Death, grief and bereavement in Second World War Britain

This book places death squarely at the centre of war. Focused on Second World War Britain, it draws on a range of public and private sources to explore the ways that British people experienced death, grief and bereavement in wartime. It examines the development of the emotional economy within which these experiences took place; the role of the British state in planning for wartime death and managing and memorialising those who died, and the role of the dead in the postwar world. Arguing that cultures of bereavement and the visibility of grief in wartime were shaped by the Great War, the book traces the development of cultures of death grief and bereavement through the first half of the 20th century. Drawing on a wide range of sources, including diaries, letters, memoirs, newspapers, magazines and government papers, it considers civilian death in war alongside military death, and examines the ways that gender, class and region shaped death, grief and bereavement for the British in war.

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Four Decisive Challenges Confronting Humanitarian Innovation

, T. (eds), Death, Dying and Bereavement ( New York : Springer Publishing Company ), pp. 363 – 78 . PLAN ( 2015 ), Nepal: A Crisis in the Aftermath of a Crisis , (accessed 20 October 2016) . Quitzau , A. ( 2010 ), How IBM Innovates ( New

Journal of Humanitarian Affairs

The Protestant Orphan Society became a social bridge that linked together throughout the Church of Ireland the humble poor and the wealthy and the great. This book examines the work of the Protestant Orphan Society in Dublin (DPOS) against the background of over a century of political, religious and social upheaval from Catholic emancipation, the Great Famine, social reforms to Independence. It first identifies the founders and supporters of the DPOS and their motivation for doing so. It asks why the Church of Ireland invested in the children of the church at this time. The book then analyses the Society's development, the grounds for support of private versus public poor relief for Protestant widows and children and stresses the crucial role that women played in the Societies' work. It examines the child welfare system implemented by the DPOS, and the extent to which its policies were forward thinking and child and family centred. The opposing views of the extensive social service carried out by PO Societies and the meaning of the charity for the Church of Ireland laity, particularly women, are explored. The book further examines applicant profiles, widows' reduced circumstances and health, attitudes to children's health, and bereavement and the attendant emotional effects. Using individual case histories the chapter examines applicant case histories which include Sean O'Casey's sister.

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Death, grief and mourning before the Second World War

, undertaking the behaviours and rituals expected of the bereaved. By 1945, as Baume’s reflection on these graves shows, the language of death was largely expected to be ‘unemotional, unsentimental’. At the end of almost six years of war, British culture had little space for voluble expressions of grief or for elaborate bereavement or funerary practices. Emotional and cultural restraint shaped both the rituals of bereavement and the articulation of grief. The work of the dead, and of the living who mourn them and grieve for them, is thus situated in time and place. Death is a

in Dying for the nation
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Death, grief and bereavement in wartime Britain

Introduction Death, grief and bereavement in wartime Britain Mrs Lane’s loss By the end of the Second World War, approximately 369,405 British nationals, both combatant and civilian, had been killed.1 Among these were the four sons of Mrs Lane, a middle-aged woman from North London. Mrs Lane’s sons had all been members of the Royal Air Force (RAF): Donald had been killed during the retreat to Dunkirk in June 1940, Desmond in September 1942, John in March 1943 and Patrick, her oldest son, in a flying accident in January 1945. Only her daughter, Sheila, had

in Dying for the nation

moving and powerful expression of the renewed pain of bereavement which follows his awakening from the dream. The second level, by contrast, is more rooted in the poet’s sense of his own identity and ego as it is represented in the verse. The most severe suffering of Milton’s life, apart from his many family bereavements, was caused by the loss of his eyesight, which he felt had unmanned him and reduced him to helplessness (this is the subject of another famous sonnet, ‘On His Blindness’). difficult weeks following Katherine’s death’. Barbara K. Lewalski, The Life of

in Reading poetry

, remarried or emigrated, for others the heavy responsibility of providing for their families alone, and often unexpectedly, caused mental and physical decline; children were also deeply affected by bereavement and separation from their mothers. Through case history analysis, this chapter closely examines the difficult period of bereavement, the chain of circumstances that led widows to seek relief from PO Societies, which by 1870 had a presence in every county in Ireland, and the effects of such upheaval for children. It assesses the boarding-out environment in which

in The Protestant Orphan Society and its social significance in Ireland, 1828–1940

meurtres et fantasmes le disputent à toutes les perversions. Avec, au bout du chemin, et comme un message d’espoir, la douceur sensuelle d’Hélène, l’amante, la complice, la femme aimée. 2 Background Bereavement after IP5 turned Beineix away from feature film-making, despite several propositions from American producers, Alien Resurrection (Jeunet, 1997 ) and The Avengers (Chechik

in Jean-Jacques Beineix
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‘This grave day’

grounds that it was disrespectful towards the British dead.26 Others took the opposite view: music was international and should not be claimed by any nation, nor should it be put to the service of nationalism or war.27 Kate Kennedy’s chapter looks at the British composer and veteran v9v The silent morning Arthur Bliss, who was less interested in questions of ‘national’ music than in questions of bereavement and mourning after the war. These were at once deeply personal and widely communal, crossing all national boundaries. In his monumental work, Morning Heroes (1930

in The silent morning
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not know which might be the staircase somebody for the first time was not mounting that morning’ 9 In this, the conventional ghost-story attention to footsteps on the staircase is inverted and intensified; the legacy of Sheridan Le Fanu is adapted to the spiritual conditions of systematic bereavement and impersonalised killing. The horror of the

in Dissolute characters