Rituaalikuolema ja perhetragedia

Elokuvissa ja erityisesti angloamerikkalaisissa elokuvissa kuvataan itsemurhaa usein. Niiden representaatiot heijastelevat kulttuurisia käsityksiä itsemurhasta, mutta myös itsenäisesti vaikuttavat käsitysten syntymiseen. Tässä artikkelissa tarkastelen Ari Asterin folk-kauhugenreä edustavaa elokuvaa Midsommar – loputon yö (2019). Elokuvassa sisarensa tekemää murha-itsemurhaa sureva Dani matkustaa Yhdysvalloista Ruotsiin fiktiiviseen Hårga-kommuuniin poikaystävänsä ja tämän ystävien kanssa. Hårgalainen juhannusrituaali paljastaa eroja amerikkalaisen ja hårgalaisen kulttuurin välillä muun muassa kuolemasuhteeseen, tunteiden ilmaisuun ja perheeseen liittyen.Keskityn artikkelissa yhtäältä itsemurhaan tai omaehtoiseen kuolemaan tabuluonteisena kuolemana, johon liittyvää samanaikaisen näkymättömyyden ja hypernäkyvyyden dynamiikkaa elokuva mielenkiintoisella tavalla käsittelee. Midsommarin tarinankaaressa itsemurha näyttäytyy vaiettuna traumana ja oikeuttamattomana surun lähteenä, jonka käsittelyä Danin lähipiiri ei tue. Samalla elokuva heijastelee itsemurhan välineellistymistä ja pornoistumista angloamerikkalaisessa viihteessä.Toisaalta keskityn omaehtoisen kuoleman määrittelyn kysymyksiin tarkastelemalla elokuvan esittämää kulttuurista törmäyspistettä, jossa vastakkain asettuvat kahdenlaisten selitysmallien alle asettuvat itsemurhat. Näitä kuolemia voidaan määritellä egoistiseksi ja altruistiseksi viitaten durkheimilaiseen typologiaan, jossa itsemurha esiintyy aina suhteessa yhteiskuntaan. Toisaalta Midsommarin tarinamaailmassa itsemurhat redusoituvat ”diagnostisiksi” ja ”kultistisiksi” marginalisoiduiksi kuolemiksi ja siten heijastelevat normatiivisen biovallan selitysmallien valtaa itsemurhan määrittelyn kysymyksiin.Avainsanat: tabu, kuolema, itsemurha, folk-kauhu, biovaltaRitual Death and Family Tragedy: On Suicide’s Definition and Taboo in Folk Horror Film MidsommarFilms, especially Anglo-American ones, frequently depict suicide. Their representations reflect cultural understandings of suicide, but also independently influence how self-willed death is perceived. In this article I study how suicide is depicted in Ari Aster’s folk horror film Midsommar (2019). In the film, the protagonist Dani, who is mourning her sister’s murder-suicide, travels from the US to a Swedish commune, Hårga, with her boyfriend and his friends. The Hårgan midsummer ritual reveals differences in the two cultures’ relationships to death, emotional expression, and family.One the one hand, I focus on the way the film reflects suicide’s nature as a taboo, as something simultaneously hidden and hypervisible. In the diegesis, suicide appears as a silenced trauma, as a source of disenfranchised grief, and as a death the protagonist is not allowed to mourn. Simultaneously the film reflects suicide’s instrumentalization and pornification in Anglo-American entertainment.On the other hand, I focus on questions related to the definition of suicide or self-willed death. The film depicts conflicts between two cultures, where different explanation models of self-willed death are juxtaposed with one another. On display are two types of suicides that can be referred to as “egoistic” and “altruistic” by reference to Durkheim’s typology, which takes into account suicide’s relationship to society. Yet in Midsommar’s diegesis, these deaths appear as psychologized and culturally marginalized “diagnostic” and “cultist” suicides, and thus reflect the power of normative biopower over how self-willed death is understood and made sense of in the west.Keywords: taboo, death, suicide, folk-horror, biopower

“Some days it’s like she has died.” A qualitative exploration of first mothers’ utilisation of artefacts associated with now-adopted children in coping with grief and loss

In this article, I take a critical approach to the marginalisation of the grief experienced by first mothers who have experienced the non-consensual adoption of a child in England, in a context within which welfare benefits and services intended to support the most disadvantaged families have been dramatically curtailed. With reference to the concepts of disenfranchised grief and ambiguous loss, and in light of some identified parallels between the death of a child and the loss of a child to adoption, I draw upon literature from the field of bereavement studies in presenting findings arising from semi-structured interviews in which 17 first mothers sorted through artefacts such as toys, clothing and blankets associated with their now-adopted children and reflected upon the meanings that such keepsakes had taken on in their lives after loss. Respondents’ accounts revealed that artefacts were invested with high value, and could operate as vehicles for memories of time spent caring for children. It was found that interacting with artefacts could bring comfort, evoking in mothers sensory memories of the smell and feel of their now-adopted child. Interactions with artefacts were found to hold capacity to affirm respondents’ maternal status, as well as symbolising oppression and injustice, sometimes evoking strong feelings of anger directed towards professionals involved in children’s adoption.

The Human–Animal Bond and Grief and Loss: Implications for Social Work Practice

The human–animal bond (HAB) is a powerful emotional attachment which often elevates pets to the status of a family member. Because companion animals typically live much shorter lives than humans, grief and loss is a problem that is frequently encountered. Disenfranchised grief over the loss of a companion animal is an area that is often overlooked by mental health professionals. Sife has developed a model for the stages of grief and loss specific to companion animals. Questions about pets should be a part of every initial assessment done on a client. Effective interventions include understanding the significance of the HAB and grief and loss; bibliotherapy; psychoeducation; the importance of rituals; and the use of pet loss support groups.

Filling the void: Grieving and healing during a socially isolating global pandemic

The COVID-19 pandemic has altered life dramatically, including grieving practices. This study examines how people grieved death when they were unable to engage in traditional mourning rituals. Participants shared ways their experiences with grief were affected by the pandemic through themes of (1) physical isolation, including feeling together while apart, and, (2) challenges to grief management, like lack of nonverbal communication and feeling delegitimized. Participants also spoke of memorable messages deemed helpful or hurtful, including (1) emphasizing the death over the loss, (2) community, and (3) faith and advice. The findings yield implications regarding the nature of communal coping, flexibility to grieving practices, and disenfranchised grief during a global pandemic.

An Ethnography Study of a Viral YouTube Educational Video in Ecuador: Dealing With Death and Grief in Times of COVID-19

In Western societies, death is a social and educational taboo. Poor education about death and mourning processes and overprotective family and social attitudes move children away from death to avoid “unnecessary suffering.” The COVID-19 outbreak highlighted these shortcomings and the difficult management of grief's complexity under sudden and unexpected scenarios. The need for immediate and constant updates related to COVID-19 benefited from social media coverage's immediacy. The use of YouTube as a digital platform to disseminate/search for knowledge exploded, raising the need to conduct ethnographic studies to describe this community's people and culture and improve the booming social media's educational capacity and quality. The present virtual ethnography studied 255,862 YouTube views/users and their behavior related to “Vuela Mariposa, Vuela,” a children's story available online since 2009 (not monetized) about the cycle of life, death, and disenfranchised grief (not acknowledged by society) that went viral (+>999%) on May. To our knowledge, this case study is the first original research that explores the ethnography of (i) a viral video, (ii) on death and grief taboo topics, (iii) for prescholars, and (iv) before and during the COVID pandemic. The quantitative and qualitative analyses identified a change in the users' profiles, engagement, and feedback. During the previous 11 years, the users were 35–44 years old Mexican and Spanish women. Those in grief used narrative comments to explain their vital crisis and express their sorrow. In the pandemic, the analysis pointed to Ecuador as the virality geographical niche in a moment when the tragic scenarios in its streets were yet unknown. The timeline match with the official records confirmed the severity of their pandemic scenario. The viral video reached a broad population, with normal distribution for age, and including male gender. Engagement by non-subscribers, direct search (traffic sources), and mean visualization times suggested educational purposes as confirmed by the users' feedback with critical thinking referring to the cycle of life's meaning and societal mourning. For the youngest users, the video was part of academic assignments. The ethnography pointed at YouTube as a flexible education resource, immediately reaching diverse users, and being highly sensitive to critical events.