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The civilian war dead and shared sacrifice
Ellena Matthews

deaths were represented in ways which focused on the courageous and selfless nature of the deceased. As this discussion demonstrates, when layered and used in tandem, burial practices and funerary rituals built up the identity of the hero, reflected an appreciation of the war dead and raised them to a heroic status. Throughout the war, civilians were represented as heroic in both life and death. The civilian war dead were of important social value on the home front as collectively they represented combined sacrifice, and

in Home front heroism
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Lamenting Livingstone
Justin D. Livingstone

) Scorpion bite. Richard Burton : (pulls up his trouser leg) Cellulitis. Mountains of the Moon Authority ultimately derived, if not from premature death itself, then at least from the corporeal evidence of heroic travel – the noble empowering stigmata

in Livingstone’s ‘Lives’
The art of undying and the Machiavels in The Jew of Malta and Alphonsus, Emperor of Germany
Subarna Mondal

English dramatists associate sleeping potions with fragility of power and how they align such potions with Machiavellian bodies that take advantage of mock-death states induced by these concoctions. The uncertain effect of potion/poison is a major theoretical/dramatic trope of this chapter to remind us of the uncertainty and fragility of power. Poisons and sleeping draughts, like the axioms of Machiavelli

in Poison on the early modern English stage
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Margaret Brazier
,
Emma Cave
, and
Rob Heywood

19.1 Introduction The single certainty in human life is that we shall die. Death cannot be evaded, albeit it may be delayed. Medical technology has created real questions about just how we identify the threshold between dying but alive, and death itself. The development of transplantation played a major role in prompting doctors to rethink

in Medicine, patients and the law
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Margaret Brazier
and
Emma Cave

16.1 The single certainty in human life is that we shall die. Death cannot be evaded, albeit it may be delayed. Until the mid-twentieth-century, there would have been little debate about how to define death. Nonetheless there is ample evidence that our ancestors feared that their physicians and their families might mistakenly anticipate their demise and one might find oneself buried alive. 1 Today, as we shall see, medical technology has created real questions about just how we identify the threshold between dying but alive, and death itself. The

in Medicine, patients and the law (sixth edition)
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Memory and mortality at the bombsite

Death is simultaneously silent, and very loud, in political life. Politicians and media scream about potential threats lurking behind every corner, but academic discourse often neglects mortality. Life is everywhere in theorisation of security, but death is nowhere.

Making a bold intervention into the Critical Security Studies literature, this book explores the ontological relationship between mortality and security after the Death of God – arguing that security emerged in response to the removal of promises to immortal salvation. Combining the mortality theories of Heidegger and Bauman with literature from the sociology of death, Heath-Kelly shows how security is a response to the death anxiety implicit within the human condition.

The book explores the theoretical literature on mortality before undertaking a comparative exploration of the memorialisation of four prominent post-terrorist sites: the World Trade Center in New York, the Bali bombsite, the London bombings and the Norwegian sites attacked by Anders Breivik. By interviewing the architects and designers of these reconstruction projects, Heath-Kelly shows that practices of memorialization are a retrospective security endeavour – they conceal and re-narrate the traumatic incursion of death. Disaster recovery is replete with security practices that return mortality to its sublimated position and remove the disruption posed by mortality to political authority.

The book will be of significant interest to academics and postgraduates working in the fields of Critical Security Studies, Memory Studies and International Politics.

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James Doelman

Chapter 1 explored the massive elegiac response to the death of Prince Henry; this chapter turns to the deaths of four other members of the Stuart royal family over the next two decades: a queen consort (Queen Anne, d. 1619), a sitting king (James, d. 1625), a teenaged nephew of the sitting monarch (Frederick Henry of the Palatine, d. 1629), and an infant heir to the

in The daring muse of the early Stuart funeral elegy
A literary history
Author:

The focus in this book is on how the dead and dying were represented in Gothic texts between 1740 and 1914 - between Graveyard poetry and the mass death occasioned by the First World War. The corpse might seem to have an obvious place in the Gothic imaginary but, as we shall see, the corpse so often refuses to function as a formal Gothic prop and in order to understand why this occurs we need to explore what the corpse figuratively represented in the Gothic during the long nineteenth century. Representations of death often provide a vehicle for other contemplations than just death. A central aim of this study is to explore how images of death and dying were closely linked to models of creativity, which argues for a new way of looking at aesthetics during the period. Writers explored include Edward Young, Ann Radcliffe, Mary Shelley, James Boaden, Edgar Allan Poe, Emily Brontë, George Eliot, Henry Rider Haggard, Bram Stoker and Arthur Machen.

Stages of mortality
Author:

This book provides an ambitious overview of how topics related to death and dying are explored in modern Western theatre, covering a time-span of over a hundred years and engaging multiple cultural contexts. In a series of micronarratives beginning in the late nineteenth century, this book considers how and why death and dying are represented at certain historical moments using dramaturgy and aesthetics that challenge audiences’ conceptions, sensibilities and sense-making faculties. Chapters focus on the ambiguous evocation of death in symbolist theatre; fantastical representations of death in plays about the First World War; satires of death denial in absurdist drama; ‘theatres of catastrophe’ after Auschwitz and Hiroshima; and drama about dying in the early twenty-first century. The book includes a mix of well-known and lesser-known plays and performance pieces from an international range of dramatists and theatre-makers. It offers original interpretations through close reading and performance analysis, informed by scholarship from diverse fields, including history, sociology and philosophy.It investigates the opportunities theatre affords to reflect on the end of life in a compelling and socially meaningful fashion. Written in a lively, accessible style, this book will be of interest to scholars of modern Western theatre and those interested in death studies.

The gothic and death is the first ever published study to investigate how the multifarious strands of the Gothic and the concepts of death, dying, mourning, and memorialization – what the Editor broadly refers to as "the Death Question" – have intersected and been configured cross-culturally to diverse ends from the mid-eighteenth century to the present day. Drawing on recent scholarship in Gothic Studies, film theory, Women’s and Gender Studies, and Thanatology Studies, to which fields it seeks to make a valuable contribution, this interdisciplinary collection of fifteen essays by international scholars considers the Gothic’s engagement, by way of its unique necropolitics and necropoetics, with death’s challenges to all systems of meaning, and its relationship to the culturally contingent concepts of memento mori, subjectivity, spectrality, and corporeal transcendence. Attentive to our defamiliarization with death since the advent of enlightened modernity and the death-related anxieties engendered by that transition, The gothic and death combines detailed attention to socio-historical and cultural contexts with rigorous close readings of artistic, literary, televisual, and cinematic works. This surprisingly underexplored area of enquiry is considered by way of such popular and uncanny figures as corpses, ghosts, zombies, and vampires, and across various cultural and literary forms as Graveyard Poetry, Romantic poetry, Victorian literature, nineteenth-century Italian and Russian literature, Anglo-American film and television, contemporary Young Adult fiction, Bollywood film noir, and new media technologies that complicate our ideas of mourning, haunting, and the "afterlife" of the self.