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Philip Proudfoot

the only labourer who described the uprising to me as an “awakening.” I heard constant reference to the revolution as akin to a spontaneous bolt from the blue – a rupture through which everything became “clear.” There could be no more “excuses” as finally “the people were awake.” Now the people would bring about “the fall of the regime” and realise “freedom,” “democracy

in Rebel populism
One Billion Rising, dance and gendered violence
Dana Mills

83 5 Dancing the ruptured body: One Billion Rising, dance and gendered violence I move the reader–​spectator to view the performance of a protest movement that calls on us to end violence against women through the power of dance. One Billion Rising, initiated by feminist author and activist Eve Ensler, calls for a global uprising on Valentine’s Day, utilising dance to protest against gendered violence. The impact of the movement has been far-​reaching and its scope ambitious. The site of the movement is the moving body upon which gendered violence is inscribed

in Dance and politics
Ian Scott

confronting. Opening with the racist murder of a radio talk-show host in Chicago – a scene reminiscent of the real-life killing of DJ Alan Berg in Denver in 1984 – director Constantin Costa-Gavras's Betrayed (1988) delved into the ruptures of race and religion in 1980s America like no other film. Its allegorical and contemporary equivalent, Alan Parker's historic tale of the murder of 1960s freedom riders in Mississippi Burning (1988), highlighted segregation and sectionalism, ‘and a kind of racist hatred that no one had gotten near the screen in two decades

in The films of Costa-Gavras
Jose Manuel Varas Insunza

This article describes the operational practices of the city morgue in Santiago, Chile and their effects on the family members who come to claim the bodies of their loved ones. It explores the impact of the body‘s passage through the morgue on the observance of rituals surrounding death and mourning. An underlying conflict can be identified between the states partial appropriation of and interference with the body and intrinsic needs associated with the performance of funeral rites in accordance with cultural and religious precepts.

Human Remains and Violence: An Interdisciplinary Journal
Abstract only
Sensationalising Substance Abuse in the Victorian Home
Tamara Wagner

Controversies about the mid-Victorian sensation novel newly brought to the fore clinical conceptualisations of novel reading as an addiction. Yet as novelists capitalised on the sensational potential of substance abuse at home as part of the genre‘s rupture of ideologies of domesticity, they juxtaposed the consumption of sensational material with other emotional and physical dependencies, while reading could be a panacea or cure. M. E. Braddon‘s John Marchmont‘s Legacy (1863) and Wilkie Collins‘s The Law and the Lady (1875) form particularly revealing examples of self-reflexive sensation novels that capitalise on a clinical Gothic of addiction by appropriating discourses that had, ironically, attacked the sensation genre most virulently.

Gothic Studies
Open Access (free)
Pandemic and management of dead bodies in Brazil
Liliana Sanjurjo, Desirée Azevedo, and Larissa Nadai

This article analyses the management of bodies in Brazil within the context of the COVID-19 pandemic. Its objective is to examine how the confluence of underreporting, inequality and alterations in the forms of classifying and managing bodies has produced a political practice that aims at the mass infection of the living and the quick disposal of the dead. We first present the factors involved in the process of underreporting of the disease and its effects on state registration and regulation of bodies. Our analysis then turns to the cemetery to problematise the dynamics through which inequality and racism are re-actualised and become central aspects of the management of the pandemic in Brazil. We will focus not only on the policies of managing bodies adopted during the pandemic but also on those associated with other historical periods, examining continuities and ruptures, as well as their relationship to long-term processes.

Human Remains and Violence: An Interdisciplinary Journal
María José Sarrabayrouse Oliveira

The military coup of March 1976 in Argentina ruptured the prevailing institutional order, with the greater part of its repressive strategy built on clandestine practices and tactics (death, torture and disappearance) that sowed fear across large swathes of Argentine society. Simultaneously, the terrorist state established a parallel, de facto legal order through which it endeavoured to legitimise its actions. Among other social forces, the judicial branch played a pivotal role in this project of legitimisation. While conscious of the fact that many of those inside the justice system were also targets of oppression, I would like to argue that the dictatorship‘s approach was not to establish a new judicial authority but, rather, to build upon the existing institutional structure, remodelling it to suit its own interests and objectives. Based on an analysis of the criminal and administrative proceedings that together were known as the Case of the judicial morgue, this article aims to examine the ways in which the bodies of the detained-disappeared that entered the morgue during the dictatorship were handled, as well as the rationales and practices of the doctors and other employees who played a part in this process. Finally, it aims to reflect upon the traces left by judicial and administrative bureaucratic structures in relation to the crimes committed by the dictatorship, and on the legal strategies adopted by lawyers and the families of the victims.

Human Remains and Violence: An Interdisciplinary Journal
Editor’s Introduction
Juliano Fiori

at least irrelevant, if not a hindrance, to the US. Trump’s consistent disregard for multilateralism and his authoritarian posturing towards allies and enemies alike now confirm the trend away from liberal internationalism that, despite cosmopolitan rhetoric, was already evident under the presidency of Barack Obama. This trend is not simply part of the secular fluctuation in American foreign policy between idealism and realism: its end is a rupture with the American exceptionalism essential to both traditions. The National Security

Journal of Humanitarian Affairs
Open Access (free)
Jeffrey Flynn

politics informing each campaign?’ (12). As with any topic approached historically, this reveals both continuities and ruptures in the visual rhetoric of humanitarianism over time. While there are some general and characteristic features of humanitarian imagery, the collection as a whole makes it clear that there is no singular framing that constitutes the humanitarian lens. In her essay, ‘Sights of Benevolence’, Silvia Salvatici aptly makes this point

Journal of Humanitarian Affairs
The journey of the ‘painterly real’, 1987–2004

The book addresses late-Soviet and post-Soviet art in Armenia in the context of turbulent social, political and cultural transformations in the late 1980s, throughout the 1990s and in early 2000s through the aesthetic figure of the ‘painterly real’ and its conceptual transformations. It explores the emergence of ‘contemporary art’ in Armenia from within and in opposition to the practices, aesthetics and institutions of Socialist Realism and National Modernism. The book presents the argument that avant-garde art best captures the historical and social contradictions of the period of the so-called ‘transition,’ especially if one considers ‘transition’ from the perspective of the former Soviet republics that have been consistently marginalized in Russian- and East European-dominated post-Socialist studies. Throughout the two decades that encompass the chronological scope of this work, contemporary art has encapsulated the difficult dilemmas of autonomy and social participation, innovation and tradition, progressive political ethos and national identification, the problematic of communication with the world outside of Armenia’s borders, dreams of subjective freedom and the imperative to find an identity in the new circumstances after the collapse of the Soviet Union. This historical study outlines the politics (liberal democracy), aesthetics (autonomous art secured by the gesture of the individual artist), and ethics (ideals of absolute freedom and radical individualism) of contemporary art in Armenia. Through the historical investigation, a theory of post-Soviet art historiography is developed, one that is based on a dialectic of rupture and continuity in relation to the Soviet past. As the first English-language study on contemporary art in Armenia, the book is of prime interest for artists, scholars, curators and critics interested in post-Soviet art and culture and in global art historiography.