sobchack (The Address of the Eye: A Phenomenology of Film Experience, 1992), Sobchack (Inscribing Ethical Space: Ten Propositions on Death, Representation and Documentary, 1984) Laura U. Marks (The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, 2000) and Tom Gunning (The Cinema of Attraction: Early Film, Its Spectator and the Avant-Garde, 2006) are key texts I refer to. The third section focuses on issues of gender, in particular the female body, the female and lesbian gaze, and queer sexuality. Where the first two sections focus more on the structure and language or form of the films, this section focuses on social and philosophical questions of gender difference as points of critique or protest in the films. Luce Irigaray (Speculum Of The Other Woman, 1985 and This Sex Which Is not One, 1985) and Laura Mulvey (‘Visual Pleasure and Narrative Cinema’, 1975) are key texts that inform the writing.
50
Stoelb, Daniel M. "Effects of urbanization on relative abundance and recruitment of mourning doves /." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1796120831&sid=3&Fmt=2&clientId=1509&RQT=309&VName=PQD.
Full text