![]() University of Nebraska Press.īlanchot, M. “And there’s always this great hole inside that hurts”: An empirical study of bereavement in later life. ![]() Schocken Books.īennett, K., & Bennett, G. Association for Consumer Research.īenjamin, W. Yoon (Eds.), Advances in consumer research (Vol. Fear of the dead, fear of death: Is it biological or psychological? Mortality, 17(4), 322–337. Ricky Gervais’ After Life is ‘painfully accurate’ portrayal of life as a widower. This chapter discusses how the following collection of academic essays discuss a range of creative processes and practices that have been employed in the production of portrayals of, and reflections on, death and dying, many of which reconnect readers, viewers and users to the phenomenology of dying and grief.īanim, J. Palgrave Macmillan, 2013) reasons, “thwarted fascination” with death is then redirected towards graphic and violent representations produced in the media. Maes (Ed.), Pornographic Art and the Aesthetics of Pornography (p. ![]() Doubleday, 1955) identified how the professionalization of the physical management of death (by medical and funeral industries) has served to shield individuals from the absolute state of death. Gorer (Ed.), Death, Grief, and Mourning (pp. In “The Pornography of Death” Geoffrey Gorer (in G. ‘Death awareness,’ or the appreciation of the realities of dying, has become distorted by the persistent appropriation and application of death as entertainment. Despite this knowledge, we have cultivated cultural practices that suppress the certainties of death, conceal it (out of respect) or censor it, while other practices encourage us to attend to death as a depersonalized non-threatening mode of entertainment. While death may not be a comfortable subject, we understand that it is universal-it impacts all of us. The idea that death is taboo is somewhat of a misnomer.
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