Photographic art and dealing with death

Recently, we were faced with a request from a student photographer who wanted to take pictures of bodies donated to our institute and used for dissection courses for medical students or for scientific purposes. Students are expressly forbidden to take pictures in the dissection hall; however, we allowed this student photographer to do her diploma work in our institute. The reason why she was proposing such a topic was that her brother died young and her parents donated his body to science. To overcome this loss of a loved one, she wanted to know what happens to the donated bodies. She followed the procedure of embalming and different dissections that took place during the summer semester and she took pictures throughout. The outcome of this work was a very nice photographic document, called 'dissection', a book with many pictures but no figure legends. The image document shows the different steps in the preparation and preservation of bodies and the work of an anatomist in the dissection hall. As we impose rules on our students, we had also to give directives in the use of the photographs taken, especially for a photographer who will use the most prominent pictures for exhibitions, i.e. that the pictures do not show names or are used for publication on the internet, or show identification numbers of cadavers, or give indication ofn the institution and are relatively anonymous. This story tells how one can deal with death and at the same time advance one's personal career. The author represents the Swiss Anatomical Society SGAHE and is supported by the Swiss Academy of Science, ScNat.

The legal and ethical framework governing Body Donation in Europe - A review of current practice and recommendations for good practice

Discussions at the inaugural meeting of a Trans-European Pedagogic Research Group for Anatomical Sciences highlighted the fact that there exist considerable variations in the legal and ethical frameworks throughout Europe concerning body bequests for anatomical examination. Such differences appear to reflect cultural and religious variations as well as different legal and constitutional frameworks. For example, there are different views concerning the "ownership" of cadavers and concerning the need (perceived by different societies and national politicians) for legislation specifically related to anatomical dissection. Furthermore, there are different views concerning the acceptability of using unclaimed bodies that have not given informed consent. Given that in Europe there have been a series of controversial anatomical exhibitions and also a public (televised) dissection/autopsy, and given that the commercial sale or transport of anatomical material across national boundaries is strongly debated, it would seem appropriate to "harmonise" the situation (at least in the European Union). This paper summarises the legal situation in a variety of European countries and suggests examples of good practice. In particular, it recommends that all countries should adopt clear legal frameworks to regulate the acceptance of donations for medical education and research. It stresses the need for informed consent, with donors being given clear information upon which to base their decision, intentions to bequest being made by the donor before death and encourages donors to discuss their wishes to bequeath with relatives prior to death. Departments are encouraged, where they feel it appropriate, to hold Services of Thanksgiving and Commemoration for those who have donated their bodies. Finally, there needs to be legislation to regulate transport of bodies or body parts across national borders and a discouragement of any moves towards commercialisation in relation to bequests.

Les expositions universelles comme communautés émotionnelles imaginées: du bon usage des émotions dans l'art d'instruire et de divertir

Cette contribution commence par établir que les expositions universelles sont traversées par un ensemble de dynamiques contradictoires qui reflètent celles intervenant dans le processus de la mondialisation qu'elles ont précisément pour vocation de mettre en scène. Parmi ces différents dynamiques, il en est une qui mérite que l'on s'y arrête de nouveau : celle ayant d'abord opposé sciences et loisirs avant de les associer comme organisateurs de la vie sociale. Comment les expositions universelles ont-elles représenté ces deux types d'activités qui leur ont été centrales ? L'article avance que l'évolution de la fonction de normalisation sociale attachée aux sciences et aux divertissements peut être éclairée par une analyse de l'usage qui a été fait des émotions par les organisateurs et commentateurs de ces manifestations. Le phénomène est examiné à la lumière des concepts d'émotionologie, d'émotif et de communauté émotionnelle développés par les historiens des émotions. This article starts from the premise that international exhibitions are driven by the same contradictory dynamics underlying the process of globalization which they seek to stage. Among these various dynamics, there is need to further study the one that has involved science and leisure as organizers of social life in a dyadic relationship evolving historically from opposition to accommodation. Drawing on the concepts of «emotionolgy », « emotives » and « emotional communities », the study attempts to show how changes in the normalizing functions of science and leisure can be highlighted through the shifting use of emotions by the organizers and commentators of world's fairs.