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Någon gång i livet kommer de flesta individer tvingas möta på de svårigheter som en sorg för med sig. Sorg är en reaktion på en förlust. Syftet med studien var att belysa stödformer som kan hjälpa individer i deras sorgeprocess. Där sorgeprocessen i detta fall relaterar till förlusten av en närstående. Deltagarna var 23 stycken kvinnor mellan åldrarna 19-62 som hade upplevt en sorgeprocess till följd av närståendes bortgång. Materialet bestod av en enkät med öppna frågor. De insamlade enkäterna analyserades genom en meningskoncentrering för att bilda övergripande teman. För att kontrollera reliabiliteten i analysen genomfördes ett interbedömarreliabilitetstest. Studien resulterade i att familj, partner och vänner ansågs som det mest betydelsefulla stödet. Hur man upplever och hanterar sorg är individuellt. Därmed är även tidsaspekten för en sorgeprocess varierande.

Thesis (MA(Practical Theology))--University of Pretoria, 2006. / Includes bibliographical references (p. 70-78) Available on the Internet via the World Wide Web.

Thesis (Ph. D.)--Washington State University, May 2010. / Title from PDF title page (viewed on June 8, 2010). "Department of English." Includes bibliographical references (p. 251-264).

x, 89 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Alternative forms of memorialization offer a sense of empowerment to the mourner, bringing the act of grieving into the personal sphere and away from the clinical or official realm of funeral homes and cemeteries. Constructing a spontaneous shrine allows a mourner to create a meaningful narrative of the deceased's life, giving structure and significance to a loss that may seem chaotic or meaningless in the immediate aftermath. These vernacular memorials also function as focal points for continued communication with the departed and interaction with a community of mourners that blurs distinctions between public and private spheres. I focus my analysis on MySpace pages that are transformed into spontaneous memorials in the wake of a user's death, the creation of "ghost bikes" at the sites of fatal bicycle-automobile collisions, and memorial tattooing, exploring the ways in which these practices are socially constructed innovations on the traditional material forms of mourning culture. / Committee in Charge: Dr. Daniel Wojcik, Folklore, Chair; Dr. Philip Scher, Anthropology; Dr. Doug Blandy, Arts and Administration / 2016-05-28

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

This thesis is a study of nineteenth century forms of grief and mourning, wlth particular reference to the peculiar pressures of writing to the bereaved, and how these were, or were not, overcome. Although the focus is mainly on the letters of condolence and on the poems of Tennyson, and the novels, journalism and letters of condolence of Dickens, use is also made of letters by the following: Thomas Carlyle, Edward FitzGerald, Benjamin Jowett, Cardinal Newman, Dante Gabriel Rossetti, and Queen Victoria. Letters of condolence to Henry Hallam after the death of his son, Arthur, (given in appendix from unpublished originals in Christ Church College Library, Oxford), and also letters of condolence to George Eliot, are also studied. Twentieth century psychological studies of bereavement by Freud (Mourning and Melancholia [1917]), Eric Lindemann (Symptomology of Grief, [1944]) Geoffrey Gorer (Death and Bereavement in Contemporary Britain [1965]), and by Colin Murray Parkes (Bereavement; studies of grief in adult life [1986]), serve to identify common and universal features of the processes of grief and mourning. Correspondence about Arthur Hallam's life and death, and about the exhumation of Rossetti's poems, show how the language with which death and grief is treated in letters, is fraught with difficulties. This thesis establishes a link between the language of fiction, poetry and letters, and between the conventions of expressing sympathetic grief in the form of condolences, and Victorian conventions of funerals and mourning, as found in fiction, letters, art criticism, Dickens' journalism, a publication for undertakers, and in the monuments at Highgate Cemetery. Delineating the fears which faced a condoler, reveals the common awareness that words of comfort can seem useless and empty. It is also seen that in the Victorian age, the conventions of grief and mourning were felt to have separated from the sentiment within. This felt inadequacy had serious implicatlons for the writer of a letter of condolence. This thesis identifies the feeling which many condolers shared: that words of comfort seemed merely comnonplace and formalised, and were therefore unable to convey sincerity, or to mark particularity. That writing cannot fully record the modulations of a voice, or convey action, presents a writer of a letter of condolence with a further difficulty. Words already felt to be commonpLace or conventional, might seem dead on the page, without voice or gesture. This thesis delineates the conventions and conmonplaces of funerals, of mourning, and of letters of condolence, as a problem which is ever-renewed. Close readings of Tennyson's letters of condolence and of 'In Memoriam' are provided, in order to establish how, in particular contrast to Dickens, Tennyson was able to resurrect such comnonplaces. A study of 'Our Mutual Friend' and of Dickens' letters of condolence shows how, Dickens seeks to deny the anguish of grief. Whereas Dickens is confident and certain about his power to condole and about hls views of an after-life, Tennyson is hesitant and reticent. Whereas Dickens seeks to rouse and be heartfelt, Tennyson is cautious.

Just like adults, children of all ages need time and understanding in order to process the concept of death and dying. This process is much different for children than it is for adults. There are 4 components relative to children's understanding of death: (a) the irreversibility factor, (b) finality, (c) inevitability, and (d) causality. These 4 components relate directly to the developmental level of the child at the time the death occurs. Knowing how children's concept of death is constructed provides parents and caregivers important information and helps them respond more sensitively to what children might feel and experience. This article provides an overview of how children under-stand death, concrete strategies for talking to children about death, and suggestions for teachers about how to help children through grief and mourning.

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