This article focuses on notions of ‘dirt’ and diaspora to discuss their relation with biopolitical discourse in Malamud’s The Jewbird and The Mourners from the perspective of left thinkers. Deploying ...Douglas’s and Bauman’s views, the writer discusses how biopolitics has used the notions of hygiene and dirt to secure its surveillance over the body of its racial other in the West. It is argued that the ‘anti-dirt’ movement, supported by the West to promote Western civilization, affected cultural geography. Therefore, it resulted in the formation of binary structures—such as clean vs. dirty, self vs. other—as well as the social categorization of people. The aforementioned condition leads to the emergence of “homo sacer” figures and the imposition of “bare life”. These figures enjoy no better position than “the inside outsiders” doomed to the status of ‘strangehood’. Consequently, they are subjected to strict exclusionary measures and even death, which is justified in light of their supposed danger to society.
RESUMEN
El proceso de duelo ante la pérdida de un ser querido es un fenómeno complejo. Diversas teorizaciones se han propuesto para explicarlo. Para entenderlas es necesario situarse por encima de la ...sistematicidad, del orden lógico pre-establecido por la razón. No hacerlo puede simplificar la comprensión de las vivencias de los dolientes, quienes han perdido a un ser querido. Este artículo propone revisar la teoría del duelo de Elisabeth Kübler-Ross apoyándose en la concepción del lenguaje de Ludwig Wittgenstein. La conjunción tanatología y filosofía permitirá una comprensión profunda de la complejidad entrañada en el dolor ante la muerte de quien se
The present research, using a qualitative approach, tries to examine the shaping components of unfinished mourning during the covid-19 pandemic in the city of Sanandaj. To achieve this goal, the ...concepts of worry, guilt, meaningful-meaningless death confrontation, the mental suffering of victims’ families and discourse were used as a conceptual framework. In the field study, the postmodern grounded theory was used whereas the data were gathered through in-depth qualitative interviews. Samples were selected through the purposive sampling method with the maximum variety and finally 15 participants were interviewed and the collected data were coded and analyzed in the form of eleven central categories. The results show that unfinished mourning are formed under the influence of spatial, technological, therapeutic-health, psychological, organizational-medical, social, cultural, discursive, philosophical-ideological and bureaucratic regulation components; in a way that the medical discourse, by shaping the laws of organizations and institutions such as cemeteries, hospitals and public places, causes the non-performance of burial rituals, funerals, obituaries, compliance with health protocols, drug consumption, avoidance of relatives and neighbors and family tensions. In turn, it has led to the feeling of emptiness, meaninglessness of life, delaying relief and finally, the persistent grief of mourners. Therefore, the mourners’ experience during the pandemic is the experience of connection with the medical discourse and the social space, meaning that our social world can only be understood in the form of discourse.
La presente investigación tiene como objetivo de estudio la iconografía del llanto de Isis y Neftis en conjunción con la literatura funeraria de época ptolemaica y romana donde se nos habla del duelo ...de las Dos Hermanas. Aunque el dolor de ambas diosas por la muerte de Osiris no quedó restringido a la literatura funeraria del periodo ptolemaico, parece que fue entonces cuando este tema se desarrolló con mayor detalle. Para realizar este estudio se han tenido en cuenta los textos de Las glorificaciones, entre los cuales se hallan los conocidos como Las lamentaciones de Isis y Neftis, al mismo tiempo que las representaciones de Isis y Neftis en diferentes soportes hallados en contexto funerario. La iconografía de las dos diosas nos muestra alusiones a los textos funerarios, la utilización del llanto como un elemento ritual para garantizar la pervivencia de la persona difunta en el Más Allá. Acentúa, además, la identificación del muerto con Osiris a través del arte pictórico y los rituales funerarios.
Scenes Of Male Mourners In Ancient Egypt En The ancient Egyptians, since prehistoric times, were interested in afterlife death, and they desired that their afterlife would be(or be like) like their ...life. Therefore, they established many funeral rituals and rites to preserve the body and prepare for all the furniture that they needed in the other world. Scenes of burial processions appeared throughout the Egyptian periods, from the Old Kingdom until the end of the Greco-Roman period Including scenes of women mourning and their status, ranks, different ages, and pale colors, Many researchers have studied the scenes of female mourning, funeral scenes, and scenes of funeral processions. But there is no study of expressing sadness and crying in men, or even the emergence of men mourning in ancient Egypt, Although it was few compared to the scenes of female mourning, it reflects the presence of a class of male mourners, this research aims to: Study of the scenes of sadness among men in general and the mourning during the funeral procession, furthermore shed light on the expressions and movements of the mourning men. Ar أهتم المصريون القدماء منذ عصور ما قبل التاريخ بالحياة الآخرى بعد الموت، ورغبتهم أن تکون حياتهم الأخرى مثل حياتهم الدنيا، ولذلک أقاموا العديد من الطقوس والشعائر الجنائزية للحفاظ على الجسد وأعدوا لذلک کل الأثاث الذى يلزمهم فى العالم الآخر، ظهرت مناظر مواکب الدفن على مر العصور المصرية منذ عصر الدولة القديمة وحتى نهاية العصر اليونانى الرومانى، ومنها مناظر النائحات بأوضاعهن ورتبهن وأختلاف اعمارهن وأرديتهن بألوانها الشاحبة، ولقد قام العديد من الباحثين بدراسة مناظر النائحات ومناظر الجنازة ومناظر مواکب الدفن، ولکن لا توجد دراسة تخص التعبير عن الحزن والبکاء لدى الرجال أو حتى ظهور النائحين الرجال فى مصر القديمة، وهي أن کانت قليلة مقارنة بمناظر النائحات إلا إنها تعبر عن وجود طبقة من النائحين الرجال، يهدف هذا البحث إلى: دراسة مناظر الحزن لدى الرجال بشکل عام والنائحين فى الموکب الجنائزي وإلقاء الضوء على تعبيرات وحرکات الرجال النائحين.
When someone dies, it is usual for relatives to gather at a funeral to embody a collective act of eulogy for the deceased and stand against the finality of death. When someone who lived alone dies ...alone at home, it is not always possible to identify anyone to attend a funeral. In such cases, funeral professionals are required to perform the appropriate social rites in the absence of the confirmatory power of a society. Drawing on interviews with funeral professionals and ethnographic observations of funerals without mourners, we explore how professionals understand their roles in performing social rites against death when there is no one to participate in them. We consider the impact of attempting to make good a death generally perceived as bad, and we examine the significance of funerals as a social rite when the deceased is assumed to have forgone social relationships during their lifetime.
Crying Shame Wilce, James M
2009, 2008, 2009-02-11
eBook
Building on ethnographic fieldwork and extensive historical evidence, Crying Shameanalyzes lament across thousands of years and nearly every continent.Explores the enduring power of lament: ...expressing grief through crying songs, often in a collective ritual contextDraws on the author’s extensive ethnographic fieldwork, and unique long-term engagement and participation in the phenomenonOffers a startling new perspective on the nature of modernity and postmodernityAn important addition to growing literature on cultural globalization
Funerals against death Bailey, Tara; Walter, Tony
Mortality,
04/2016, Letnik:
21, Številka:
2
Journal Article
Recenzirano
Odprti dostop
While anthropological studies in non-Western societies show how funerals protect the community from the threat of death, sociological studies of British funerals have so far focused on meanings for ...the private family. The article reports on results from a Mass Observation directive - the first British study to focus specifically on the entire funeral congregation - and shows how attendees experience the contemporary life-centred funeral as a symbolic conquest of death. While the eulogy's accuracy is important, even more so - at least for some - is its authenticity, namely that the speaker has personal knowledge of the deceased. Whereas Davies analyses the power of professionally delivered ritual words against death, our data reveals how admired is the courage exercised by non-professionals in speaking against death, however faltering their words. Further, the very presence of a congregation whose members have known the deceased in diverse ways embodies a configurational eulogy, which we term relationships against death. We thus argue that funerals symbolically conquer death not only through words delivered by ritual specialists, but also through those who knew the deceased congregating and speaking.
The term “wailing culture” includes an array of women’s behaviors and beliefs following the death of a member of their ethnic group and is typical of Jewish life in Yemeni culture. Central to the ...practice is wailing itself—a special artistic genre that combines speech with sobbing into moving lyrical poetry that explores the meaning of death and loss. In Aesthetics of Sorrow: The Wailing Culture of Yemenite Jewish Women, Tova Gamliel decodes the cultural and psychological meanings of this practice in an ethnography based on her anthropological research among Yemenite Jewish communities in Israel in 2001–2003.
Based on participant-observervation in homes of the bereaved and on twenty-four in-depth interviews with wailing women and men, Gamliel illuminates wailing culture level by level: by the circles in which the activity takes place; the special areas of endeavor that belong to women; and the broad social, historical, and religious context that surrounds these inner circles. She discusses the main themes that define the wailing culture (including the historical origins of women’s wailing generally and of Yemenite Jewish wailing in particular), the traits of wailing as an artistic genre, and the wailer as a symbolic type. She also explores the role of wailing in death rituals, as a therapeutic expertise endowed with unique affective mechanisms, as an erotic performance, as a livelihood, and as an indicator of the Jewish exile. In the end, she considers wailing at the intersection of tradition and modernity and examines the study of wailing as a genuine methodological challenge.
Gamliel brings a sensitive eye to the vanishing practice of wailing, which has been largely unexamined by scholars and may be unfamiliar to many outside of the Middle East. Her interdisciplinary perspective and her focus on a uniquely female immigrant cultural practice will make this study fascinating reading for scholars of anthropology, gender, folklore, psychology, performance, philosophy, and sociology.
1. Introduction Comparative literature is the study of literary works of different nations in order to better understand these works. Such studies will enrich national literature because "scholars ...and researchers of comparative literature all agree that the primary purpose of comparative literature is to use foreign literature to enrich and enrich national literature." (Neda, 2004, 25). Gholam-Hossein Sa'edi (1936-1985) is one of the leading Iranian writers who has made remarkable works. Sa'edi narrates the fate of the inevitable contemporary man. This human lives in a backward society that is still far from reaching progress. The man who he describes is still embroiled in the superstitions and nonsense of such a backward society. The Mourners of Bayal, in fact is one of the most prominent and, as some critics say, the best forearm, depicts of such a society in its various dimensions. In a society which Sae’di describes, still prayer and cursing are the top tools for dealing with problems. Poverty has spread its ominous shadow over all aspects of this society, and robbery and looting is a clear sign of such a society that makes it more like primitive societies. Franz Kafka (1883–1924), also is one of the world's greatest writers, owns valuable works that have been the subject of comparative reviews. Kafka deals with contemporary man in his stories. A man who brought civilization and progress to his loneliness and despair, along with this loneliness, in the world of Kafka's fictional characters. 2. Methodology This study uses comparative method by using library research. This research tries to answer the following questons: Have Saedi and Kafka used similar symbols in the two works? What kind of symbols have Saedi and Kafka used in these two works? What are the similarities and differences between the symbols of these two stories? 3. Discussion Sa’edi uses symbols to instill a secondary concept in the story of The Mourners of Bayal. Kafka also has used symbols in the story of "Metamorphosis" to achieve this end. Studying these two stories reveals the similarities and differences in the way they are applied and the broad meanings that each writer intended. We have divided the symbols of these two stories into human, non-human (places and objects) and animal symbols. Human symbols in the story of "The Mourners of Bayal " include arbāb (the master), maşdī eslām (Islām), müsorxe (red hair man), maşdī Hassan. In the stories of The Mourners of Bayal, the master is a symbol of "the establishment of a master system in the village" (cf: Shiri, 2014: 64). Sae’di does not create this fictional character, but the master is present in all stories, and the villagers perceive his heavy shadow in the context of the events. One of the minor characters in The Mourners of Bayal ing Stories is maşdī eslām, who becomes the main character in some stories, including the eighth story. maşdī eslām is, in fact, intellectually different from the people of the village. He therefore, represents the class strata of society that have little difference in attitudes and beliefs with the lower classes of society. Just like the story of Kafka, this story begins with a shocking incident. maşdī Hassan has gone to work in the village of Sayyed Abad. His cow is dead last night and the villagers do not want to give this bad news to maşdī Hassan. So they throw the carcass into the well and decide to tell maşdī Hassan that the cow has fled and sent one of the locals to find it. The metamophisis of maşdī Hassan in this story is a symbol of the fading, transformation and alienation of human beings in backward societies. It should also be noted that maşdī Hassan 's metamophisis is a spiritual rather than a physical transformation (in contrast to the metamophisis in Kafka's story). Müsorxe (red hair man) is another human symbol of this story. In the seventh story, the red hair man is the main character of the story. He suffers from severe hunger and insatiability. Everything even swallows junk. His metamophisis of as a rat is a physical metamophisis. A transformation that is lurking in every village. In fact, "the overeating insanity is a sign of hunger and excessive hunger for people who simply do not get it" (Taslimi, 2009: 121). Human symbols have also been used in the Kafka’s Metamorphosis. Father, mother and sister-in-law are human symbols of this story. Father of Gregor is a minor character in the story. He is a violent, bully, tyrant, and plays a leading role in one of the story's events - throwing apples at Gregor. Gregor's mother is a mild-tempered human being in this story, always trying to mediate and calm things down. Grigor's mother's personality is undoubtedly inspired by the true character of Kafka’s mother. "Kafka’s mother was a gentle and gentle woman and played a role of reconciliator at home" (Meghdadi, 2017: 15). Gregor's sister (Grete) first treats Gregor with embarrassment. She picks up food for him, and later, when Gregor turns to eating leftovers, she takes the leftovers him. She plays the violin, and Gregor provides the necessary equipment for her music classes when he is not ousted. The night that Grete plays the violin, Gregor is affected by the sound of her violin, and as he exits his room he goes to his sister, angering her. The incident causes a change in her sister's characteristics. Afterwards, Grete becomes Gregor's main enemy, trying to persuade her parents to get rid of Gregor - or this ugly creature. Human symbols of The Mourners of Bayal Stories include Bayal village, Poros, Khatunabad, the city, as well as things like generator and maşdī eslām and the bell. Bayal is a village with naive and superstitious people. Sa’edi describes the village with a dark, sad atmosphere where death always flows. The village of Bayal represents a community in which Saad lived. The inhabitants of Poros live near Bayal. They are known for theft and looting. The terror they create in their theft, looting and assaults is always evident in the village of Bayal. In fact, if Bayal is an icon of Iran, "Poros can also be a representation of ... England ... and America ..." given the background of Iran's historical and political developments from the Qajar period until the book was written. (cf: 2014: 66). Khatun Abad is a village near Bayal. The inhabitants of this village, although not as vicious as inhabitants of Poros, are sometimes vicious, but sometimes commit minor evils against the villagers. Bayal is a symbol of Iran, but Khatun Abad is undoubtedly a symbol of the Russian government. In The Mourners of Bayal, the city is described as an ideal place. Rural people often seek refuge in the city in order to free themselves from village problems. Generator is one of the non-humane symbols (objects) in Bayal's mourners. In the sixth story, several villagers return to the city in a strange way, a generator falling from the truck of American soldiers in the middle of the road. This object is not familiar to the villagers and because they hear a sound like crying inside it or imagine that it is the sound of crying, they take it to the village and make it a shrine. In fact, this object in the story symbolizes the ignorance and ignorance of the villagers. Other non-human symbols (objects) in the story are maşdī eslām’s instrument, which he sometimes makes people happy. His instrument must be interpreted as a symbol of something in which he has to bind himself to the ordinary people. Sa'adi uses the bell symbol in " The Mourners of Bayal". The sound of the bell rings everywhere. Especially when the presence of death is more felt. As noted above, non-human symbols (places and objects) are also used in the story of " The Metamorphosis". Non-human symbols in Kafka's "Metamorphosis" story include Gregor's room, a beautiful wall-mounted picture board, room furniture, apples, and a violin instrument. Gregor is forced to take refuge in his own room after his demise. The room actually becomes Gregor's world, and in a sense, symbolizes his isolation. It is a place where Gregor has to be imprisoned for being excluded from society. The photo frame is, in fact, a symbol of Gregor's affinity for sexuality, and the only attachment and interest he is unwilling to lose. In one scene of the story, Gregor comes out of his room and the father sees it as an evil sign from him and attacks Gregor with apples from the fruit bowl. In "The Metamorphosis", Kafka also symbolizes Gregor's sister's violin as a secondary concept. The music here is a symbol of everything that links Gregor to his time as a human being and stimulates his human emotions. In both stories, animal symbols are used. In the story of Bayal's mourners, Sae’di only uses the symbol of Abbas's dog to induce what he intends to do. In fact, the dog in this story symbolizes the sacrifice made by those around him, and his fate is nothing but death and destruction. The animal symbols of Kafka's "The Metamorphosis" story are only limited to the creature that Gregor has become. In fact, the most powerful symbol of this story is the symbol of being depicted as an insect, and most of the meaning of the story is borne by it. Gregor's metamorphsis in this story is physical, not spiritual. 4. Concluson This research concluded that these writers both used human, non- human (places and things) and animal symbols in these stories. Kafka and also Sā'edi wanted to transmit the deep concepts of the description of their era by these symbols. The character of Franz Kafka’s “The Metamorphosis” and Maşdi Hassan in Sā'edi’s story are the most prominent symbols of these stories. We have explored the symbols of these two stories comparatively. Sa’edi and Kafka both are writers who have considered symbols in their works. Both depict the status of human in their societies, but there is a difference. The human who Sa’edi depicts that is rural human who h
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