On April 16, 2014, South Korea witnessed one of the worst tragedies in contemporary Korean history. A cruise boat named Sewol carrying 456 passengers—most of them teenage high school students on a field trip—sank into the sea, taking the lives of 304 persons. The nation saw aghast, on multiple media platforms, the abysmal failure of the authorities to rescue them. I analyze the movement that developed in its aftermath: how citizens started to claim their adulthood, united beyond exclusionary familism in sorrow over the failure to protect children who belonged to them all. I explain how they turned their personal grief into political solidarity and started to overcome the rugged individualism and self-reliance that had come to define citizenship in neoliberal Korea. Against the state’s injunction to forget and move on, citizens created memorials and refused to accept the dominant narrative that the authorities had done their best to rescue the children and meticulously started to examine televisual and other records of that day. By their very nature, as public and personal records, these artifacts of memory-keeping are across media and art forms. I do close readings of fiction and documentary films, explore the 24/7 nature of live broadcasts, and analyze artistic responses such as memorial sites, literature, paintings, and sculptures to find in all of them, a deeply felt crisis triggered by the death of children. I find in these collective efforts what I describe as “suspended mourning,” a resolve to suspend the emotional state of grief in search of answers to the reasons not just for the incident but the deep-seated propensity toward obedience ingrained in South Korean upbringing itself. I argue that the catastrophe finally severed the emotional bonds many had with President Park Geun-hye, the daughter of the military dictator Park Jung-hee, who is widely recognized as the father of Korean modernization. The “orphan of the nation,” as Park Geun-hye was referred to, lost the public leniency she had enjoyed until then. It eventually led to the Candlelight Revolution three years later, leading to her impeachment.

No description available.

“The Chart of Some Place” explores grief, loss, loneliness through the lens of poetry. Split into four sections, like different stages of grief, the poems in each section represent different eras of the speakers life. The “Place” that is referred throughout is in reference to a small farming town in Utah. The relationships built throughout a span of three years and an abrupt separation led to reminiscent grief and an abundance of lost love and friendship.

This research investigates particular ways that memorialising and mourning can be made manifest through public commemorative objects and spaces such as memorials and through smaller scale personal mementos. It also examines ways that these physical reminders can act as repositories and markers for memory, and as metaphors for identity. In particular the research is focussed on Traditional Southern Italian customs, reflecting on the ways that keepsakes and the cenotaph can provide allegories for declining cultural practices of Southern Italian migrants in Australia. The data collected for this thesis is based partly on participant observation, and on informal conversations with migrants from Southern Italy, regarding their funerary practices and stories told about the rural areas left behind in Italy. Research of visual and published material in the area of memorialising and memorial object are examined in order to gain an understanding of the language of death. The thesis also examines the use of Catholic religious objects in what anthropologist Per Binde has coined 'transactional acts', during supplication and remembrance and during times of mourning. An exploration of memorial and memento objects, by contemporary practitioners including Christian Boltanski, Lindy Lee, Julie Blyfield and Maya Lin has also been included. Inclusion of contemporary artists reflects on how memorials continue to play an important role in today's society as well as being integral in reflecting identity and maintaining connections with the past. Investigation of this genre is expressed through the research document and a body of studio-based research connected to the traditions of Memorialising. The studio research is expressed in the exhibition 'In Black' through the language of Catholic religious objects, memory boxes, personal mementos and cultural signifiers in wax, metal, and installation. These works, as time capsules are filled with significant representations of individuals and events that evoke memories through depictions of life, significant places and words descriptive of time and place.

Previous research has greatly ignored the unique stressors that homicide survivors experience following the murder of their loved one, indicating a general lack of understanding of the experiences and reactions they are subjected to or the coping mechanisms that they utilize. What little research that had been conducted has largely been made up of anecdotal insight of psychological practitioners who had worked with clients. A need exists to speak with the survivors themselves to chronicle their experiences in as much detail as possible to help researchers and practitioners wrap their mind around the totality of the loss as well as ground future research. The participants in the study consisted of twelve persons who had immediate family members who had been murdered. Participants were interviewed utilizing Lincoln & Guba?s Naturalistic Inquiry paradigm. They were initially interviewed and encouraged to discuss their loss in narrative and then were asked a series of specific questions that may or may not have been discussed during the narrative. The collected data was analyzed utilizing the constant comparison methodology. Results indicate that many homicide survivors feel overwhelmed by the changes that occur in the short and long term. None of the participants reported positive experiences interacting with mental health practitioners but virtually everyone endorsed peer-group support. There was also evidence that participants whose loved one was murdered by a person of an ethnicity that differed from their own resulted in racist feelings towards the other ethnicity. Further, there was no evidence that the process of interviewing homicide survivors was in and of itself negatively perceived or harmful; rather some participants reported feeling relieved that they were able to discuss their loss in totality without having to edit themselves. Results suggest that homicide survivors may spend an unusual amount of time reflecting on the person that their loved one may have become had they not been murdered. Suggestions also include how to best notify and support homicide survivors and how practitioners may best relate with their clients.

This research investigates particular ways that memorialising and mourning can be made manifest through public commemorative objects and spaces such as memorials and through smaller scale personal mementos. It also examines ways that these physical reminders can act as repositories and markers for memory, and as metaphors for identity. In particular the research is focussed on Traditional Southern Italian customs, reflecting on the ways that keepsakes and the cenotaph can provide allegories for declining cultural practices of Southern Italian migrants in Australia. The data collected for this thesis is based partly on participant observation, and on informal conversations with migrants from Southern Italy, regarding their funerary practices and stories told about the rural areas left behind in Italy. Research of visual and published material in the area of memorialising and memorial object are examined in order to gain an understanding of the language of death. The thesis also examines the use of Catholic religious objects in what anthropologist Per Binde has coined 'transactional acts', during supplication and remembrance and during times of mourning. An exploration of memorial and memento objects, by contemporary practitioners including Christian Boltanski, Lindy Lee, Julie Blyfield and Maya Lin has also been included. Inclusion of contemporary artists reflects on how memorials continue to play an important role in today's society as well as being integral in reflecting identity and maintaining connections with the past. Investigation of this genre is expressed through the research document and a body of studio-based research connected to the traditions of Memorialising. The studio research is expressed in the exhibition 'In Black' through the language of Catholic religious objects, memory boxes, personal mementos and cultural signifiers in wax, metal, and installation. These works, as time capsules are filled with significant representations of individuals and events that evoke memories through depictions of life, significant places and words descriptive of time and place.

Thesis (M.A. History)--University of Waikato, 2007. / Title from PDF cover (viewed March 15, 2008) Includes bibliographical references (p. 100-114)

This thesis presents the results of an examination conducted to determine the status of mourning doves in Throckmorton County, Texas.

Call number: LD2668 .T4 1984 S58 / Master of Science

This thesis explores the intersection between the study of Shakespearean drama and the theory and practice of early modern dramatic genres. It reassesses the significance of tragedy and the idea of the tragic within three separate yet related generic frames: tragedy, history, and tragicomedy. Behind this research lies the fundamental question of how newly emerging dramatic genres allow Shakespeare to explore tragedy within different aesthetic and dramatic contexts, and of how they allow his writing to move beyond tragedy. The thesis begins by looking at Shakespeare’s deployment of the complex trope of “nothing”. “Nothing” as a rhetorical trope and metaphysical idea appears across many of the tragedies, often becoming a focal point for the dramatic representation of scepticism, loss and nihilism. The trope is often associated with the space of the theatre, and sometimes with the dramaturgy of tragedy itself. However, it is also deployed within the histories and tragicomedies at certain moments which might equally be called tragic. “Nothing” therefore provides a starting-point for thinking about how the genres of history and tragicomedy engage with tragedy. Part I focuses on tragedy, including extended readings of Timon of Athens and King Lear. It explores Shakespearean drama as a response to the pressures of the early modern cultural preoccupation with, and anxiety about, scepticism. Stanley Cavell and other critics of early modern dramatic scepticism have tended to locate this engagement with scepticism within tragedy. However, this section shows that the same sceptical problematic is addressed across Shakespearean dramatic genres, with very different results. It then explores why scepticism should display a particular affinity for tragedy as a dramatic genre. Part II focuses on history, with particular reference to Richard II and Henry V. The trope of “nothing” is used as a starting-point to explore the intersection between Shakespearean history and tragedy. Engaging with Walter Benjamin’s theory of baroque tragedy as Trauerspiel (mourning-plays) rooted in history, it argues that Trauerspiel provides a useful generic framework against which to consider the mournful aesthetic of Shakespeare’s histories. Part III focuses on early modern tragicomedy and The Winter’s Tale, asking how Shakespeare achieves the transition from tragedy to tragicomedy in his later writing. It explores tragicomedy’s background on the early modern stage in theory and practice, paying particular attention to Guarini’s theory that pastoral tragicomedy frees its hearers from melancholy, and to the legacy of medieval religious drama and its engagement with faith and belief. Returning to the trope of “nothing”, this section shows that The Winter’s Tale addresses the same sceptical problematic as the earlier tragedies. Arguing that scepticism opens up a space for tragedy and nihilism in the first half of The Winter’s Tale, it demonstrates that Shakespeare finds in the genre of tragicomedy an aesthetic and dramatic form which allows him to move through, and beyond, the claims of tragedy.