What seems like closure might be something more, as Catherine Russell shows us in this book about death in narrative cinema since the 1950s. Analyzing the structural importance of death in narrative endings, as well as the thematics of loss and redemption, Russell identifies mortality as a valuable critical tool for understanding the cinema of the second half of the twentieth century. Her work includes close textual readings of films by Fritz Lang, Wim Wenders, Oshima Nagisa, Jean-Luc Godard, and Robert Altman, among others. In these analyses, Russell reveals an uneasy relationship between death and closure, which she traces to anxieties about identity, gender, and national-cultural myths, and also to the persistence of desire. Drawing on the work of Walter Benjamin, she shows us death as a fundamentally allegorical structure in cinema - and as a potential sign of historical difference, with crucial implications for theories of film narrative and spectatorship. "Narrative Mortality" provides an insight into the dynamics of postmodern cinema as it emerged from the modernist preoccupation with existential mortality. By tracing the role of death from a work that precedes the Brechtian cinema of the 60s ("Beyond a reasonable doubt") to several that succeed it ("Nashville", "The State of things"), the book expands the narrative project of new wave cinema and ushers it onto a broad historical plane.

In the last two decades, interest in narrative conceptions of identity has grown exponentially, though there is little agreement about what a "life-narrative" might be. In connecting Kierkegaard with virtue ethics, several scholars have recently argued that narrative models of selves and MacIntyre's concept of the unity of a life help make sense of Kierkegaard's existential stages and, in particular, explain the transition from "aesthetic" to "ethical" modes of life. But others have recently raised difficult questions both for these readings of Kierkegaard and for narrative accounts of identity that draw on the work of MacIntyre in general. While some of these objections concern a strong kind of unity or "wholeheartedness" among an agent's long-term goals or cares, the fundamental objection raised by critics is that personal identity cannot be a narrative, since stories are artifacts made by persons. In this book, Davenport defends the narrative approach to practical identity and autonomy in general, and to Kierkegaard's stages in particular.

This collection shows what happens when facing the inevitable and sometimes expected death of a parent, and how such an ordinary part of life as parental death might connect with the children left behind. In many ways, individual deaths are extraordinary and leave a unique legacy – a kind of haunting. The authors' accounts seek to make sense of death through witnessing its enactment and recording its detail. All the authors are experienced researchers in the field of death studies, and their collective expertise encompasses ethnography, psychology, sociology and anthropology. The individual descriptions of death and grief capture the everyday practicalities of managing death and dying, including, for example, the difficulties of caring responsibilities and the realities of dealing with strained family relationships. These accounts show the raw detail of death; they are deeply personal observations framed within critical theories. As established scholars and practitioners that have researched and worked in end-of-life and bereavement care, the authors in this anthology offer a unique perspective on how identity is shaped by a close bereavement. The book employs a strong editorial narrative that blends memoir with theoretical engagement, and will be of interest to death studies scholars, as well as practitioners involved in end-of-life care and bereavement care and anyone who has experienced the death of a parent.

I interpret the Book of Job as literature of survival, reading the death imagery in Job as the complex articulation of traumatic experience.

Death is an inevitable, yet mysterious event. Fiction is one way to imagine and gain knowledge of death. Death is very useful to literature, as it creates plot twists, suspense, mysteries, and emotional effects in narrations. But more importantly, stories about death seem to have an existential importance to our lives. Stories provide fictional encounters with death and give meaning for both death and life. Thus, death is more than a physical or psychological experience in literature; it also highlights existential questions concerning humanity and storytelling. This volume, entitled Death in Literature, approaches death by examining the narratives and spectacles of death, dying and mortality in different literary genres. The articles consider literary representations of death from ancient Rome to the Netherlands today, and explore ways of dealing with death and dying. The discussions also transcend the boundaries of literature by studying literary representations of such socially relevant and death-related issues as euthanasia and suicide. The articles offer a broad perspective on death’s role in literature as well as literature’s role in the social and cultural debates about death.

Since the early 1990s there has been a trend towards narrative complexity within popular cinema. This book examines a number of contemporary films that play overtly with narrative structure, raising questions of chance and destiny, memory and history, simultaneity and the representation of time.

Inherent in every story is a view of death that reflects the human struggle of ending well, a Freudian thanatos inscribed within narrative. As a story draws to a close, the view of death found within the structure of the story's narrative will influence the ending that is produced. To examine the view of death and the closing strategies employed within a narrative, this study proposes a literary category called «narrative mortality.» Narrative mortality compares the degree of finality given to death with the amount of closure the reader experiences within the narrative. The narrative mortality of three differing biblical stories are studied within this work: The Gospel of John, the Book of Job, and the Book of Jonah. Each story employs a differing rhetorical strategy that reflects its own unique view of death and narrative closure.