This article is part of a larger research project on the political, cultural, and social implications of interwar Yugoslavia’s remembrance and mourning of its war dead. Es- chewing a focus on state-centered commemorative practices, this article focuses on two types of sources, laments of Serbian women and photographs by Serbian military photographers, as entry points into understanding the private, cultural, and religious arenas of Serbian wartime and interwar remembrances. Drawing on research examining the political uses of lament and grief, the article considers the role Serbian women played in controlling and directing the “passion of grief and anger” within their communities as they remembered the dead. The photographic evidence reveals that traditional death rituals and laments were performed and that these rituals were significant socio-political spaces where women, families, and communities of soldiers advanced claims for recognition of their wartime experiences and memories. However, the photographs themselves are sites of memory and this article examines how military photographers, acting on behalf of the state, sought to control the representation of grief and by doing so politicized and secularized the way grief was expressed. Placing these sources side by side illustrates the intermingling of forms of mourning and remembrance that existed not only in the Balkans, but also in many other communities throughout Europe, especially among its rural inhabitants.
Lamenting and Photographing the Dead in Serbia, 1914–1941
artist’s decision to publicise these experiences might also be seen as part of the process of working through the stages of grief. 5 La Casa is largely focalised through the experiences of father Antonio’s adult children. After the patriarch’s death, the
Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth
experimental film practices, Laurie Anderson's film Heart of a Dog (2015) is explicitly concerned with death and the emotions that accompany it (love, grief, guilt, and loss). First commissioned by the Franco-German company Arte TV to create a “philosophy of
Death and Grief Rituals
Aref Abu-Rabia and Nibal Khalil
This article presents various mourning rituals and death rites as they are practised in Palestine. It focuses on differences in the mourning experience among fellahin and Bedouin Arabs but also shows certain parallels in their mourning and grieving customs. The article provides information on the prescribed set of rituals that Palestinians perform, beginning with how the body is treated and the way that it is prepared for burial. Combinations of mourning practices, which vary from rending one's garments to throwing earth on one's head, provide socially sanctioned expressions of grief and sorrow. Mourning practices differ between women and men: the former lament loudly and scratch their faces, while among the latter tears are neither encouraged nor welcomed. Parallels can be seen in these rituals with mourning for Palestine.
Happiness and Care of the Self in Sir Kenelm Digby's Letter-Book In Praise of Venetia
for his work on atomism and mechanical philosophy. However, the letters he wrote after the death of his wife also single him out as a key figure for the study of grief and mourning in early modern England. After discovering Venetia dead in her bed on
Analytic and Sartrean Phenomenological Perspectives
John Graham Wilson
négatités , constituting, for him, syntheses of nothing within emotioninfused intentionalities such as grief. Sartre sympathizers will want to say positivistic accounts, as broadly represented by Ayer, Strawson, and their contemporary counterparts, will
Eighteenth-Century Utopianism and Fire Down Below
William Golding’s Fire Down Below (1989) is the last in his ‘Sea Trilogy’, a sequence of novels which began in 1980 with Rites of Passage and continued in 1987 with Close Quarters. Edmund Talbot, Golding’s young, aristocratic protagonist, finally arrives in Australia shortly after the end of the Napoleonic Wars and this sea-borne bildungsroman is brought to an end. The response to Fire Down Below was extremely enthusiastic, and markedly different from the cautious and even mildly hostile response which greeted Close Quarters. The great majority of reviewers agreed that the happy ending of Fire Down Below made it Golding’s most optimistic novel. John Bayley wrote: ‘Fire Down Below brings the whole magical enterprise to a prosperous and happy conclusion’, while John Fowles wrote: ‘In this black-besotted age some may be unsettled by the happy ending, indeed by the generally jaunty (a word that kept perversely returning to me as I read) spirit of this closing leg.’ However, the last of Golding’s books published in his life-time can be read as a deeply conservative political allegory and, overall, as one of his most deeply pessimistic novels.
Voice, audience, and the political in psychotherapeutic practices with refugees
This article explores the relationship between psychotherapeutic practices with people with refugee backgrounds and “the political”. The relationship between voice and audience in psychotherapeutic practices is explored; through such an analysis the relationship between psychotherapy, history, and the political is considered. The theoretical questions are approached through a case study, a Bosnian man with refugee background living in Finland and attending psychotherapy there who invited the anthropologist to attend his therapy sessions. The analysis of the single case is situated within long-term ethnographic research on the Bosnian diaspora. Situating the personal in historical and moral plots, as well as seeking larger audiences beyond the confines of the therapeutic relationship, is seen as crucial in producing therapeutic effects. Simultaneously, the case enables a theoretical discussion about the relationships between voice, audience, and the political.
Lorenzo Javier Torres Hortelano
In Antichrist (Lars Von Trier, 2009), the inverted story of a modern-day Adam (He) and Eve (She) and the death of their son, we witness the deep wound that von Trier himself suffered when his mother revealed to him a truth. He would later reveal this truth to the general public, and I follow the film’s own allusive structure by returning to this revelation only at the end of this report.
Letters from French War Orphans, 1915–1922
Bethany S. Keenan
die of grief.” He had recently started work, but the high cost of living made it difficult for the family to get by. Despite the recent victory, he and his two sisters were facing hard times. “Before the war,” he noted simply, “life was much brighter