Relevant bibliographies by topics / Grief in art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Grief in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Grief in art"

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Josephsen, Jayne. "Examining Grief Through Art." Journal of Nursing Education 59, no. 9 (September 1, 2020): 540. http://dx.doi.org/10.3928/01484834-20200817-14.

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Leeuwenburgh, Erika. "The art of grief." Arts in Psychotherapy 16, no. 4 (December 1989): 333. http://dx.doi.org/10.1016/0197-4556(89)90057-9.

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Davis, Amanda A., and Mellar P. Davis. "Art in medicine and the art of grief." Progress in Palliative Care 18, no. 5 (October 2010): 266–69. http://dx.doi.org/10.1179/096992610x12775428636908.

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Bauer, Sara. "Artist's Statement: Grief." Interdisciplinary Journal of Partnership Studies 10, no. 2 (December 21, 2023): 8. http://dx.doi.org/10.24926/ijps.v10i2.5581.

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Brinkmann, Svend, Ignacio Brescó, Ester Holte Kofod, Allan Køster, Anna Therese Overvad, Anders Petersen, Anne Suhr, Luca Tateo, Brady Wagoner, and Ditte Winther-Lindqvist. "The Presence of Grief: Research-Based Art and Arts-Based Research on Grief." Qualitative Inquiry 25, no. 9-10 (July 23, 2018): 915–24. http://dx.doi.org/10.1177/1077800418789443.

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The authors involved in the creation of this text collaborate on a research project called The Culture of Grief, which explores the current conditions and implications of grief. The authors mostly employ conventional forms of qualitative inquiry, but the present text represents an attempt to reach a level of understanding not easily obtained through conventional methods. The group of authors participated as members of the audience in an avant-garde theatrical performance about grief, created by a group called CoreAct. The artists of CoreAct create their art through systematic research, in this case on grief, and we as researchers decided to study both the development of the play and its performance, and to report our impressions in fragments in a way that hopefully represents the nature of grief as an experienced phenomenon. We use Hans Ulrich Gumbrecht’s concept of presence to look for understanding beyond meaning in grief and its theatrical enactment.
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Buck, Harleah G., Diego F. Hernandez, Tina Mason, Cindy Tofthagen, and Kevin E. Kip. "A TALE OF TWO CASE STUDIES: ACCELERATED RESOLUTION THERAPY FOR COMPLICATED GRIEF IN OLDER ADULTS." Innovation in Aging 3, Supplement_1 (November 2019): S272. http://dx.doi.org/10.1093/geroni/igz038.1010.

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Abstract Complicated grief (CG) is characterized by lengthy, intense, and functionally impairing grief which disproportionately affects older adults. Accelerated Resolution Therapy (ART) is a brief, protocol driven, exposure/imagery rescripting therapy which uses lateral left-right eye movements. ART, unlike traditional psychotherapy, directs the person to perform two tasks simultaneously (e.g. re-experiencing the grief experience and performing eye movements), taxing limited working memory capacity. Importantly, this may force memory traces representing events, emotions, and sensations to compete for permanence, as well as reduce the vividness and emotional intensity of the original grief. Two CG case studies are presented (expected; unexpected death) with their response to ART. Stake’s instrumental case study methodology was used to identify and study cases which reflect a range of CG. Additionally, CG was measured by the Inventory of Complicated Grief (ICF). ICF’s range is 0-76 with scores > 24 indicating CG. Case 1 was a spousal caregiver with a single, expected death where helplessness, guilt, shame, and a life alone had resulted in CG (baseline ICF 33). Her ICF at 8 weeks post-ART was 10. Case 2 was an adult child caregiver with multiple (parent, sibling), unexpected deaths in quick succession where loss, guilt, anger, and helplessness had resulted in CG (baseline ICF 25). Her ICF at 8 weeks post-ART was 9. Both participants were able to process the distressing sensations that emerged during the imaginal exposure component facilitated with the use of eye movements. This suggests that ART may be a powerful new mind-body treatment for CG.
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Lyon, J. M. "The Art of Grief: Douglas Dunn's Elegies." English 40, no. 166 (March 1, 1991): 47–67. http://dx.doi.org/10.1093/english/40.166.47.

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Greeff, Sandra. "Creating a bereavement memorial protocol using art therapy: Reflecting on two case studies." South African Journal of Arts Therapies 1, no. 1 (July 13, 2023): 28–49. http://dx.doi.org/10.36615/sajat.v1i1.2497.

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Art therapy in South Africa has focused on counselling and grief work but not on modelling a persistent complex bereavement memorial protocol as a viable alternative to traditional bereavement counselling. This article addresses this gap in practice and literature in the following ways: Investigating an organically modelled and observed bereavement process reflected in the form of interviews. Analysing the literature that will support this hypothesis, consider how this art-based therapeutic bereavement memorial protocol can provide a viable alternative to traditional bereavement counselling. Investigating how the use of art materials in the form of clay-work in this research can support healing and a safe place to process persistent complex grief processing. The methodology of this article is a qualitative arts-based inquiry extracting the information of an organically modelled process observing two bereavement case studies of two mothers processing persistent complex grief through the action of using the clay processing to the attachment onto a surface, creating bereavement artworks as memory capsules to support their unique mourning processes. The time frame of two years of observing, recording and creating a thematic analysis and synthesis is likened to the mourning process of persistent complex grief. Using a supporting psychodynamic investigation from an extensive literature review enables a unique art therapy bereavement protocol that could be used as an alternative to traditional grief and bereavement counselling. Furthermore, through the action of clay-work with an extension to paper collage to ‘piece together’ memories integrating the loss of a loved one into a life without them.
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Roland, Meg. "'wepte and shryked:' Social Grief and the Conclusion of Malory's Le Morte Darthur." Arthuriana 33, no. 2 (June 2023): 154–61. http://dx.doi.org/10.1353/art.2023.a903763.

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Abstract: Through the person of King Arthur, Sir Thomas Malory articulates an emotional response not experienced by one, but as a form of 'social grief,' a grief formed outside the normative bounds and emotional regime of the Arthurian community. Similar to Malory's evocation of the despair of the Arthurian court, we also grieve the loss of civil society, replaced by the shadow side of the American ideals of individual freedom and constitutional rights.
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Ife, Fahima. "Grief Aesthetics." liquid blackness 6, no. 1 (April 1, 2022): 86–95. http://dx.doi.org/10.1215/26923874-9546572.

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Abstract An excerpt from an experimental series, “Grief Aesthetics” is a lyrical essay on intimacy and writing. The essay participates in the double black study of eroding and composing a new sentence, a new sentence sounded in refusal (of the social pact of writing, of grammar), a new sentence forged in friendship (of thinking with, of writing with). On one level, “Grief Aesthetics” is concerned with inherited grief, the remains of stolen life, the residual desire for romance in contemporary black art. The essay considers the loss of romantic love in conversation with Terence Nance's feature and short films An Oversimplification of Her Beauty and Swimming in Your Skin Again, in conversation with a single recurring line from a poem in Taylor Johnson's Inheritance. At another level, “Grief Aesthetics” is a sort of ars poetica on the process of writing and at this level is preoccupied with the poetic line, the sentence (thinking about sentences), the space in writing, the mundane moments in between the emergence of a line or series of lines and declension as it occurs in the gaps. At every turn “Grief Aesthetics” practices creating in “commonsense” (a shared feeling, a shared aesthetics) among contemporary artists whose works evoke a sense of grief, (dis)placement, loss, loneliness, homelessness, desire, tenderness, friendship, bliss.
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Dissertations / Theses on the topic "Grief in art"

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Leidig-Farmen, Pamela. "Glimpses of grief." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/845931.

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The purpose of this creative project was to represent the structure and dynamics of the emotion of grief through a visual medium. Grief, as a process that occurs over time, is usually represented sequentially and verbally as in the writings of Elisabeth Kubler-Ross. This project depicts the stages of grief by representing them both sequentially and simultaneously from a first person point of view by means of a visual medium, (i.e., videotape) in order to emotionally and personally involve the viewer in the process.The creative project is comprised of four video tapes each differing in length. of time between fifteen to thirtyfive minutes. The video tapes are presented as a documentary having a total of five participants who candidly express their experience with the death of a significant person in their lives and how they dealt with their grief. The four videos are shown all at the same time with the television monitors approximately twelve to fifteen feet apart.The video tapes are on file in the Art Department.
Department of Art
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Ward, Margaret Siobhan. "A Mother's Grief: Kathe Kollwitz Descends into the Marginalized." Thesis, Boston College, 2004. http://hdl.handle.net/2345/450.

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Thesis advisor: Susan A. Michalczyk
Käthe Kollwitz (1867-1945) was a progressive artist who used art as a cathartic means to live through the death of her son in WWI and grandson in WWII. Trapped in the sexist generation of early 20th century Germany, Käthe defied the society in which she lived to create art that served as an empathetic mouthpiece for society's marginalized. She created thousands of lithographs and hundreds of sculptures depicting war, death, and poverty. Käthe found beauty in the struggle of the working class and constantly used her physician husband's patients as subjects of her work. As she continued into the socialist realm, she made enemies with German leaders, including Adolph Hitler. Her work fiercely rejected Germany's involvement in World War I and condemned Hitler's Third Reich near the onset of World War II. Käthe's use of bleak colors and disturbing subject matter penetrates the viewer's comfort zone. The viewer is unable to turn away from her work without feeling guilt, and is forever haunted by her prudent recognition of truth
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
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Novakovic, Biljana. "Art as Transport Station of Trauma." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18402.

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Research Paper This research examines matrixial theory as developed by feminist theorist, artist and psychoanalyst Bracha Ettinger in order to bring the insights of this theory to bear on trauma-related art. Ettinger’s matrixial theory is based on the notion that, for every human subject, the earliest, prenatal stages of development begin in relation to another human being. Chapter 1 discusses Ettinger's theory alongside Freud and Lacan, and approaches subjectivity and trauma by first exploring the limitations of subjectivity as described in classical psychoanalysis. Ettinger’s observation that the prenatal stages of development begin in relation to another person opens up the possibility to think about trauma as transmissible and art as subjectivizing the encounter event. She claims that the disposition of sharing trauma is innate to subjectivity and humanity. Chapter 2 describes and analyses Doris Salcedo’s, Louise Bourgeois’ and my own art as possible “transport-stations” of trauma. It analyses artists’ creative processes and viewers’ relations with works of art through the matrixial model as a creative space for meeting and reconnecting with the vulnerability of the other by com-passionate wit(h)nessing. Creative Work The installation that I will exhibit for examination will consist of materials and objects from three works I have been developing in parallel during my research studies. The idea is to construct a world as an artistic installation, as space and time for possible encounter event between viewer and art work, where transsubjective borderlinking is possible. Charged with the grains of my personal and others’ trauma, different objects and materials that I made, sewed or transformed will be involved in a complex relationship of co-inhabiting and co-existing in the same space. Not knowing in advance what that space will be, I will work the space by weaving many strings, visible and invisible, linking with my own known and unknown others, my own and others’ histories, and my own sensitivities to the world. Traditionally handmade work, wool and crocheted pieces, and traditional methods of making will be part of my installation, but will not be visible in a recognizable way. As a necessary part of my art process they are transformed with deep care and commitment and will be invisible elements of the installation that will become the destiny for my artwork, imbued with traces of my own trauma, that of my family, and of others.
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D'Addario, Knight Anna Maria Antoinette. "Farewell Angelina: Trauma, loss, grief and the photographic." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18787.

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Farewell Angelina is a reflection of a journey of grief explored poetically and with urgency through photography and the creation of a photographic bookwork. This bookmaking process reveals an autobiographical inquiry into the power of photographic art practice to respond to trauma, loss and grief and to help shape meaning in the aftermath. This research project began after the sudden and violent loss of my sister in 2015, and gradually became a path to live and make sense of life again. Accompanying this process I began an inquiry into how it is that photography and other art practices console and allow us to mediate suffering. With this investigation I theorise the capacity of artistic mediums, such as photography, to house memory and give form to otherwise inchoate and chaotic emotions and doing so, help us to shape the meaning we make of our lives and our worlds after profound loss. This inquiry, which responds directly to personal history, also reflects on art’s ability to create sites for grief and mourning. With my bookwork I invite others to engage with memorial and creative survival, and in doing this I reject the notion that mourning must be private and repressed. Making this work I recognise that art practice, no matter how personal its origins, also plays a social role and can be a poignant place to communicate, discuss and break silence after violent loss.
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Ertmann, Jacqueline. "Death, grief, bereavement, and transformation: A curriculum for the art room." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/278812.

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There has been very little research in the area of art as therapy with respect to curriculum for the art room. In-service and pre-service teachers are not trained, or prepared, to talk about death and losses with their students. This study surveyed pre-service teachers attitudes toward lesson plans for children about loss. The idea of using art as a creative way to mourn or grieve is an innovative idea. Future research must be conducted to determine if art specialists, in-service teachers, parents, and school administration would agree that curriculum on loss for use by an art specialist or regular classroom teacher would be helpful when presented as part of a death education curriculum.
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Macindoe, Annie C. "Melancholy and the memorial: Representing loss, grief and affect in contemporary visual art." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/119695/1/Annie_Macindoe_Thesis.pdf.

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Melancholy and the Memorial: Representing Loss, Grief and Affect in Contemporary Visual Art is a practice-led project that explores how contemporary art can respond to the limitations of traditional forms of language in the representation of trauma, loss and grief. The project reflects on the work of theorists and artists who also explore the ineffability of these memories and experiences. The creative outcomes have investigated how text, moving image, sound and space can be combined to reframe the dialogue around public and private expressions of trauma and open up discussion of the potential for shared, affectual experiences through art.
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Griffin, Sylvia Clare. "Inscribing Memory: Art and the Place of Personal Expressions of Grief in Memorial Culture." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16138.

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Expressing grief and engaging in mourning are vital healing processes for those who have experienced loss, trauma or violence. Regardless of whether in the distant past or as an ongoing condition, evidence suggests that the mourning process and the partaking of commemorative rituals are essential to the psychological and emotional wellbeing of the individual. This thesis considers artistic alternatives to the role that monuments and memorials have traditionally played in assisting this process. A range of theorists and philosophers including those in the fields of art criticism, history, and trauma studies are referred to in ascertaining not only how monuments and memorials work, but the role that contemporary art can play in imparting meaningful remembrance and solace. This project tests the proposition that contemporary art, through both public and personal expression, can offer an open- ended re-evaluation of the past, instead of the static nature of traditional commemoration. I contend that this can be realised in the form of actions and ephemeral, temporary and materially challenging artistic means in engaging the viewer empathically. I will advance arguments to challenge fixing memory in place and time while also arguing for the place of smaller, more personal expressions of remembrance. My studio practice incorporates pertinent psychological aspects such as postmemory and trauma-induced forgetting in the form of absence, and considers the work of key artists. This studio work investigates materiality – as both traditionally employed in memorial culture, such as metal and stone - and other forms including textiles and more fugitive examples such as hair and the use of fire. The relevance of time, memory and ritual are also evident in this work as well as in the thesis. Although informed by personal, familial experience – often conveyed through my use of family possessions - my works appeal to broader aspects of memorial culture, engaging in customs and rituals and universal themes of loss and grief.
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Weston, Despina. "Death and renewal : a process of growth through loss." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/1856.

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Moore (1994) suggests that a liminal experience can take us from an often divided sense of self and connect us with our own heroic stories. This longitudinal study traces nine journeys of renewal described through experiences of loss. Loss in this context is not limited to actual death but is explored through narrative, symbol ism and the creative arts as tangible expressions of the participants ‘grief and its movement towards renewal . Participants were called to review, evaluate and grow in new ways. The descent, struggle, and growth they experienced is what Campbell (1973) calls our mythic journey. “The Studio” and its particular culture of community mentorship is defined as an entity in its own right. Participants ‘grief narratives are explored through their creative works and the lenses of community and mentors. Participants from “The Studio” were interviewed to glean their perceptions on: (1) a significant death, (2) a liminal experience, (3) community, (4) mentors, (5) rituals for self - soothing, self-expression and support, (6) groups and (7) aspirations. The purpose of this was two-fold. Firstly as a way of making tacit the participants‘ group experiences and secondly to gather data by which a multi-modal programme — “The Retreat ”—was designed based on the participants ‘responses and was implemented as a three day live-in art therapy programme. Participants ‘art work from “The Studio” was used as a baseline for loss and grief imagery and as a historical visual overview of the participants‘ underlying themes in their grief stories. The client/therapist relationship forms a key feature of the study, as does the concept that others can serve as mentors. Participants had a diverse range of anomalous losses between them such as: sibling and parental loss, relationship loss, rejection and deprivation of love from family, overpowering criticism and emotional, verbal and physical abuse, loss of access to grandchildren, loss of a breast, loss of a family business and lifestyle. The purpose of “The Retreat” programme was to transform existing perceptions of loss through the use of creative media, journal processes, and community experiences to record an unfolding process. It is proposed that the arts and the symbolic connect individuals to both the inner self and to others. Art therapy as the bridge between verbal therapies is a creative practice. Coupled with experiences of community and solitude it can invoke deeper connections to others and environment rather than to hierarchical methods that are geared only towards achievement and accomplishment. A post-research interview tracked participants’ perceptions of the success of “The Retreat ” programme for personal change.
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Dobler, Robert. "New American Ways of Death: Anxiety, Mourning, and Commemoration in American Culture." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18430.

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The experiences of grief and mourning in response to loss are fundamentally transformative to the self-identity of the mourner, necessitating an array of ritualized behaviors at the communal and individual levels. These rituals of mourning both create a space in which this transformation may take place and provide the structure that can direct that transformation. My focus is on historical and emerging forms of vernacular commemoration, by which I refer to material forms that are created by, acted upon, or in other ways utilized by a person experiencing grief in the service of regaining a sense of stability in the aftermath of loss. The re-integration of the bereaved, through mourning, back into society in new relation with the departed is often assisted by these vernacular memorial forms. My analysis focuses on three specific forms of commemoration: spirit photographs, ghost bikes, and memorial tattoos. These are vernacular forms of expression in the sense that they have emerged from and cater to individual needs and desires that are not satisfied by the more official and uniform materials and processes of mourning, such as the funeral service and subsequent visits to a gravesite or contemplation of an ash-filled urn. The power of these memorial forms rests in the adaptive and restorative abilities of memory to retain the lost relationship and to pull it forward and reconstitute it in a changed state as enduring and continuing into the future. When faced with the sudden death of a loved one, the traditional rituals that surround modern death may seem too rigid and homogenized to satisfy the wide array of emotions demanding attention in the bereaved. This is where the vernacular rituals and new forms of commemoration discussed in this dissertation spring up and make themselves known. Highly individual, yet often publicly and politically motivated, these new American ways of interpreting death and performing mourning represent the changing needs of contemporary mourners. As death has become increasingly hidden away and discussion of it rendered taboo, the need for personal and direct interaction with the processes of grief and mourning have become more and more important.
2016-09-29
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Kozlova, Ekaterina E. "'Whoever lost children lost her heart' : valourised maternal grief in the Hebrew Bible." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:eb33c1be-0f1b-45e3-bb38-6ec147250b9b.

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Recent studies on ancient Israel's mortuary culture have shown that mourning rites were not restricted to the occasions of death, burial and subsequent grief but were, in fact, implemented in diverse contexts. In this thesis I am looking at biblical traditions in which these solemn practices contributed, or sought to contribute to various forms of social restoration. More specifically, I explore the stories of biblical grieving mothers who are placed at key junctures in Israel's history to renegotiate the destinies not only of their own children, dead or lost, but also those of larger communities, i.e. family lines, ethnic groups, or entire nations. Since 'the social and ritual dimensions of mourning are intertwined and inseparable ... [and] rites in general are a context for the creation and transformation of social order', these women use the circumstance of their 'interrupted' motherhood as a platform for a kind of grief-driven socio-political activism. Since maternal bereavement is generally understood as the most intense of all types of loss and was seen as archetypal of all mourning in ancient Near Eastern cultures, Israelite communities in crisis deemed sorrowing motherhood as a potent agent in bringing about their own survival and resurgence back to normalcy. I begin my discussion on mourning rites as tools of social preservation and restoration in biblical traditions with (1) a list of modern examples that attest to a phenomenon of social, political, and religious engagement among women that stems from the circumstance of child loss; (2) a survey of recent grief and death studies that identify maternal grief as the most intense and the most enduring among other types of bereavement; (3) an overview of ancient Near Eastern cultures (Mesopotamia, Egypt, Hatti, Syro-Palestine) that not only viewed maternal grief as paradigmatic of all mourning but also utilised ritual actions performed by mothers in contexts of large scale catastrophes as mechanisms for dealing with a collective trauma. Against this background my project then turns to discuss four biblical mothers: Hagar (Gen. 21:14-21), Rizpah (2 Sam. 21:1-14), the woman of Tekoa (2 Sam. 14:1-20) and Rachel (Jer. 31:15-22), all of whom perform rites for their dying or dead children and exhibit a form of advocacy for society at large.
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Books on the topic "Grief in art"

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Sasso, Sandy Eisenberg, author of introduction, ed. The painting table: A journal of loss and joy. New York: Morehouse Publishing, 2013.

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1867-1945, Kollwitz Käthe, ed. Käthe Kollwitz: De stem van een generatie treurende ouders. Koksijde: Uitg. De Klaproos, 2014.

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Junge, Maxine Borowsky. Mourning, memory, and life itself: Essays by an art therapist. Springfield, Ill: Charles C. Thomas Publisher, 2008.

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Junge, Maxine Borowsky. Mourning, memory, and life itself: Essays by an art therapist. Springfield, Ill: Charles C. Thomas Publisher, 2008.

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Waterston, Darren. Splendid grief: Darren Waterston and the afterlife of Leland Stanford Jr. Stanford, CA: Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, 2009.

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Waterston, Darren. Splendid grief: Darren Waterston and the afterlife of Leland Stanford Jr. Stanford, CA: Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, 2009.

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Waterston, Darren. Splendid grief: Darren Waterston and the afterlife of Leland Stanford Jr. Stanford, CA: Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, 2009.

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Cortesini, Sergio. Mortalità e lutto nell'arte contemporanea. Roma: Carocci, 2016.

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Gogerty, Clare. People in art. New York: Marshall Cavendish, 1995.

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Stanton, Zunin Hilary, ed. The art of condolence: What to write, what to say, what to do at a time of loss. New York: HarperPerennial, 1992.

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Book chapters on the topic "Grief in art"

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Balascio, Sarah. "Grief." In Art Therapy Directives, 50–53. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003413363-12.

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Mudie Cunningham, Daniel. "Curating grief." In Feminist Perspectives On Art, 92–104. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315162072-8.

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Wallace, Karen O. "Art Therapy and Grief." In There is No Need to Talk about This, 51–62. Rotterdam: SensePublishers, 2015. http://dx.doi.org/10.1007/978-94-6300-001-7_7.

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Mims, Rachel, and Jacqueline Jones. "Disenfranchised Grief." In The International Handbook of Art Therapy in Palliative and Bereavement Care, 318–30. New York, NY: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315110530-33.

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Rost, Gail Glende. "Parallax of Grief and Restoration." In Experiments in Art Research, 84–90. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003430971-16.

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Maguire, Henry. "Grief and Joy in Byzantine Art." In Managing Emotion in Byzantium, 314–46. London: Routledge, 2022. http://dx.doi.org/10.4324/9780203710661-12.

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Moschini, Lisa B. "An Expression of Grief and Loss." In Art, Play, and Narrative Therapy, 226–46. New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351170925-7.

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Schott, Gareth Richard. "Expressions of Grief: Creative Processing and Reflections." In The Art of Dying, 1–19. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-35217-1_1.

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McMackin, Meredith Lin. "Voices of the BereavedPapermaking for Processing Grief and Loss." In The Art and Art Therapy of Papermaking, 96–112. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003216261-9.

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Hass-Cohen, Noah, and Joanna Clyde Findlay. "Recovery from Grief and Pain." In Art and Expressive Therapies Within the Medical Model, 132–53. New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9780429400087-13.

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Conference papers on the topic "Grief in art"

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Publico, Alyssa. "Sailing Through: The Assessment of a Philippine Grief Support Program Using Bible-Based Lessons and Art Therapy." In – The Asian Conference on Psychology & the Behavioral Sciences 202. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2187-4743.2020.5.

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Olexiuk, Oliga. "Metaphorization of the communicative process in the content of higher art education." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.07.

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The modern postnonclassical stage of scientific cognition development necessitates a new view of the educational and upbringing potential of art. The study of the transdisciplinarity phenomenon in the Western European and domestic scientific discourse shows the emergence of a new strategy for solving real practical problems, which correlates with the principles, styles of thinking, value of postnon-classical science. The research methodology is complex and is based on inter- and transdisciplinary approaches using theoretical and empirical methods. The metaphorization of the educational process is directly related to the mechanism of thinking: it is an integral part of it. Metaphor is seen as part of the cognitive processes, which provides the path from the artistic image perception to the concept formation. It is emphasized that the metaphor allows us to appreciate positively the organization of the educational process. Metaphorical thinking is seen as thinking based on moving from specific objects to understanding value ideas and their associative connections. In order to study in practice how to solve this problem, the storytelling “We both grieved with one grief and rejoiced with one happiness” based on the life and work of Borys Grinchenko is presented and analyzed. Pedagogical observations have shown that the form of storytelling created an open atmosphere for transdisciplinary transfer of pedagogical skills, which combined the intellectual and creative potential of the teachers and students of the Institute of Arts of the Borys Grinchenko Kyiv University and proved the expediency of reorientation.
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Fourie, Ina. "Contextual information behaviour analysis of grief and bereavement: temporal and spatial factors, multiplicity of contexts and person-in-progressive situation." In ISIC: the Information Behaviour Conference. University of Borås, Borås, Sweden, 2020. http://dx.doi.org/10.47989/irisic2003.

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Introduction. Grief and bereavement include cognitive, affective and physical dimensions. Pre- and post-grief manifest at different times of coping with loss and bereavement. Contextualisation of information behaviour studies and comprehension of contextual components e.g. temporal and spatial factors, progression and phenomenal contexts of grief is essential for information interventions. Although agreement on the meaning of context might continue to escape information behaviour researchers, widely cited interpretations of context might be used to analyse a selective body of literature to direct grief and bereavement information behaviour studies. Method. Interpretations of context and situation by Savolainen (temporal and spatial factors), Fourie (multiplicity) and Dunne (person-in-progressive-situation) are, selectively applied to a thematic content analysis of papers on grief and bereavement. Phenomenal context is analysed in more detail. Analysis. A thematic content analysis matrix was developed. Results. The analysis revealed a minimum of ten contextual components to consider in information behaviour studies of grief and bereavement. Conclusion. Information behaviour studies on grief and bereavement should acknowledge the diversity of contexts and contextual components that impact on information needs, unique requirements for information such as memorabilia, information processing and sharing of information.
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Bhat, Raj Nath. "Language, Culture and History: Towards Building a Khmer Narrative." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-2.

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Genetic and geological studies reveal that following the melting of snows 22,000 years ago, the post Ice-age Sundaland peoples’ migrations as well as other peoples’ migrations spread the ancestors of the two distinct ethnic groups Austronesian and Austroasiatic to various East and South–East Asian countries. Some of the Austroasiatic groups must have migrated to Northeast India at a later date, and whose descendants are today’s Munda-speaking people of Northeast, East and Southcentral India. Language is the store-house of one’s ancestral knowledge, the community’s history, its skills, customs, rituals and rites, attire and cuisine, sports and games, pleasantries and sorrows, terrain and geography, climate and seasons, family and neighbourhoods, greetings and address-forms and so on. Language loss leads to loss of social identity and cultural knowledge, loss of ecological knowledge, and much more. Linguistic hegemony marginalizes and subdues the mother-tongues of the peripheral groups of a society, thereby the community’s narratives, histories, skills etc. are erased from their memories, and fabricated narratives are created to replace them. Each social-group has its own norms of extending respect to a hearer, and a stranger. Similarly there are social rules of expressing grief, condoling, consoling, mourning and so on. The emergence of nation-states after the 2nd World War has made it imperative for every social group to build an authentic, indigenous narrative with intellectual rigour to sustain itself politically and ideologically and progress forward peacefully. The present essay will attempt to introduce variants of linguistic-anthropology practiced in the West, and their genesis and importance for the Asian speech communities. An attempt shall be made to outline a Khymer narrative with inputs from Khymer History, Art and Architecture, Agriculture and Language, for the scholars to take into account, for putting Cambodia on the path to peace, progress and development.
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Azzahra, Shafira Yuna, Harry Thahjodiningrat, Naila Inas Zhafirah, Gebby Miranda, Dila Septiani, and Adhistie Thiara Zhafira. "Analyzing Grief in “Setelah Dia Pergi” Documentary Film." In 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.061.

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Bramantyo, Galih, and Marti Fauziah Ariastuti. "Understanding Grief and Symbolism in Three Billboards Outside Ebbing, Missouri." In International University Symposium on Humanities and Arts (INUSHARTS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200729.017.

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Santos, Letícia Roberto dos. "Uma breve comparação entre a associação da mulher com a morte em duas obras alemãs do século XVI." In Encontro de História da Arte. Universidade Estadual de Campinas, 2012. http://dx.doi.org/10.20396/eha.8.2012.4228.

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No território que hoje compreendemos como Alemanha eclodia uma grande efervescência cultural no começo do século XVI, que teve dentre os acontecimentos a Reforma Protestante, desencadeada pela divulgação das 95 teses de Martinho Lutero. Segundo Jean Delumau no livro “A Reforma”, a Reforma foi uma resposta religiosa à grande angustia do fim da Idade Média, quando houve uma série de acontecimentos catastróficos sacudiram e desorientaram as almas, como por exemplo a Peste Negra, o Cisma do Oriente e fomes frequentes. Esse período é caracterizado como de insegurança e sentimento de efemeridade da vida que e refletiu-se em parte nas expressões artísticas, em especial nas artes visuais. Pinturas, gravuras e esculturas com os temas do Juízo Final e da morte proliferam-se nessa época pela Europa. A Alemanha destaca-se nessa época por ter dois dos mais macabros pintores da Europa: Albretch Dürer e Hans Baldung Grien. Ambos são conhecidos pelas suas notaveis pinturas que evocam o Juízo Final e as pinturas com a temática da morte. Na pintura “A Morte e a Donzela”[1] de Baldung Grien e na gravura “Jovem mulher atacada pela Morte ou O raptor”[2] a morte aparece na forma de monstro, de certa forma “atacando” a mulher. Chama a atenção a forma sensual que a morte é retratada, uma voluptuosidade que contrasta com o horror demonstrado pelos rostos das mulheres que são tocadas por ela. A apresentação versará sobre como deu-se a associação pictórica entre a mulher e a morte e como as duas obras supracitadas se aproximam e se diferenciam.
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Teague, Phyllis, Laura Charles, Tracy Ray, Ramona Gallegos, and Jason Crenshaw. "The five stages of IT grief: Sandia IT's response to the global pandemic." In Proposed for presentation at the National Laboratories IT Summit 2020 held October 13-16, 2020 in virtual, virtual, United States. US DOE, 2020. http://dx.doi.org/10.2172/1825828.

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Yantzi, R., M. Hadiuzzaman, PS Gupta, A. Lamrous, K. Richardson, J. Pringle, L. Schwartz, P. Hossain, D. Kizito, and S. Burza. "Communication, empathy, and trust: lived experiences of caregiver—staff relationships while providing palliative and end-of-life care to children in Cox's Bazar, Bangladesh." In MSF Paediatric Days 2022. NYC: MSF-USA, 2022. http://dx.doi.org/10.57740/2rds-ya16.

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BACKGROUND AND AIMS MSF Goyalmara Hospital in Cox’s Bazar, Bangladesh, offers the highest level of paediatric and neonatal care serving the Rohingya refugee camps. Efforts are underway to integrate palliative care due to high mortality and medical complexity of patients, yet little is known about the experience of staff delivering palliative and end-of-life care. METHODS This focused ethnography was conducted between March and August 2021 at Goyalmara Hospital. Data collection involved participant observation, individual interviews with locally-hired (17) and international staff (5), focus group discussions with locally-hired staff (5), and analysis of protocols and other documents. A coding scheme was developed, and data coded using NVivo 11. RESULTS Staff perceived gaining the trust of caregivers (parents, grandparents) to be an essential step to providing palliative care and a source of professional fulfillment. Misunderstanding and mistrust were morally distressing to staff, and they experienced intense guilt when they believed that misunderstandings contributed to children’s deaths. Efforts to ensure caregiver understanding were complicated by language and cultural differences between staff and caregivers. Staff felt an obligation to suppress their emotional responses to death and dying, even though they acknowledged that this risked caregivers perceiving them as uncaring. Tensions emerged as some staff passed moral judgement on caregivers who they felt were making the ‘wrong decision’, or who brought a child to hospital too late to save their life. Likewise, staff perceived that caregivers did not always believe the staff were acting in their child’s best interests. Other staff were able to empathise with the impacts of grief and systematic exclusion on caregivers’ reactions and decision-making. CONCLUSIONS Positive therapeutic relationships with caregivers may alleviate an important source of moral distress among staff. Access to translation services, communication and grief resilience training, and appreciating psychological impacts of systematic healthcare exclusion on communities may mitigate this distress.
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Calcan, Gheorghe. "Names and epitaphs in the cemeteries of Săgeata, Buzău county." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/3.

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Săgeata is the seat of the commune with the same name in Buzău county. The names on the funeral monuments in the cemeteries found in this settlement are specific to Romanian rural space. As far as their origin is concerned, one can note that 25.9% are biblical names, originating in Christianity and with religious connotations, 20.3% have Slavic roots and were borrowed via Bulgarian, whereas 7.4% are of Slavic origin and entered the Romanian language via Greek. Epitaphs consist of messages or appeals to wisdom, adages which were “sung” to express the regret of dying, appeals to remember the deceased, words which conveyed resignation before one’s destiny or the grief of the beloved, various philosophical phrases, and sometimes small prayers or personalized verses, etc. The oldest epitaph in the cemeteries in Săgeata dates back to 1892.
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Reports on the topic "Grief in art"

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Lykins, Amy, Joey Tognela, Kylie Robinson, Rosie Ryan, and Phillip Tully. The mental health effects of eco-anxiety – a systematic review of quantitative research. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, January 2023. http://dx.doi.org/10.37766/inplasy2023.1.0025.

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Review question / Objective: The aim of the review is to synthesise findings from quantitative studies that investigate ecological grief, eco-anxiety, and climate-anxiety in relation to self-reported mental health. Population of interest: The general adult population aged 18 years. Exposure (risk factor): The exposure is defined as the presence of any ecological grief, eco-anxiety, and/or climate-anxiety that is quantified either before, concurrently, or after a mental health symptom (e.g. depression, and/or anxiety - see Outcomes). As ecological grief, eco-anxiety, and climate-anxiety are relatively new concepts that lack a standard definition, we will include validated and emerging unvalidated self-report measures of these constructs, as well as closely related constructs; solastalgia, eco- and climate-grief, eco- and climate-guilt, eco- and climate-distress, eco- and climate-despair, eco- and climate-worry. Ineligible exposures are detrimental environmental events (e.g. flood, bushfire, drought) or climatic conditions (e.g. ambient temperatures) or distress related to psychosocial impacts of environmental events (e.g. loss of income or housing due to landslide). Comparator: The general adult population aged 18+ without ecological grief, eco-anxiety, and/or climate-anxiety or related constructs as defined above in Exposure. Outcome: The primary outcomes are mental health symptoms quantified by validated self-report measures of depression, anxiety, stress.
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MacFarlane, Andrew. 2021 medical student essay prize winner - A case of grief. Society for Academic Primary Care, July 2021. http://dx.doi.org/10.37361/medstudessay.2021.1.1.

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As a student undertaking a Longitudinal Integrated Clerkship (LIC)1 based in a GP practice in a rural community in the North of Scotland, I have been lucky to be given responsibility and my own clinic lists. Every day I conduct consultations that change my practice: the challenge of clinically applying the theory I have studied, controlling a consultation and efficiently exploring a patient's problems, empathising with and empowering them to play a part in their own care2 – and most difficult I feel – dealing with the vast amount of uncertainty that medicine, and particularly primary care, presents to both clinician and patient. I initially consulted with a lady in her 60s who attended with her husband, complaining of severe lower back pain who was very difficult to assess due to her pain level. Her husband was understandably concerned about the degree of pain she was in. After assessment and discussion with one of the GPs, we agreed some pain relief and a physio assessment in the next few days would be a practical plan. The patient had one red flag, some leg weakness and numbness, which was her ‘normal’ on account of her multiple sclerosis. At the physio assessment a few days later, the physio felt things were worse and some urgent bloods were ordered, unfortunately finding raised cancer and inflammatory markers. A CT scan of the lung found widespread cancer, a later CT of the head after some developing some acute confusion found brain metastases, and a week and a half after presenting to me, the patient sadly died in hospital. While that was all impactful enough on me, it was the follow-up appointment with the husband who attended on the last triage slot of the evening two weeks later that I found completely altered my understanding of grief and the mourning of a loved one. The husband had asked to speak to a Andrew MacFarlane Year 3 ScotGEM Medical Student 2 doctor just to talk about what had happened to his wife. The GP decided that it would be better if he came into the practice - strictly he probably should have been consulted with over the phone due to coronavirus restrictions - but he was asked what he would prefer and he opted to come in. I sat in on the consultation, I had been helping with any examinations the triage doctor needed and I recognised that this was the husband of the lady I had seen a few weeks earlier. He came in and sat down, head lowered, hands fiddling with the zip on his jacket, trying to find what to say. The GP sat, turned so that they were opposite each other with no desk between them - I was seated off to the side, an onlooker, but acknowledged by the patient with a kind nod when he entered the room. The GP asked gently, “How are you doing?” and roughly 30 seconds passed (a long time in a conversation) before the patient spoke. “I just really miss her…” he whispered with great effort, “I don’t understand how this all happened.” Over the next 45 minutes, he spoke about his wife, how much pain she had been in, the rapid deterioration he witnessed, the cancer being found, and cruelly how she had passed away after he had gone home to get some rest after being by her bedside all day in the hospital. He talked about how they had met, how much he missed her, how empty the house felt without her, and asking himself and us how he was meant to move forward with his life. He had a lot of questions for us, and for himself. Had we missed anything – had he missed anything? The GP really just listened for almost the whole consultation, speaking to him gently, reassuring him that this wasn’t his or anyone’s fault. She stated that this was an awful time for him and that what he was feeling was entirely normal and something we will all universally go through. She emphasised that while it wasn’t helpful at the moment, that things would get better over time.3 He was really glad I was there – having shared a consultation with his wife and I – he thanked me emphatically even though I felt like I hadn’t really helped at all. After some tears, frequent moments of silence and a lot of questions, he left having gotten a lot off his chest. “You just have to listen to people, be there for them as they go through things, and answer their questions as best you can” urged my GP as we discussed the case when the patient left. Almost all family caregivers contact their GP with regards to grief and this consultation really made me realise how important an aspect of my practice it will be in the future.4 It has also made me reflect on the emphasis on undergraduate teaching around ‘breaking bad news’ to patients, but nothing taught about when patients are in the process of grieving further down the line.5 The skill Andrew MacFarlane Year 3 ScotGEM Medical Student 3 required to manage a grieving patient is not one limited to general practice. Patients may grieve the loss of function from acute trauma through to chronic illness in all specialties of medicine - in addition to ‘traditional’ grief from loss of family or friends.6 There wasn’t anything ‘medical’ in the consultation, but I came away from it with a real sense of purpose as to why this career is such a privilege. We look after patients so they can spend as much quality time as they are given with their loved ones, and their loved ones are the ones we care for after they are gone. We as doctors are the constant, and we have to meet patients with compassion at their most difficult times – because it is as much a part of the job as the knowledge and the science – and it is the part of us that patients will remember long after they leave our clinic room. Word Count: 993 words References 1. ScotGEM MBChB - Subjects - University of St Andrews [Internet]. [cited 2021 Mar 27]. Available from: https://www.st-andrews.ac.uk/subjects/medicine/scotgem-mbchb/ 2. Shared decision making in realistic medicine: what works - gov.scot [Internet]. [cited 2021 Mar 27]. Available from: https://www.gov.scot/publications/works-support-promote-shared-decisionmaking-synthesis-recent-evidence/pages/1/ 3. Ghesquiere AR, Patel SR, Kaplan DB, Bruce ML. Primary care providers’ bereavement care practices: Recommendations for research directions. Int J Geriatr Psychiatry. 2014 Dec;29(12):1221–9. 4. Nielsen MK, Christensen K, Neergaard MA, Bidstrup PE, Guldin M-B. Grief symptoms and primary care use: a prospective study of family caregivers. BJGP Open [Internet]. 2020 Aug 1 [cited 2021 Mar 27];4(3). Available from: https://bjgpopen.org/content/4/3/bjgpopen20X101063 5. O’Connor M, Breen LJ. General Practitioners’ experiences of bereavement care and their educational support needs: a qualitative study. BMC Medical Education. 2014 Mar 27;14(1):59. 6. Sikstrom L, Saikaly R, Ferguson G, Mosher PJ, Bonato S, Soklaridis S. Being there: A scoping review of grief support training in medical education. PLOS ONE. 2019 Nov 27;14(11):e0224325.
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Patton, Desmond, and Catalina Vallejo. Examining Violence and Black Grief on Social Media: An Interview with Desmond Upton Patton. Just Tech, Social Science Research Council, February 2022. http://dx.doi.org/10.35650/jt.3020.d.2022.

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As part of our “What Is Just Tech?” series, we invited several social researchers—scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Desmond Upton Patton, Professor of Social Work at Columbia University and Just Tech Advisory Board member. Patton (he/him) studies how gang-involved youth conceptualize threats on social media and the extent to which social media may shape or facilitate youth and gang violence. He is the founding director of SAFElab, which centers young people’s perspectives in computational and social work research on violence, trains future social work scholars, and actively engages in violence prevention and intervention. In their conversation, Vallejo and Patton spoke about social media as an amplifier of violence, the importance of lived experience informing computational research, and misunderstandings about Black grief.
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Andriessen, Karl, Karolina Krysinska, Kairi Kõlves, and Nicola Reavley. Suicide Postvention Report. The Sax Institute, September 2019. http://dx.doi.org/10.57022/txtp7812.

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Suicide postvention comprises a concerted response to, and provision of care for, people bereaved by suicide including those impacted by the suicide of a family member, friend or person in their social network. Currently, various forms of postvention services are available, such as group support, grief counselling, outreach by agencies and online support. Despite the devastating and lasting effects, a suicide can have on the bereaved and the number of people affected, little is known of what helps bereaved individuals. This review examines what suicide postvention models have been shown to be effective to reduce distress in family, friends and communities following a suicide along with what service components contribute to effectiveness.
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Clarke, Alison, Sherry Hutchinson, and Ellen Weiss. Psychosocial support for children. Population Council, 2005. http://dx.doi.org/10.31899/hiv14.1003.

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Masiye Camp in Matopos National Park, and Kids’ Clubs in downtown Bulawayo, Zimbabwe, are examples of a growing number of programs in Africa and elsewhere that focus on the psychological and social needs of AIDS-affected children. Given the traumatic effects of grief, loss, and other hardships faced by these children, there is increasing recognition of the importance of programs to help them strengthen their social and emotional support systems. This Horizons Report describes findings from operations research in Zimbabwe and Rwanda that examines the psychosocial well-being of orphans and vulnerable children and ways to increase their ability to adapt and cope in the face of adversity. In these studies, a person’s psychosocial well-being refers to his/her emotional and mental state and his/her network of human relationships and connections. A total of 1,258 youth were interviewed. All were deemed vulnerable by their communities because they had been affected by HIV/AIDS and/or other factors such as severe poverty.
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Bereavement, Grief, and Loss – Ask The Expert (recording). ACAMH, February 2023. http://dx.doi.org/10.13056/acamh.22641.

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For this session we welcomed Dr. Tina Rae to share her knowledge and insights into the complex subject of bereavement, grief and loss. In this session, loss will be considered in its broader sense; taking into consideration the impacts of the pandemic and other global crises that are affecting families and young people.
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