7 Stages Of Grieving Play Analysis

Imagine that you were a teenage boy living a normal life, when all of a sudden your life took a huge twist and your beloved younger brother Jeffrey was diagnosed with leukemia (cancer). Because of this, Steven Alper experienced the five stages of grief from/toward his younger brother Jeffrey in the book Drums, Girls & Dangerous Pie. The fives stages of grief are denial, anger, bargaining, depression and acceptance. In the beginning of the book Steven went through a denial stage where he kept denying that Jeffy has cancer. Then he had a lot of angry mood swings, where someone would say something and he would yell and get mad at that person. Later in the book he went into a bargaining stage, meaning he would say something like “Take me. Don’t take Jeffrey. Please, Lord. Take me.” In the middle of the book, closer to the end he had a lot of depression, like when he didn't do his homework because he kept saying “what's the point of doing this.” Near the end of the book, Steven accepted that his brother had cancer, and that was how it was going to be because he couldn't change that.

Write a 750-1,000 word paper analyzing Woterstorff’s reflctions in Lament For a Son. In addition, address Kubler-Ross’ five stages of grief, as they are expressed throughout Lament for a Son, and respond to the following questions:

Society and culture have created scripts (i.e., social norms) that dictate the ways in which we are to grieve. These scripts also prescribe the unique ways in which men and women are expected to respond to grief. Specifically, men’s grief scripts suggest that men will resolve to grieve in solitude as a demonstration of their self-reliance. Men may also have muted emotional response and expressed emotions are typically in the form of anger or guilt (Martin & Doka, 2011). Comparatively, women’s grief scripts suggest that women are more emotive and seek support from others to help cope with loss (Martin & Doka, 2011).

Images can have a powerful effect on the way a person perceives a story. It can be the line that connects two dots together and adds a visual emotion to just a plain text. Matt Ottley’s multimodal text, Requiem for a Beast, uses illustrations, music, text and changes in point of view to highlight the major themes that develop throughout the text. Themes such as reconciliation and the Stolen Generation are explored and the hardships that the Aboriginal people endured are present as well. The Stolen Generation is interpreted as a time when Aboriginal children were forcibly removed from their homes and then taken under custody of the Australian Government.

White Australians state “shame when [their] kids they die from colds or from sheer neglect. Shame when [they] live on the river banks. While collectin' [they’re] welfare cheques. Shame when [they’re] blind from trachoma. Shame when [they’re] crippled from blights.” The rhyming scheme in the stanza makes poem flow seamlessly constructing a conversational tone as if the narrator is speaking directly to the audience. This feature purposefully lulls the reader into agreeing with the white Australia’s arguments as it constructs an image that the Indigenous people are refusing to integrate themselves with modern society and suffering the consequences of those decisions. The mention of welfare cheques also contribute to the perspective that white Australians are attempting to mend the lives of Indigenous individuals, however this could not be further from the truth and message of this

The story supports how people need each other to cope with grief. For example, Gram was able to help

From the year eighteen sixty nine to the year nineteen sixty nine Aboriginal children were taken from their homes. The play ‘Stolen’ by Jane Harrison tells the story of five Aboriginal children who were forcibly extracted form their families. The children: Anne, Jimmy, Ruby, Sandy and Shirley all demonstrated the devastating impact that the removal from their families and subsequent institutionalisation had on each of their lives. Furthermore, some of the main characters maintained their hopes and dreams under different circumstances whilst a few displayed a lack of hope.

Our knowledge of the generic conventions used in poetry influences our understanding of the text. “The Firstborn”, a poem by Aboriginal author Jack Davis, enables the reader to determine the poem as a graphic protest about the extinction of and discrimination against the Australian Indigenous people, and the loss of their ethnicity, as their world collides with the Western culture. By focussing on my understanding of both generic conventions and author’s context, I am able to conclude that the poem concerns a tragedy within the Aboriginal community.

Oodgeroo Noonuccal was an Australian poet, activist, artist and a campaigner for Aboriginal rights. Her poems ‘We are going’ and ‘Let us not be bitter’ conveys the loss of the Indigenous culture and how much they suffered because of this. Oodgeroo Noonuccal’s perspective on Aboriginal rights is impassioned, concern and worry for the loss of her family and home. She expresses these emotions using imagery, poetic structures and poetic techniques, such as inclusive language and symbolism, to strongly represent what she is feeling and how much the Indigenous people have suffered through.

“Away” is a historical play written in 1988 by Michael Gow. Away reflects to the central ideas, values and conflicts of Australia in 1967-68. The central ideas embrace outsiders, family conflicts and grief and loss which affected families in the play and in the time. Gow uses three main families to convey the message of the play. The use of language and stylistic devices influence the way Gow has been able to speak to the modern Australian audience. In the play, Gow is able to speak to the modern Australian audience with the clever, complex use of allusion. The modern audience would have to do research to understand the allusions in the play however on a superficial level the audience is still able to enjoy the central themes and ideas of the play.

Through the use of poetic devices, the author has successfully encouraged the audience to explore their thoughts on Australian identity and to reflect on our nation’s history.

Gilbert’s poem portrays many Aboriginals plight’s within Australia and conveys notions of despair, anguish and anger for his fellow Aboriginal comrades. Again, Gilbert uses strong visual imagery in “the anguished death you spread” which helps convey the persona’s feeling of horror and anger at the Europeans. This is further emphasised through the poet’s vehement and repetitive use of second person pronouns in “you” which conveys a sense of blame and accumulates into an accusatory tone and generates a strong sense of detachment between the author and the European settlers. Furthermore enjambment enhances the accusatory tone in “you pollute all the rivers and litter every road” because the lack of punctuation and pauses makes the lines sharp and quick, creating a sense of anger in the author. In addition the author’s use of metaphors in “humanity locked in chains” creates a sense of struggle and inability to escape the oppression the Aboriginals are in, whereby the word “chain” is symbolic for trapped and lack of freedom. Kevin Gilbert’s emotional poem brings light to the pain and suffering Aboriginals are going through, which is a stark contrast to the image of Australia, being a free and accepting

Written during one of the most defining moments in Indigenous Australian history, Enoch and Deborah Mailman’s ‘the 7 stages of grieving’ follows a young Aboriginal woman as she retells some of the hardships and injustices her and her people have and will continue to face. With the quote above in mind, it is clear to see that ‘The 7 stages of grieving’ combines the contemporary conventions of Australian theatre, such as applying multimedia with a decidedly traditional twist. Through the use of stagecraft and symbolism,

The poet Oodgeroo Noonuccal, draws the realistic image of the confronting realities of alienation and displacement of Indigenous Australians. It is because of such experiences that has empowered Noonuccal to express and advocate learning from experiences by positioning the audience to view the horrors that occurred, creating a platform for her poetry. Through the emphasis of identity, it allows the audience to deeply connect with the past, determining and illustrating a profound link between the ancient past and contemporary present. Oodgeroo’s deep connectivity with art and poetry highlights the importance of learning from experiences, for not only the Aboriginal culture but, for all cultures, and that colonisation does not destroy self-identity. Through the poems The Past and China…Woman, it has allowed the individual to promote change, encouraging the survival of cultures through learning from past experiences

The play presents complex notions about family bonds, based upon their shared cultural experiences and the way in which they reinforce their cultural Australian identity and help members of the family endure the physical hardship and social isolation. Jack Davis’ social realist drama, ‘No Sugar’ explores how the varying levels of family unity, rebellion and cultural identity depicted in different characters influences their survival. In this play, the term ‘survival’ operates on two continuums. It is conveyed as the physical sense of life and death through the play’s protagonist, Jimmy Munday, as well as the pursuit of happiness. This pursuit is predominantly reflected in the parallel yet contrasted lives of Mary and Billy Kimberley as well as Gran’s deteriorating health after losing family members. Although Davis articulates the endurance of the Indigenous Australians, he incorporates figures of white authority who seek to demolish the Indigenous race and culture. Set in the time frame of 1929 to 1934, ‘No Sugar’ presents a critique of the conventional colonial British views of that era; and their effect on the preservation of Indigenous spirit and culture.