Between the Baroque and Romanticism attitudes to death and the discursive framework of the emotional experience of dying fundamentally changed among the Catholic high nobility. The ideal baroque death was supposed to take the form of an extreme point at which the dying person confessed their sins through theatrical gestures and utterances. The deathbed ritual explicitly confirmed the denominational and spiritual orientation of the family. In succeeding generations, both aristocrats and commoners were expected to be confirmed in that orientation by a written and iconographic testimony rich in symbols. Romanticism, on the other hand, imbued the process of dying with sentiment, loving care and family cohesion, which among the high nobility brought solace and a peaceful death. Finally, between the Baroque and Romanticism the relative status of private and public experience of the last moments changed. The Baroque "theatrical" deathbed, which was presented with the central figure of the dying individual and the priest, was a public event. Gradually it changed into a more intimate, quiet contemplation with only a few witnesses gathered in the family circle. Moreover, the doctor came to replace the priest as the chief attendant at the dying person’s bedside. What remained unchanged was the anxious determination to conform to expected patterns of behaviour. By trying to fulfil the contemporary ideal of a "good death", the counts of Martinice and the princes of Schwarzenberg tried to affirm their unique position in Bohemian (and European) aristocratic society. Their emotional experience of death was intended to serve as an example to their descendants and form one of the constitutive elements of the family’s collective memory., Václav Grubhoffer, Josef Kadeřábek., and Obsahuje bibliografické odkazy
The present article aims to answer the research question: How did the nuns perceive death, the dying and the deceased? The author presents partial results of her qualitative research realized among the nuns employed in one of the nursing homes as nurses. The article presents the perception of the dying persons from part of the nuns, as well as their professional approach to these persons. Further, the author presents the perception of the dead persons from part of the nuns, and records their specific ways of dealing with the bodies of the deceased. As for the results of the research, it can be stated that the nuns perceive dead as a mysterious event that constitutes part of their and our lives and represents a return to God; however, in spite of these mostly positive connotations dead is for them a disquieting event.
Úzkost ze smrti je chápána jako multidimenzionální poznávací koncept, který vychází z postojů ke smrti. Zahrnuje myšlenky, strachy a emoce související s umíráním a smrtí, které jedinec prožívá za normálních podmínek života. Úzkost ze smrti a její prožívání ovlivňuje řada faktorů, a to jak negativně, tak pozitivně. Jednotlivé faktory se mohou překrývat nebo být ve vzájemné interakci. Patří mezi ně život ohrožující nemoc, spiritualita, životní zkušenost, kulturní normy, sociální opora, prostředí, věk a gender. Uvědomění si těchto faktorů pomáhá zdravotnickým pracovníkům lépe pochopit reakci pacienta na realitu smrti v současné technologicky vyspělé, sekularizované a multikulturní společnosti., Death anxiety is understood as a multidimensional cognitive concept arising from attitudes to the death. It includes thoughts, fears, and emotions connected with dying and death experienced by an individual under the normal life conditions. Death anxiety and its experiencing are influenced by many factors, both negatively and positively. The particular factors can overlap or can be in mutual interaction. They cover life threatening disease, spirituality, life experience, cultural norms, social support, environment, age, and gender. Realization of these factors helps medical workers to understand better the patient´s response to the reality of death in contemporary technologically developed. secularizationed and multicultural society., and Helena Kisvetrová, Jaroslava Králová.