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Using almost a thousand case studies, both real and fictional, Dr van Hooff provides us with a unique and engaging insight into self-killing in the Graeco-Roman world. The author analyses the methods and motives which lie behind self-killing relating them to ancient popular morality as it appears in the various media and traces the development of the concept of self-murder, as opposed to the original idea of autothanasia, which lies at the root of the Christian abhorrence of suicide.
Using almost a thousand case studies, both real and fictional, Dr van Hooff provides us with a unique and engaging insight into self-killing in the Graeco-Roman world. The author analyses the methods and motives which lie behind self-killing relating them to ancient popular morality as it appears in the various media and traces the development of the concept of self-murder, as opposed to the original idea of autothanasia, which lies at the root of the Christian abhorrence of suicide.
Fatal Freedom is an eloquent defense of every individual’s right to choose F a voluntary death. By maintaining statutes that determine that voluntary death is not legal, Thomas Szasz believes that our society is forfeiting one of its basic freedoms and causing the psychiatric medical establishment to treat individuals in a manner that is disturbingly inhumane. Society’s penchant for defining behavior it terms objectionable as a dis­ease has created a psychiatric establishment that exerts far too much influ­ence over how and when we choose to die. In a compelling argument that clearly and intelligently addresses one of the most significant ethical issues of our time, Szasz compares suicide to other practices that historically began as sins, became crimes, and now arc seen as mental illnesses.
In early twentieth-century Russia, suicide became a public act and a social phenomenon of exceptional scale, a disquieting emblem of Russia's encounter with modernity. This book draws on an extensive range of sources, from judicial records to the popular press, to examine the forms, meanings, and regulation of suicide from the seventeenth century to 1914, placing developments into a pan-European context. It argues against narratives of secularization that read the history of suicide as a trajectory from sin to insanity, crime to social problem, and instead focuses upon the cultural politics of self-destruction. Suicide - the act, the body, the socio-medical problem - became the site on which diverse authorities were established and contested, not just the priest or the doctor but also the sovereign, the public, and the individual. This panoramic history of modern Russia, told through the prism of suicide, rethinks the interaction between cultural forms, individual agency, and systems of governance.
Jesus as Divine Suicide makes the argument the death of Jesus follows established and well-known models of self-sacrificing individuals, a model readily available to Roman and Jewish audiences. Paul, in his letter to the church in Galatia, uses this model to present a premeditated, self-chosen death meant to bring about a change in the cosmos. Watts, understanding the emotional attachment to the word, is careful to construct his argument based on a plethora of examples within Paul's reach, if not the reach of Jesus. The concept of devotio is explored using recent scholarship and examples are drawn from Jewish and Roman sources with the intention to show that not only did Paul use it, but that it may help to solve some of the questions scholars have raised as to who gave Paul his language of the death of Jesus. Watts goes on to argue the gruesome act of a self-caused death would have not only been allowed even by Jewish sources, but also would have had theological speculation supplied by the history of the devotion so that with minimal description, Paul is able to use the act as a way to make his argument for his gospel in Galatians.
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.
An award-winning classicist turns to Greek tragedies for the wisdom to understand the damage caused by suicide and help those who are contemplating suicide themselves In Sophocles’ tragedy Oedipus the Tyrant, a messenger arrives to report that Jocasta, queen of Thebes, has killed herself. To prepare listeners for this terrible news, he announces, “The tragedies that hurt the most are those that sufferers have chosen for themselves.” Edith Hall, whose own life and psyche have been shaped by such loss—her mother’s grandfather, mother, and first cousin all took their own lives—traces the philosophical arguments on suicide, from Plato and Aristotle to David Hume and Albert Camus. In this deeply personal story, Hall explores the psychological damage that suicide inflicts across generations, relating it to the ancient Greek idea of a family curse. She draws parallels between characters from Greek tragedy and her own relatives, including her great-grandfather, whose life and death bore similar motivations to Sophocles’ Ajax: both men were overwhelmed by shame and humiliation. Hall, haunted by her own periodic suicidal urges, shows how plays by Sophocles and other Greek dramatists helped her work through the loss of her grandmother and namesake Edith and understand her relationship with her own mother. The wisdom and solace found in the ancient tragedies, she argues, can help one choose survival over painful adversity and offer comfort to those who are tragically bereaved.
DIVIn a significant reevaluation of Paul’s place in the early Christian story, Timothy Luckritz Marquis explores the theme of travel in the apostle’s correspondence and shows how Paul was a product of the material forces of his day./div