Today, with the majority of people dying before eighty of infectious, environmental, behavioral, and inherited problems we cannot yet solve, this issue may seem premature.
The medical treatment of the dying is almost invisible today, an embarrassing situation that can only get worse as the rest of medical science succeeds in allowing a greater fraction of the population to live into old age with sufficient residual mental and physical capacity to understand their situation.
In my own confusion, I lost sight of the fundamental truth that dying is as distant from death as any other stage in life is.
n Besef van hierdie aard by 'n digter bring natuurlik 'n berusting: dis nie 'n Dylan Thomas wat "rage rage against the dying
of the light" nie.
Instead, death and dying are slowed down to real time, shown life-size without bombs or surgeons.
This is a very different vision of death and dying than the one we are normally treated to at the movies.
In his life and art the playwright found that the terror and loss of dying could be faced--sometimes even transcended--by keeping company and showing compassion, by offering and accepting a cup of water, a change of linens, a hand to the bathroom.
In both cases--originated by Compassion in Dying of Seattle, Washington--the federal circuit courts have upheld physician aid in dying.
The court noted that, under present law, a dying patient on life support may legally have it removed to facilitate death while another dying patient, not on life support but suffering under equivalent circumstances and equally dose to death, has no means by which to achieve the same end.
Perhaps the most significant source of confusion for these individuals is the effort to make a moral distinction between withdrawal of life support systems (everything from ventilators to nutrition and hydration) and physician aid in dying, as proposed by the right-to-die movement.
Veel eerder is dit iets van Dylan Thomas se bekende protes: "Do not go gentle into that good night, / OId age should burn and rave at close of day; / Rage, rage against the dying
of the light.
Not only does the article focus on Breytenbach's portrayal of the abject, but also shows to what extent his use of language describing death, decay and the cadaver illustrates what Kristeva calls "a revolution in poetic language" Given the fact that the poem is situated in a Zen Buddhist context, the Zen philosophy on death and dying
is also taken into consideration when analysing aspects such as the dissolution of the ego, the bardos of death, et cetera.