代写价格-死亡的含义及其多样化的含义。纵观历史，不同的文化开始形成对来世和死亡的独特看法，这些看法往往通过艺术或艺术元素反映出来。描述死亡的方式取决于这些文化及其背后的个人认知。一些人认为死亡是一种美好的体验，而另一些人则认为死亡是一个人失去自我的持续困境(Bell 2015)。也许，这就是为什么弗洛伊德提出了死亡驱力理论，它规定了死亡的丧失，以及死亡在最令人忧虑的意义上的表现。死亡驱动理论的含义清楚地描述了这是在一个人凝视一个高悬崖或一个高楼梯，那里没有栏杆的时刻。人们可能会在悬崖顶上犹豫，认为自己可能会掉下去，可能会走得太近，也可能只是故意这么做。这是一种导致混乱情绪本能的死亡驱动(Bell 2015)。死亡的含义及其多样化的含义自古以来就吸引着研究者和学者。纵观历史，死亡以多种摄影形式呈现。
Prior to the middle Ages, universal order and death were related. Earth received the body after they died without attempts made at commemorating or even locating the site. Only after collective life break, traditions to bury started changing. This was because individuality entered in individual’s life and led towards artists photographing death in its most collective form (Bell 2015). Death and individuality collectively emerged in photographs during this period. Death was visualized here as a form that individuals take after they die. Immortal soul and death were interrelated with artists focusing on photographically representing death. Death was then considered something that could never be separated from life. However, according to Aries, these images frightfulness was not a means merely through which religion can be maintained to hold over population groups and often claimed by viewers. Instead of making an effort to signify death related fear, they started expressing a passionate life love and a painful awareness that it should be renounced to, in an inevitable way (Dufresne 2007). The conjunction of sexuality and death can also be demonstrated in these forms by considering its visualization. The separation of death from living provided a way to some fascination to emerge and similar fantastic opportunities were apparent in the domain of photography. This was considered as containing the death nature through abandoning it from life itself either through the elements used to indicate death or through other apparent means.
Death related visual imagery that was created in the 19th century depicts diversified attempts made to come in contact with such kind of disruption as death and discontinuity. Such images are the secondary social practices products such as burials and funerals. In similar cases, the images also signify primary grief process of death through appropriate expression. In every instead, it is evident that the photographic imagery reflects an impulsively unique era in which they were being enhanced. Such an impulse can be depicted as a desire of romanticism and sentiments that in turn surmount the separation fact (Eagleton 2005). The prevailing process to deal with permanent separation, in the 20th century lies in putting forward permanent separation of life through death. Visual imagery, particularly through photographic representation provides some of the most effective and satisfying way to do this.
It would have been problematic for photographers to convey the deathbed scene related drama as it was depicted through literature and other art forms (Harris 2016). However it was possible to stage scenes for the purpose of artistic effects. This is apparent in clear evidence. The English photographer, Henry Peach Robinson created the photograph, Fading Away depicting a young girls nearing death while her family is present surrounding her. This photo was published in U.S in a reproduced cut piece of wood within a year after it was created.