Academic literature on the topic 'Writing about death'
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Journal articles on the topic "Writing about death"
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Leap, Edwin. "Writing about Death." Emergency Medicine News 28, no. 8 (August 2006): 40. http://dx.doi.org/10.1097/00132981-200608000-00045.
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Agar, James N. "Self-mourning in Paradise: Writing (about) AIDS through Death-bed Delirium." Paragraph 30, no. 1 (March 2007): 67–84. http://dx.doi.org/10.3366/prg.2007.0009.
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This article discusses the representation of AIDS in Guibert's posthumously published novel Le Paradis (Paradise). The novel is situated in relation to Guibert's better known previous AIDS writings. The article proposes that Guibert's AIDS works fall in to three related categories: writings about other peoples' AIDS; autobiographical writings about AIDS, and, in the third, terminal stage in which Le Paradis fits, writing (about) AIDS. As such the article suggests that Le Paradis manages to reflect and communicate some of the trauma of living with AIDS by specifically trying not to write about it. The article raises issues related to constructions of sexualized and AIDS identities in fiction, and presents the novel as a form which represents a loss of self. The novel, it is argued, becomes a self-mourning for a healthy past which is memorialized in a fictional present, itself always-already haunted by the nostalgia for a lost future.
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Ulin, David L. "The Unthinkable: Writing about the death of children." Yale Review 108, no. 2 (2020): 173–85. http://dx.doi.org/10.1353/tyr.2020.0117.
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Ulin, David L. "The Unthinkable: Writing about the death of children." Yale Review 108, no. 2 (July 2020): 173–85. http://dx.doi.org/10.1111/yrev.13646.
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Gee, Lisa. "‘A Task enough to make one frantic’: William Hayley’s Memorialising." European Journal of Life Writing 9 (July 6, 2020): LW&D35—LW&D55. http://dx.doi.org/10.21827/ejlw.9.36899.
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This paper explores Hayley’s approach to, and writing about, memorialising, focusing on his manuscript collection of epitaphs, his letters to Anna Seward about her epitaph on Lady Miller, and his memoirs and biographies. How typical was he of late-eighteenth and early-nineteenth century memorialists? What does his writing about death—and his writing about writing about death—tell us about how his contemporaries were supposed to feel and express their feelings about the dead? How do his works illustrate what he and his contemporaries were expected to reveal or conceal about the dead, and about the living? How different, in that respect, were the works designed to be read by the public from those intended only for the deceased’s nearest and dearest? How did the author’s death change the expected readership?
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M. Range, Stacey H. Kovac, Michelle, Lillian. "DOES WRITING ABOUT THE BEREAVEMENT LESSEN GRIEF FOLLOWING SUDDEN, UNINTENTIONAL DEATH?" Death Studies 24, no. 2 (March 2000): 115–34. http://dx.doi.org/10.1080/074811800200603.
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Popli, Ritika. "Writing with Grief." Journal of Autoethnography 3, no. 3 (2022): 341–51. http://dx.doi.org/10.1525/joae.2022.3.3.341.
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In three episodic moments related to my father’s passing, through an autoethnographic voice I describe how grief is performed in a North Indian Punjabi household. Adding to existing autoethnographies on death and grief, I hope this essay encourages critical and empathetic consideration of how grief is observed in a distinct cultural context. Often in South Asia, grief is neither cultivated nor narrativized; instead, it has an ominous silence surrounding it. Grief is expected to be lived with but is rarely spoken or written about. There is often no script available on how to live with grief. Hence, in lieu of an absent script, I write through the grief to depict how I experienced and, in turn, coped with it. I write about grief in three sections: the intervention of the State and bureaucratic processes, family rituals and customs, and food habits. My goal in this essay is to offer an opportunity to reflect on how grief is performed, on father–daughter relationships, and on adjusting to life after death of a loved one.
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Vuković, Vladimir. "Writing about cities: Literary works of Bogdan Bogdanovic about cities and urbanism." SAJ - Serbian Architectural Journal 3, no. 3 (2011): 1–14. http://dx.doi.org/10.5937/saj1101001v.
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Bogdanović was not only the leading architect of monuments in the former Yugoslavia, but also one of the country's most important writers. He is the author of 18 books and more than 500 articles, which have been translated into several languages. Most of them are dedicated to cities and urbanism, covering various aspects: the city in history, criticism of the modern city, utopia, death of the city etc. He created the term 'small urbanism' and published many articles on the problems of modern cities, which are today, nearly half a century later, still very topical (environment, migration, over-population). In the 1990s he was engaged in the campaign against the war in Yugoslavia and the 'ritual killing' of cities. It is also interesting to see Bogdanović's essays in the context of some contemporary theories on urban planning. Knowledge of the literary work of Bogdanović provides a better understanding of his personality, both as an architect and as an intellectual of the European status.
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Brant, Clare, James Metcalf, and Jane Wildgoose. "Life Writing and Death: Dialogues of the Dead." European Journal of Life Writing 9 (July 6, 2020): LW&D1—LW&D18. http://dx.doi.org/10.21827/ejlw.9.36938.
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One thing in life we can be certain of: death. But how we talk about death—its inevitability, its causes and its course, its effects, or its places—is susceptible to changing cultural conditions. Reviewing a history of death that begins in prehistory, the distinguished historian of death Thomas Laqueur doubts it is possible to comprehend (in both senses) the topic: ‘Our awareness of death and the dead stands at the edge of culture. As such they may not have a history in the usual sense but only more and more iterations, endless and infinitely varied, that we shape into n engagement with the past and the present’.
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Dobie, Madeleine. "Assia Djebar: Writing between Land and Language." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 128–33. http://dx.doi.org/10.1632/pmla.2016.131.1.128.
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The death of assia djebar on 7 february 2015 marks the end of an era in literary and world history. The last survivor of the generation of Algerian writers who took up the pen in the mid-1950s as their country embarked on its historic struggle for independence from France, Djebar continued writing long after the deaths of Mouloud Feraoun (1962), Kateb Yacine (1989), Mouloud Mammeri (1989), and Mohammed Dib (2003). With her death, the age of decolonization and African revolution as it resonated in literature seems truly to have come to a close. Djebar was the only woman among the Algerian literary pioneers, and her work, which includes novels, essays, documentary films, and plays, explores, above all, the experience of Algerian women. Challenging official nationalism, these counternarratives tell stories about women's roles in war in which the political doesn't efface the personal and victory doesn't signal the end of suffering or the fading of loss. This oppositional stance was carried even into the rituals observed in the aftermath of her death. Official services conducted at the airport and the Palais de la Culture in Algiers were shadowed and indeed overshadowed by less-formal ceremonies in which family, friends, and members of Algerian women's movements recited poetry and chanted Berber songs.
Dissertations / Theses on the topic "Writing about death"
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Rees, Karen M. "Confronting the dark." Thesis, 2017. http://hdl.handle.net/2440/119704.
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Vol. 1 [Novel] The Art of Dying -- Vol. 2 [Exegesis] Representations of death in Australian fiction“Confronting the Dark” is a creative writing thesis comprised of two interrelated parts: Volume 1: The Art of Dying, a novel; and Volume 2: “Representations of death in Australian fiction,” an exegesis. In the novel, Gerard, the main character, is dying. As a consequence of his imminent death, he begins to focus on both the trauma of his early years and the great love he feels privileged to have experienced. The exegesis describes how the practice of writing about death led to a critical inquiry into various philosophies of death that have been of interest to writers, as well as the transformation of the Western approach to death over the past few centuries, brought about by modernity. It presents a case study of two Australian novels, Helen Garner’s The Spare Room (2008), and Patrick White’s The Vivisector (1970). I discuss the writing of my own novel in light of the reflexive agency required for creative writing research and in terms of creative writing habitat, the creative domain, activities of writing, and the artefact. I conclude that writing about death occurs for primarily existential reasons. Writers are asking questions about how human beings feel about their impending death, how they cope with life goals and the possibility of unfinished business, and how the death of the other affects the lives of those who remain.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2017.
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Chang, Cheng-Liang, and 張正良. "Spiritual Poet and Weird Novelist’s Self-SeeingResearchs about Yuan-Mei’s Live and Death Writings." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/73345088312243174186.
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碩士國立中正大學
中國文學所
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Yuan-Mei was a outstanding person who advocated spirit in flourishing Ching period. His spirit spreaded out in his life, garden and literature works, just like shdow following his language words, full of emotions, desires, stated self image. Yuan-Mei wrote many poem about his death for memory, and he asked his friends wrote about this kind of poem, too. He collected those poems and published them. Yuan-Mei wrote poem and asked for responds form his friends. It Seemed like he wanted to leave something for memory. He talked about death without shy, and he said” Everyone will die someday in the future, what to be afraid to talk about it ? People die, people come alive.” Although death is an incident, it is a continuous process to move toward death. Literature writers wrote about the process of facing death, wrote about death incidents and espressed their life consciousness among their works. Therefore, I try to put the death inside live, and try to understand the meanings, draw materials from Yuan-Mei’s self statement writings of spiritual poem, do research from “子不語” “續子不語” Which talk about live and death. By doing observation form writing live and death of Yuan-Mei’s works, I hope it would do help to understand more about Yuan-Mei’s works. When Yuan-Mei’s life was in danger, what image shown in his literature works? What’s the relations between Yuan-Mei’s paradox thoughts and the worship that people thought of him form his statement “live and death”?
Books on the topic "Writing about death"
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Berman, Jeffrey. Death in the classroom: Writing about love and loss. Albany: State University of New York Press, 2009.
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1954-, Rofes Eric E., and Fayerweather Street School Unit, eds. The Kids' book about death and dying. Boston: Little, Brown, 1985.
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Teaching the Diary of Anne Frank: An in-depth resource for learning about the Holocaust through the writings of Anne Frank. New York: Scholastic Professional Books, 1998.
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Berman, Jeffrey. Death in the Classroom: Writing about Love and Loss. State University of New York Press, 2009.
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Brief lives: Parents writing about the death of a baby. London: National Childbirth Trust, 1995.
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Helen, Vozenilek, ed. Loss of the ground-note: Women writing about the loss of their mothers. Los Angeles: Clothespin Fever Press, 1992.
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Vozenilek, Helen. Loss of the Ground-Note: Women Writing About the Loss of Their Mothers. Clothespin Fever Press, 1992.
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Chinca, Mark. Meditating Death in Medieval and Early Modern Devotional Writing. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861980.001.0001.
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Meditating about death and the afterlife was one of the most important techniques that Christian societies in medieval and early modern Europe had at their disposal for developing a sense of individual selfhood. Believers who regularly and systematically reflected on the inevitability of death and the certainty of eternal punishment in hell or reward in heaven would acquire an understanding of themselves as unique persons defined by their moral actions; they would also learn to discipline themselves by feeling remorse for their sins, doing penance, and cultivating a permanent vigilance over their future thoughts and deeds. The book covers a crucial period in the formation and transformation of the technique of meditating on death: from the thirteenth century, when a practice that had mainly been the preserve of a monastic elite began to be more widely disseminated among all segments of Christian society, to the sixteenth, when the Protestant Reformation transformed the technique of spiritual exercise into a Bible-based mindfulness that avoided the stigma of works piety. The book discusses the textual instructions for meditation as well as the theories and beliefs and doctrines that lay behind them; the sources are Latin and vernacular and enjoyed widespread circulation in Roman Christian and Protestant Europe during the period under consideration.
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McKurtal, Kathie. Sorry I Wasn't Listening I Was Thinking about Five Finger Death Punch: Five Finger Death Punch Lined Notebook Journal for Writing, Perfect Gifts for Five Finger Death Punch Fans and Lovers. Independently Published, 2022.
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Clark, David. Reflection, Illness, Loss, and Death (1985 – 2005). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190637934.003.0007.
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Cicely Saunders’s achievements were hard won. Illness led to periods of time away from work. In 1984, she stepped down as medical director of the hospice. There were also growing concerns about her husband’s health, with accompanying scares and worries. She moved into the role of solicitous wife and carer, and eased back from professional commitments. After his death, she seemed to deepen her spiritual preoccupations, through reading, daily religious practise, and conversation with thinkers and writers she admired. Despite a measure of frailty, she took on more speaking engagements, accepted further prizes and honorary degrees, and enjoyed writing short pieces for textbooks and edited collections. When her breast cancer recurred, she showed strength and pragmatism, but this was also a lonely period and one in which her confidence faltered at times. In the spring of 2005, she entered St Christopher’s as a terminally ill patient.
Book chapters on the topic "Writing about death"
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Mani, Veena. "Poets of Circumstances: Love, Trauma and Death in Digital Poetry." In Writings About Kashmir, 127–37. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003360124-11.
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Marfè, Luigi. "I «gomitoli del tempo». La poetica dello spazio nell’opera di Claudio Magris." In Biblioteca di Studi di Filologia Moderna, 177–88. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.18.
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Both in his novels, such as Illazioni su una sciabola (1984), Un altro mare (1991) and Alla cieca (2005), and in his travel writing, such as Danubio (1986), Microcosmi (1997) and L’infinito viaggiare (2005), Claudio Magris outlined a poetics of space that questions about the diachronic depth and the narrative meaning of places. The essay examines the topic of travel in Magris’ work, as a means of metaliterary exploration, in order to reflect on the sense of history and on the identity of the writing subject.
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Parker, John. "Writing and Reading about Death." In In My Time of Dying, 228–44. Princeton University Press, 2021. http://dx.doi.org/10.23943/princeton/9780691193151.003.0015.
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This chapter considers the transformation from a culture of speaking about death to one which included writing and reading about death. It spotlights the final quarter of the nineteenth century, from the creation of the British Crown Colony of the Gold Coast in 1874 to its expansion with the formal incorporation of Asante and the savanna hinterland to the north in 1901–2. The chapter focuses on literacy and print culture as they developed on the Gold Coast littoral, a process which would extend into Asante and beyond only in the twentieth century. This print culture comprised both vernacular African languages and, with the departure of the Dutch in 1872, the language of the remaining colonizing power: English. The former was particularly associated with the Basel Mission, whose European and African agents pioneered the transcription of Ga and Twi as written languages and produced the first vernacular printed texts: prayer books, primers, dictionaries, the gospels and, by the 1860s to 1870s, compete translations of the Bible. The Bible, of course, has a great deal to say about mortality and the ends of life, however, the chapter concentrates on a different, secular medium of entextualized discourses about death: newspapers, which, as in Europe, 'accorded mortality new openings.'
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"Writing and Reading about Death." In In My Time of Dying, 228–44. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv16rdcjx.20.
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Young, David. "Excerpt from “Four about Death”." In Short-Form Creative Writing. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350019928-062.
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"14 Writing and Reading about Death." In In My Time of Dying, 228–44. Princeton University Press, 2021. http://dx.doi.org/10.1515/9780691214900-018.
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Bellany, Alastair. "Writing the King’s Death." In Stuart Succession Literature, 37–59. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198778172.003.0003.
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The writing produced around the succession of Charles I in 1625 was dominated by discussion of the life and death of his father, James I. Focusing on a range of texts about James I’s death and funeral—James Shirley’s poem on the king’s ritualized lying-in-state, John Williams’s funeral sermon for the king in Westminster Abbey, Abraham Darcie’s engraved memorial broadside, and George Eglisham’s infamous secret history of James’s murder—this chapter explores how panegyric succession writing was shaped and undermined by significant tensions within early Stuart political culture—about religion and monarchy, kings and court favourites, domestic and foreign policy, and royal authority and the public sphere.
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Nudelman, Franny. "Death in Life." In Remaking Reality, 35–54. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469638690.003.0003.
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Franny Nudelman’s essay, “Death In Life: Documenting Survival After Hiroshima,” considers the influence of military psychiatry on documentary writing about Hiroshima survivors and, more broadly, on the “new” narrative journalism that flourished in the post-war decades. Examining the documentary writing of John Hersey and Robert Jay Lifton, who participated in the experimental treatment of traumatized soldiers and went on to interview and write about Hiroshima survivors, Nudelman constructs a genealogy of documentary nonfiction that grounds the immersive practices of new journalism, and their fascination with survivors, in the experimental techniques of military psychiatry.
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Trevor, Kirk. "Writing About Death, Mourning, and Emotion: Archaeology, Imagination, and Creativity." In Archaeologists and the Dead. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198753537.003.0027.
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Imagination has informed ‘the writing of the past’ since the birth of European antiquarianism. However, the prominence and reputation of the archaeological imagination has fluctuated greatly through time. Both a product of its times and a force for change, the archaeological imagination has been variously central to the discipline, marginalized, and ridiculed. Between the sixteenth and eighteenth centuries, antiquarians such as John Leland, John Aubrey, and William Stukeley referenced druids, proto-Christianity, and classical Rome to creatively people England’s past, producing past worlds that ‘made sense’ in the context of the nationalist politics and religious mores of the time (Daniel 1981; Piggott 1985; Trigger 1989). By contrast, the tendency towards empirical study squeezed imagination to the margins of mid-twentieth-century processual archaeology (Hodder 1989). This chapter picks up some threads of the story of archaeological imagination as it has been ‘written’ during the last few decades, as well as reflecting on some opportunities for the future, specifically in the study of death, mourning, and emotion. In recent years, many archaeologists have experimented with different styles of writing in an attempt to give faces and voices to people in the past. For example, Mark Edmonds (1999) wrote imaginative vignettes of life in Neolithic Britain, while Ruth Tringham (1991) evoked the drama and emotion surrounding the death of people and the burning of houses in Neolithic south-east Europe. These attempts to ‘people the past’ were, at the time, complemented by multi-vocal narratives that sought to give voice to different contemporary interpreters of the past, such as Barbara Bender’s collaborative work on Stonehenge and Leskernick (Bender 1998; Bender et al. 1997). These bodies of work encourage us to think critically about the process ofwriting the past and the ‘will to truth’ in our stories. We are also invited to ask who is writing, whose voices are heard, what types of language are being used, and to what effect. These genres also question the type of past that we wish to write. Narratives may be variously based on power and politics (Parker Pearson and Richards 1999), emotion and bereavement (Tarlow 1999, 2000, 2012), action and performance (Pearson and Shanks 1991; Shanks 2012), material culture and identity (Thomas 1996).
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Knapp, Liza. "4. Death." In Leo Tolstoy: A Very Short Introduction, 49–63. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198813934.003.0004.
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Death was a fact of Tolstoy’s life from the start. He lost both of his parents during childhood and then, as a young man, Tolstoy witnessed and caused death at war. Death continued to haunt him. Whether he was writing about a war zone, a pastoral landscape, a slum, or a family estate, Tolstoy’s works are set in the ‘valley of the shadow of death’. One of Tolstoy’s missions as a writer was to remind readers of their own mortality and to make them think about how to live and love in the face of death. ‘Death’ discusses Tolstoy’s treatment of dying in Childhood, Boyhood, Youth; War and Peace; Anna Karenina; and ‘The Death of Ivan Ilyich’.
Conference papers on the topic "Writing about death"
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Konrad, Ulrich. "Philologie und Digitalität. Perspektiven für die Musikwissenschaft im Kontext fächerübergreifender Institutionen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.90.
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Currently, the qualitative spectrum of methods in the philological sciences is being substantially expanded, with far-reaching implications, through the integration of the empirical, quantitative, and evaluative possibilities of the Digital Humanities. The example of the planning and establishment of „Kallimachos,“ the Center for Philology and Digitality (ZPD) at the University of Würzburg, demonstrates how a research center in the field of interplay between the humanities and cultural studies, digital humanities, and computer science can bring about a surge of change by providing in-depth insights into each other‘s subjects and ways of thinking. It not only brings with it a new view of the epistemological interests of philology, its questions, its canon, and its key concepts, but also makes computer science aware of the ‚recalcitrance‘ of humanities subjects and thus confronts it with new tasks. The ZPD is the result of a systematic reflection on the digital transformation of philology, with its traditional focus on editing and analyzing, in order to advance this development both in terms of content and methodology. For example, the formation of linguistic conventions in speaking and writing about music in 19th-century composers‘ texts and in music journals would be an ideal subject for the application of digital methods of analysis and the development of new research questions based on them. Research networks that jointly develop and rethink methods on the level of data structures across disciplines are likely to be a proven means of preserving our own discipline in the future, even if this may occasionally be a relationship borne more by reason than by love.
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Ramachandran, Madhumitha, Zahed Siddique, Firas Akasheh, and Gül E. Okudan Kremer. "Effects of Technology Assisted Flat Learning Environment for a Design Project at a Historically Black University." In ASME 2017 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/detc2017-67558.
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Teaching to Learn (TeatoL) is a flat learning environment where peer-to-peer information exchange has been demonstrated to bridge student learning gaps. Within TeatoL, we integrate and expand peer-to-peer knowledge exchange facilitated by technology, in order to enhance the learning of engineering graduates, using an open-ended authentic life problem in design for manufacturing. One of the main objectives for developing TeatoL was to improve the interest and efficacy of underrepresented minority (URM) students in online engineering courses. In this paper, we present our TeatoL implementation at Tuskegee University (TU), to assess the effectiveness of TeatoL in improving student learning and in enhancing ill-structured problem solving skills of URM students. The participants in the learning environment were given an open design problem related to casting process. A short lecture about 35 minutes (Phase 0) was given and then each student team created and uploaded an instructional material (video) on their approach for solving the open-ended problem using computers and mobile phones (Phase I). The students then critically evaluated and posted feedbacks on these peer videos (Phase II). The final step of the process involved students writing a short report on their modified problem solving process and then applied the process to the same open-ended problem (Phase III). The students used comments from peers and information from other videos to modify and improve their approaches. Student learning in all three phases (Phase I through III) was assessed to understand the effects of different modes of learning in TeatoL. Paired t-test, regression and correlation analysis were used to determine the learning gains and how learning happens in a flat learning environment. Paired t-test analysis showed that there were significant learning gains from peer information exchange in TeatoL. Regression and Correlation analysis suggests that number of in-depth comments exchanged during Phase II depends on the initial level of knowledge; and learning gains of students depend on the meaningful comments provided by their peers. The results suggest that, in an online environment, peer-to-peer information exchange in the form of feedback can be particularly useful to attract, retain and train URM students as well as academically underprepared students.
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Seto, Laura, Thomas Hennig, and Thorsten Sickinger. "Development and Validation of a Combined UM/UC In-Line Inspection Tool for a 36/48″ Pipeline System." In 2014 10th International Pipeline Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/ipc2014-33296.
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Within the global integrity program of Enbridge a 36/48″ dual diameter pipeline with a total length of approximately1800 km needs to be inspected for wall thickness and axial cracking in a single run. The line consists of 29 sections, each of an approximate length of 60 km. A challenging characteristic of the line is the 36″ launcher and 48″ receiver in 28 of the sections. Thus, the resulting outer diameter change is about 305mm or 33%. From an intelligent inspection perspective additional boundary conditions had to be taken into account, e.g. tight 1.5D bends and a medium with high attenuation — which is especially important for the crack inspection technology. Pipeline operator and in-line inspection (ILI) vendor agreed on an extensive testing and qualification program including small scale tests (200 anomalies) and field verifications. Therefore, the operator witnessed pull tests of the 36/48″ UCM tool at the test facility in Stutensee, Germany during the development phase in 2012. The first inspection in an operating pipeline system, as part of the validation process, was made in July 2012 after only 12 months of development and construction. Some shortcomings of the tool concept were observed within the first inspection, which led to an unsuccessful run. Both parties worked closely together to implement some modifications to the tool. In 2012 and 2013 the modified tool was run a total of 29 times, with further runs planned for 2014. The first excavations have been completed, and show an excellent correlation between tool performance and specification. Further excavations are scheduled for early 2014 that will provide additional feedback to assess and validate the tool. At the time of writing, the 36/48″ tool is fully validated for metal loss defects, and validated for cracks only up to 2.5mm in depth. The authors will present in detail the development of the tool and the definition of the validation process. Mechanical and operational conditions are discussed. The predefined validation process of the tool is briefly presented and the test results are discussed in detail. Furthermore, field verification results are presented.
Reports on the topic "Writing about death"
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Roth, Emmanuelle. Key Considerations: 2021 Outbreak of Ebola in Guinea, the Context of N’Zérékoré. SSHAP, March 2021. http://dx.doi.org/10.19088/sshap.2021.016.
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This brief summarises key considerations about the social, political and economic context shaping the outbreak of Ebola in the N’Zérékoré prefecture, Guinea, as of March 2021. The outbreak was declared on 14 February 2021, two weeks after the death of the first known case, a health agent (Agent Technique de Santé) from Gouécké. Gouécké is located 40km north of N’Zérékoré via the paved Route Nationale 2. The nurse sought care at a health centre in Gouécké, a clinic and then a traditional healer in N’Zérékoré. She died in N’Zérékoré on 28 January. When they became sick, the relatives of the first known case referred themselves to N’Zérékoré regional hospital, where the disease was transmitted to healthcare workers. Although the potential for transmission in rural areas of the Gouécké subprefecture was high, to date, most cases have been reported in the urban setting of N’Zérékoré, which is the focus of this brief. At the time of writing (22 March), the total number of cases was 18 (14 confirmed, four probable), with nine deaths and six recoveries. The last new case was reported on 4 March.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.
Full textAbstract:
The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.