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This article discusses the way Cormac McCarthy (1933-) represents the “natural sublime” in The Border Trilogy (1992-1998), where the notion is by and large distinguished as a kind of nostalgic experience on the part of characters insofar as the writer foregrounds the unattainable “natural sublimity” of the Wild West as well as its charming pastoral scenes. Drawing on theories of the sublime, particularly those of Edmund Burke (1757), an attempt is made to shed light on the modality of the merging of the sublime with an inconsolable sense of pastoral loss. Foregrounding the characters’ desire to live a bucolic life, McCarthy dramatizes the very process of experiencing the sublime on their part. The modality of the protagonists’ response to this experience, it is argued, becomes an index of character. The essay also reveals the importance of style in representing the “natural sublime” in these novels, arguing that stylistically their rendering of the “natural sublime” approaches what could be called the “artistic sublime.” In this sense, the artistic representation of the object is no longer distinguished from the nature of the object in one’s sensation. The sublime, therefore, grounds consciousness in the subject, making that subject believe that sublimity is concerned with the way one apprehends the world or, simply put, the quality of a person’s experience. In The Border Trilogy, the writer foregrounds the “artistic sublime” by focusing on the loss of the pastoral vision. In this way, McCarthy presents wilderness as the ideal pastoral space of nature. En este trabajo se estudia la manera en la que Cormac McCarthy (1933-) representa la “sublimidad natural” en The Border Trilogy [“Trilogía de la Frontera”] [(1992-1998), donde esta noción se establece a partir de la experiencia nostálgica de los personajes, en tanto en cuanto el autor sitúa en primer plano la inalcanzable “sublimidad natural” del salvaje Oeste, así como sus fascinantes escenas pastoriles. La revisión de algunas teorías de lo sublime, en particular las de Edmund Burke (1757), permitirá entender cómo la sublimidad se combina con un sentido inconsolable de pérdida de lo pastoril. McCarthy recrea en primer plano el deseo de los personajes de una vida bucólica y, de este modo, escenifica su propio proceso de experimentación de lo sublime. El modo en que los protagonistas de estos relatos responden a esta experiencia es entendido en el artículo como un índice de caracterización. El artículo desvela también la importancia del estilo en la representación de la “sublimidad natural” y propone que la proyección estilística de esta deviene en “sublimidad artística.” Así, la representación artística del objeto no es percibida sensorialmente de forma distinta a su naturaleza. Lo sublime instala la consciencia en el sujeto hasta el punto de hacerle creer que la sublimidad es un modo de aprehender el mundo o, de manera más sencilla, es una cualidad experiencial de la persona. En The Border Trilogy, McCarthy ha llevado al primer plano la “sublimidad artística” centrándose en la pérdida de lo pastoril; de este modo, el autor representa la naturaleza salvaje como el espacio natural ideal.

En este trabajo se estudia la manera en la que Cormac McCarthy (1933-) representa la \"sublimidad natural\" en The Border Trilogy [\"Trilogía de la Frontera\"] [(1992-1998), donde esta noción se establece a partir de la experiencia nostálgica de los personajes, en tanto en cuanto el autor sitúa en primer plano la inalcanzable \"sublimidad natural\" del salvaje Oeste, así como sus fascinantes escenas pastoriles. La revisión de algunas teorías de lo sublime, en particular las de Edmund Burke (1757), permitirá entender cómo la sublimidad se combina con un sentido inconsolable de pérdida de lo pastoril. McCarthy recrea en primer plano el deseo de los personajes de una vida bucólica y, de este modo, escenifica su propio proceso de experimentación de lo sublime. El modo en que los protagonistas de estos relatos responden a esta experiencia es entendido en el artículo como un índice de caracterización. El artículo desvela también la importancia del estilo en la representación de la \"sublimidad natural\" y propone que la proyección estilística de esta deviene en \"sublimidad artística.\" Así, la representación artística del objeto no es percibida sensorialmente de forma distinta a su naturaleza. Lo sublime instala la consciencia en el sujeto hasta el punto de hacerle creer que la sublimidad es un modo de aprehender el mundo o, de manera más sencilla, es una cualidad experiencial de la persona. En The Border Trilogy, McCarthy ha llevado al primer plano la \"sublimidad artística\" centrándose en la pérdida de lo pastoril; de este modo, el autor representa la naturaleza salvaje como el espacio natural ideal.

The present study aimed to investigate the lived experiences of older parents regarding the challenges in caring for adult children with schizophrenia. The current study was conducted on 16 parental (mother or father) caregivers of adult children with schizophrenia using a descriptive phenomenological qualitative approach and Colaizzi’s seven-step method. This study follows the Qualitative Research Checklist (COREQ). The findings showed that the parent caregivers’ experiences could be classified into two main themes: “burden of care” and “Negative attitude and inefficient performance.” The former consisted of three sub-themes including “disrupted social and family interactions,” “helplessness and inefficient support,” and “challenges of the healthcare system,” while the latter had two sub-themes including “Negative attitude and inefficient performance of the caregivers” and “Negative attitude and inefficient performance of families and society.” Older parents have to tolerate a significant burden of care due to their age and physical conditions. Improving the knowledge of specialists, the government's redoubled efforts in multifaceted support for patients and caregivers, creating an integrated team of specialists, and accepting and improving public attitudes against stigma and obvious discrimination in society as important priorities in improving the condition of caregivers and patients with schizophrenia were considered.

IntroductionThe rates of suicide in the elderly population are generally higher than other age groups. Models of suicide that explain the phenomenon of suicide in later life may have research, clinical and educational implications for the field of ageing. The primary purpose of this systematic review is to identify and review existing models of suicide that have a particular focus on the elderly.Methods and analysisThe authors intend reviewing the findings of observational studies including cohort studies, cross-sectional studies, case–control studies, and qualitative studies such as grounded theory designs which are published in Google Scholar, Scopus, PsycINFO, PubMed, Web of Science, Cochrane Database of Systematic Reviews and research-related journals. Models of suicide which specifically describe, explain and predict late life suicides will be included. Therapeutic, interventional and rehabilitation models, as well as models related to assisted suicide, will be excluded. The EndNote software will be employed for data management. Two independent reviewers will extract data. Methodological quality and the risk of bias of quantitative studies will be assessed using the Newcastle-Ottawa Scale and the Newcastle-Ottawa Scale adapted for cross-sectional studies, while that of qualitative studies will be assessed using the Critical Appraisal Skills Programme and the evaluative criteria of credibility, transferability, dependability and confirmability. The final report will present a range of models of suicide with a list of different subgroups.Ethics and publicationThere are no predictable ethical issues related to this study. The findings will be published in prestigious journals and presented at international and national conferences.PROSPERO registration numberCRD42017070982.