Places are social, lived, ideational landscapes constructed by people as they inhabit their natural and built environment. An ‘archaeology of place’ attempts to move beyond the understanding of the landscape as inert background or static fossil of human behaviour. From a specifically mortuary perspective, this approach entails a focus on the inherently mutable, transient and performative qualities of 'deathscapes': how they are remembered, obliterated, forgotten, reworked, or revisited over time. Despite latent interest in this line of enquiry, few studies have explored the topic explicitly in Aegean archaeology. This book aims to identify ways in which to think about the deathscape as a cross between landscapes, tombs, bodies, and identities, supplementing and expanding upon well explored themes in the field (e.g. tombs as vehicles for the legitimization of power; funerary landscapes as arenas of social and political competition). The volume recasts a wealth of knowledge about Aegean mortuary cultures against a theoretical background, bringing the field up to date with recent developments in the archaeology of place.
Places are social, lived, ideational landscapes constructed by people as they inhabit their natural and built environment. An ‘archaeology of place’ attempts to move beyond the understanding of the landscape as inert background or static fossil of human behaviour. From a specifically mortuary perspective, this approach entails a focus on the inherently mutable, transient and performative qualities of 'deathscapes': how they are remembered, obliterated, forgotten, reworked, or revisited over time. Despite latent interest in this line of enquiry, few studies have explored the topic explicitly in Aegean archaeology. This book aims to identify ways in which to think about the deathscape as a cross between landscapes, tombs, bodies, and identities, supplementing and expanding upon well explored themes in the field (e.g. tombs as vehicles for the legitimization of power; funerary landscapes as arenas of social and political competition). The volume recasts a wealth of knowledge about Aegean mortuary cultures against a theoretical background, bringing the field up to date with recent developments in the archaeology of place.
This volume considers the influential revival of ancient philosophical skepticism in the 16th and early 17th centuries and investigates, from a comparative perspective, its reception in early modern English, Spanish and French drama, dedicating detailed readings to plays by Shakespeare, Calderón, Lope de Vega, Rotrou, Desfontaines, and Cervantes. While all the plays employ similar dramatic devices for "putting skepticism on stage", the study explores how these dramas, however, give different "answers" to the challenges posed by skepticism in relation to their respective historico-cultural and "ideological" contexts.
This unique text has been written as a practical reference for detectives, crime scene investigators, and prosecutors on how to recognize a staged scene and how this offender behavior could be used as evidence in subsequent trials. The book is designed to help those actively engaged in conducting criminal investigations identify the red flags or those common findings at a crime scene that point to the scene being staged or altered and thereby assist the investigative process. The text is not only research based but also includes the authorsf 30-year experience and personal observations in conducting hundreds of different crime scene investigations ranging from homicide and death, burglary and other property crimes, to rape and other sexual crimes. This experience also includes interviewing hundreds of victims and suspects, and conducting investigations from initiation of cases through prosecution. The authors have located hundreds of examples of staging and have included many of them as case studies throughout the text. Many of the case studies presented are based on the authorsf personal involvement in them. In addition to defining and categorizing the various aspects of staging, the reader is also introduced to new terminology describing the different elements of staging based on offender motive and the dynamics of the events. Other major discussions include primary and secondary staging as well as the two subcategories of primary staging: premeditated and ad hoc staging. Staging by individuals other than the offender and victim, described as tertiary/incidental scene alterations, are included as are several chapters on a variety of crimes and how to identify the red flags relevant to them. A final chapter is written especially for prosecutors and offers suggestions and references on how the concept of staging might be introduced in court. A very thorough Appendix provides reviews of many appellant court decisions from across the U.S. and Canada specifically addressing issues of staging.
"In this volume, Christian, Jewish, and Samaritan liturgical poetry from Late Antiquity (ca. 3rd-4th c. CE) is examined not only from within the context of religious traditions of biblical interpretation and conventions of prayer but also through the lenses of performance, entertainment, and spectacle. Recognizing that liturgical poets were as invested engaging their listeners as orators and actors were, this study analyses hymnody as a performative genre akin to oratory and theatre, the two primary modes of public performance from the wider societal context. Attention to liturgical poetry's "theatricality" draws our attention to a range of subjects, from how biblical stories were adapted to the liturgical stage, much in the way that the classical works of Greco-Roman antiquity were themselves popularized in this Late Antique period; to the adaptation of physical techniques and material structures to augment the ability of performers to engage their audiences. Specific techniques associated with both oratory and acting in antiquity will offer concrete means for elucidating the affinities of liturgical presentations and other modes of performance: indications of direct address, for example, and apostrophe, as well as the creation of character through speech (ethopoeia); and appeals to the audience's senses, including vivid descriptions (ekphrasis), a technique especially popular in antiquity. A serious consideration of performance also demands that we make the difficult leap to imagining the world beyond the page. While Late Antique hymnody has come down to the present primarily in textual form, the written word constitutes something quite remote from the actual experience these scripts reflect. We will thus attempt to consider more speculative but recognizably essential elements of these works' reception, including ways in which liturgical poetry could have borrowed from the gestures and body language of oratory, mime, and pantomime, and how poets may have used the physical spaces of performance and accelerated changes visible in the archaeological record"--
Death and dying and death-related behavior involve the causes of death and the nature of the actions and emotions surrounding death among the living. Interest in the varied dimensions of death and dying has led to the development of death studies that move beyond medical research to include behavioral science disciplines and practitioner-oriented fields. As a result of this interdisciplinary interest, the literature in the field has proliferated. This two-volume resource addresses the traditional death and dying–related topics but also presents a unique focus on the human experience to create a new dimension to the study of death and dying. With more than 300 entries, the Encyclopedia of Death and the Human Experience includes the complex cultural beliefs and traditions and the institutionalized social rituals that surround dying and death, as well as the array of emotional responses relating to bereavement, grieving, and mourning. The Encyclopedia is enriched through important multidisciplinary contributions and perspectives as it arranges, organizes, defines, and clarifies a comprehensive list of death-related perspectives, concepts, and theories. Key Features Imparts significant insight into the process of dying and the phenomenon of death Includes contributors from Asia,; Africa; Australia; Canada; China; eastern, southern, and western Europe; Iceland; Scandinavia; South America; and the United States who offer important interdisciplinary and cross-cultural perspectives Provides a special focus on the cultural artifacts and social institutions and practices that constitute the human experience Addresses death-related terms and concepts such as angel makers, equivocal death, end-of-life decision making, near-death experiences, cemeteries, ghost photography, halo nurses, caregiver stress, cyberfunerals, global religious beliefs and traditions, and death denial Presents a selective use of figures, tables, and images Key Themes Arts, Media, and Popular Culture Perspectives Causes of Death Conceptualization of Death, Dying, and the Human Experience Coping With Loss and Grief: The Human Experience Cross-Cultural Perspectives Cultural-Determined, Social-Oriented, and Violent Forms of Death Developmental and Demographic Perspectives Funerals and Death-Related Activities Legal Matters Process of Dying, Symbolic Rituals, Ceremonies, and Celebrations of Life Theories and Concepts Unworldly Entities and Events With an array of topics that include traditional subjects and important emerging ideas, the Encyclopedia of Death and the Human Experience is the ultimate resource for students, researchers, academics, and others interested in this intriguing area of study.
Through an examination of a range of performance works ranging from Jean Cocteau's ballet The Eiffel Tower Wedding Party (1921) to Julie Taymor's monumental production of Spider-Man: Turn off the Dark (2010) and Mexican playwright Isaac Gomez's La Ruta(2018), Staging Technology asks what becomes visible when we encounter plays, operas, and musicals that are themselves about fraught human/machine interfaces. What can theatrical production tell us about the way technology functions as an element of ideology and power in narrative drama? About the limits of the human? Staging Technology bridges the divide between the technical practices of theatre production and critical, theoretical approaches to interpreting drama to examine the way dramatic theatre's technologies are shaped by larger historical, ideological, and economic forces. At the same time, it examines how those technologies themselves have influenced 20th and 21st-century playwrights', composers', and librettists' choice of subject matter for staged representation. Examining performance works from the modernist and post-modern European and American canon of drama, opera, and performance art including works by Eugène Ionesco, Samuel Beckett, Heiner Müller, Sophie Treadwell, Harold Pinter, Tristan Tzara, Jean Cocteau, Arthur Miller, Robert Pinsky, John Adams and Alice Goodman, Staging Technology transforms how we think about the interrelationship between theatre practice, performance, narrative drama, and text. In it Craig N. Owens synthesizes approaches to interpretation and practice from disparate realms, offering insights into over-arching ways of making meaning that are illustrated through focused and innovative readings of individual works for the dramatic stage. Staging Technology provides a new and transformative paradigm for thinking about dramatic literature, the practices of representational theatre production, and the historical and social contexts they inhabit.
Individuals who perpetrate murder sometimes pose or reposition victims, weapons, and evidence to make it look like events happened in a different way than what actually transpired. Until now, there has been scarce literature published on crime scene staging.Crime Scene Staging Dynamics in Homicide Cases is the first book to look at this practice, p
The Psychology of Death Investigations outlines definitively how behavioral evidence can often provide the necessary components and "missing pieces" to complement physical evidence as an essential tool for incident reconstruction. In order to determine the direction of an investigation and to prioritize leads, if necessary, death investigators must establish the manner of a death: natural, accident, homicide or suicide. The most overlooked aspect of death investigation is the psychological dimension, which can provide unique leads, correct false assumptions, enhance investigative awareness, and solve cases in surprising ways. In an estimated 10–20% of cases, the manner of death cannot be determined, or worse, has been erroneously categorized. Since many jurisdictions can’t afford behavioral consultants, this book has been written to provide practical information for a basic psychological analysis. If the circumstances surrounding a death are equivocal, psychological consultants can compile information retrospectively about a deceased person’s mental state and possible motive to assist with unravelling ambiguity about the manner of death. This is the primary function of a psychological autopsy, and, as such, this is the first book of its kind dedicated solely to the topic. In the event that the manner of death is determined to be a homicide, behavioral profiling can help to focus the potential pool of suspects. Professionals and students alike will benefit from the exercise of cognitive awareness and the application of psychological logic presented. Psychologists, medical examiners, coroners, attorneys, fraud examiners, law enforcement personnel, death and homicide investigators, and students enrolled in criminal profiling, forensic psychology, and criminal justice programs will find this text to be a compelling and insightful reference to add to their professional toolkit.
A darkly comic foray into the world of men and women who fake their own deaths, the consultants who help them disappear, and the private investigators who’ll stop at nothing to bring them back to life. “A delightful read for anyone tantalized by the prospect of disappearing without a trace.” —Erik Larson, New York Times bestselling author of Dead Wake “Delivers all the lo-fi spy shenanigans and caught-red-handed schadenfreude you’re hoping for.” —NPR “A lively romp.” —The Boston Globe “Grim fun.” —The New York Times “Brilliant topic, absorbing book.” —The Seattle Times “The most literally escapist summer read you could hope for.” —The Paris Review Is it still possible to fake your own death in the twenty-first century? With six figures of student loan debt, Elizabeth Greenwood was tempted to find out. So off she sets on a darkly comic foray into the world of death fraud, where for $30,000 a consultant can make you disappear—but your suspicious insurance company might hire a private detective to dig up your coffin...only to find it filled with rocks. Greenwood tracks down a British man who staged a kayaking accident and then returned to live in his own house while all his neighbors thought he was dead. She takes a call from Michael Jackson (no, he’s not dead—or so her new acquaintances would have her believe), stalks message boards for people contemplating pseudocide, and gathers intel on black market morgues in the Philippines, where she may or may not obtain some fraudulent goodies of her own. Along the way, she learns that love is a much less common motive than money, and that making your death look like a drowning virtually guarantees that you’ll be caught. (Disappearing while hiking, however, is a way great to go.) Playing Dead is a charmingly bizarre investigation in the vein of Jon Ronson and Mary Roach into our all-too-human desire to escape from the lives we lead, and the men and women desperate enough to give up their lives—and their families—to start again.
