When Evelyn Waugh wrote The Loved One (1948) as a satire of the elaborate preparations and memorialization of the dead taking place in his time, he had no way of knowing how technical and extraordinarily creative human funerary practices would become in the ensuing decades. In Funeral Festivals in America, author Jacqueline S. Thursby explores how modern American funerals and their accompanying rituals have evolved into affairs that help the living with the healing process. Thursby suggests that there is irony in the festivities surrounding death. The typical American response to death often develops into a celebration that reestablishes links or strengthens ties between family members and friends. The increasingly important funerary banquet, for example, honors an often well-lived life in order to help survivors accept the change that death brings and to provide healing fellowship. At such celebrations and other forms of the traditional wake, participants often use humor to add another dimension to expressing both the personality of the deceased and their ties to a particular ethnic heritage. In her research and interviews, Thursby discovered the paramount importance of food as part of the funeral ritual. During times of loss, individuals want to be consoled, and this is often accomplished through the preparation and consumption of nourishing, comforting foods. In the Intermountain West, AFuneral Potatoes, @ a potato-cheese casserole, has become an expectation at funeral meals; Muslim families often bring honey flavored fruits and vegetables to the funeral table for their consoling familiarity; and many Mexican Americans continue the tradition of tamale making as a way to bring people together to talk, to share memories, and to simply enjoy being together. Funeral Festivals in America examines rituals for loved ones separated by death, frivolities surrounding death, funeral foods and feasts, post-funeral rites, and personalized memorials and grave markers. Thursby concludes that though Americans come from many different cultural traditions, they deal with death in a largely similar approach. They emphasize unity and embrace rites that soothe the distress of death as a way to heal and move forward.

When lives are dominated by hunger, what becomes of love? When assaulted by daily acts of violence and untimely death, what happens to trust? Set in the lands of Northeast Brazil, this is an account of the everyday experience of scarcity, sickness and death that centres on the lives of the women and children of a hillside "favela". Bringing her readers to the impoverished slopes above the modern plantation town of Bom Jesus de Mata, where she has worked on and off for 25 years, the author follows three generations of shantytown women as they struggle to survive through hard work, cunning and triage. It is a story of class relations told at the most basic level of bodies, emotions, desires and needs. Most disturbing - and controversial - is her finding that mother love, as conventionally understood, is something of a bourgeois myth, a luxury for those who can reasonably expect, as these women cannot, that their infants will live. The author also wrote "Saints, Scholars and Schizophrenics: Mental Illness in Rural Ireland".

Beloved singer-songwriter Judy Collins draws on her personal experience with her son's suicide to guide readers through grieving the loss of a loved one who has died under tragic circumstances. The death of a loved one is always painful and the grieving process complex and profound. Yet when the loss occurs under tragic circumstances, there is a whole other set of emotional variables that the people left behind must face. Questions abound, such as "Could I have stopped this?" Feelings of guilt, shame, and even anger combine with the overwhelming sadness of losing someone who was dearly loved. Drawing on her own experience of losing her son to suicide, as well as her conversations with hundreds of people who have grieved the tragic death of a friend or family member, revered singer-songwriter Judy Collins has culled together seven powerful steps toward healing. The Seven T's are: TRUTH: Tell it. Regardless of how terrible the facts may be and how hard it is to talk about, don't hide the truth about how you lost the person you loved. TRUST: Allow it. Don't let the painful circumstances surrounding the death of your loved one prevent you from talking with friends about your loss. THERAPY: Get it. Seek help-whether through traditional talk therapy, your art, meditation, or whatever method you choose-but get the help you need. TREASURE: Hold on. Don't stop treasuring your loved one. Don't let the horrible events leading to his or her death wash away all of the things that were good and beautiful about that person's life. THRIVE: Keep living with your eyes wide open. Don't give in to the temptation to use alcohol or any other addiction to blunt or blur your sadness. TREAT: Be kind toyourself. Give yourself the gift of self-nourishment. TRIUMPH: You must. Live a life of joy, abundance, and forgiveness. From a woman famous for her wisdom and compassion, "The Seven T's" is destined to become a classic on the subject of grieving and loss.

Although much has been published on the social history of death, this is the first book to give a comprehensive account of attitudes toward the dead--above all the "placing" of the dead, in physical, spiritual and social terms--in order to reveal the social and religious outlook of past societies. The contributions range widely geographically, from Scotland to Transylvania, and address a spectrum of themes: attitudes toward the corpse, patterns of burial, forms of commemoration, the treatment of dead infants, the nature of the afterlife, and ghosts.

"Human beings," the acclaimed Egyptologist Jan Assmann writes, "are the animals that have to live with the knowledge of their death, and culture is the world they create so they can live with that knowledge." In his new book, Assmann explores images of death and of death rites in ancient Egypt to provide startling new insights into the particular character of the civilization as a whole.

Drawing on the unfamiliar genre of the death liturgy, he arrives at a remarkably comprehensive view of the religion of death in ancient Egypt. Assmann describes in detail nine different images of death: death as the body being torn apart, as social isolation, the notion of the court of the dead, the dead body, the mummy, the soul and ancestral spirit of the dead, death as separation and transition, as homecoming, and as secret. Death and Salvation in Ancient Egypt also includes a fascinating discussion of rites that reflect beliefs about death through language and ritual.

Breaking Free from Death examines how Russian writers respond to the burden of living with anxieties about their creative outputs, and, ultimately, about their own inevitable finitude. What contributes to creative death are not just crippling diseases that make man defenseless in the face of death, and not just the arguably universal fear of death but, equally important, the innumerable impositions on the part of various outsiders. Many conflicts in the lives of Rylkova's subjects arose not from their opposition to the existing political regimes but from their interactions with like-minded and supporting intellectuals, friends, and relatives. The book describes the lives and choices that concrete individuals and-by extrapolation-their literary characters must face in order to preserve their singularity and integrity while attempting to achieve fame, greatness, and success.

In the Andes, a long history of research on burial records and burial contexts exists for the purpose of reconstructing cultural affiliation, chronology, socioeconomic status, grave content, and human body treatment. Less attention is paid to the larger question of how mortuary practices functioned in different cultures. "Tombs for the Living: Andean Mortuary Practices" (originally released in 1995) examines this broader issue by looking at the mortuary practices that created a connection between the living and the dead; the role of wealth and ancestors in cosmological schemes; the location, construction, and sociopolitical implications of tombs and cemeteries; and the art and iconography of death. By examining rich sets of archaeological, ethnographic, and ethnohistoric data, the thirteen essays continue to enrich our understanding of the context and meaning of the mortuary traditions in the Andes.

Within this book are rituals, stories, traditions and experiences of magicians' scholars and artists who work with death. Some of the contributors such as Nema, Mogg Morgan, Louis Martine and Nevill Drury (to name but a few) have helped define contemporary transformative spirituality. Others are less well known but just as learned. As there should be in such a collection there is comedy, anger, confrontation and practicality. This anthology is about who we are, and where we come from. It is also about how we change. A Contemporary Western Book of the Dead contains voices and visions that acknowledge our past, feed our present and guide the direction of our future. "I was musing on Singapore in all its affluent glory still having shrines for the dead on every street corner during 'The Festival of the Hungry Ghosts'. Then I was musing on how the socially mobile of modern western society eschew death rites and grieving in the name of 'holding it together' and being progressive. I thought of which civilisations are falling and which are rising again, and wondered whether acknowledging death and the ancestors is a vital part of maintaining personal identity and our place in society. I remember how my grieving father mourned for all the information he had relied on his deceased wife remembering; information which was now lost. I recalled Michael Crichton's words 'If you don't know (your family's) history, then you don't know anything. You are a leaf that doesn't know it is part of a tree.' Then I thought maybe someone should write about the cults of the ancestors and death, perhaps an anthology, perhaps cross relate experiences of loss to personal spirituality and magick and history. I know that years of working with the dead in the name of art and spirituality, didn't prepare me for the death of my mother. What helped me was the advice of someone from a long tradition of working with the ancestors. I think that collecting the experiences of spiritual practitioners in their working with grief and death is part of a living and necessary tradition that will give respect to the dead and strength, identity and support to our own personal spirituality.' "

In "Necro Citizenship" Russ Castronovo argues that the meaning of citizenship in the United States during the nineteenth century was bound to--and even dependent on--death. Deploying an impressive range of literary and cultural texts, Castronovo interrogates an American public sphere that fetishized death as a crucial point of political identification. This morbid politics idealized disembodiment over embodiment, spiritual conditions over material ones, amnesia over history, and passivity over engagement.
Moving from medical engravings, seances, and clairvoyant communication to Supreme Court decisions, popular literature, and physiological tracts, "Necro Citizenship "explores how rituals of inclusion and belonging have generated alienation and dispossession. Castronovo contends that citizenship does violence to bodies, especially those of blacks, women, and workers. "Necro ideology," he argues, supplied citizens with the means to think about slavery, economic powerlessness, or social injustice as eternal questions, beyond the scope of politics or critique. By obsessing on sleepwalkers, drowned women, and other corpses, necro ideology fostered a collective demand for an abstract even antidemocratic sense of freedom. Examining issues involving the occult, white sexuality, ghosts, and suicide in conjunction with readings of Harriet Jacobs, Ralph Waldo Emerson, Frederick Douglass, Nathaniel Hawthorne, and Frances Harper, "Necro Citizenship" successfully demonstrates why Patrick Henry's "give me liberty or give me death" has resonated so strongly in the American imagination.

In this exploration of how people lived and died in eighteenth- and nineteenth- century New Mexico, Martina Will de Chaparro weaves together the stories of individuals and communities in this cultural crossroads of the American Southwest. The wills and burial registers at the heart of this study provide insights into the variety of ways in which death was understood by New Mexicans living in a period of profound social and political transitions. This volume addresses the model of the good death that settlers and friars brought with them to New Mexico, challenges to the model's application, and the eventual erosion of the ideal. The text also considers the effects of public-health legislation that sought to protect the public welfare, as well as responses to these controversial and unpopular reforms. Will de Chaparro discusses both cultural continuity and regional adaptation, examining Spanish-American deathways in New Mexico during the colonial (approximately 1700-1821), Mexican (1821-1848), and early Territorial (1848-1880) periods.

In spite of society's wish to protect and insulate children from death, the experience of loss is unavoidable and there is surprisingly little guidance on how to help children cope with grief and bereavement. Never Too Young to Know: Death in Children's Lives is the first book to bring together diverse fields of study, offering a practical as well as multifaceted theoretical approach to how children cope with death. Using stories of children's own experiences supported by data from a large research study, Silverman explains the wide range of effects of loss upon children and the challenges they face as they grieve. Silverman presents grief as a normal part of the life cycle which results not only in pain and sadness but also in change and growth. She further explains that children can and do cope effectively with loss and the changes it brings as long as they are taught to understand that death is a part of life and that they will be included appropriately in the family drama. Never Too Young To Know: Death in Children's Lives is divided into three parts. The first section includes an overview and theoretical framework that examines the social, historical, developmental, and familial forces that frame and focus childrens lives as they experience loss. The second section offers a detailed analysis of how children experience mourning different types of death including the death of siblings, parents, and friends, and death due to illness, suicide, accidents, and violence. The final section includes an accessible guide to helping children cope with grief, emphasizing the importance and the necessity of social support as children learn to adapt to their new lives. Never Too Young To Know: Death in Children's Lives is not only ideal for advanced undergraduate and graduate students learning about children but it is also useful for courses on death and dying and the family. It is also an invaluable book for mental health practitioners, clergy, school teachers, nurses, pediatricians, as well as the general reader interested in learning how to deal with death in children's lives.

The global doubling of human life expectancy between 1850 and 1950 is arguably one of the most consequential developments in human history, undergirding massive improvements in human life and lifestyles. In 1850, Americans died at an average age of 30. Today, the average is almost 80. This story is typically told as a series of medical breakthroughs Jenner and vaccination, Lister and antisepsis, Snow and germ theory, Fleming and penicillin, but the lion's share of the credit belongs to the men and women who dedicated their lives to collecting good data. Examining the development of death registration systems in the United States-from the first mortality census in 1850 to the development of the death certificate at the turn of the century-Count the Dead argues that mortality data transformed life on Earth, proving critical to the systemization of public health, casualty reporting, and human rights. Stephen Berry shows how a network of coroners, court officials, and state and federal authorities developed methods to track and reveal patterns of dying. These officials harnessed these records to turn the collective dead into informants and in so doing allowed the dead to shape life and death as we know it today.

Suicide is increasingly recognized as a major global issue of public health, with far-reaching social, economic, and emotional consequences. The World Health Organization estimates that around 800,000 people die each year by suicide, with suicide attempts perhaps up to twenty times more frequent than the completed act. Moreover, in the past thirty years global suicide rates have increased by a dizzying 60 per cent. (For example, in Japan-after Russia, the developed world's leading suicide nation-more than 33,000 people committed suicide in 2007.) Some general facts are now widely known. For instance: suicide is mainly a (young) male act; mental disorders (such as depression and schizophrenia) are strongly associated with the majority of suicide cases; and suicide rates tend to increase during times of economic downturn, and decrease when individuals within society are well integrated-which probably explains why suicide rates tend to decline during wars. Also, certain groups of people (e.g. alcoholics, the bereaved, prisoners, and migrants) are recognized to be at particular risk of suicide. While it is possible to make such generalizations, many urgent questions, of course, remain unanswered. Consequently, practical and scholarly research better to understand the complex interaction of psychological, genetic, sociological, and environmental factors that may lead to suicide flourishes as never before, not least in the hope of instigating effective suicide-prevention strategies and initiatives. However, much of the literature remains inaccessible or is highly specialized and compartmentalized, so that it is often difficult to obtain an informed overview. To enable users to make sense of the sheer scale of the growth in research output-and the breadth of the field-this new four-volume collection from Routledge's Major Themes in Health and Social Welfare series answers the need for a comprehensive reference work offering wide-ranging and multidisciplinary perspectives on suicide and suicidal behaviour. Edited by two of the world's leading authorities, the collection brings together canonical and the very best cutting-edge research. Suicide will be welcomed by professionals and policy-makers. It will also be an invaluable reference resource for students and scholars working in the field, as well as users from a wide range of allied disciplines-such as nursing, education, social work, and law-who increasingly require an understanding of the issues this collection explores.

During the late imperial era (1500-1911), China, though divided by ethnic, linguistic, and regional differences at least as great as those prevailing in Europe, enjoyed a remarkable solidarity. What held Chinese society together for so many centuries? Some scholars have pointed to the institutional control over the written word as instrumental in promoting cultural homogenization; others, the manipulation of the performing arts. This volume, comprised of essays by both anthropologists and historians, furthers this important discussion by examining the role of death rituals in the unification of Chinese culture.

This compelling text and dramatic photographic essay convey the emotional power of the death rituals of a small Greek village--the funeral, the singing of laments, the distribution of food, the daily visits to the graves, and especially the rite of exhumation. These rituals help Greek villagers face the universal paradox of mourning: how can the living sustain relationships with the dead and at the same time bring them to an end, in order to continue to live meaningfully as members of a community? That is the villagers' dilemma, and our own. Thirty-one moving photographs (reproduced in duotone to do justice to their great beauty) combine with vivid descriptions of the bereaved women of "Potamia" and with the words of the funeral laments to allow the reader an unusual emotional identification with the people of rural Greece as they struggle to integrate the experience of death into their daily lives.

Loring M. Danforth's sensitive use of symbolic and structural analysis complements his discussion of the social context in which these rituals occur. He explores important themes in rural Greek life, such as the position of women, patterns of reciprocity and obligation, and the nature of social relations within the family.

On June 8, 2010, while on a book tour for his bestselling memoir, "Hitch-22," Christopher Hitchens was stricken in his New York hotel room with excruciating pain in his chest and thorax. As he would later write in the first of a series of award-winning columns for Vanity Fair, he suddenly found himself being deported "from the country of the well across the stark frontier that marks off the land of malady." Over the next eighteen months, until his death in Houston on December 15, 2011, he wrote constantly and brilliantly on politics and culture, astonishing readers with his capacity for superior work even in extremis.
Throughout the course of his ordeal battling esophageal cancer, Hitchens adamantly and bravely refused the solace of religion, preferring to confront death with both eyes open. In this riveting account of his affliction, Hitchens poignantly describes the torments of illness, discusses its taboos, and explores how disease transforms experience and changes our relationship to the world around us. By turns personal and philosophical, Hitchens embraces the full panoply of human emotions as cancer invades his body and compels him to grapple with the enigma of death.
MORTALITY is the exemplary story of one man's refusal to cower in the face of the unknown, as well as a searching look at the human predicament. Crisp and vivid, veined throughout with penetrating intelligence, Hitchens's testament is a courageous and lucid work of literature, an affirmation of the dignity and worth of man.

The conventional approach to suicide is psychiatric: ask the average person why people kill themselves, and they will likely cite depression. But this approach fails to recognize suicide's social causes. People kill themselves because of breakups and divorces, because of lost jobs and ruined finances, because of public humiliations and the threat of arrest. While some psychological approaches address external stressors, this comprehensive study is the first to systematically examine suicide as a social behavior with social catalysts. Drawing on Donald Black's theories of conflict management and pure sociology, Suicide presents a new theory of the social conditions that compel an aggrieved person to turn to self-destruction. Interpersonal conflict plays a central but underappreciated role in the incidence of suicide. Examining a wide range of cross-cultural cases, Jason Manning argues that suicide arises from increased inequality and decreasing intimacy, and that conflicts are more likely to become suicidal when they occur in a context of social inferiority. As suicide rates continue to rise around the world, this timely new theory can help clinicians, scholars, and members of the general public to explain and predict patterns of self-destructive behavior.

Suppose you knew that, though you yourself would live your life to its natural end, the earth and all its inhabitants would be destroyed thirty days after your death. To what extent would you remain committed to your current projects and plans? Would scientists still search for a cure for cancer? Would couples still want children? In Death and the Afterlife, philosopher Samuel Scheffler poses this thought experiment in order to show that the continued life of the human race after our deaths-the "afterlife" of the title-matters to us to an astonishing and previously neglected degree. Indeed, Scheffler shows that, in certain important respects, the future existence of people who are as yet unborn matters more to us than our own continued existence and the continued existence of those we love. Without the expectation that humanity has a future, many of the things that now matter to us would cease to do so. By contrast, the prospect of our own deaths does little to undermine our confidence in the value of our activities. Despite the terror we may feel when contemplating our deaths, the prospect of humanity's imminent extinction would pose a far greater threat to our ability to lead lives of wholehearted engagement. Scheffler further demonstrates that, although we are not unreasonable to fear death, personal immortality, like the imminent extinction of humanity, would also undermine our confidence in the values we hold dear. His arresting conclusion is that, in order for us to lead value-laden lives, what is necessary is that we ourselves should die and that others should live. Death and the Afterlife concludes with commentary by four distinguished philosophers-Harry Frankfurt, Niko Kolodny, Seana Shiffrin, and Susan Wolf-who discuss Scheffler's ideas with insight and imagination. Scheffler adds a final reply.

A spellbinding new talent explores the dark side of creativity through the stories of thirteen tragic architects 'Bold Ventures resembles a pop version of Iain Sinclair's psychogeography or Out of Sheer Rage, Geoff Dyer's anti-biography of DH Lawrence' Olivia Laing, Guardian In thirteen chapters, Belgian poet Charlotte Van den Broeck goes in search of buildings that were fatal for their architects - architects who either killed themselves or are rumoured to have done so. They range across time and space from a church with a twisted spire built in seventeenth-century France to a theatre that collapsed mid-performance in 1920s Washington, DC., and an eerily sinking swimming pool in her hometown of Turnhout. Drawing on a vast range of material, from Hegel and Charles Darwin to art history, stories from her own life and popular culture, patterns gradually come into focus, as Van den Broeck asks: what is that strange life-or-death connection between a creation and its creator? Threaded through each story, and in prose of great essayistic subtlety, Van den Broeck meditates on the question of suicide - what Albert Camus called the 'one truly serious philosophical problem' - in relation to creativity and public disgrace. The result is a profoundly idiosyncratic book, breaking new ground in literary non-fiction, as well as providing solace and consolation - and a note of caution - to anyone who has ever risked their hand at a creative act. 'What a sensible, intelligent and beautiful book' Stefan Hertmans, author of War and Turpentine

Becoming a widow is one of the most traumatic life events that a woman can experience. Yet, as this remarkable new collection reveals, each woman responds to that trauma differently. Here, forty-three widows tell their stories, in their own words. Some were widowed young, while others were married for decades. Some cared for their late partners through long terminal illnesses, while others lost their partners suddenly. Some had male partners, while others had female partners. Yet each of these women faced the same basic dilemma: how to go on living when a part of you is gone. Widows' Words is arranged chronologically, starting with stories of women preparing for their partners' deaths, followed by the experiences of recent widows still reeling from their fresh loss, and culminating in the accounts of women who lost their partners many years ago but still experience waves of grief. Their accounts deal honestly with feelings of pain, sorrow, and despair, and yet there are also powerful expressions of strength, hope, and even joy. Whether you are a widow yourself or have simply experienced loss, you will be sure to find something moving and profound in these diverse tales of mourning, remembrance, and resilience.

What do Socrates, Hypatia, Giordano Bruno, Thomas More, and Jan Patocka have in common? First, they were all faced one day with the most difficult of choices: stay faithful to your ideas and die or renounce them and stay alive. Second, they all chose to die. Their spectacular deaths have become not only an integral part of their biographies, but they are also inseparable from their work. A death for ideas is a piece of philosophical work in its own right; Socrates may have never written a line, but his death is one of the greatest philosophical best-sellers of all time. Dying for Ideas explores the limit-situation in which philosophers find themselves when the only means of persuasion they can use is their own dying bodies and the public spectacle of their death. Silenced by brute force, they cannot argue anymore and have to turn philosophy into bodily performance. The phenomenology of this unique situation is as fascinating as it has been neglected.In the manner of a dramatic narrative, the book tells the story of the philosopher's encounter with death as seen from several angles: the tradition of philosophy as a way of life; the body as the locus of fundamental human experiences; death of a classical philosophical topic; fear of death as a torturer of philosophical minds; finally, the philosophers' scapegoating and their live performance of a martyr's death, followed by apotheosis and disappearance into myth. While rooted in the history of philosophy, Dying for Ideas is an exercise in challenging and breaking disciplinary boundaries. This is a book about Socrates and Heidegger, but also about Gandhi's fasting unto death and self-immolation as political protest; about Girard and Passolini, and still about self-fashioning and the art of the essay; Boethius and Montaigne are discussed, and so are Bergman's Seventh Seal and Tolstoy's Death of Ivan Ilyich

The house looked as if she'd brushed it over with a hurried hand. Things were open-drawers, cans, and closets. A pile of newspapers fanned out across the floor by the front door, and still I did not wonder. She must have dropped them as she ran, I thought. My mother was often late. But had I stopped to look, I would have seen the fear in the way the house had settled-a footstool that lay on its side, several books that had fallen from their shelves. When you count back, you can see a story from the end. I like that-the seemingly natural narrative that forms this way. With the end in my hand, the story becomes mine. I can have it all make sense, or I can lose my mind like she lost hers-like I lost her. But I can have my story. Walking the Night Road speaks to the experience of caring for a loved one with a terminal illness and the difficulties of encountering death. Alexandra Butler, daughter of the Pulitzer Prize-winning gerontologist Robert N. Butler and respected social worker and psychotherapist Myrna Lewis, composes a lyrical yet unsparing portrait of caring for her mother during her sudden, quick decline from brain cancer. Her rich account shares the strains of caregiving on both the provider and the person receiving care and recognizes the personal and professional sacrifices caregivers must make to fulfill the role. More than a memoir of dying and grief, Butler's account also tests many of the theories her parents pioneered in their work on healthy aging. Authors of such seminal works as Love and Sex After Sixty, Butler's parents were forced to rethink many of the tenets they lived by while Myrna was incapacitated, and Butler's father found himself relying heavily on his daughter to provide his wife's care. Butler's poignant and unflinching story is therefore a rare examination of the intimate aspects of aging and death experienced by practitioners who suddenly find themselves in the difficult position of the clients they once treated.

Emile Durkheim's On Suicide (1897) was a groundbreaking book in the field of sociology. Traditionally, suicide was thought to be a matter of purely individual despair but Durkheim recognized that the phenomenon had a social dimension. He believed that if anything can explain how individuals relate to society, then it is suicide: Why does it happen? What goes wrong? Why do certain social, religious or racial groups have higher incidences of suicide than others? As Durkheim explored these questions he became convinced that abnormally high or low levels of social integration lead to an increased likelihood of suicide. On Suicide was the result of his extensive research. Divided into three parts - individual reasons for suicide, social forms of suicide and the relation of suicide to society as a whole - Durkheim's revelations have fascinated, challenged and informed readers for over a century.

As a result of its almost total displacement from the everyday life environment death threatens to become a target for the projection of various fears. This volume takes an interdisciplinary look at this complex phenomenon, and attempts to examine its various dimensions. The presentation of the possibilities of current palliative medicine and ethical reflection upon it are shown to be of particular importance.