Abstract

Although is known that romantic experience gives pleasant sensations to an individual, to live a romantic lost brings pain feelings, desperation and anger because deception in front of reality which prior expectations in the ex partner weren’t possible to reach (Argyle&Furnham, 1983 ). During the romantic grief individual lives under the torment of hope and the possibility of living painful emotions constantly (Zaragoza Toscano, 2007 ). To evaluate the course of the grief process in those persons whose already finished their romantic relationship, we applied to 833 participants the Tridimensional Evaluation of Romantic Grief (Sánchez Aragón&Retana Franco, 2012). We identified four stages: Negotiation, Hostility, Hopelessness and Pseudo-Acceptance, which were supported by literature. We found some differences in the experience of the stages obtained due to the romantic grief reason. Specific findings show that infidelity provokes more hostility and hopelessness in comparison with other reasons as disagreements and lack of time.

Abstract

The State of Alarm period declared by the Spanish Government due to the coronavirus crisis has had an exhaustive media coverage. However, it is observed how the visual story / narrative that has been published in the newspapers goes beyond the health field, focusing mainly on aspects of a social, political or economic nature. The types of images with the greatest presence in the representation of the harshest weeks of the pandemic determine the type of coverage, causing some relevant aspects to be minimized or invisibilized, and conditions the impact and the understanding of the severity of the disease in the society, in a particularly difficult and decisive moment such as the confinement of citizens. In the same way, the published images will have a later impact as a document by becoming part of the historical memory in the future. This article focuses on the analysis of the images published during the State of Alarm in three of the most relevant and broader scope national newspapers (El país, La vanguardia and El mundo), which is complemented by semi-directed interviews with several photojournalists who have covered Covid-19 during its first stage. The cataloging of the photographs in various categories is intended to observe the type of story that has been made visible of the Covid-19 (assessing the way in which this pandemic is being shown as an epidemic or syndemic), as well as to detect some of the most present and/or recurring visual representations and identify which are the most prominent absences.