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Artistic work itself has been thought of as a life-saving behaviour for some suicidal artists. Artistic depictions of suicide can also have a contagion effect, causing suicides among members of the real-world audience. Guidelines are still needed for institutions such as the motion picture industry for minimising possible copycat effects of suicides in feature films and other artistic displays of suicide. Perhaps one of the most important reasons for studying suicide art is for insights into the motives for suicide. Artists portrayed many motives for suicide long before the rise of the science of suicidology in the 20th Century. Motives including social factors such as death of a loved one, honour, economic strain, and betrayal in love have roots in many historical artistic products. Sophocles's plays, dating from 2,500 years ago, contain several motives that are still found today. The history of suicide in art, especially if film is included, may be subject to continuities as well as changes in the motives for suicide. While the visual arts may have drifted away from certain causes of suicide, such as heroicism, these causes may actually live on in other art forms including film and opera. The present volume stresses a holistic approach to the study of suicide in art. Patterns in one art venue may be both similar and different to those in other venues. Hence, caution needs to be exercised in making generalisations on the basis of one or a few modalities of artistic creations.
If creativity is the highest expression of the life impulse, why do creative individuals who have made lasting contributions to the arts and sciences so often end their lives? M.F. Alvarez addresses this central paradox by exploring the inner lives and works of eleven creative visionaries who succumbed to suicide. Through a series of case studies, Alvarez shows that creativity and suicide are both attempts to authenticate and resolve personal catastrophes that have called into question the most basic conditions of human existence.
The Art of Suicide is a history of the visual representation of suicide from the ancient world to its decriminalization in the 20th century. After looking at instances of voluntary death in ancient Greece, Ron Brown discusses the contrast between the extraordinary absence of such events in early Christianity and the proliferation of images of biblical suicides in the late medieval era. He emphasizes how differing attitudes to suicide in the early modern world slowly merged, and pays particular attention to the one-time chasm between so-called heroic suicide and self-destruction as a "crying crime". Brown tracks the changes surrounding the perception of suicide into the pivotal Romantic era, with its notions of the "man of feeling", ready to hurl himself into the abyss over a woman or an unfinishable poem. After the First World War, the meaning of death and attitudes towards suicide changed radically, and in time this led to its decriminalization. The 20th century in fact witnessed a growing ambivalence towards suicidal acts, which today are widely regarded either as expressions of a death-wish or as cries for help. Brown concludes with Warhol's picture of Marilyn Monroe and the videos taken by the notorious Dr Kevorkian.
Using art therapy, lived experience, and DBT skills in combination, this book offers insight into how, together, these methods can help prevent youth suicide. Practical advice for professionals and case studies will result in increased confidence in using DBT with young people. In this helpful and empowering book, readers are guided through the background, theory, and use of art therapy and DBT as a positive intervention. Schorr exemplifies these practices through The Arts in Recovery for Youth (AIRY) model - an art therapy model informed by research in suicidology and best practices in suicide prevention. Practical resources and a wide range of art therapy directives are included in order to seamlessly integrate DBT-informed art therapy into caring and therapeutic work with evidence-based measurable outcomes.
Although the representation of suicide is commonplace in literature, few studies have explicitly dealt with the meaning of suicide in the works of women writers. The Art of Dying applies theories concerning the division of women literary figures into angels or monsters to representative literary suicides of the nineteenth century, including the suicides of women characters in works by Kate Chopin and Sylvia Plath. The Awakening by Kate Chopin is often misunderstood by critics who read it using the Romantic paradigm. Chopin breaks that paradigm by presenting the suicide of Edna Pontellier as heroic. Suicide is a prevalent motif and theme in two works by Sylvia Plath, The Bell Jar and Ariel. An extensive analysis of Plath's last poem «Edge» portrays the suicide of the speaker as a calm and heroic act in keeping with the tone set by Chopin in The Awakening. The Art of Dying concludes by exploring women's need for self-actualization within the framework of love, marriage, and motherhood - institutions that have always demanded from women an unnatural and harmful degree of unselfishness. The inherent message in the works of artists such as Chopin and Plath is that women should not have to die in order to live.
A New York Times Editor’s Pick. Shortlisted for the Bookmark Festival Book of the Year and the McIlvanney Prize "I wasn’t sure there could be a great pandemic novel. Here it is." Ian Rankin My name is Haley Cooper Crowe and I am in lockdown in a remote location I can’t tell you about. It’s five years after the pandemic, and for most people life has returned to normal—but not for Haley Cooper Crowe and her brother Ben. Children of divorce, they live with their mother, but their dad believes there’s a new, much deadlier virus spreading out of control, and that he can only save his kids by kidnapping them and hiding them in his remote prepper hideaway. Once confined to their off-grid “safe house”, Haley and Ben are completely cut off from civilisation. Will they make it out alive? How can they save their mother? How can they discover what’s happening on the outside? Propulsive, electrifying, tense, and often visceral and funny, How to Survive Everything is one teenage girl’s guide to navigating the imminent collapse of her world, family and sanity.