Academic literature on the topic 'Objects in grief narratives'
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Journal articles on the topic "Objects in grief narratives"
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FIELD, NIGEL P., SHEILA E. STURGEON, RICHARD PURYEAR, STEVEN HIBBARD, and MARDI J. HOROWITZ. "Object relations as a predictor of adjustment in conjugal bereavement." Development and Psychopathology 13, no. 2 (May 16, 2001): 399–412. http://dx.doi.org/10.1017/s0954579401002115.
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The impact of object relations on adjustment in conjugal bereavement was examined. At approximately 6 months postbereavement, 46 midlife bereaved participants engaged in a narrative interview in which they were asked to discuss their past relationship with their deceased spouse. The Westen et al. object relations scoring system was applied to these narratives. Participants also completed depression and grief-specific symptom measures at 6 months and again at 14 and 25 months postbereavement. Object relations correlated differently with grief-specific symptoms and depression; it was more strongly negatively associated with 6 month postloss grief-specific symptoms while more strongly negatively correlated with depression at 25 month postloss. In a growth curve analysis, more mature object relations was also predictive of a faster rate of decrease in depression over time. The results were discussed in terms of current theoretical perspectives on what is required in successful adaptation to conjugal bereavement.
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Bencekovic, Sara. "Loves me, loves me not." Contingent Horizons: The York University Student Journal of Anthropology 1, no. 1 (May 29, 2019): 9–18. http://dx.doi.org/10.25071/2292-6739.36.
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The Balkan region is known for its historical climate of turbulent social relations; thus, public spaces that consecrate shared experiences of grief and loss come as no surprise. One such space, however, has experienced astonishing growth in its fame and popularity, not just as a renowned cultural landmark, but as a significant Croatian cultural export. The Museum of Broken Relationships is filled with unremarkable everyday objects donated by lovers who associate them with their past relationships. The value of these objects is not necessarily utilitarian, or aesthetic, but symbolic: they represent the emotions of remorse and pain elicited by breakups. This paper is an account of the objects, stories, and narratives found in the Museum of Broken Relationships. It considers the Museum a lens through which people can scrutinize the meaning of love in their everyday lives and consequently re-shape their identities. It looks into the Museum’s transformative potency as a spiritual and sacred space that offers hope in times of despair, fosters disorientation and chaos, and offers visitors an opportunity to confirm or reject their previous perspectives on love.
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Caputo, Andrea. "Illness and Object Relations: Narratives From Women With Pulmonary Hypertension." Iranian Journal of Psychiatry and Clinical Psychology 26, no. 1 (April 1, 2020): 130–41. http://dx.doi.org/10.32598/ijpcp.26.1.3124.1.
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Objectives The current research study aims at investigating the illness experience of people affected by Pulmonary Hypertension (PH), as a particularly challenging rare disease that is paradigmatic for the understanding of regulatory processes. Methods The study used Giorgi’s method to analyze the illness narratives of 11 adult Italian women affected by PH according to a qualitative phenomenological approach. An object relations perspective looking at chronic illness as an internal object was adopted for result interpretation. Results Four general themes were identified that characterize illness narratives of people with PH and illustrate the progressive stages of the disease. They respectively deal with the body/mind disruption at symptom onset, the protagonization of illness in the search for a diagnosis, the complicated grief at the time of diagnosis, and the anaclitic strategies to face the future. Conclusion Findings make a significant contribution to the exploration of the subjective experience of people with PH in managing illness-related challenges from symptom onset to after diagnosis.
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Norwood, Tamarin, and John Boulton. "Reconciling the Uniquely Embodied Grief of Perinatal Death: A Narrative Approach." Religions 12, no. 11 (November 8, 2021): 976. http://dx.doi.org/10.3390/rel12110976.
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The death of a baby, stillborn or living only briefly after birth, is a moral affront to the cycle of life, leaving parents without the life stories and material objects that traditionally offer comfort to the bereaved, nor—in an increasingly secularized society—a religious framework for making sense of their loss. For the grieving mother, it is also a physical affront, as her body continues to rehearse its part in its symbiotic relationship with a baby whose own body is disintegrating. Attempting to forge continuing bonds with her child after death makes special demands upon the notion of embodied spirituality, as she attempts to make sense of this tragedy in an embodied way. This paper, which reconciles the distinct perspectives of bereaved mothers and children’s doctors, proposes that the thoughtful re-presentation of medical insight into pregnancy and fetal development may assuage parents’ grief by adding precious detail to their baby’s life course, and by offering the mother a material basis to conceptualize her own body as part of the distributed personhood of her baby.
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Ravalli, Luiza. "Cradles of Life." Contingent Horizons: The York University Student Journal of Anthropology 6, no. 1 (June 29, 2022): 33–40. http://dx.doi.org/10.25071/2292-6739.110.
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Medical technologies have intervened on the critical post-natal time and space by augmenting and/or optimizing conditions intended to increase survival. As contested, contextual, and transformative spaces, incubators fulfill particular biological needs while also becoming sites where political realities, human emotion, ritual and symbolism converge upon vulnerability. I explore sociopolitical contexts of vulnerability and protection in global and cross-cultural context, while drawing on prior scholarship in anthropology of motherhood, material culture, as well as feminist and reproductive anthropology. Events in popular culture like the Danish Octo Project and Purple Butterfly Initiative provide insight into lived experience and everyday interactions with incubators and the neonatal intensive care environment. In response to popular assumptions of technological advancements in clinical medicine as apolitical apexes of innovation, we must complicate their technical utility with profoundly human experiences toward and around them. In doing so, we situate and implicate technology in political and discursive narratives and reflect on these objects as more than sums of their parts. This essay contributes to broader discussions about the materiality of medical technologies and their environments, and illuminates new possibilities to examine corollaries of grief, hope, maternalism, memory, and the resilience of human psyches and physiologies.
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Immonen, Visa, and Elina Räsänen. "From passion to bereavement." Journal of the History of Collections 32, no. 2 (May 27, 2019): 379–90. http://dx.doi.org/10.1093/jhc/fhz018.
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Abstract The Finnish diplomat Harri Holma and his wife Alli, along with their son, art historian Klaus, created a private collection of 554 items. They acquired antique pieces and works of art in Berlin, Paris and Rome from the 1920s to the 1950s. The collection consists of Western and Southern European paintings, sculpture, furniture, textiles and tableware, dating from the Middle Ages to the nineteenth century. Initially the objects were acquired by the Holmas to decorate diplomatic residences, but eventually they came to form a deliberately assembled collection. Following Klaus’s death, Harri and Alli Holma donated the collection to the Lahti City Museum in the 1950s and the 1960s. Here the creation of the collection is first traced then followed on its journey to Finland, with a focus on the developing relationship between objects, family history and museum institution. The shifts in the collection’s narrative from hobby to an expression of grief, and finally to a formal museum assemblage and a subject of academic research generate epistemological tensions.
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Chakraborty, Sovan. "The Abject Female." Archiv orientální 85, no. 1 (May 18, 2017): 19–45. http://dx.doi.org/10.47979/aror.j.85.1.19-45.
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Bengali bratakathās are folk ritual tales and rhymes that women listen to and/or narrate at the time of the accomplishment of their ritual vows known as bratas (Sanskrit vratas), made for the fulfillment of worldly wishes and wants. The bratas (ritual vows) and their kathās (tales), together with chāṛās (rhymes), create a space where women apparently dominate by becoming the performers, the narrators, the transmitters, the authorities of knowledge, the agencies of socio-familial wellbeing and the protectors of moral and ideological institutions. As these tales and rhymes portray, the “female force” crucially plays the central role in determining and retaining the power structures of society which otherwise would not be sustained for long. While very often an alternative female presence is found in these bratakathās, a complex patriarchal mechanism of relentless suppression, subjugation and marginalization of the same cuts through the narrative structures. At times, it is detected and explicitly voiced against – with grief, pain, anger and bantering criticism. At other times, it is only hinted at in the spirit of pleasing submission, interpolated by the ideological (and not entirely hegemonic) structures. Very often it becomes mystically inscrutable as they appear to be honest and apparently naturalizing forces in an attempt to dilute all inner complicacies and possibilities in the con/textuality of these narratives. The femaleness in these ritual stories and rhymes continuously keeps on swinging between the subject and the object positions, blurring all such dyadic constructions (male/female, centre/margin, and so on) situating itself, as Julia Kristeva terms it, in an existentially interstitial condition/space of “abjection.”
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Davis, Brian. "Instrumentalizing the book: Anne Carson’s Nox and books as archives." Frontiers of Narrative Studies 7, no. 1 (July 1, 2021): 84–109. http://dx.doi.org/10.1515/fns-2021-0005.
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Abstract This article introduces an experimental mode of contemporary writing and bookmaking that I call multimodal book-archives, an emergent mode of contemporary literature that constructs narratives and textual sequences through the collection and representation of reproduced texts and other artifacts. In multimodal book-archives the book-object is presented as a container designed to preserve and transmit textual artifacts. In this article, I examine Anne Carson’s Nox (2010) as a case study in archival poetics, exemplifying the “archival turn” in contemporary literature. My analysis draws attention to how writing, subjectivity, knowledge, history, and memory in the digital age are increasingly configured through distributed networks of people and artifacts in different social and institutional spaces, demonstrating how Nox functions not only as an instrument of psychological rejuvenation, but as an aesthetic instrument for documenting, ordering, listing, and juxtaposing disparate bits of information and memory into cathartic self-knowledge. Carson’s archival poetics is deeply personal, laden with private symbols and metaphors that readers are asked to collocate, cross-reference, and translate as part of the archival reading process. If grief is a kind of chaos, then Carson’s archival poetics instrumentalizes the book as a tool for ordering that chaos into something manageable, useful, even beautiful.
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Labov, William. "Narratives of Uncontrollable Grief." Narrative 28, no. 2 (2020): 125–42. http://dx.doi.org/10.1353/nar.2020.0011.
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Sedney, Mary Anne. "Children's Grief Narratives in Popular Films." OMEGA - Journal of Death and Dying 39, no. 4 (December 1999): 315–24. http://dx.doi.org/10.2190/un7p-9rxy-j9h5-bhn6.
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Children's grief narratives, conceptualized as portrayals of the grief process in children, in popular films are examined. Four films focus this study: Snow White, Bambi, The Land Before Time, and The Lion King. These films reflect a range of acknowledgment of death and descriptions of grief in their young characters. They also vary in the extent to which they are consistent with traditional models of grief that emphasize detachment and contemporary models that focus on the importance of ongoing connections with the deceased. These films are consistent in their portrayal of the availability and usefulness of support and comfort for grieving children. They are also uniform in their presentation of possibilities for hope and some forward development after loss. Use of popular films for children's death education and for grief education is discussed.
Dissertations / Theses on the topic "Objects in grief narratives"
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Steinberg, Abby D. "Personal narratives : collective grief, the echoes of a disaster." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112612.
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The purpose of this thesis is to locate the experience of individuals in the shared experience of a cultural community, to reveal a collective experience. Further, this thesis aspires to demonstrate that the experience of trauma is transmitted, often silently, intergenerationally. This is an attempt to define a community of distant survivors, and to locate the echoes of the voice of trauma hidden in the narratives of its members. The study explores the events of the December 2004 Southeast Asian tsunami. At the moment of the tsunami disaster all the participants in this study, Indonesian International Students, were studying in Montreal Canada. The impetus behind this qualitative inquiry into the essential experience of trauma is the desire to bring the experience of distant survivors to the foreground; to recognize vicarious victims by listening for echoes in their narratives. The aim of this thesis is to (1) locate personal narratives in the context of collective grief, (2) detect the re-creation of that grief in subsequent generations. This project has been undertaken with the hope of determining ever more effective social work practices for today's survivors, and of sparking interest in trauma research for tomorrow's victims.
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Carusi, Dawn L. "Narratives of Orphaned Adults: Journey to Restoration." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1157635067.
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Christensen, Marsha A. "Women losing women narratives of grief over same-sex partner death /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1597613711&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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De, Vries Chrissie. "Narratives of a family living with HIV/AIDS and a researcher's alternative story /." Thesis, Link to the online version, 2004. http://hdl.handle.net/10019/1798.
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Kirkpatrick, D. "Grief and loss : living with the presence of absence : a practice based study of personal grief narratives and participatory projects." Thesis, University of the West of England, Bristol, 2017. http://eprints.uwe.ac.uk/29973/.
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The thesis develops work started on the MA in Multi-Disciplinary Printmaking. It addresses the question - Can personal grief narratives explored through contemporary arts practice,auto-ethnographic writing, and the participatory performative act of making and being in specific places result in access into, the potentially, restorative space of mourning; moving between what continues to exist and what is missing in the physical world? This troubles at the Western societal idea of getting over grief and presents an alternative model of walking with and alongside loss as well as providing opportunities for conversations and ‘metalogues’, following Bateson (1972). An investigation follows, through a phenonmenological methodology of repetition, into the functions of articulating loss and absence through stories in exploring personal grief narratives, through contemporary arts practice and the participatory creative enacting of rituals in specific places which involve the interweaving of people, objects, place and story, so as to externalize emotion through creative activity to match the void of absence. Testing Foucault’s (1989: 208) notion that “a work of art opens a void,” an opportunity to question without always providing reconciliation or answers. Through an interwoven exploration of theory and practice utilising Law’s (2004) ‘method assemblage’ of presence, manifest absence and Otherness, the practice element creates both the representational and allegorical; objects and gifted objects (forms of presence), documentation of performance/ritual, some orientated around specific external sites thus allowing an examination of loss of place as well as loss of people, (forms of manifest absence) and one’s response to and ongoing relationship with the presence of absence as ways of exploring grief and loss (what is hidden or Other,). The participatory projects and interviews with 7 artists (across artistic disciplines) enable conversations and sharing of understandings of loss. They provide multiple perspectives,viewpoints, and voices for the thesis. New knowledge is formed in the methodological and iterative dance between practice,reading and writing. The presence of absence becomes, to borrow a musical term, an ostinato through the repetition, variation and development of practice. Meaning is re-interpreted and transformed through evocation and noticing, allowing an examination of the pain ofgrief and loss. These combinations model new possibilities for enabling others by offering ideas and choices of how we might live with the presence of absence. The thesis shows the power of metaphor and story to alter the self, give back a sense of choice and control and find equivalence to the intensity of grief. Through creating objects and rituals, writing and sexual encounter, through the examples of other artists’ practice and the sharing of extended conversations multiple layers of meaning are revealed, how they work in relation to what continues to exist and what is missing in the physical world.
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Anderson, Catherine Mary. "Balm for the Wound? Narratives and Spiritual Practice from L'Arche." Thesis, Australian Catholic University, 2016. https://acuresearchbank.acu.edu.au/download/b8248016262d8851c2f301e759d450a13396d187ac2b93917dfbb7353c63a450/2516583/ANDERSON_2016_THESIS.pdf.
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Building on previous research on people living with an intellectual disability, this study mainly focuses on practices employed in L’Arche communities. In particular, it investigates the manner in which the community provides a ‘balm’ for the metaphorical ‘wound’ experienced by persons living with intellectual disability. The study employs a practical-narrative theological methodology in which pastoral theology, pastoral care and spirituality are considered central components. Together with this, Lee’s appropriation of Aristotle’s three ways of knowing is essential parts of the methodology: praxis represents an important aspect of L’Arche. Further, the author introduces an expression of praxis, technē as artwork, for this thesis.
Theology of disability is part of the methodology. However this is not of primary concern. Rather than concentrate on, for example, a history of disability, this author considers life experience and how persons living with a disability contribute to and enrich the lives of other persons. The Christian theme of death and new life flows through the thesis. This is a hallmark of L’Arche yet the author justifies how this crosses the boundaries of religions and cultures in L’Arche. A focal point considers the profound grief of a woman living with an intellectual disability and her journey from an institution to L’Arche Daybreak (Toronto).
Further, the reader is introduced to a seven-step Christopraxis welcome response by Daybreak L’Arche community to this grieving woman. A second major study in the thesis is the attention to the artwork of persons living with an intellectual disability, which thematically is in sharp contrast to the study of grief.
The research findings are: Christopraxis is a way of knowing or understanding the identity of L’Arche Daybreak. The artwork of persons living with an intellectual disability represents a way of knowing or understanding differently. This articulates with the ‘viewer’ of this art, who knows/understands differently through contemplating this art.
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Paley, Nicole. "Partners in grief : couples' narratives of the transition from pediatric paliative care into bereavement." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/894.
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A deep interest in how relationships, specifically romantic partnerships, cope with
and survive tragedies, guides this research. My research question was: What are the
narratives of intact bereaved couples whose children have died after receiving palliative care
for a life-limiting illness? Five couples were interviewed who had lost their children ranging
in age from 1-14 years of age. This loss occurred between 2 to 9 years previous to this study.
The purpose of this narrative research study was to better understand the ways in
which intact marital partners/couples coped together with the stress and grief involved in
having a child with a life-limiting condition and then having that child die after receiving
palliative care. A secondary aim was to bring forth their voices through their narratives as a
means to address the stigmatization and isolation often experienced by those who are
bereaved, especially those who have lost a child. This project informs professionals who are
working with couples undergoing the struggle of a child's critical illness or who are working
with bereaved couples.
Each couple's narrative account was written in story format. In addition to the rich
information gained from reading the holistic stories, 5 themes emerged through a categorical
content analysis which were: 1) the last thing you worry about are issues about us, 2)
accommodating one another's coping, 3) recognizing sources of support and limitations, 4)
two souls against the world, and 5) we have a common bond : lessons and legacy of the child.
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McDonald-Kenworthy, Nancy Ann. "How To Be A Widow: Performing Identity in Grief Narratives of an Online Community." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1325091105.
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Welch, Kate. "Expressions of grief on the early modern stage." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:bc057f32-cb0a-4e30-8575-44947e3a4c12.
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This thesis investigates the ways mourning was performed on the early modern stage. "Expressions of Grief on the Early Modern Stage" re-evaluates widely accepted accounts of theatrical and literary mourning, intervening in two major debates. The first is the extent to which theatrical mourning is an expression of mourning for a Catholic past, a familiar account that is complicated by asking what happens when mourning is future-oriented, rehearsing for a death still to come. The second intervention disrupts the notion of a linear progression from stoical, anti-grief attitudes to increasing sympathy for mourners by revealing a variety of responses to staged mourning across this time period. I identified seventy-eight plays from 1580-1642 that feature extended or notable scenes of mourning, and created a database to track accompanying gestures, associated playing companies, playhouses, and playwrights, and dates of composition and performance (when known). The thesis focuses on four aspects of the dramaturgy of mourning that emerged from this research: mourning as preemptive or strategic; mourning displaced by revenge; mourning performed as explicitly false; and, throughout, the way mourning deploys the vertical axis of the stage structure and the actor's body. The following chapters examine mourning through the specific gestures of prostration and kneeling, through motion (the rising and falling in the history plays as revenge takes the place of mourning), and the metadramatic bracketing of mourning in fake funerals. Examining specific gestures and the use of the stage space, reveals the way mourning was performed both "out of joint" - that is, out of the expected time sequence - and "out of place", using verticality in unexpected ways, lowering the body to take control of the gaze and the dramatic moment; framing 'above' as strategically advantageous while the confined theatrical space forces the actors to descend. Analysing prostration scenes in George Peele's David and Bethsabe and in Titus Andronicus reveals additional substantiation for Peele's role as a collaborator with Shakespeare. Looking at the three parts of Henry VI through the thematic lens of mourning contributes to the debate over the order of composition, offering tentative support for the 1-2-3 sequence. Tracking fake funerals over this time period revealed a sharp increase in this device after 1603, which the final chapter suggests is related to anxieties over public performances of mourning after Elizabeth I's death and one of the worst plague years on record. Performances of theatrical mourning thus occur displaced in time, preemptive requests for a death not to happen rather than the belated wish to bring the dead back to life. Mourning in the theatre occurs out of place: testing classbased mourning scripts; moving up and down the vertical axis of the stage; performing a transitory state of emotion through transitory gestures; deploying submissive poses that turn out to hold surprising theatrical and strategic power.
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Árnason, Arnar. "'Feel the pain' : death, grief and bereavement counselling in the North East of England." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/1110/.
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This thesis is about death, grief and bereavement counselling in the North East of England. It is based on ethnographic fieldwork carried out over a period of three years. I have three main objectives in this thesis. Arguing that the anthropology of death has neglected grief, I seek to describe and explain how people in the North East of England experience grief; how they make sense of the death of their loved ones, and their own reactions to those deaths. Working with interviews with bereaved people and drawing upon work in narrative analysis about the importance of stories in how we think, interact and relate to other people, I focus especially on the stories that bereaved people tell in their grief. I seek to illuminate, too, how grief is managed in the North East. In particular, I focus on bereavement counselling which has, I suggest, assumed something of an authority over how people should grieve. Seeking inspiration from the anthropolo gy of emotion and the Foucauldian notions of discourse and 'technologies of the self', I examine how grief is constituted in bereavement counselling both in training and practice. Finally, I compare how bereaved people experience grief with the construction of grief in bereavement counselling. In bereavement counselling the focus is upon the emotions the bereaved is experiencing in the present; grief is understood as an emotion that has its origin and location inside the individual mourner now. For bereaved people, grief is a part of their ongoing relationships and interactions with their loved ones, and other people around them, and as such it is a feature of the history of those relationships and interactions. The difference between the experiences of the bereaved and the workings of bereavement counselling IS explained by placing the latter in the context of modem govemmentality.
Books on the topic "Objects in grief narratives"
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Borrowed narratives: Using biographical and historical grief narratives with the bereaving. New York: Routledge, 2012.
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foreword, Penn Julia Hinkle, ed. Riding through grief. Milwaukee, Wisconsin: Point Comfort Press, 2013.
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Shelton, Stephanie Anne, and Nicole Sieben, eds. Narratives of Hope and Grief in Higher Education. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42556-2.
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Dennis, Klass, ed. Dead but not lost: Grief narratives in religious traditions. Walnut Creek, CA: AltaMira Press, 2005.
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Grief of a nation--Kathey's story. New York: Vantage, 1999.
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1937-, Thiermann Sara, ed. First person mortal: Personal narratives of dying, death, and grief. New York: Paragon House, 1995.
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Junge, Maxine Borowsky. Mourning, memory, and life itself: Essays by an art therapist. Springfield, Ill: Charles C. Thomas Publisher, 2008.
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Junge, Maxine Borowsky. Mourning, memory, and life itself: Essays by an art therapist. Springfield, Ill: Charles C. Thomas Publisher, 2008.
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Mono, kao, han monogatari: Modanizumu saikō = Objects, faces and anti-narratives : rethinking modernism. Tōkyō: Tōkyō-to Bunka Shinkōkai, 1995.
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Shaw, Luci. God in the dark: Through grief and beyond. Crowborough: HighlandBooks, 1990.
Find full textBook chapters on the topic "Objects in grief narratives"
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Dallos, Rudi, and Arlene Vetere. "Loss, grief and attachment." In Systemic Therapy and Attachment Narratives, 160–75. 2nd ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003080152-10.
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Scholz, Susanne. "Gendered Objects: Sexualizing the Female Body." In Body Narratives, 57–77. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230287686_4.
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Clines, Gregory M. "Grief, Peace, and Moral Personhood in Raviṣeṇa's Padmapurāṇa." In Jain Rāmāyaṇa Narratives, 29–54. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003167600-3.
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Gloviczki, Peter Joseph. "Sensemaking and shared grief in the social media age." In Narratives of Loneliness, 48–55. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315645582-5.
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Burford, James. "All at Once: Writing Grief." In Narratives of Hope and Grief in Higher Education, 83–93. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42556-2_7.
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Day, Deanna. "Losing (and Finding) Myself Through Grief." In Narratives of Hope and Grief in Higher Education, 39–50. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42556-2_4.
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Greene, Nneka. "Misdiagnosing Generational Trauma and Grief: I Am Not Angry; I Am Triggered and Grief Stricken." In Narratives of Hope and Grief in Higher Education, 139–52. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42556-2_11.
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Olan, Elsie Lindy, and Donita Grissom. "Finding Hope through Hope Agents and Narratives in Times of Mourning." In Humanizing Grief in Higher Education, 71–77. New York, NY : Routledge, 2021. | Series: Routledge research in higher education: Routledge, 2021. http://dx.doi.org/10.4324/9780429326493-8.
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Gadotti, Alhena. "Grief and Sadness in the Sumerian Gilgamesh Narratives." In The Routledge Handbook of Emotions in the Ancient Near East, 547–61. London: Routledge, 2022. http://dx.doi.org/10.4324/9780367822873-33.
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Maude, Kulwinder. "Using Multicultural Narratives to Explore Loss and Grief." In Looking after Literacy: A Whole Child Approach to Effective Literacy Interventions, 141–62. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: Learning Matters, 2017. http://dx.doi.org/10.4135/9781529714814.n10.
Full textConference papers on the topic "Objects in grief narratives"
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Borgstrom, Erica, and Sharon Mallon. "26 Narratives of COVID: loss, dying, death and grief during COVID-19." In The Marie Curie Research Conference Improving End of Life for All Sunday 30 January – Friday 4 February 2022. British Medical Journal Publishing Group, 2022. http://dx.doi.org/10.1136/spcare-2021-mcrc.26.
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Mustaro, Pollyana, and Ismar Silveira. "Learning Object Educational Narrative Approach (LOENA): Using Narratives for Dynamic Sequencing of Learning Objects." In InSITE 2007: Informing Science + IT Education Conference. Informing Science Institute, 2007. http://dx.doi.org/10.28945/3139.
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Learning objects-based architectures often allows the creation of coarse-granular learning resources by aggregating learning objects retrieved mainly from well-structured public repositories. Nonetheless, the learning resource building process is not exactly trivial, since proper selecting and sequencing strategies must be applied in order to make it useful for learning purposes, as well as to make it fit in pedagogical goals previously established. This paper shows LOENA (Learning Object Educational Narrative Approach), an architecture built over a theoretical basis that uses narrative-driven hypertext patterns to properly structure the sequencing of learning objects, providing a ready-to-use, pluggable way to implement learning paths in some teaching-learning context.
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Bhat, Raj Nath. "Language, Culture and History: Towards Building a Khmer Narrative." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-2.
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Genetic and geological studies reveal that following the melting of snows 22,000 years ago, the post Ice-age Sundaland peoples’ migrations as well as other peoples’ migrations spread the ancestors of the two distinct ethnic groups Austronesian and Austroasiatic to various East and South–East Asian countries. Some of the Austroasiatic groups must have migrated to Northeast India at a later date, and whose descendants are today’s Munda-speaking people of Northeast, East and Southcentral India. Language is the store-house of one’s ancestral knowledge, the community’s history, its skills, customs, rituals and rites, attire and cuisine, sports and games, pleasantries and sorrows, terrain and geography, climate and seasons, family and neighbourhoods, greetings and address-forms and so on. Language loss leads to loss of social identity and cultural knowledge, loss of ecological knowledge, and much more. Linguistic hegemony marginalizes and subdues the mother-tongues of the peripheral groups of a society, thereby the community’s narratives, histories, skills etc. are erased from their memories, and fabricated narratives are created to replace them. Each social-group has its own norms of extending respect to a hearer, and a stranger. Similarly there are social rules of expressing grief, condoling, consoling, mourning and so on. The emergence of nation-states after the 2nd World War has made it imperative for every social group to build an authentic, indigenous narrative with intellectual rigour to sustain itself politically and ideologically and progress forward peacefully. The present essay will attempt to introduce variants of linguistic-anthropology practiced in the West, and their genesis and importance for the Asian speech communities. An attempt shall be made to outline a Khymer narrative with inputs from Khymer History, Art and Architecture, Agriculture and Language, for the scholars to take into account, for putting Cambodia on the path to peace, progress and development.
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Norogrando, Rafaela. "Second Skin’s Sensitivity: Memories and Consciousness." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001367.
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In order to explore the relationship between people and clothing products, this study addresses material culture and consumption in recent years in the face of the construction of heritage narratives related to the history of fashion design. According to the social circle of values consecration, connections between subjects and objects are fluid and the approach to the material culture and memories can be created and conduct. The history of fashion can be restricting to the materiality of objects or including the intangible elements related to this. The study is based on theoretical approaches and bibliographic review; a case study and ethnographic research on fashion exhibitions and correlated subjects; and comparative analysis including five hundred institutional exhibitions promoted in the last 50 years. This research also comprehends an exploratory study on the project Tati-Viana, which resulted in a fashion design output included in the heritage collection at the National Costume Museum (Portugal). Results showed that emotion and the relationship between people-objects through memories can be an alternative and deliberate tool for sensitizing actions to conscious consumption.
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Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.
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In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical, inter-generational, geographical and community boundaries. Their creative practices are used to map the historical trajectories of their whakapapa and the stories of survival in the modern world. They overturn research norms and frame knowledge to express the values of Tikanga and Matauranga Maori. Despite the exponential growth in the global interest in Indigenous knowledge, there is still little literature about creative collaborations between Māori–non-Māori practitioners. These collaborative research approaches require the observation of Māori principles for a respectful process which upholds the mana (status, dignity) of participants and the research. This presentation focuses on four collaborative partnerships between Māori–non-Māori practitioners that challenge conceptions of ethnicity and reflect the complexity of a global multi-ethnic society. The first project is: The Māui Narratives: From Bowdlerisation, Dislocation and Infantilisation to Veracity, Relevance and Connection, from the Tuhoe film director Dr Robert Pouwhare. In this PhD project, I established a collaboration to photograph Dr Pouwhare’s homeland in Te Urewera, one of the most exclusive and historical places in Aotearoa. The second project is: Applying a kaupapa Māori paradigm to researching takatāpui identities, a practice-led PhD research developed by Maori artist and performer Tangaroa Paora. In this creative partnership, I create photographic portraits of the participants, reflecting on how to respond to the project’s research question: How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression. The third project is: KO WAI AU? Who am I?, a practice-led PhD project that asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of a tragic historical event in culturally sensitive ways to tell the story of generational impact from Toiroa Williams. In this creative partnership, I worked with photography to record fragments of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. The fourth project is: Urupā Tautaiao (natural burials): Revitalising ancient customs and practices for the modern world by Professor Hinematau McNeil, Marsden-funded research. The project conceives a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. In this creative collaboration, I photographed an existing grave in the urupā (burial ground) at xxx, a sacred place for Māori. This presentation is grounded in phenomenological research methodologies and methods of embodiment and immersion. It contributes to the understanding of cross-cultural and intercultural creativity. It discusses how shared conceptualisation of ideas, immersion in different creative processes, personal reflection and development over time can foster collaboration.
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Kurjenoja, Anne K., Melissa Schumacher, Edwin Gozález-Meza, and Eduardo Gutiérrez-Juárez. "Expansive Learning and Change Laboratory Model in Architectural Education: A Mexican Approach." In 2019 Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.62.
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Latin American architecture and with it, architectural education frequently celebrates the insertion of local projects in the international design stardom as vanguard symbols of development, quality of life and local capacity for innovation. The material environment follows the logics in which the urban image and architectural objects are non-textual elements in a political, economic and social discourse.Thus, the 21th century architectural and urban re-invention is easily focused on the transformation of the material world to images of glamorous architectural objects and urban landscapes, de-territorialized from their local contexts, their people and the local narratives of place. How could Mexican architectural education respond to local, spatial, socio-cultural, territorial, environmental, economic and political demands to favorable impact the construction of material environment struggling under the clash between globalization, its neo-liberal architectural language, and the local emerging needs? Could it develop different and challenging focus areas, to seek new approaches to local problematics? How should critical architectural education trigger locally-based development innovation with potential to face global challenges of the professional world? In this context, Universidad de las Americas Puebla’s (UDLAP) researchers’ initial question was, how should critical architectural education trigger locally based development innovation with potential to face global challenges of the professional world?The exploration of a new and locally viable architectural approach to sensible Mexican urban territories was triggered by a project seeking strategies to respond the collision between the traditional community of Cholula, Puebla, and the recent urban development around it informed by global economy and its architectural aesthetics. In a design workshop, socially responsible professional practices and sustainable environmental transformations were promoted in a context in which global forces are influencing local urban planning policies. Thus, this paper exposes Expansive Learning1 educational approaches experimented to trigger strategies for collaborative community development. These strategies were based on Social Urbanism, socially responsible New Localism2 and Regenerative Development Design3 through bottom-up collaborative design and co-configuration work in which the architect adopts the role of a social and environmental mediator within the framework of Critical Realism (CR)4.
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Sjölinder, Marie, and Jonas Söderberg. "Designing a Future City – Applying Design Fiction with High School Students." In 8th International Conference on Human Interaction and Emerging Technologies. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002723.
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This work was conducted in the framework of Viable Cites, which is a national strategic innovation program in Sweden with a focus on the change towards climate-neutral and sustainable cities. Viable Cities is catalyst for new ways of collaboration between cities, industry, academia, research institutes and the civil society. The overall goal is to provide support to the cities to convert to a way in line with national and international climate goals. The work described in this paper was one project within this framework. The project consisted of the City of Enköping, RISE Research Institute of Sweden and Europan with is an Pan-European architect organization witch organise a biennial competition for young architects. As a part of this project, a collaboration was conducted together with Westerlundska gymnasiet, a high school in Enköping. The overall goal was to engage young people, and to get their ideas about how to achieve a sustainable environment and to develop sustainable products and services. It is this group that both will be forced to handle the decisions that are made today, and they are also the generation that knows best how the want to live their lives in the future. The aim with this work was both to get ideas and suggestions from high school students about how they wanted their future city to be designed, and to explore how high school students could apply and use the method “Design Fiction” when conducting work with designing future cities.According to Bleeker (2009), Design Fiction is a mix of science fact, design and science fiction. It combines the traditions of writing and story telling with the material crafting of objects. It is a creative process that encourages human imagination and give support in telling stories that provoke and raise questions (Bleeker, 2009). Design Fiction is a method to explore future possible scenarios or contexts. A concept could be described in several ways by using narratives and prototypes. The story can be told and the concept can be visualized in many different ways (Wakkary et al, 2013).In the project there were about 20 students from the school’s technology program. They had all chosen architecture as their special focus during their last year. The students both participated in a Design Fiction workshop and organsied Design Fiction workshops themselves with first-year students as participants. Results from the workshops and insights related to the design process are presented in this paper.ReferencesBleecker, J. (2009). Design Fiction: A short essay on design, science fact and fiction. Near Future LaboratoryWakkary, R., Desjardins, A., Hauser, S., & Maestri, L. (2013). A Sustainable Design Fiction: Green Practices . ACM Transactions on Computer-Human Interaction, Vol. 20, No. 4, Article 23, Publication date: September 2013.
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Gautam, Matma, and Snehal Tambulwadikar. "Design Education and Multiculturalism." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.86.
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Design education exists at the cross-disciplinary intersection of sociology, cognitive psychology, technology and material history. In India, as in many other countries which have experienced colonisation, the wave of decolonisation demands questioning the normative ways of knowing, doing and being. The idea of decolonisation is reflected upon as peeling off the layers of dogmas created by other cultures on existing ones. In the wake of decolonisation, there is a rising concern for plural and multicultural societies. The practise of living out day to day varies across the cultures and often ends up alienating or excluding multiplicity of voices. In today's context digital disruption, with added layers of social media, the concept of ‘self’ and the ‘other’, the idea of ‘identity’ has become a complex phenomenon equated with cultural studies. The case study shared through this paper is carried out with students of first year at NID Haryana, in their first year first semester of undergraduate programme, Bachelor in Design. Facilitating a course on Indian Society and Culture for design students, posed a pedagogical challenge to bring together diverse and eclectic approaches while training the students to deepen their understanding of their own subjective positions and exploring cultural narratives in which their design ought to function. The findings and discussion points are an outcome of the assignment attempted by the student during the module inputs ‘Approaches to Indian Culture’, structured using autoethnography research framework. The said assignment was introduced in the context of online education due to Covid -19 where students were encouraged to pay attention to their immediate home environment as a living cultural repository. The day-to-day cultural resources available to us often become invisibilised, in favour of tangible predefined ones like those of museums or tangible objects. The students were encouraged to look at being part of the cultural context, but still retain a distance from which they could question, interrogate and challenge some of the normative assumptions that come as part of belonging to the said cultural context. The paper discusses the need to become aware and situate oneself as a designer in the cultural context that has shaped his/her/their identity and intrinsic motivations. The aspirant designer was subjected to become aware of his/her vulnerable position in the light of his newly acknowledged socio-cultural context through the means of mapping cultural changes in his family over last three generations. This has been instrumental in initiating a journey to engage with cultural change with sensitivity, appreciate and become aware of the role of oneself in making conscious choices. Through this paper, we would like to investigate this process of decolonising the identity of the designer. The paper expands on complexity of aspects mapped by the students, their reflections and probes further on methods, approach that ought to be adopted in the process of decolonising the designer.
Reports on the topic "Objects in grief narratives"
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.
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The main recommendations of the panel report can be summarised under five key headings: Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age. Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v Landscapes and regions: Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change? Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial. Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth. Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs. Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully. Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people. The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world