“…At the same time, music has also been used with both dying patients and their families to create lasting legacies prior to death, thus enabling the surviving family members find comfort after their loved one has passed away ( O’Callaghan, 2013 ). Dance-movement based treatment has also been shown to allow patients to express interconnected physical and emotional pain, release tension, and reintegrate with their estranged bodies ( Woolf and Fisher, 2015 ; Endrizzi et al, 2016 ). Drama and story-making have also been suggested as means of coping with death and despair and may instill hope during the period of bereavement ( Gersie, 1992 ).…”
As part of a European Erasmus Plus project entitled Death Education for Palliative Psychology, this study assessed the ways in which Master’s Degree students in psychology and the creative arts therapies self-rated their confidence and interest in death education and palliative and bereavement care. In five countries (Austria, Israel, Italy, Poland, Romania), 344 students completed an online questionnaire, and 37 students were interviewed to better understand their views, interest, and confidence. The results revealed some significant differences between countries, and showed that older respondents with previous experience as formal caregivers for end-of-life clients showed greater interest in obtaining practical clinical competence in these fields. A mediation analysis indicated that students’ previous care experiences and past loss experiences were related to students’ current interest in death education and palliative and bereavement care through the mediation of their sense of confidence in this field. The qualitative findings identified five shared themes: life and death, learning about death, the psychological burden, personal experience and robust training, and four key training needs. Overall, students’ interest in studying and working with terminal illness and death are rooted in internal resources, a preliminary sense of confidence, but also external requirements.
“…At the same time, music has also been used with both dying patients and their families to create lasting legacies prior to death, thus enabling the surviving family members find comfort after their loved one has passed away ( O’Callaghan, 2013 ). Dance-movement based treatment has also been shown to allow patients to express interconnected physical and emotional pain, release tension, and reintegrate with their estranged bodies ( Woolf and Fisher, 2015 ; Endrizzi et al, 2016 ). Drama and story-making have also been suggested as means of coping with death and despair and may instill hope during the period of bereavement ( Gersie, 1992 ).…”
As part of a European Erasmus Plus project entitled Death Education for Palliative Psychology, this study assessed the ways in which Master’s Degree students in psychology and the creative arts therapies self-rated their confidence and interest in death education and palliative and bereavement care. In five countries (Austria, Israel, Italy, Poland, Romania), 344 students completed an online questionnaire, and 37 students were interviewed to better understand their views, interest, and confidence. The results revealed some significant differences between countries, and showed that older respondents with previous experience as formal caregivers for end-of-life clients showed greater interest in obtaining practical clinical competence in these fields. A mediation analysis indicated that students’ previous care experiences and past loss experiences were related to students’ current interest in death education and palliative and bereavement care through the mediation of their sense of confidence in this field. The qualitative findings identified five shared themes: life and death, learning about death, the psychological burden, personal experience and robust training, and four key training needs. Overall, students’ interest in studying and working with terminal illness and death are rooted in internal resources, a preliminary sense of confidence, but also external requirements.
“…Eventually, we regarded to this proprioceptive impairment like a sign of the disorder of the "body-container" [34] that could be a cause of anguish and could also explain the manifestation of proprioceptive reactions that often occur in a seriously ill patient [35]. Clinging to objects, fear during passive mobilization in bed, increased muscle tension, motor restlessness secondary to the loss of bowel control or failure to deplete the elimination organs such as the bladder and rectum, and the lack of perception of body parts could be an expression of primitive anguish.…”
The diiculty of making decisions in end of life is the subject of these relections through two clinical cases. We considered the question of palliative sedation for existential distress through a phenomenological approach, focusing the relationship between a patient's clinical history and the reactions of the care team to the existential distress of the patients. We chose to introduce a concept, dynamic projective identiications, which is a powerful mechanism for communication between human beings. The hypothesis is that projective identiication works as a powerful mechanism of emotional contagion between people facing death, families, and their health workers. In the cases, however, the use of this therapeutic tool is not oriented to provide psychotherapeutic methods of supporting dying patients but to sustain the awareness of the care team in the decisionmaking process. The psychological pressure on the care team may lead physicians to act considering "what you already know". Being aware of these mechanisms can help physicians to understand the phenomena that are happening. Even if palliative sedation is the best therapy, the care team must clarify the meaning of the projective identiication and enter them into the low of communication with the patients and their families.
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