Thirteen sermons : on I. Hypocrisy and cruelty--II. Drunkenness--III. Bribery--IV. The rights of the poor--V. Unjust judges--VI. The sluggard--VII. Murder--VIII. Gaming--IX. Public Robbery--X. The unnatural mother--XI. Forbidding marriage--XII. Parsons and tithes--XIII. Good Friday : to which is added An address to the working people, on the new Dead body bill /

Mode of access: Internet.

Property in body parts and products of the human body

An intriguing question, which until recently had not been directly explored by the courts, is the extent to which English law recognises body parts and products of the human body as property capable of ownership. Although the common law currently recognises no general property in a dead body (and only limited possessory rights in respect of it), this apparent “no-property rule” provides no justification, it is submitted, for denying proprietary status to parts or products of a living human body. The recent decision of the Court of Appeal in Yearworth v. North Bristol NHS Trust ([2009] EWCA Civ 37) lends strong support to the view that genetic material (as the product of a living human body) is capable of ownership, at least in the context of a claim in the tort of negligence and bailment. This article examines the various issues by reference to both English and Commonwealth authority.

Graphic death in the news media : present or absent?

The debate over the absence or presence of death in public discourse has dominated death studies for some time. While the argument that death had been removed from public discourse and only existed in the private realm dominated at first, in recent years scholars have come to accept that death has moved back into public discourse. An important aspect has been the role played by the mass media. However, there has been little empirical research as to what level of death is actually visible, for example in terms of photographs. To this end, this paper examines how two German and two Australian newspapers cover death in terms of graphic photographs. By examining the number and types of photographs published during a 2-month timeframe, as well as through in-depth interviews with journalists, this paper argues that visible death is still largely absent from public discourse. Importantly, there exist differences as to what level of graphic death is acceptable between individual newspapers, as well as countries, supporting the argument that the absence/presence of death dichotomy needs to be viewed in a much more complex light.

Feeling a little Blue? : Boofheads, bodies, and beaches

Pat Grant’s graphic novel Blue (2012) tells two stories about the impact of a newly migrant group on a small coastal Australian town. The wider story explores the wholesale effects of a previously unknown population joining an existing, culturally homogenous community. These broad social images are used to contextualise the more immediate story of three youths who are disenfranchised within the pre-existing community, but who can claim social enfranchisement by alienating the new members of the community. That the migrant population is depicted literally as aliens emphasises Blue’s participation in a wider conversation about citizenship and empathy. However, Blue does not necessarily seek to provoke a particular emotional response in its readers. Rather, in following three characters who lack what Nussbaum calls “narrative imagination” in their pursuit of good surfing or visceral entertainment—of beaches or bodies—Blue explores the means and consequences of refusing intersubjective affect. This is most powerfully rendered by the main characters’ ultimate avoidance of, and fictions about, a dead body they have wagged school to see. At the very moment of a person becoming a true object—a corpse—the meaning of objectifying people is revealed; the young protagonists seem to recognise this fact, and thus retreat from the affective scene which nonetheless informs Blue as a whole.

Emptying the bell jar: an exploration of adolescent responses to a women's literature unit /

This study examines adolescent student responses to a women's literature unit taught within a grade 12 Writer's Craft course. Current research (Gilligan, 1989, Pipher, 1994 & Slack, 1999) suggests that there is a great under-representation of female authors in the high school literature curriculum. The use of women's literature may draw attention to important literary figures who are historically overlooked within the curriculum. It gives voice to a marginalized group and presents students with alternative subjects and heroes. It encourages students to develop a critical perspective and reevaluate assumptions about institutions, ideologies, language and culture. It also allows me, as a teacher, to reflect on my own teaching practices and explore alternate feminist pedagogical principles and teaching styles encouraging multiplicity of voices, deconstruction of power relations, and alternative assessment tools within the classroom. As an educator, it is important for me to teach curriculum that is relevant and meaningful to students and help them become critical, self-reflective thinkers. It is also important for me to assist students in their exploration of self and encourage them to expand their awareness of historical, social and global issues. Sylvia Plath's (1963) The belljar is used as the primary text taught within this unit. In this novel, the bell jar is a central image that signifies entrapment and isolation. "To the person in the bell jar, blank and stopped as a dead body, the world itself is the bad dream"(p.l 54). As a metaphor, the bell jar resonates with young readers in a variety of ways.

Mortuaires suivi de La mort-vivance comme motif d'écriture dans Aurélia de Gérard de Nerval

Dans Mortuaires, une pièce de théâtre en fragments, deux soeurs se rencontrent dans une chambre d'hôtel; Jiji, la plus vieille, vient de retrouver les cendres de leur mère, morte dix ans auparavant; elle voudrait enterrer l'urne définitivement, alors que la plus jeune, Ge, tient à la garder près d'elle. Ce sera l'occasion pour les soeurs de faire valoir leur propre désir et de célébrer la morte, de reprendre contact avec ce qui reste d'elle dans leur mémoire. Le texte se présente sous forme de mini-scènes sans continuité, bien qu’étant toutes reliées, comme un dialogue interrompu, une cérémonie rejouant la mise en pièces du corps. La fragmentation de la mémoire constitue le projet esthétique de la pièce, dont le ressort dramatique tourne autour du souvenir endeuillé et du corps mort. La mort-vivance comme motif d'écriture dans « Aurélia » de Gérard de Nerval est un essai portant sur le rapport qu'entretient Nerval avec les morts dans le récit, ceux-ci constituant son moteur d'écriture. Au moyen de théories telles que la psychanalyse (Freud, Jackson), la sociologie (Muray) et la théorie de la lecture (Picard), il sera démontré que Nerval, dans Aurélia, se fait spirite en faisant revenir les morts au moyen du rêve. L'écriture se pose comme un lieu de rencontre entre les vivants et les morts, un espace dans lequel chacun doit se faire mort-vivant pour aller retrouver l'autre. Les frontières se brouillent et il devient difficile pour Nerval, ainsi que pour le lecteur, de distinguer le rêve de la réalité.

Carcases and mites

Mites are involved in the decomposition of animal carcases and human corpses at every stage. From initial decay at the fresh stage until dry decomposition at the skeletal stage, a huge diversity of Acari, including members of the Mesostigmata, Prostigmata, Astigmata, Endeostigmata, Oribatida and Ixodida, are an integral part of the constantly changing food webs on, in and beneath the carrion. During the desiccation stage in wave 6 of M,gnin's system, mites can become the dominant fauna on the decomposing body. Under conditions unfavourable for the colonisation of insects, such as concealment, low temperature or mummification, mites might become the most important or even the only arthropods on a dead body. Some mite species will be represented by a few specimens, whereas others might build up in numbers to several million individuals. Astigmata are most prominent in numbers and Mesostigmata in diversity. More than 100 mite species and over 60 mite families were collected from animal carcases, and around 75 species and over 20 families from human corpses.

Forensic acarology: an introduction

Mites can be found in all imaginable terrestrial habitats, in freshwater, and in salt water. Mites can be found in our houses and furnishings, on our clothes, and even in the pores of our skin-almost every single person carries mites. Most of the time, we are unaware of them because they are small and easily overlooked, and-most of the time-they do not cause trouble. In fact, they may even proof useful, for instance in forensics. The first arthropod scavengers colonising a dead body will be flies with phoretic mites. The flies will complete their life cycle in and around the corpse, while the mites may feed on the immature stages of the flies. The mites will reproduce much faster than their carriers, offering themselves as valuable timeline markers. There are environments where insects are absent or rare or the environmental conditions impede their access to the corpse. Here, mites that are already present and mites that arrive walking, through air currents or material transfer become important. At the end of the ninetieth century, the work of Jean Pierre M,gnin became the starting point of forensic acarology. M,gnin documented his observations in 'La Faune des Cadavres' [The Fauna of Carcasses]. He was the first to list eight distinct waves of arthropods colonising human carcasses. The first wave included flies and mites, the sixth wave was composed of mites exclusively. The scope of forensic acarology goes further than mites as indicators of time of death. Mites are micro-habitat specific and might provide evidential data on movement or relocation of bodies, or locating a suspect at the scene of a crime. Because of their high diversity, wide occurrence, and abundance, mites may be of great value in the analysis of trace evidence.

La carne recordada : un análisis de la atemporalidad mítica y la subversión religiosa en Pedro Páramo

The aim of the present study is to analyze the representation of the mythic timelessness and the religious subversion in the novel Pedro Páramo (1953) by the Mexican writer Juan Rulfo. The novel is analyzed from a narratological perspective based on the concept of focalization proposed by the French theoretician Gérard Genette. According to Genette it is possible to identify different levels of focalization depending on the position of the narrative voices.The key question in this investigation is if any salvation is possible in the universe of Pedro Páramo and how the mythic timelessness and the religious subversion are represented in the textual intentionality through the narrative voices. The main conclusion is that there is no possible salvation in the fictional universe of Pedro Páramo. The collective sin is so vast that the intermediation between God and the inhabitants of Comala does not work anymore. Thus, the only possible ”salvation” consists in the separation of the soul from the body the people of Comala experience after death. In Pedro Páramo the dead body is liberated from remorses, but - contrary to the Catholic concepts - becomes a conscious materia sentenced to remember eternally.Keywords: Juan Rulfo, Pedro Páramo, narratological analysis, Gérard Genette, textual intentionality, focalization, mythic timelessness, religious subversion, narrative voices.

When good dictators go bad: examining the 'transformation' of Colonel Gaddafi

On October 20, 2011, the 42 year rule of Colonel Muammar Gaddafi came to a violent end after months ofintense and brutal fighting. The violence in which Gaddafi died and the ensuing abuse of his dead body by his killers wascaptured on film and broadcast around the world. This gruesome end was the antithesis to his rise to power in 1969,where he was welcomed as a savior and a hero. Until his death, Gaddafi was the longest-serving non-monarchical Headof State and was considered by most scholars more likely to die of natural causes than be overthrown by his people. Sowhat happened in those 42 years that caused Gaddafi to go from beloved liberator to hated oppressor? And what is hislasting legacy for the country he ruled for over four decades?

Os agentes funerários e a morte: o cuidado presente diante da vida ausente

The present time is marked by the art of escape from death, which has become synonymous with failure, its exposure has become intolerable and the care of the dead body were assigned to third parties who market this practice through services and products that shape the market undertaker. In this context, in which death is an object of study, has arisen funeral officers, as professionals dealing with a dead body, with the pain of relatives and their reactions, often being the first to have contact with the death scene. As professionals in the health area, the morticians also deal with death. The first attempt to prevent the arrival of death, funeral officers already has begun their work routine from there. Death and its surrounding part of their profession. What about those professionals whose work demands as a feared and denied by society? This study aims to understand the intents, meanings and implications for the mortician to deal with death in their daily work in order to focus renewed attention to the care of these professionals. To this end, it was carried out a qualitative research grounded in the theoretical framework of Gadamerian hermeneutics for production and interpretation of narratives. It was used two methodological strategies for data collection: in-depth interview with script and workshop with the use of "scenes". Research participants were nine morticians funeral of two funeral agencies of the city of Natal. It was possible to detect the presence of the social imaginary of interdiction on the theme of death from living with feelings of his presence daily, from the need of respondents to naturalize their contacts with death, a requirement of their office to deal with the difficulties of manipulating body fluids and odors, sometimes in a state of decomposition; allied to wishes to achieve the goal of delivering to family-customers a "embellished" body for the final farewell. Being a mortician, in addition to not being a professional motivation, involves facing difficulties related to heavy routine work, low salaries, unprofitable work materials and equipments, besides having to deal with the social gaze that devalues the profession. In turn, they also deal with the pain coming especially from contact with family members, either when they are targets of these feelings of anger, whether they identify with the pain of the bereaved ones. On the other hand, when the recognition and gratitude of the families occur, they find meaning and beauty in their profession of caring for the dead body. The present study by giving voice to morticians has become possible to understand better their profession, the pain that surrounds and care needs of these workers. Finally, it has argued that the mortician may be recognized as a care professional for the way exercising caution with the dead body and their families.

A construção do corpo de Evita no romance Santa Evita, de Tomás Eloy Martínez

Pós-graduação em Estudos Literários - FCLAR

Uncertain Belongings. Absent mourning, burial, and post-mortem repatriations at the external border of the EU in Spain

Since the mid-1980s, migrants from North African and sub-Saharan countries have irregularly crossed the Strait of Gibraltar, in the hope of a better future for themselves and their families. Travelling in small, poorly equipped boats without experienced captains has cost the lives of myriad border crossers. Many of these bodies will never be recovered and the bereaved will never know whether their relatives and friends are alive or not. The bereaved are thus condemned to a state of not knowing and uncertainty. Exploring the junction of death and belonging, I firstly open a discussion about the enigmatic relation between a dead body and a dead person and argue for the importance of the physical presence of the body for mourning. Secondly, I show how the anonymity of dead border crossers and their uncertain belongings are generated, concealed, or rewritten. Following the story of an undertaker, I thirdly examine post-mortem border crossings. Depicting the power relations within identification processes, I outline the ambiguity of the term belonging by emphasising the constitutive significance of personal belongings such as clothes to restore a person’s identity. Reflecting on the ethical relationships which different actors (including the researcher) undertake with the deceased, I aim at gaining a better understanding of the multiple belonging of dead border crossers found on Spanish shores.