Aesthetics In Grief And Mourning

A philosophical exploration of aesthetic experience during bereavement. In Aesthetics of Grief and Mourning, philosopher Kathleen Marie Higgins reflects on the ways that aesthetics aids people experiencing loss. Some practices related to bereavement, such as funerals, are scripted, but many others are recursive, improvisational, mundane—telling stories, listening to music, and reflecting on art or literature. Higgins shows how these grounding, aesthetic practices can ease the disorienting effects of loss, shedding new light on the importance of aesthetics for personal and communal flourishing.

"A philosophical exploration of the value of aesthetics in loss and grieving. Loss and grief are destabilizing forces. As a bereaved person grapples with the reality that their loved one is gone and feels only shakily connected to the surrounding world, the tangibility of sensory objects can be grounding. In Aesthetics of Grief and Mourning, philosopher Kathleen Marie Higgins highlights the role of aesthetics in the grieving process, offering a guide for how being attuned to aesthetics can aid those experiencing loss. While some activities associated with loss-such as participation in funerals-are culturally scripted, many others are relatively everyday, including attending to sensory objects, telling stories, reflecting on artworks, experiencing music, and engaging in creative projects. Higgins shows how attending to these aesthetic practices helps those who have experienced loss, and she also sheds light on the importance of aesthetic engagement with the world for individual and community flourishing"--

Many books on grief lay out a model to be followed, either for bereaved persons to live through or for professionals to practice, and usually follow some familiar prescriptions for what people should do to reach an accommodation with loss. The Crafting of Grief is different: it focuses on conversations that help people chart their own path through grief. Authors Hedtke and Winslade argue convincingly that therapists and counselors can support people more by helping them craft their own responses to bereavement rather than trying to squeeze experiences into a model. In the pages of this book, readers will learn how to develop lines of inquiry based on the concept of continuing bonds, and they’ll discover ways to use these ideas to help the bereaved craft stories that remember loved ones’ lives.

This text probes the psychic and social roots of artistic scenarios of loss. Demonstrating that artistic activity is inextricably bonded to imaginary scripts of bereavement and these in turn to patterns of social dominance, the author argues in favor of an "aesthetics of lessness" that is, postmodern resistance to imaginary inscriptions of grief and their misogynist sequels. The book draws on psychoaesthetics, discourse theory and feminist social critiques to analyse literary visual figurations of loss. Included in its analysis of the romantic and post-romantic imaginary are readings of Merimee, Nerval, Hoffmann, H.D., Anne Hebert, Proust and Beckett, and essays, among others, on Kollwitz, Glacometti, Bellmer, Klee, Gidal and Oulton.

In 1846, Edgar Allen Poe wrote that 'the death of a beautiful woman is, unquestionably, the most poetic topic in the world'. The conjuction of death, art and femininity forms a rich and disturbing strata of Western culture, explored here in fascinating detail by Elisabeth Bronfen. Her examples range from Carmen to Little Nell, from Wuthering Heights to Vertigo, from Snow White to Frankenstein. The text is richly illustrated throughout with thirty-seven paintings and photographs.

An engaging and illuminating exploration of grief—and why, despite its intense pain, it can also help us grow Experiencing grief at the death of a person we love or who matters to us—as universal as it is painful—is central to the human condition. Surprisingly, however, philosophers have rarely examined grief in any depth. In Grief, Michael Cholbi presents a groundbreaking philosophical exploration of this complex emotional event, offering valuable new insights about what grief is, whom we grieve, and how grief can ultimately lead us to a richer self-understanding and a fuller realization of our humanity. Drawing on psychology, social science, and literature as well as philosophy, Cholbi explains that we grieve for the loss of those in whom our identities are invested, including people we don't know personally but cherish anyway, such as public figures. Their deaths not only deprive us of worthwhile experiences; they also disrupt our commitments and values. Yet grief is something we should embrace rather than avoid, an important part of a good and meaningful life. The key to understanding this paradox, Cholbi says, is that grief offers us a unique and powerful opportunity to grow in self-knowledge by fashioning a new identity. Although grief can be tumultuous and disorienting, it also reflects our distinctly human capacity to rationally adapt as the relationships we depend on evolve. An original account of how grieving works and why it is so important, Grief shows how the pain of this experience gives us a chance to deepen our relationships with others and ourselves.

The book tackles the challenging theme of death as seen through the lens of literature and its connections with history, the visual arts, anthropology, philosophy and other fields in humanities. It searches for answers to three questions: what can we know about death; how is death socialised; and how and for which purposes is death aesthetically shaped? Unlike many other publications, the volume does not endorse the fallacy of over-simplifying death by seeing it either in an exclusively positive light or by reducing it to a purely literary figure. Using literature’s potential to stimulate critical thinking, many contemporary stereotypical configurations of death and dying are debunked, and many hitherto unforeseen ways in which death functions as a complex trigger of meaning-making are revealed. The book proves that death is an inexhaustible source of meanings which should be understood as peremptorily plural, discontinuous, problematic, competitive, and often conflictual. It offers original contributions to the field of death studies and also to literary and cultural studies.

An examination of German women's art produced during the First World War that places the artists' visual responses within the civilian war experience. Traces the thematic evolution of women's art from visual expressions of support for the national war effort to more nuanced and distraught representations of grief over wartime death.

This book provides a presentation of the concept of “atmosphere” in the realm of aesthetics. An “atmosphere” is meant to be an emotional space. Such idea of “atmosphere” has been more and more subsumed by human and social sciences in the last twenty years, thereby becoming a technical notion. In many fields of the Humanities, affective life has been reassessed as a proper tool to understand the human being, and is now considered crucial. In this context, the link between atmospheres and aesthetics becomes decisive. Nowadays, aesthetics is no longer only a theory of art, but has recovered its original vocation: to be a general theory of perception conceived of as an ordinary experience of pre-logical character. In its four parts (Atmospheric turn?, Senses and Spaces, Subjects and Communities, Aesthetics and Art Theory), this volume discusses whether atmospheres could take the prominent and paradigmatic position previously held by art in order to make sense of such sensible experience of the world.