A study of expression of grief among the working class in Victorian and Edwardian Britain.

Across the twentieth century, the families of people who died in war and disaster were left to make sense of their sudden loss and navigate newfound grief. This book focuses the families of people who died in the First World War and in mining disasters in the early twentieth-century. These bereaved families were often denied access to bodies and choice over burial rights, all while dealing with the increased bureaucracy of death.Families created domestic memorials, which took on additional meaning because of this lack of memorial agency elsewhere. Although the ways that these families were bereaved each took place in different circumstances, the ways that families grieved were recognizable to one another: they drew on common memorial practices, augmented to take on special meaning after sudden death.This memorial material provided a vehicle for families to navigate their loss, but also to communicate the memory of the dead both externally, through donation to museums, and linearly, through ancestral lines. Drawing on a nuanced reading of a wide range of sources - from ephemera to administrative museum paperwork - this book explores family reactions to mass death events in early twentieth-century Britain. The result is a comparative and domestic perspective on mourning at the turn of the century that makes important contributions to the growing field of death studies, and will be of interest to those working on the First World War, interwar Britain, the history of work, the social history of the family, and the history of memorialization. 6 b&w illustrations

The Christian idea of a good death had its roots in the Middle Ages with ars moriendi, featuring reliance on Jesus as Savior, preparedness for the life to come and for any spiritual battle that might ensue when on the threshold of death, and death not taking place in isolation. Evangelicalism introduced new features to the good death, with its focus on conversion, sanctification and an intimate relationship with Jesus. Scholarship focused on mid-nineteenth-century evangelical Nonconformist beliefs about death and the afterlife is sparse. This book fills the gap, contributing an understanding not only of death but of the history of Methodist and evangelical Nonconformist piety, theology, social background and literary expression in mid-nineteenth-century England. A good death was as central to Methodism as conversion and holiness. Analyzing over 1,200 obituaries, Riso reveals that while the last words of the dying pointed to a timeless experience of hope in the life to come, the obituaries reflect changing attitudes towards death and the afterlife among nineteenth-century evangelical Nonconformist observers who looked increasingly to earthly existence for the fulfillment of hopes. Exploring tensions in Nonconformist allegiance to both worldly and spiritual matters, this book offers an invaluable contribution to death studies, Methodism, and Evangelical theology.

The book explores the reality of grief from different perspectives and provides some insightful help primarily to those trying to support a colleague, friend or family member who is being overwhelmed by their primal grief, Though the book will contain important and practical material for those who are poleaxed by grief, the focus will be on those around them who are struggling to understand, and feel that sense of helplessness in knowing what to do and say for the best.

There is a persistent myth about the British: that we are a nation of stoics, with stiff upper lips, repressed emotions, and inactive lachrymal glands. Weeping Britannia - the first history of crying in Britain - comprehensively debunks this myth. Far from being a persistent element in the 'national character', the notion of the British stiff upper lip was in fact the product of a relatively brief and militaristic period of our past, from about 1870 to 1945. In earlier times we were a nation of proficient, sometimes virtuosic moral weepers. To illustrate this perhaps surprising fact, Thomas Dixon charts six centuries of weeping Britons, and theories about them, from the medieval mystic Margery Kempe in the early fifteenth century, to Paul Gascoigne's famous tears in the semi-finals of the 1990 World Cup. In between, the book includes the tears of some of the most influential figures in British history, from Oliver Cromwell to Margaret Thatcher (not forgetting George III, Queen Victoria, Charles Darwin, and Winston Churchill along the way). But the history of weeping in Britain is not simply one of famous tear-stained individuals. These tearful micro-histories all contribute to a bigger picture of changing emotional ideas and styles over the centuries, touching on many other fascinating areas of our history. For instance, the book also investigates the histories of painting, literature, theatre, music and the cinema to discover how and why people have been moved to tears by the arts, from the sentimental paintings and novels of the eighteenth century and the romantic music of the nineteenth, to Hollywood weepies, expressionist art, and pop music in the twentieth century. Weeping Britannia is simultaneously a museum of tears and a philosophical handbook, using history to shed new light on the changing nature of Britishness over time, as well as the ever-shifting ways in which we express and understand our emotional lives. The story that emerges is one in which a previously rich religious and cultural history of producing and interpreting tears was almost completely erased by the rise of a stoical and repressed British empire in the late nineteenth century. Those forgotten philosophies of tears and feeling can now be rediscovered. In the process, readers might perhaps come to view their own tears in a different light, as something more than mere emotional incontinence.

Offering a unique anthology of primary texts, this sourcebook opens a window on the writing that shaped and mirrored Victorian fashion, taking us from corsets to crinolines, dandies to decadent 'New Women'. A user-friendly collection that provides a solid grounding in the fashion history of the nineteenth century, it brings together for the first time sources that trace the evolution of dress and the social, cultural and political discourses that influenced it. Featuring seminal writings by authors and commentators such as Oscar Wilde, Thorstein Veblen and Sarah Stickney Ellis, plus satirical cartoons, illustrations and fashion plates from key sources such as Punch magazine, it combines primary texts and illustrations with accessible explanatory notes to offer a wide-ranging overview of the period for both students and researchers. Each section opens with an introduction that examines the major trends in Victorian clothing – and the material, economic, scientific and cultural forces driving those trends – situating the texts in the pressing social anxieties and pleasures of the time. Exploring both menswear and womenswear, and key topics such as corsetry, dress reform and mourning, Mitchell extends her analysis into interdisciplinary fields including gender studies and literature, and guides the reader with a timeline, glossary and further readings.

Palliative medicine was first recognised as a specialist field in 1987. One hundred years earlier, London based doctor William Munk published a treatise on 'easeful death' that mapped out the principles of practical, spiritual, and medical support at the end of life. In the intervening years a major process of development took place which led to innovative services, new approaches to the study and relief of pain and other symptoms, a growing interest in 'holistic' care, and a desire to gain more recognition for care at the end of life. This book traces the history of palliative medicine, from its nineteenth-century origins, to its modern practice around the world. It takes in the changing meaning of 'euthanasia', assesses the role of religious and philanthropic organisations in the creation of homes for the dying, and explores how twentieth-century doctors created a special focus on end of life care. To Comfort Always traces the rise of clinical studies, academic programmes and international collaborations to promote palliative care. It examines the continuing need to support development with evidence, and assesses the dilemmas of unequal access to services and pain relieving drugs, as well as the periodic accusations of creeping medicalization within the field. This is the first history of its kind, and the breadth of information it encompasses makes it an essential resource for those interested in the long-term achievements of palliative medicine as well as the challenges that remain.

Childhood, Youth and Emotions in Modern History is the first book to innovatively combine the history of childhood and youth with the history of emotions, combining multiple national, colonial, and global perspectives.

This book examines the shifts that have taken place in the funeral industry since 1900, focusing on the figure of the undertaker and exploring how organizational change and attempts to gain recognition as a professional service provider saw the role morph into that of 'funeral director'.

This book examines life in the homes inhabited by the working class over the long nineteenth century. These working-class homes are often imagined as distinctly unhomely spaces, which the inhabitants struggled to fill with even the most basic of furniture, let alone acquire the comforts associated with middle-class domestic space. The concerned reformers of industrialising towns and cities painted a picture of severe deprivation, of rooms that were both cramped yet bare at the same time, and disease-ridden spaces from which their subjects required rescue. It is an image which is not only inadequate, but which also robs working-class people of their agency in creating domestic spaces which allowed for the expression of personal and familial feeling. Bringing together emerging scholars who challenge these ideas and using a range of innovative sources and approaches, this edited collection presents a new understanding of working-class homes.