Journal articles on the topic 'Writing about death'
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1
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.
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Scholes, Robert. "PLAYING WITH THE CRIES." Samuel Beckett Today / Aujourd'hui 7, no. 1 (December 8, 1998): 379–90. http://dx.doi.org/10.1163/18757405-90000108.
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Clues provided by the text suggest that we should read Beckett's "First Love" in an associative way, and attending to its repetitive structure. The narrative has been organized as a working out of variations on the themes of death, marriage, and birth. What drives the reader forward is the desire to know what the death of the writer-narrator's father, his marriage and the birth of his child have to do with each other. This narrator speaks about himself as about a corpse, but one "not quite yet up to scratch". Unable to remain in the realm of pure thought, he Iives on, procreating and writing, against his own will. His writings revolt him, while he is pursued by the cries of the newborn. What remains, then, is his play with these cries of human existence, which seems to be an apt description of Beckett's writing.
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Bennett-Carpenter, Benjamin. "Facing up: psychotherapists writing about dealing with the idea of one’s own death." Mortality 19, no. 4 (August 7, 2014): 361–78. http://dx.doi.org/10.1080/13576275.2014.943169.
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Barry, Elizabeth. "The Long View: Beckett, Johnson, Wordsworth and the Language of Epitaphs." Samuel Beckett Today / Aujourd'hui 18, no. 1 (October 1, 2007): 47–60. http://dx.doi.org/10.1163/18757405-018001004.
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This article will investigate the idiom of death and memorialization in Beckett's work in relation to two particularly distinguished students of the epitaph, Samuel Johnson and William Wordsworth, and consider how Beckett negotiates the different expectations of writing about death that each figure has bequeathed. It will examine Beckett's exploration, following that of Wordsworth, of how far writing about the dead can borrow, imaginatively, from the 'dispassionate' and 'all-equalising' perspective of death itself, and also consider Beckett's particularly laconic treatment of the difficulty in avoiding, as the Romantic poet put it, a certain 'triteness' in the summation of a life.
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Trudell, Scott A. "Shakespeare's Notation: Writing Sound in Much Ado about Nothing." PMLA/Publications of the Modern Language Association of America 135, no. 2 (March 2020): 370–77. http://dx.doi.org/10.1632/pmla.2020.135.2.370.
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In Act 5 of Much Ado About Nothing, Shakespeare Dramatizes Two Consecutive Episodes in Which Writing Poetry is Mixed suggestively with singing, recalling, or imitating music. The first comes when Benedick sings or speaks several lines from the popular ballad “The God of Love.” The second is Claudio's musical rite of contrition for slandering Hero and (he believes) causing her death. In both cases, poetry is produced through writing practices that are interwoven with song. Indeed, Shakespeare yokes literacy and aurality together in the same keyword, noting, which referred both to writing and to musical notes, and which (as scholars have long observed) is how nothing was pronounced in early modern English. Benedick seeks poetic inspiration from the notes of balladry, then bemoans his inability to versify in rhyme. Claudio not only sees that his epitaph is notated, read aloud, and hung on the tomb; he calls for a corresponding hymn to be sung. Taken together, the scenes attune us to forms of poetic making that are irreducible to writing or language—those overdetermined categories in literary studies that have enabled our neglect of the role that nonverbal sound has played in poetic composition.
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Bingley, AF, E. McDermott, C. Thomas, S. Payne, JE Seymour, and D. Clark. "Making sense of dying: a review of narratives written since 1950 by people facing death from cancer and other diseases." Palliative Medicine 20, no. 3 (April 2006): 183–95. http://dx.doi.org/10.1191/0269216306pm1136oa.
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This article reviews a sample of narratives written since 1950 by people knowingly facing death as a result of cancer and other diseases, in order to compare experiences and show how these relate to wider changes in practice in end of life care. Methods: A bibliographic search of libraries, archives, journals and internet sources located English spoken literature, including books, poems, newspapers, journal articles, diaries, and internet postings of writings by people facing terminal disease. Bibliometric and qualitative content analysis explored changing authorship, experiences, purpose in writing, and reported the impact on readers. Results: The initial search located a wide range of published and unpublished narratives, to which inclusion/exclusion criteria were applied, yielding 148 narratives by different authors since 1950. A purposive sub-sample of 63 of these narratives was reviewed. Discussion: Over the last half century there have been changes in both the volume of available literature and patterns of writing about end of life experience. Therapeutic benefits of writing are reported as a way of making sense of dying combined with a strong sense of purpose in sharing the story. There is a clear awareness of social needs when dying, along with issues of communication with medical staff, symptom control, realities of suffering, and spiritual aspects of dying. Differences are found in the nature and style of writing about cancer in comparison to other illnesses.
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Wood, Sarah. "Some thing, some one, some ghost (about the fires of writing)." Derrida Today 5, no. 2 (November 2012): 165–79. http://dx.doi.org/10.3366/drt.2012.0038.
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This essay addresses the relation between ghosts and the fires of writing. It allows itself to dream of purely burning, of consuming and leaving behind all objects, topics and occasions in an absolutely concrete, singular, sensational experience of reading. It is written to and for ghosts – the only ones who can survive in the blazing building that writing can become. The ghosts live in burning house scenes, in poems about dream rooms and erotic hauntings, and in the intellectual tension of literary and non-literary texts. They have something to do with the fires of sexuality, and the intensities of sublimation. It is all about love and death.
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Brock, Michael. "The Strange Death of Liberal England." Albion 17, no. 4 (1985): 409–23. http://dx.doi.org/10.2307/4049431.
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George Dangerfield's book, The Strange Death of Liberal England, would have been an influential, indeed a seminal, piece of historical writing whenever it had appeared: published in 1935 it constituted an immense liberation. In 1935 the writing of modern British political history was dominated for academic people by Lewis Namier, whose two great works—The Structure of Politics at the Accession of George III and England in the Age of the American Revolution—had been published in 1928 and 1930. Namier's immense gifts were balanced by a startling defect. He was psychologically incapable of writing historical narrative, that is of dealing on any considerable scale with the development of events. Here, at the very start of the Namierite era, was a young scholar named Dangerfield writing history in the classic manner, writing, that is, as Thucydides and Tacitus had done, with a wide narrative sweep about the fateful and tragic events of yesterday. The result was the book which was so eloquently analysed this afternoon. It has been issued, if I heard this rightly, some nineteen times; and three editions, two American and one British, are in print today, after fifty years.At the end of his life Disraeli, by then Lord Beaconsfield, congratulated Matthew Arnold on having “coined unforgettable phrases.” Mr. Dangerfield may surely be offered the same congratulations. In the week in which I was composing this paper the Spectator of London carried an article under the headline: “The Strange Death of Liberal America”; and I note that a work will be published in London this September entitled “The Strange Rebirth of Liberal England.” Where the phrasing of the title is concerned we may be celebrating tonight, not only a jubilee, but the ghost of a centenary. When Mr. Dangerfield chose his arresting title he echoed, unwittingly as we understand, one devised fifty years earlier; for in 1885 a young British journalist in India named Rudyard Kipling had written a story entitled: “The Strange Ride of Morrowbie Jukes.”
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Meng, Michael. "Writing on Death: Plague Narratives. A Review Essay." Comparative Studies in Society and History 64, no. 1 (December 20, 2021): 238–58. http://dx.doi.org/10.1017/s0010417521000451.
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AbstractThis essay discusses several books, ancient and recent, on plagues to ask the question: Can we face death without turning away from it through historical narration? Can we write about death, which only afflicts individuals, without stripping death of its individuality? After briefly addressing these questions, I discuss five books, one from the ancient period (Thucydides’s Peloponnesian War), one from the late medieval period (Giovanni Boccaccio’s The Decameron), one from the early modern period (Daniel Defoe’s A Journal of the Plague Year), and two from the modern period (Mary Shelley’s The Last Man, and Frank Snowden’s Epidemics and Society). These books not only come from different eras but also reflect different written responses to death—ancient history, story/fable, reportage, futuristic novel, and contemporary history. The essay concludes by considering a counterargument to its focus on death, an argument developed by Baruch Spinoza which claims that humans should think nothing less than of death.
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Young, Elizabeth. "Figures of Grief: Metaphors from a Bereavement Writing Group." OMEGA - Journal of Death and Dying 56, no. 4 (June 2008): 359–67. http://dx.doi.org/10.2190/om.56.4.d.
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In a community-based bereavement writing group, patterns of metaphor emerged and helped the group members identify and deal with particularly challenging aspects of death and grief, including taboo subjects such as abuse and suicide. The metaphors show how a bereavement writing group functioned to address the needs of people coping with different kinds of grief effectively and efficiently. Analysis of the specific metaphors suggests why figurative language enabled the group to bond quickly and strongly, delve into the complex emotions death elicits, and integrate experiences of loss and grief safely and productively. The patterns of metaphors the group produced in their writing about death and grief are discussed in terms of bereavement processes, and the topics the group used to elicit the figures of speech are presented for further refinement and use.
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Hunter, Sally B., and Delores E. Smith. "Predictors of Children's Understandings of Death: Age, Cognitive Ability, Death Experience and Maternal Communicative Competence." OMEGA - Journal of Death and Dying 57, no. 2 (October 2008): 143–62. http://dx.doi.org/10.2190/om.57.2.b.
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A child's age, cognitive ability, and exposure to death in the environment have been documented as major factors affecting the formation of a mature death concept. The present study investigated the relationships between these three factors (age, cognitive ability, and death experience) and children's understandings of death, as well as the relationship between mothers' communicative competence and children's understandings of death. Thirty-seven children (ages 48–96 months) completed three cognitive tasks and answered four dichotomous questions about death. Their mothers ( N = 37) responded in writing to 16 questions about death that children are likely to ask. Results showed significant relationships between age and understanding, between seriation ability and understanding, and between death experience and understanding. There was no statistically significant relationship between maternal response competence and children's understandings of death. Implications are discussed.
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Brayshaw, Meg. "The death of Australian literature in Thea Astley’s Drylands." Queensland Review 26, no. 2 (December 2019): 256–68. http://dx.doi.org/10.1017/qre.2019.31.
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AbstractThis article reads Thea Astley’s final novel in the context of rhetoric about the death of Australian literature that has been a mainstay of our national culture almost since its inception. In the early 2000s, a new round of obituarists argued that the global publishing industry, critical trends and changing educational pedagogies were eroding Australia’s literary identity. Drylands, published in 1999, can be considered a slightly prescient participant in this conversation: it is subtitled A Book for the World’s Last Reader, seemingly framing the novel in a polemics of decline. My reading, however, sees the book as the product of two correlated yet combative literary projects: the attempt by its primary narrator, Janet Deakin, to write a book after what she sees as the likely death of reading and writing; and Astley’s more nuanced exploration of the role of literature in settler colonial modernity. Reading across the seven narratives that constitute the book, I argue that Drylands performs the fraught relationship between ethics and aesthetics in the context of writing about the systemic violence of the settler colonial state, questioning literary privilege, exclusivity and complicity in ways that remain relevant to debates regarding Australian literature today.
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Singer, André. "Brian Street Memorial Issue. A Note About the Formative Years." Teaching Anthropology 11, no. 1 (February 22, 2022): 1–2. http://dx.doi.org/10.22582/ta.v11i1.662.
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The importance and influence of the teaching and writing of Brian Street had already been globally recognised by the time of his untimely death in 2017. He was inordinately modest but would have been nonetheless proud to see this gedenkschrift from friends and colleagues highlighting the reasons he had become such a presence in both the worlds of anthropology and literacy. Here I want to reflect briefly on some of the personal influences and experiences that helped shape that intellectual progress during its formative years.
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Heilman, Samuel C. "On Writing about the Seventh Lubavitcher Rebbe and His Hasidim." AJS Review 35, no. 2 (November 2011): 393–400. http://dx.doi.org/10.1017/s0364009411000481.
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When Menachem Friedman and I resolved to write what became The Rebbe: The Life and the Afterlife of Menachem Mendel Schneerson, we did so because as sociologists we were puzzled, as we put it in our preface, by how a “a small Hasidic group that seemed on the verge of collapse in 1950 with the death of their sixth leader” had replanted itself in America and in less than a generation “gained fame and influence throughout the world in ways no one could have imagined” at the time their next and thus far last rebbe, Menaḥem Mendel Schneerson, took over the reins of leadership in 1951. More than that, we were quite amazed that this group, which at its height during the twentieth century was never among the largest hasidic sects and probably numbered at most about 100,000 worldwide, had managed to become among the most well-known hasidim in the world. We were no less struck that they had found ways to make their Jewish outreach efforts, as well as their extraordinarily parochial belief that the contemporary world had entered messianic times (and that only Lubavitchers and their rebbe knew how to hasten his coming), both newsworthy and known far beyond the borders of the hasidic world. Through a series of directed campaigns that aimed to transform Jewry and the world, many, if not most Lubavitchers had also tried to convince the world that their leader, who had reigned over them from Brooklyn for forty-three years, was the Messiah incarnate, even as he lay dying at Beth Israel Hospital in New York.
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Smart, Laura S. "Parental Bereavement in Anglo American History." OMEGA - Journal of Death and Dying 28, no. 1 (February 1994): 49–61. http://dx.doi.org/10.2190/gxw8-n24m-e9w4-qh7m.
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Contemporary bereaved parents who usually lack prior experience with the death of an infant or young child also lack understanding of how parents reacted in previous centuries when a child died. This article reviews social science writing on parental bereavement in Anglo-American history, concluding that parents as early as the early seventeenth century have left records of their grief. Cultural understanding and customs surrounding death have changed, and around 1800 women began to leave records of their grief in letters and diaries. Emotional expressiveness following infant death was greatest during the nineteenth century, but decreased toward the end of the century and became taboo in the twentieth. Compared to men's, expressions of grief by women and writings directed toward women have been more expressive of emotion. Relatively little has been written about parental bereavement in the early and mid-twentieth century.
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Ryassov, Anatoly V. "Notes on postdramatic theatre’s death." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 18–33. http://dx.doi.org/10.18522/2415-8852-2020-1-18-33.
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For many years drama theatre has been accepted almost as a synonym for the theatre itself, but at the beginning of the 20th century scenic art became enmeshed in firmly embraced stereotypes. A number of stage directors and theatre theorists were engaged in discussion about the crisis in drama and began to develop new scenic forms. Towards the middle of the 60s European stage experienced some radical transformations and witnessed the uprising of postdramatic theatre. Perhaps now, fifty years later, when the revolution is over, it is time to talk about a new crisis and point out the unsettled matters, concerning complex issues of communication and interpretation, but also of the relationships with dramatic text. And there is another important question, which is often set aside: What does it all mean for drama as a literary form? Could it be that these events have redoubled the genre’s stagnation? Could the main reasons be found not on the theatrical stage, but in the literature space? Dramaturgy has not yet realized itself as an independent art of writing, such as poetry and prose. Perhaps, all conversations about the separate ways of theatre and drama are jumping ahead, because in fact this separation has not yet begun.
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Corr, Charles A. "Pet Loss in Death-Related Literature for Children." OMEGA - Journal of Death and Dying 48, no. 4 (June 2004): 399–414. http://dx.doi.org/10.2190/hxqy-du5d-yc39-xkj9.
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The death of a pet—or, as some prefer to call it, a companion animal—is a frequent subject in death-related literature for children. Pets are important to children for many reasons; for example, they serve as friends, playmates, and sources of unconditional love. In addition, pets help teach children about the responsibilities that are involved in caring for another living creature. Also, because the life cycles of most animals that become pets are much shorter than those of the humans who care for them, pets often teach children important lessons about loss, death, grief, and coping. For all of these reasons, when I began writing about death-related literature for children my attention was soon drawn to books within that general category that told stories about the death of a pet. In this article, my purpose is to describe and examine a selected sample of 20 books for children whose principal subject or story line is concerned with pet loss. Full bibliographical information for each of these books appears in the list of “Children's Literature” at the end of this article.
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García, María Elena. "Death of a Guinea Pig." Environmental Humanities 11, no. 2 (November 1, 2019): 351–72. http://dx.doi.org/10.1215/22011919-7754512.
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Abstract During ethnographic research on the biopolitics of culinary nationalism in Peru, I visited a guinea pig breeding farm north of Lima. Guinea pigs are considered “food animals” in the Andes. That encounter with pregnant guinea pigs—and with one guinea pig in particular who was tossed out of her enclosure and left to die—led me to a visceral questioning of my methodological and political approaches to and commitments in multispecies ethnography. I found myself uncomfortably close to the deaths of these female bodies yet unable to voice my dismay or grief. This essay is a modest effort to theorize what grief has to offer the practice of multispecies ethnography. I explore how writing about the ethnographic encounter as one of tragedy and loss might open up the productive possibilities of mourning and grief in connecting human and nonhuman worlds.
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Mulcahy, Caitlin M., Diana C. Parry, and Troy D. Glover. "Between Diagnosis and Death." International Review of Qualitative Research 2, no. 1 (May 2009): 29–42. http://dx.doi.org/10.1525/irqr.2009.2.1.29.
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While analyzing the transcripts of interviews with cancer survivors and writing up her findings, the first author found herself suffering from a writer's block of sorts. She was stuck, unable to move forward, encircled by a cloud of voices. Some voices came from the empirical data of the study, others emerged out of her private personal experiences, and one materialized from somewhere altogether more mysterious, urging her to bring the two together. This performance text aims to evoke that struggle to grapple with the many ‘ghosts’ that haunt our research (Doucet, 2008), while also working through the challenge of telling a ‘true’ cancer story (Park-Fuller, 2008). Interviews with 26 members of Gilda's Club of Greater Toronto (a meeting place for people affected by cancer) served as the data that was analyzed utilizing narrative analysis. Excerpts from the interviews were woven together to create the lines spoken by the character of the father. Three additional speaking parts were created—the daughter, the ghost, and the narrator—to help explore themes of isolation, navigation, and reflexivity. Thus, this is a story about feeling lost as a person living with cancer. But it is also a story about feeling lost as a researcher. Ultimately, it is the story of individuals struggling to make the pieces of their lives fit together, struggling to make their way forward, without always knowing how to do either.
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Hamill, Kyna. "Joe Orton: A Casebook. Edited by Francesca Coppa. London: Routledge, 2003; pp. 181. $85 cloth." Theatre Survey 45, no. 2 (November 2004): 300–301. http://dx.doi.org/10.1017/s0040557404310264.
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Is it perverse to take an interest in the infamous death of a writer? How many years should pass until we can discuss the details of a tragic death in an objective context? In the case of the promising playwright Sarah Kane, it is still too soon. With Joe Orton, however, it is easy to mistake the man for the literary construction that now personifies him. In different ways, both of these writers suffer the plight of being forever fused with their texts in postmortem criticisms of their writing. In the case of Orton, however, because of the genre of his writing, we seem to be able to laugh about it.
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Scott, Heather. "‘And writing […] will preserve his memory’: Laman Blanchard’s Afterlife in Letters and Ledgers." European Journal of Life Writing 9 (July 6, 2020): LW&D.CM50—LW&D.CM59. http://dx.doi.org/10.21827/ejlw.9.36918.
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This article examines the historical fragments of cemetery records and monumental masonry for the poet and journalist Laman Blanchard, who was interred in West Norwood Cemetery, London, in 1845, and whose monument was cleared a century later by Lambeth Council. It focuses on Blanchard’s role in the Dickens literary circle and his relation to mid-Victorian writers, situating his untimely death in light of changing legislation on suicide. His lost grave marker is recovered by scrutinising his burial record, obituary, epitaph, and periodicals to ferret out connections amongst the archival sources of his death. The nebulous association, between what is written-by a person in life and what is written-about that person after death, is contemplated throughout.
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Schwartz, Nancy. "Active Dead or Alive: Some Kenyan Views About the Agency of Luo and Luyia Women Pre- and Post-Mortem." Journal of Religion in Africa 30, no. 4 (2000): 433–67. http://dx.doi.org/10.1163/157006600x00401.
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AbstractPaying attention to burial disputes can help us to understand better matters relating to gender, kinship, community, agency, and power. Since Luo and Luyia believe that life after death is a significant part of a person's life, paying attention to 'the hold death has' upon people is important, as are the writing of 'life-and-death histories.' The paper presents three cases, one involving a Luyia woman and two involving Luo women in which the women involved have, in the views of community members, shown the ability to manipulate kinship structures and strictures pre- and post-mortem. The paper seeks to challenge views that have depicted women in western Kenya as passive pawns of a particularly patriarchal form of patriliny. The paper discusses the effect religion has on views about death and burial, and examines the influence of indigenous religion, Roman Catholicism, Anglicanism, and Legio Maria on these cases.
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Kesselman, Idell. "Grief and Loss: Issues for Abortion." OMEGA - Journal of Death and Dying 21, no. 3 (November 1990): 241–47. http://dx.doi.org/10.2190/gaq4-g8vu-pw5m-am6h.
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I had my first abortion just after my seventeenth birthday; in 1966 abortions were legal only to save the mother's life. My parents took me to Mexico, under the guidance of their psychoanalyst. But we never talked about it. While we were gone our dog had puppies. It seemed a powerful irony-but we never talked about it. I had two more abortions years later, each linked to the ending of a marriage. I began to notice a pattern-but no one helped me talk about it. And so I wrote-vignettes, journals, poems, dreams, parts of short stories-never realizing that I was struggling with the unacknowledged, unresolved grief of three abortions, three deaths. Then in 1987 I took the class, “Death, Society, and Human Experience,” as part of my preparation for a master's degree in counseling. All of my fragmented, aborted efforts at writing came together: each vignette had been a part of my grieving. These writings finally helped me resolve my grief-over twenty years of it. I can't help but wonder what differences specific grief therapy might have made in my life-in 1966, in 1972, or in 1976. Whatever your position on the issue of abortion, we must acknowledge that at least one death occurs. In addition to the fetus, there is often the death of youth, of innocence, of dreams, of illusions. Grief therapy must be a part of any abortion counseling. Without a healthy resolution, the guilt and pain continue. For some, it becomes a numbness, a heaviness carried deep inside. For others, relationships, pregnancies, and self concept are affected.
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Konovalova, Mariia, and Ekaterina Kobko. "CONCEPT “DEATH” IN STIG DAGERMAN’S POEM “AUTUMN”." Studia Humanitatis 17, no. 4 (December 2020): 34–40. http://dx.doi.org/10.15393/j12.art.2020.3665.
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The article is devoted to the representation of the concept death in poem “Autumn” («Höst») written by Stig Dagerman in 1954. Author wrote it 10 days before suicide. Thus, poem may be considered as occurring before death. This writing is one of a number works where Stig Dagerman addresses himself to a topic death. Concept death is one of the key concepts for humanity: philosophers, painters and writers have been studying it for centuries. Death concept realization can be found in language with the help of various linguistic means: direct and indirect naming units (on the form of metonymic and metaphorical transfers), conventional epithets, colours and images which can be either culture-universal or authorial. In poem of interest concept death is present mostly by metaphorical transfers and colour epithets and one realization through the use of metonymic transfer. The poem includes traditional, universal cultural as well as authorial images. On the one part these speak about importance of studying the concept in global culture, on the other part these speak about Stig Dagerman’s high level of excellence as a poet.
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Taylor, Ruth E. "Death of neurasthenia and its psychological reincarnation." British Journal of Psychiatry 179, no. 6 (December 2001): 550–57. http://dx.doi.org/10.1192/bjp.179.6.550.
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BackgroundThe diagnosis of neurasthenia appeared in 1869 and rapidly became fashionable and highly prevalent. It disappeared almost completely, producing ongoing debates about what happened to the disease, which have not so far been informed by empirical data.AimsTo use empirical historical hospital data from one specific hospital to explore several controversies about neurasthenia, including what happened to the disorder.MethodThe annual reports of Queen Square Hospital were examined from 1870 to 1947. The prevalence of neurasthenia diagnoses as a proportion of total discharges was recorded. The possible diagnostic categories into which neurasthenia could have been reclassified were identified. Textbooks and writing by neurologists working at the hospital during this period were examined.ResultsNeurasthenia accounted for 6–11% of total discharges from the late 1890s to 1930, when it virtually disappeared. Men accounted for 33–50% of cases.ConclusionsNeurasthenia affected both the upper and working classes and both men and women. Neurologists, not psychiatrists, continued to see the disorder well into the 20th century. Neurasthenia did not disappear, but was reclassified into psychological diagnoses.
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Sturgess, Gary L. "The Book of Mosiah: Thoughts about Its Structure, Purposes, Themes, and Authorship." Journal of Book of Mormon Studies (1992-2007) 4, no. 2 (October 1, 1995): 107–35. http://dx.doi.org/10.2307/44758940.
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Abstract The book of Mosiah is a cultic history of the reign of Mosiah, structured around three royal ceremonies in 124, 121, and 92–91 B.C. On each of these occasions, newly discovered scriptures were read to the people, stressing the dangers of monarchical government and celebrating the deliverance of the people and the revelation of Jesus Christ. This book existed independently hundreds of years before Mormon engraved it onto the gold plates. The most likely occasion for the writing of such a book was in the aftermath of Mosiah’s death when Alma the Younger needed to undermine the Amlicite bid to reestablish the monarchy.
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Chhikara, Riya. "Celebrating Clifford Geertz’ contributions to anthropology: A Tribute on his 15th Death Anniversary." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 12, no. 02 (2022): 366–72. http://dx.doi.org/10.37648/ijrssh.v12i03.022.
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After the second world war in 1960s, there were two currents of thoughts to understand culture, symbolic and postcolonial. The symbolic school included Clifford Geertz (1926-2006), while the postcolonial school included scholars like Talal Asad and Edward Said. Both of these attempted to understand how colonialism shaped multiple societies. They also filled a vacuum in anthropology by raising questions on ‘inequality’ and ‘discrimination’ by the researcher. The data was biased to those who funded the research and critical questions were not usually asked. In this light, the discipline witnessed the birth of ‘Action Anthropology’. Postmodernists like Geertz and Bourdieu criticised the notion of a ‘researcher as a detached scientist’, and ‘objectivity’ which were emphasised in the Functional Anthropology (Durkheim). In this article, light is drawn to Geertz’ style of writing about cultures through ‘ethnographies of experiences.’ It is an affective turn that focuses on cultural pluralism and respecting differences. The article attempts to highlight on Geertz’ significant contributions in writings like ‘Religion in Java’ and ‘Interpretation of cultures.’
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Filipov, Sofija. "Епидемија бесмртности и писање романа у „Проналаску Атханатика” Владана Деснице." Slavica Wratislaviensia 177 (December 30, 2022): 343–51. http://dx.doi.org/10.19195/0137-1150.177.28.
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In Vladan Desnica’s unfinished novel, The Discovery of Athanatic, “contagion” is presented in a very specific way. Unlike any epidemic that equates people through dangerous experiences, Desnica’s unfinished novel erupts an “epidemic of immortality” that opens up the deepest inequality: inequality before death. Desnica’s novel is not only one of the first dystopian novels in Serbian literature of the 20th century, but it is also a novel about writing a novel, which suppresses the very theme of immortality. Death appears on the horizon of writing and the question arises whether it is possible to write without death at all, which is of supreme importance for the poetics of high modernism. In specific borderline situations, the modernist subject turns to himself and searches for meaning and ultimate truth, which gives Desnica’s unfinished novel, of which an important part has been included in his major novel, The Springtimes of Ivan Galeb, poetic significance. The “contagion” would not have the same literary relevance without it.
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Matteson, John. "Finding Private Suhre: On the Trail of Louisa May Alcott's “Prince of Patients”." New England Quarterly 88, no. 1 (March 2015): 104–25. http://dx.doi.org/10.1162/tneq_a_00437.
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John Suhre, whom Louisa May Alcott called the “hero” of her Hospital Sketches, strongly influenced her thinking and writing. However, almost nothing has been known about him. This article identifies Suhre and reconstructs his final months, from his enlistment in the 133rd Pennsylvania Volunteers to his death in an army hospital.
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Alekou, Stella. "The Art of Death in Ovid's Heroides." Illinois Classical Studies 46, no. 1-2 (April 1, 2021): 31–58. http://dx.doi.org/10.5406/23285265.46.1.2.03.
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Abstract Notwithstanding the focalization in Ovid's Heroides on love, one may also identify a consistent emphasis on death, as the letters grow to become a literary refuge for women who experience loss as well as physical and social isolation. Death plays a decisive role in the portrayal of the female writers as sympathetic victims. The fictionalization of death acts as a means of persuasion also for the poet, who situates his text against the background of Augustan politics. Writing about the art of death enables Ovid to implicitly defend the artists who had been defeated and violently silenced by power and renders his work an indispensable rhetorical tool for their literary survival.
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Young, Simon. "“Her Room was Her World”: Nellie Sloggett and North Cornish Folklore." Journal of Ethnology and Folkloristics 11, no. 2 (December 1, 2017): 101–36. http://dx.doi.org/10.1515/jef-2017-0016.
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Abstract Nellie Sloggett (1850–1923) was a Cornish novelist and, under the name Enys Tregarthen, a folklore writer. This article* has four aims. First, to bring together all the biographical information about Sloggett. Second, to make the point that Sloggett’s writing is useful for folklorists: she has, since her death, been neglected even by south-western scholars. Third, to situate her work in the broader British and Irish folklore movement: her corpus offers some unique challenges. And, fourth, to provide a hand-list of her books and her other writings to facilitate further research. It is hoped, too, that some of the reflections on the geography of folklore collection will have a wider application.
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Sarah, Rima, and R. Myrna Nur Sakinah. "SIMBOL DALAM PUISI KETIKA MAUT MENJEMPUT KARYA JALALUDDIN RUMI." Journal of Language and Literature 9, no. 2 (2021): 148–59. http://dx.doi.org/10.35760/jll.2021.v9i2.4140.
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The poem "When I Died" is one of Jalaluddin Rumi's literary masterpieces. He is known as a famous Islamic mystical Sufi until this time. Jalaludin Rumi's poem "When I Died" provides clues to humans about real death. Death here is not something scary, but a way to eternal love. This depiction of death, resurrection and immortality is a symbol found in the poem "When I Died" by Jalaluddin Rumi. Various literary works about death are often associated with sadness, grief, loss and unstoppable tears. This makes death a frightening and sad event. However, Rumi actually describes death as a step towards eternal love. This writing will show the symbolic meaning of the poem "When I Died" by using the hermeneutical analysis method from Paul Ricoeur. This method will explain the symbolic meaning of this poem and put an explanation of the symbol's meaning in real life. The result of this analysis is the discovery of various symbols contained in the poem "When I Died", including symbols of death, resurrection, and immortality.
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Unigwe, Chika. "The Black Messiah: Writing Equiano." Journal of Commonwealth Literature 55, no. 3 (January 7, 2019): 449–55. http://dx.doi.org/10.1177/0021989418816121.
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In this essay, Nigerian author Chika Unigwe discusses the challenges involved in writing the biographical novel The Black Messiah (currently published only in Dutch translation as De zwarte messias), which imaginatively retraces the life of Olaudah Equiano. Unigwe’s first attempt to reimagine Equiano took the form of a children’s book in the late 1990s. This project immediately drew her attention to the two primary, antithetical difficulties of writing biographical fiction: on the one hand, one needs to rely on historical information to recreate the past accurately but, on the other, fiction — being art — cannot impart a great deal of such information without becoming too didactic. Unigwe abandoned this early project but eventually took it up again in the form of an adult novel. Some of her creative choices in writing this book were guided by the imaginative spaces left in Equiano’s autobiography — for example, he hardly mentions his white wife and remains vague about his time as a plantation overseer. This prompted a series of questions for Unigwe to explore: how did a black man experience an interracial marriage in the eighteenth century? How did Equiano handle “stubborn” slaves as an overseer? How could a twenty-first century writer recreate Equiano’s state of mind without judging him by contemporary standards? There were additional challenges too. One pertained to the type of language to be used to recount Equiano’s story, another to the constraints involved in writing about a real figure, many aspects of whose life and death are on the historical record. Ultimately, Unigwe tried to find a balance between fact and fiction, history and imagination, so as to highlight the magnitude of Equiano’s accomplishments, while also exploring him as a human being whose story remains particularly relevant today.
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Richardson, Heather. "Waving at Soldiers." European Journal of Life Writing 4 (July 19, 2015): C7—C18. http://dx.doi.org/10.5463/ejlw.4.158.
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For most writers the first experience of narrative comes from within the family. Facts, opinions, distortions and – very occasionally – truth, are shaped into family stories. A first-time memoirist such as myself has to acknowledge her own unreliability as a narrator, and must unpick real from false memory, the accidently misremembered from the downright lie. In this piece I chart the uncomfortable experience of remembering and writing about growing up during the Northern Irish ‘Troubles’, focusing on the life and death of my Aunt’s husband. He was a British soldier serving in Northern Ireland during the worst years of the Troubles in the early 70s and latterly a constable in the Royal Ulster Constabulary (RUC). From their peculiar wedding in my parents’ front room to his death in a car crash five years later, exploring his story has confronted me with the long-denied impact of the Northern Irish conflict on my practice as a writer and teacher of creative writing. This article was submitted to the European Journal of Life Writing on 20 April 2015 and published on 19 July 2015.
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Eppler, Christie. "Exploring Themes of Resiliency in Children after the Death of a Parent." Professional School Counseling 11, no. 3 (February 2008): 2156759X0801100. http://dx.doi.org/10.1177/2156759x0801100305.
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The purpose of the phenomenological and grounded qualitative study in this article was to explore resilient traits of children, aged 9 to 12, who experienced the death of a parent within the past 36 months. The researcher assisted the children in narrating and writing their stories about parental loss and adaptation by posing questions guided by a review of literature framed in an ecological context. Data were coded and analyzed, uncovering themes of resilience. Implications for school counselors working with students who have parental grief experiences are discussed.
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Turato, E., J. R. Rodrigues, C. Santos, A. C. Bispo, and C. S. Lima. "Is the Living Will an interesting way to determine themselves? Qualitative research about considerations said by oncologists in a university service care in Southeast Brazil." European Psychiatry 65, S1 (June 2022): S659—S660. http://dx.doi.org/10.1192/j.eurpsy.2022.1694.
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Introduction What does the physician think in his/her intimacy about clinical care for when his/her death would be near? Living Will is a type of advance directive with the aim to guarantee the testator’s autonomy when faced with death. Particularly oncologists are often faced with human finitude. Their delicate work does not protect them from the possible anguish of thinking and preparing for their own death. It is pertinent to know the psychic mechanisms normally present in the management of this expectation. Objectives To explore symbolic representations of oncologists such as referred to the possible elaboration of their own Living Will. Methods Qualitative design. Eight participants, clinicians, sample closed by theoretical saturation of information. Semidirected interviews in-depth were conducted online during the pandemic, fully transcribed. Technique of Clinical-Qualitative Content Analysis used for data treatment to generate categories of discussion. The authors search for core meanings in the corpus of interviews, after free-floating readings. Results Three categories emerged from the material: Living Will: postponing the decision in order to not anticipate death; From Rationalization Mechanism to Intellectualization: a more sophisticated defensive strategy; Loss of Autonomy: the doctor’s belief while to feel him/herself patient. Conclusions (1) Even with all scientific knowledge, respondents have archaic thoughts on defining advance directives as healthy individuals would mean rushing time of their death. (2) Resistance of these professionals to an imagined scenario of end reveals underlying anguish in writing of living will. (3) There is fear of losing autonomy when they do not know how their Living Will can be seen. Disclosure No significant relationships.
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Schuh, Melissa. "‘Which I Presume is Permitted, Since We Are Talking About A Writer.’ Lateness, Memory, and Imagination in Literary Autobiography." European Journal of Life Writing 9 (December 28, 2020): BE111—BE130. http://dx.doi.org/10.21827/ejlw.9.37328.
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In Summertime, a fictional biographer, Mr Vincent, conducts interviews with contemporaries of the novelist J.M. Coetzee for a biography of the late author. However, every claim made about the late Coetzee by the characters in Summertime is composed by the author himself, so the hidden, yet obvious presence of the novelist gives the book’s supposedly biographical outlook an autobiographical twist. Summertime’s Coetzee is distinctly both alive and dead. I propose to analyse works such as Summertime as literary autobiographies that employ narrative strategies otherwise found in fiction in order to creatively explore lateness, belatedness, and a sense of ending with regard to their writing life. Performative contradiction, as a deliberate stylistic manifestation of paradoxical contradictions, is a result of such narrative strategies. This enables a portrayal of memory and sincerity in autobiography that acknowledges the fraught nature of these notions. Drawing on autobiographical writing by novelists, such as Coetzee, Philip Roth, and Günter Grass, this article analyses the use of tense and fictionality to create performative contradiction. It shows how the novelist’s memory and imagination engage with the ever-present possibility of death to subvert traditional ideas of lateness as well as perceived limitations to the temporality of autobiographical writing.
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Farber, Jules B. "The Process of Writing a Book about Baldwin’s Self-Exile in Saint-Paul de Vence." James Baldwin Review 3, no. 1 (October 4, 2017): 152–59. http://dx.doi.org/10.7227/jbr.3.9.
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Rather than write a classic biography of James Baldwin in the last cycle of his life—from his arrival in 1970 as a black stranger in the all-white medieval village of Saint-Paul, until his death there in 1987—I sought to discover the author through the eyes of people who knew him in this period. With this optic, I sought a wide variety of people who were in some way part of his life there: friends, lovers, barmen, writers, artists, taxi drivers, his doctors and others who retained memories of their encounters with Baldwin on all levels. Besides the many locals, contact was made with a number of Baldwin’s further afield cultural figures including Maya Angelou, Harry Belafonte, Sidney Poitier, Angela Davis, Bill Wyman, and others. There were more than seventy interviews in person in places as distant as Paris, New York or Istanbul and by telephone spread over four years during the preparatory research and writing of the manuscript. Many of the recollections centred on “at home with Jimmy” or dining at his “Welcome Table.”
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Redden, Shawna Malvini. "Sky Ops Surprise." Departures in Critical Qualitative Research 4, no. 1 (2015): 7–34. http://dx.doi.org/10.1525/dcqr.2015.4.1.7.
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Invoking the styling of classic spy stories, this essay provides an account of a commercial aviation emergency landing that blew the agent/author's “cover” as a full participant ethnographer. Using an experimental autoethnographic format, the piece offers an evocative portrayal of a perceived near-death experience and its aftermath, as well as critical commentary on writing autoethnography with a fictionalized framing. In the closing “debrief,” the author sheds her agent persona to describe the process of writing about traumatic events and to analyze how those events focus attention on methodological and ethical considerations for qualitative research.
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Sardi, Lauren M., and Kathy Livingston. "Losing an Ex-Spouse." Journal of Autoethnography 3, no. 3 (2022): 313–28. http://dx.doi.org/10.1525/joae.2022.3.3.313.
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The experience of loss and grief during the COVID-19 pandemic provided an opportunity to explore the connections between the individual and society through the use of the autoethnographic method. In writing this autoethnography, the authors confront questions about grieving as an individual and social process, and explore the importance of social norms in thinking about everyday events such as the death of a loved one. In this article, we discuss “grieving rules” as they pertain to “normal” incidences of death, and then explore what happens when extenuating circumstances such as a global pandemic make adherence to predictable norms difficult or impossible. While recent studies of grief related to the global pandemic focus on the survivors of COVID-19 victims, this study explores the social implications of losing a loved one during a pandemic when the death is not due to COVID-19. This autoethnography relies on grief experienced during the pandemic following a non-COVID death as a possible context for disenfranchised grief.
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Kotowska, Katarzyna. "Tom est mort/Mot est mort – l'impossibilité du langage dans le roman de Marie Darrieussecq." Quêtes littéraires, no. 1 (December 30, 2011): 137–48. http://dx.doi.org/10.31743/ql.4653.
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An emptiness after one’s child death seems to be impossible to describe. In her novel Tom is dead, Marie Darrieussecq explores mother’s forbidden thoughts. She reconstructs her grieving process ten years after an accidental death of her four years old son. She starts to write a journal to finally deal with her trauma. Darrieussecq challenges the taboo or writing about things that words are almost impossible to express.
The significant thing is that the boy’s name “Tom”, is the anagram of “mot” which stands for “a word” in French. For that reason the death of Tom becomes the death of word. The analysis of the novel in the optic of psychoanalysis results in interesting conclusions, just likewise Marie Darrieussecq’s study in meta-literary context.