Suchergebnisse

1: Introduction to Death, Dying and the Dead in Media and Culture -- 2: "To Show the Problem Inside and Out": Representations of Mental Illness and Suicide in Eric Steel's The Bridge -- 3: Twenty-First Century Digital Snuff: The Circulation of Images and Videos of Real Death Online -- 4: Streaming death: terrorist violence and the digital afterlife of difficult death -- 5: 'Death. Carnage. Chaos': mortality and mountaineering on-screen, and on the roof of the world -- 6: Bodies on the Battlefield: Death and Combat in Band of Brothers -- 7: Melissa Merchant and Simon Order - Representing Fatal Violence in AMC's The Walking Dead: The Role of Legitimation, Graphicness and Explicitness -- 8: Are Normative Death Narratives Celebrated, Reinforced, or Disrupted in Popular Media? A Critical Discourse Analysis of Coco and Soul -- 9: Hashtag feminism: challenging rape and femicide in South Africa -- 10: A Weaponized Landscape: Hart Island's Geography of Denial -- 11: Shakespeare: Difficult Dead Celebrity Child -- 12: There is nothing like a dead man to demand existence' (Antonin Artaud) -- 13: Difficult Deaths and Awkward Agendas: How Mainstream News Media Negotiate Coverage of Politically Dissonant Victims -- 14: Dissected, torn, and exposed: the death and remains of the Jack the Ripper victims in the Illustrated Police News -- 15: Photographing Death to Save Photojournalism Mafia Homicides in Letizia Battaglia's "Archive of Blood" -- 16: Economies of Mortalities: Ageism and Disposability During the Covid-19 Pandemic -- 17: Reflecting grief during a pandemic: online UK newspapers' reportage and researchers' experiences -- 18: Conclusion to Difficult Death, Dying and the Dead in Media and Culture. .

Jerzy Kawalerowicz told reporters that he made his 1982 film,Austeria(The inn) to commemorate the Polish-Jewish people and culture destroyed in the Holocaust. This non-Jewish Polish director, known best in the west for hisMother Joanna of the Angels(a depiction of death and possession at a medieval French convent), grew up among Jews in the eastern part of Poland. He had been struck by the Polish-Jewish author Julian Stryjkowski's 1966 novella,Austeria,a haunting depiction of Jewish life in Galicia at the beginning of the twentieth century. Kawalerowicz—with Stryjkowski—immediately decided to turn the book into a movie. After the Six-Day War in 1967 sparked an "anti-Zionist campaign" in Poland, however, the Polish government found the Jewish topic of their screenplay "politically unacceptable." In 1981, the film was granted permission and funding. It was completed in 1982, following the crackdown on Solidarity and the imposition of martial law. The authorities allowed its distribution, having determined that it displayed "humanitarian values" and that it did not represent a political threat. In the capacity of a quasiofficial expression of Polish regret at the passing of the Jews, and perhaps as a demonstration of liberalism aimed at the western critics of the new regime,Austeriawas widely promoted and exported to film festivals abroad.

Die Artikelsammlung ist aus einem Forschungsprojekt zu "Gender and Society" der Kenya Oral Literature Association (KOLA) hervorgegangen. Das Augenmerk lag auf Geschlechtergleichheit und politischer Partizipation in traditionellen und modernen kenianischen Gemeinschaften sowie auf Geschlechter(un)gleichheit und Ressourcenkontrolle. Die Forscher(innen) untersuchten, welche Rolle Frauen und Männer bei Entscheidungen in den Bereichen Politik, Recht, Ressourcenkontrolle, Erbschaft spielten. Das umfangreiche Material, insbesondere zu ethnischen Bevölkerungsgruppen, wird in 15 Beiträgen präsentiert. (DÜI-Sbd)

Nosso objetivo é analisar as ações e as práticas culturais pelas quais os sujeitos reconstroem suas memórias em contextos de violência. Identificar os usos políticos da memória como resistência política nos espaços do cotidiano, do íntimo, familiar ou comunitário. Trata-se de uma pesquisa qualitativa, em que o método usado foi o estudo de caso por seu foco no particular e por abordar o significado de uma experiência com base em análise sistemática de um mesmo fenômeno. Identificamos quatro experiências de criação de "altares espontâneos" na cidade de Medellín, na Colômbia. Optamos pelas micro-histórias para compreender o sentido político do retorno ao cotidiano após enfrentar situações de violência. Os "altares espontâneos" são rituais de luto no espaço público, criados como resposta diante de mortes consideradas injustas. São formas de ação política não institucional, que têm como objetivo chamar a atenção para o que aconteceu, expressar sua indignação e evitar que aconteça de novo. Nos casos estudados constatamos que na criação dos altares expressa-se uma narrativa de luto que reivindica o reconhecimento da perda.

TABLE OF CONTENTS -- DEDICATION -- ACKNOWLEDGMENTS -- PREFACE -- INTRODUCTION (TO ORIGINAL VERSION) -- CHAPTER 1: HARSH MEDICINE -- CHAPTER 2: LIFE UNWORTHY OF LIFE -- CHAPTER 3: THE PRICE OF AUTONOMY -- CHAPTER 4: CREATING A DUTY TO DIE -- CHAPTER 5: ORGAN DONORS OR ORGAN FARMS? -- CHAPTER 6: BIOLOGICAL COLONIALISM -- CHAPTER 7: TOWARD A ""HUMAN RIGHTS"" BIOETHICS -- ENDNOTES -- INDEX

Is violence an intrinsic part of modern queer culture? This book presents compelling new research on how homophobia, suicide, gender violence, abuse, racism, and the impact of war and colonialism shaped the emergence of modern homosexual rights activism. It examines forgotten writings by Magnus Hirschfeld, the influential sexologist who is best known today for his homosexual activism and foundational transgender work. In 1919 he opened the world's first Institute of Sexual Sciences in Berlin. Attracting international visitors including doctors, artists, writers and political activists, it was destroyed by the Nazis in 1933. Attacks against queer life play a formative role in modern same-sex culture. Yet remembering the victims is only part of the task of queer history. The Hirschfeld Archives attends to the queer dead and injured, but it also demonstrates that the development of homosexual rights politics in the West had gendered and racialized limits.

Benito Mussolini constantly portrayed his regime as a protector of nationalism and the ultimate promoter in the re-discovery of Italian culture. The 1930s represent the highest involvement of the regime in cultural activities. Such events had the specific propagandistic goal of ingraining the idea of fascism as a solution to poverty and cultural disunity between north and south. An ongoing theme of propaganda was connecting fascism's mission to the glory of the Italian past and of its most illustrious protagonists. The Duce and his followers built the idea of a new political establishment that legitimized its rule through a reassertion of the past. My study displays the regime's involvement in Sicily as a sponsor of culture and national renovation through the reinterpretation of Italy's most popular figures. Vincenzo Bellini's centenary reveals the regime's plans of achieving national unity between north and south in a culturally and economically divided Italy. With an emphasis on the history of the Risorgimento, I ultimately show the regime's endeavor in forging cultural unification between north and south through the exaltation of a Sicilian figure. As fascists planned to invade Ethiopia in late 1935, Bellini's centennial played a critical role in showing the regime's commitment to modernization and the relevance of Sicily in the creation of a new Italian-Mediterranean empire.