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| anatomy of death museum: Anatomy Museum Elizabeth Hallam, 2016-06-15 The wild success of the traveling Body Worlds exhibition is testimony to the powerful allure that human bodies can have when opened up for display in gallery spaces. But while anatomy museums have shown their visitors much about bodies, they themselves are something of an obscure phenomenon, with their incredible technological developments and complex uses of visual images and the flesh itself remaining largely under researched. This book investigates anatomy museums in Western settings, revealing how they have operated in the often passionate pursuit of knowledge that inspires both fascination and fear. Elizabeth Hallam explores these museums, past and present, showing how they display the human body—whether naked, stripped of skin, completely dissected, or rendered in the form of drawings, three-dimensional models, x-rays, or films. She identifies within anatomy museums a diverse array of related issues—from the representation of deceased bodies in art to the aesthetics of science, from body donation to techniques for preserving corpses and ritualized practices for disposing of the dead. Probing these matters through in-depth study, Anatomy Museum unearths a strange and compelling cultural history of the spaces human bodies are made to occupy when displayed after death. |
| anatomy of death museum: The Anatomical Venus Morbid Anatomy Museum, Joanna Ebenstein, 2016-05-16 Beneath the original Venetian glass and rosewood case at La Specola in Florence lies Clemente Susini's Anatomical Venus (c. 1790), a perfect object whose luxuriously bizarre existence challenges belief. It - or, better, she - was conceived of as a means to teach human anatomy without need for constant dissection, which was messy, ethically fraught and subject to quick decay. This life-sized wax woman is adorned with glass eyes and human hair and can be dismembered into dozens of parts revealing, at the final remove, a beatific foetus curled in her womb. Sister models soon appeared throughout Europe, where they not only instructed the specialist students, but also delighted the general public. Deftly crafted dissectable female wax models and slashed beauties of the world's anatomy museums and fairgrounds of the 18th and 19th centuries take centre stage in this disquieting volume. Since their creation in late 18th-century Florence, these wax women have seduced, intrigued and amazed. Today, they also confound, troubling the edges of our neat categorical divides: life and death, science and art, body and soul, effigy and pedagogy, spectacle and education, kitsch and art. Incisive commentary and captivating imagery reveal the evolution of these enigmatic sculptures from wax effigy to fetish figure and the embodiment of the uncanny. |
| anatomy of death museum: The Anatomy Museum Elizabeth Hallam, 2008 Anatomy museums around the world showcase preserved corpses in service of education and medical advancement, but they are little-known and have been largely hidden from the public eye. Elizabeth Hallam here investigates the anatomy museum and how it reveals the fascination and fears that surround the dead body in Western societies. Hallam explores the history of these museums and how they operate in the current cultural environment. Their regulated access increasingly clashes with evolving public mores toward the exposed body, as demonstrated by the international popularity of the Body Worlds exhibition. The book examines such related topics as artistic works that employ the images of dead bodies and the larger ongoing debate over the disposal of corpses. Issues such as aesthetics and science, organ and body donations, and the dead body in Western religion and ritual are also discussed here in fascinating depth. The Anatomy Museum unearths a strange and compelling cultural history that investigates the ideas of preservation, human rituals of death, and the spaces that our bodies occupy in this life and beyond. |
| anatomy of death museum: Anatomy of the Auschwitz Death Camp Yisrael Gutman, Michael Berenbaum, 1998 An authoritative account of the operation of the Auschwitz death camp.Ò. . . a comprehensive work that is unlikely to be overtaken for many years. This learnedvolume is about as chilling as historiography gets.Ó ÑWalter Laqueur, The New RepublicÒ. . . a vital contribution to Holocaust studies and a bulwark against forgetting.Ó ÑPublishers WeeklyÒRigorously documented, brilliantly written, organized, and edited . . . the most authoritativebook about a place of unsurpassed importance in human history.Ó ÑJohn K. RothÒNever before has knowledge concerning every aspect of Auschwitz . . . been made available in such authority, depth, and comprehensiveness.Ó ÑRichard L. RubensteinLeading scholars from the United States, Israel, Poland, and other European countries provide the first comprehensive account of what took place at the Auschwitz death camp. Principal sections of the book address the institutional history of the camp, the technology and dimensions of the genocide carried out there, the profiles of the perpetrators and the lives of the inmates, underground resistance and escapes, and what the outside world knew about Auschwitz and when.Published in association with the United States Holocaust Memorial Museum, Washington, D.C. |
| anatomy of death museum: The Anatomical Venus Joanna Ebenstein, 2016 At head of title: Morbid Anatomy Museum. |
| anatomy of death museum: The Morbid Anatomy Anthology Joanna Ebenstein, Colin Dickey, 2014 Presents a eclectic collection of essays on death and the intersection of anatomy and medicine, including pieces on such topics as post-mortem photography, books bound in human skin, eroticized anatomical wax models, and taxidermied humans. |
| anatomy of death museum: Anatomy of a Killing Ian Cobain, 2021-05-08 “A concise and gripping history of the Troubles, revealing the people behind the pain and violence” from the award-winning investigative journalist (Vice). On the morning of Saturday 22nd April 1978, members of an Active Service Unit of the IRA hijacked a car and crossed the countryside to the town of Lisburn. Within an hour, they had killed an off-duty policeman in front of his young son. In Anatomy of a Killing, award-winning journalist Ian Cobain documents the hours leading up to the killing, and the months and years of violence, attrition and rebellion surrounding it. Drawing on interviews with those most closely involved, as well as court files, police notes, military intelligence reports, IRA strategy papers, memoirs and government records, this is a unique perspective on the Troubles, and a revelatory work of investigative journalism. “As gripping as a thriller, except that this isn’t fiction but cold, spine-tingling reality.” —Daily Mail “A remarkable piece of forensic journalism.” —Ed Moloney, author of Voices from the Grave “Reads like a work of fiction . . . True and harrowing.” —Irish Sunday Independent (Books of the Year) |
| anatomy of death museum: Murder After Death Richard Sugg, 2007 Tracing the influence of continental anatomy on English literature across the period, Sugg begins his exploration with the essentially sacralising aspects of dissection before detailing ways in which science and religion diverged from and eventually opposed each other. |
| anatomy of death museum: Dark Archives Megan Rosenbloom, 2020-10-20 On bookshelves around the world, surrounded by ordinary books bound in paper and leather, rest other volumes of a distinctly strange and grisly sort: those bound in human skin. Would you know one if you held it in your hand? In Dark Archives, Megan Rosenbloom seeks out the historic and scientific truths behind anthropodermic bibliopegy—the practice of binding books in this most intimate covering. Dozens of such books live on in the world’s most famous libraries and museums. Dark Archives exhumes their origins and brings to life the doctors, murderers, and indigents whose lives are sewn together in this disquieting collection. Along the way, Rosenbloom tells the story of how her team of scientists, curators, and librarians test rumored anthropodermic books, untangling the myths around their creation and reckoning with the ethics of their custodianship. A librarian and journalist, Rosenbloom is a member of The Order of the Good Death and a cofounder of their Death Salon, a community that encourages conversations, scholarship, and art about mortality and mourning. In Dark Archives—captivating and macabre in all the right ways—she has crafted a narrative that is equal parts detective work, academic intrigue, history, and medical curiosity: a book as rare and thrilling as its subject. |
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| anatomy of death museum: A Traffic of Dead Bodies Michael Sappol, 2018-06-05 A Traffic of Dead Bodies enters the sphere of bodysnatching medical students, dissection-room pranks, and anatomical fantasy. It shows how nineteenth-century American physicians used anatomy to develop a vital professional identity, while claiming authority over the living and the dead. It also introduces the middle-class women and men, working people, unorthodox healers, cultural radicals, entrepreneurs, and health reformers who resisted and exploited anatomy to articulate their own social identities and visions. The nineteenth century saw the rise of the American medical profession: a proliferation of practitioners, journals, organizations, sects, and schools. Anatomy lay at the heart of the medical curriculum, allowing American medicine to invest itself with the authority of European science. Anatomists crossed the boundary between life and death, cut into the body, reduced it to its parts, framed it with moral commentary, and represented it theatrically, visually, and textually. Only initiates of the dissecting room could claim the privileged healing status that came with direct knowledge of the body. But anatomy depended on confiscation of the dead--mainly the plundered bodies of African Americans, immigrants, Native Americans, and the poor. As black markets in cadavers flourished, so did a cultural obsession with anatomy, an obsession that gave rise to clashes over the legal, social, and moral status of the dead. Ministers praised or denounced anatomy from the pulpit; rioters sacked medical schools; and legislatures passed or repealed laws permitting medical schools to take the bodies of the destitute. Dissection narratives and representations of the anatomical body circulated in new places: schools, dime museums, popular lectures, minstrel shows, and sensationalist novels. Michael Sappol resurrects this world of graverobbers and anatomical healers, discerning new ligatures among race and gender relations, funerary practices, the formation of the middle-class, and medical professionalization. In the process, he offers an engrossing and surprisingly rich cultural history of nineteenth-century America. |
| anatomy of death museum: Human Remains Margaret Clegg, 2020-03-12 Highlights the importance of best practice in dealing with human remains, and discusses the key ethical and legal issues. |
| anatomy of death museum: Satanic Feminism Per Faxneld, 2017-08-24 According to the Bible, Eve was the first to heed Satan's advice to eat the forbidden fruit and thus responsible for all of humanity's subsequent miseries. The notion of woman as the Devil's accomplice is prominent throughout Christian history and has been used to legitimize the subordination of wives and daughters. In the nineteenth century, rebellious females performed counter-readings of this misogynist tradition. Lucifer was reconceptualized as a feminist liberator of womankind, and Eve became a heroine. In these reimaginings, Satan is an ally in the struggle against a tyrannical patriarchy supported by God the Father and his male priests. Per Faxneld shows how this Satanic feminism was expressed in a wide variety of nineteenth-century literary texts, autobiographies, pamphlets, newspaper articles, paintings, sculptures, and even artifacts of consumer culture like jewelry. He details how colorful figures like the suffragette Elizabeth Cady Stanton, gender-bending Theosophist H. P. Blavatsky, author Aino Kallas, actress Sarah Bernhardt, anti-clerical witch enthusiast Matilda Joslyn Gage, decadent marchioness Luisa Casati, and the Luciferian lesbian poetess Renée Vivien embraced these reimaginings. By exploring the connections between esotericism, literature, art and the political realm, Satanic Feminism sheds new light on neglected aspects of the intellectual history of feminism, Satanism, and revisionary mythmaking. |
| anatomy of death museum: Bone Rooms Samuel J. Redman, 2016-03-14 A Smithsonian Book of the Year A Nature Book of the Year “Provides much-needed foundation of the relationship between museums and Native Americans.” —Smithsonian In 1864 a US Army doctor dug up the remains of a Dakota man who had been killed in Minnesota and sent the skeleton to a museum in Washington that was collecting human remains for research. In the “bone rooms” of the Smithsonian, a scientific revolution was unfolding that would change our understanding of the human body, race, and prehistory. Seeking evidence to support new theories of racial classification, collectors embarked on a global competition to recover the best specimens of skeletons, mummies, and fossils. As the study of these discoveries discredited racial theory, new ideas emerging in the budding field of anthropology displaced race as the main motive for building bone rooms. Today, as a new generation seeks to learn about the indigenous past, momentum is building to return objects of spiritual significance to native peoples. “A beautifully written, meticulously documented analysis of [this] little-known history.” —Brian Fagan, Current World Archeology “How did our museums become great storehouses of human remains? Bone Rooms chases answers...through shifting ideas about race, anatomy, anthropology, and archaeology and helps explain recent ethical standards for the collection and display of human dead.” —Ann Fabian, author of The Skull Collectors “Details the nascent views of racial science that evolved in U.S. natural history, anthropological, and medical museums...Redman effectively portrays the remarkable personalities behind [these debates]...pitting the prickly Aleš Hrdlička at the Smithsonian...against ally-turned-rival Franz Boas at the American Museum of Natural History.” —David Hurst Thomas, Nature |
| anatomy of death museum: Walter Potter's Curious World of Taxidermy Pat Morris, Joanna Ebenstein, 2014 Describes the life and work of the Victorian taxidermist who was best known for his elaborate, anthropormorphic taxidermy tableaux, and details how his work has been received in the contemporary art world. |
| anatomy of death museum: Teaching Anatomy Lap Ki Chan, Wojciech Pawlina, 2015-01-29 Teaching Anatomy: A Practical Guide is the first book designed to provide highly practical advice to both novice and experienced gross anatomy teachers. The volume provides a theoretical foundation of adult learning and basic anatomy education and includes chapters focusing on specific issues that teachers commonly encounter in the diverse and challenging scenarios in which they teach. The book is designed to allow teachers to adopt a student-centered approach and to be able to give their students an effective and efficient overall learning experience. Teachers of gross anatomy and other basic sciences in undergraduate healthcare programs will find in this unique volume invaluable information presented in a problem-oriented, succinct, and user-friendly format. Developed by renowned, expert authors, the chapters are written concisely and in simple language, and a wealth of text boxes are provided to bring out key points, to stimulate reflection on the reader’s own situation, and to provide additional practical tips. Educational theories are selectively included to explain the theoretical foundation underlying practical suggestions, so that teachers can appropriately modify the strategies described in the book to fit their own educational environments. Comprehensive and a significant contribution to the literature, Teaching Anatomy: A Practical Guide is an indispensable resource for all instructors in gross anatomy. |
| anatomy of death museum: The Wrong Carlos James S. Liebman, Shawn Crowley, Andrew Markquart, Lauren Rosenberg, 2014-07-08 In 1989, Texas executed Carlos DeLuna, a poor Hispanic man with childlike intelligence, for the murder of Wanda Lopez, a convenience store clerk. His execution passed unnoticed for years until a team of Columbia Law School faculty and students almost accidentally chose to investigate his case and found that DeLuna almost certainly was innocent. They discovered that no one had cared enough about either the defendant or the victim to make sure the real perpetrator was found. Everything that could go wrong in a criminal case did. This book documents DeLunaÕs conviction, which was based on a single, nighttime, cross-ethnic eyewitness identification with no corroborating forensic evidence. At his trial, DeLunaÕs defense, that another man named Carlos had committed the crime, was not taken seriously. The lead prosecutor told the jury that the other Carlos, Carlos Hernandez, was a ÒphantomÓ of DeLunaÕs imagination. In upholding the death penalty on appeal, both the state and federal courts concluded the same thing: Carlos Hernandez did not exist. The evidence the Columbia team uncovered reveals that Hernandez not only existed but was well known to the police and prosecutors. He had a long history of violent crimes similar to the one for which DeLuna was executed. Families of both Carloses mistook photos of each for the other, and HernandezÕs violence continued after DeLuna was put to death. This book and its website (thewrongcarlos.net) reproduce law-enforcement, crime lab, lawyer, court, social service, media, and witness records, as well as court transcripts, photographs, radio traffic, and audio and videotaped interviews, documenting one of the most comprehensive investigations into a criminal case in U.S. history. The result is eye-opening yet may not be unusual. Faulty eyewitness testimony, shoddy legal representation, and prosecutorial misfeasance continue to put innocent people at risk of execution. The principal investigators conclude with novel suggestions for improving accuracy among the police, prosecutors, forensic scientists, and judges. |
| anatomy of death museum: Destination Culture Barbara Kirshenblatt-Gimblett, 1998-09-05 With the question, What does it mean to show?, the author explores the agency of display in museums and tourist attractions. She looks at how objects are made to perform their meaning by being collected and how techniques of display, not just the things shown, convey a powerful message. |
| anatomy of death museum: Regarding the Dead Alexandra Fletcher (Museum curator), Daniel Antoine, J. D. Hill, 2014 A key publication on the British Museum's approach to the ethical issues surrounding the inclusion of human remains in museum collections and possible solutions to the dilemmas relating to their curation, storage, access management and display. |
| anatomy of death museum: Inside the Lost Museum Steven Lubar, 2017-08-07 Curators make many decisions when they build collections or design exhibitions, plotting a passage of discovery that also tells an essential story. Collecting captures the past in a way useful to the present and the future. Exhibits play to our senses and orchestrate our impressions, balancing presentation and preservation, information and emotion. Curators consider visitors’ interactions with objects and with one another, how our bodies move through displays, how our eyes grasp objects, how we learn and how we feel. Inside the Lost Museum documents the work museums do and suggests ways these institutions can enrich the educational and aesthetic experience of their visitors. Woven throughout Inside the Lost Museum is the story of the Jenks Museum at Brown University, a nineteenth-century display of natural history, anthropology, and curiosities that disappeared a century ago. The Jenks Museum’s past, and a recent effort by artist Mark Dion, Steven Lubar, and their students to reimagine it as art and history, serve as a framework for exploring the long record of museums’ usefulness and service. Museum lovers know that energy and mystery run through every collection and exhibition. Lubar explains work behind the scenes—collecting, preserving, displaying, and using art and artifacts in teaching, research, and community-building—through historical and contemporary examples. Inside the Lost Museum speaks to the hunt, the find, and the reveal that make curating and visiting exhibitions and using collections such a rewarding and vital pursuit. |
| anatomy of death museum: Death, Dissection and the Destitute Ruth Richardson, 2000 In the early nineteenth century, body snatching was rife because the only corpses available for medical study were those of hanged murderers. With the Anatomy Act of 1832, however, the bodies of those who died destitute in workhouses were appropriated for dissection. At a time when such a procedure was regarded with fear and revulsion, the Anatomy Act effectively rendered dissection a punishment for poverty. Providing both historical and contemporary insights, Death, Dissection, and the Destitute opens rich new prospects in history and history of science. The new afterword draws important parallels between social and medical history and contemporary concerns regarding organs for transplant and human tissue for research. |
| anatomy of death museum: Dream Anatomy Michael Sappol, 2006-01-01 In antiquity, the human body's internal structure was subject to speculation, fantasy, and some study, but there were few efforts to represent it in pictures. The invention of the printing press in the 15th century helped to inspire a new spectacular science of anatomy and equally spectacular visions of the body. Dream Anatomy, a lavishly illustrated new publication from the National Library of Medicine, is filled with the anatomical imagery made possible by the printing press, ranging from the detailed and informative to the beautiful, whimsical, surreal, and grotesque. This new catalogue, based on the National Library of Medicine's milestone Dream Anatomy exhibition, displays the anatomical imagination in some of its most astonishing incarnations, from the fourteenth century to present. This fascinating medical art book, filled with rare color illustrations, includes: 170 photos and illustrations Insightful descriptive text Informative description of the print technologies of anatomical illustration History of anatomy timeline Full exhibition checklist Exhibition credits |
| anatomy of death museum: The Chick and the Dead Carla Valentine, 2017-06-13 Using the most common post-mortem process as the backbone of the narrative, [this book] takes the reader through the process of an autopsy while also describing the history and changing cultures of our relationship with the dead. The book [examines] what happens to our bodies in the end. Each chapter considers an aspect of an autopsy alongside an aspect of Carla's own life and work and touches on some of the more controversial aspects of our feelings towards death, including the relationship between sex and death and our attitudes toward human tissue collection-- |
| anatomy of death museum: Death Joanna Ebenstein, 2017-11-28 The ultimate death compendium, featuring the world’s most extraordinary artistic objects concerned with mortality, together with text by expert contributors Death is an inevitable fact of life. Throughout the centuries, humanity has sought to understand this sobering thought through art and ritual. The theme of memento mori informs medieval Danse Macabre, the Tibetan Book of the Dead, Renaissance paintings of dissected corpses and “anatomical Eves,” Gothic literature, funeral effigies, Halloween, and paintings of the Last Judgment. Deceased ancestors are celebrated in the Mexican Day of the Dead, while the ancient Egyptians mummified their dead to secure their afterlife. A volume of unprecedented breadth and sinister beauty, Death: A Graveside Companion examines a staggering range of cultural attitudes toward death. The book is organized into themed chapters: The Art of Dying, Examining the Dead, Memorializing the Dead, The Personification of Death, Symbolizing Death, Death as Amusement, and The Dead After Life. Each chapter begins with thought-provoking articles by curators, academics, and journalists followed by gallery spreads presenting a breathtaking variety of death-related imagery and artifacts. From skulls to the dance of death, statuettes to ex libris, memento mori to memorabilia, the majority of the images are of artifacts in the astonishing collection of Richard Harris and range from 2000 BCE to the present day, running the gamut of both high and popular culture. Table of Contents 1. The Art of Dying 2. Examining the Dead 3. Memorializing the Dead 4. The Personification of Death 5. Symbolizing Death 6. Death as Amusement 7. The Dead After Life Essays: Death in Ancient and Present-Day Mexico, Eva Aridjis,The Power of Hair as Human Relic in Mourning Jewelry - Karen Bachmann, Medusa and the Power of the Severed Head, Laetitia Barbier, Anatomical Expressionism, Eleanor Crook, Poe and the Pathological Sublime, Mark Dery, Eros and Thanatos, Lisa Downing, Death-Themed Amusements, Joanna Ebenstein, The Nutshell Studies of Unexplained Death, Bruce Goldfarb, Theatre, Death and the Grand Guignol, Mel Gordon, Holy Spiritualism, Elizabeth Harper, Playing dead – A Gruesome Form of Amusement, Mervyn Heard, The Anatomy of Holy Transformation, Liselotte Hermes da Fonseca, Collecting Death, Evan Michelson, Art and Afterlife: Ethel le Rossignol and Georgiana Houghton, Mark Pilkington, The Dance of Death, Kevin Pyle, Art, Science and the Changing Conventions of Anatomical Representation, Michael Sappol, Spiritualism and Photography, Shannon Taggart, Playing with Dead Faces, John Troyer, Anatomy Embellished in the Cabinet of Frederik Ruysch, Bert van de Roemer |
| anatomy of death museum: Anatomica Joanna Ebenstein, Lucille Clerc, 2020-05-05 For centuries, humankind has sought to know itself through an understanding of the body, in sickness and in health, inside and out. This fascination left in its wake a rich body of artworks that demonstrate not only the facts of the human body, but also the ways in which our ideas about the body and its proper representation have changed over time. At times both beautiful and repulsive, illustrated anatomy continues to hold our interest today, and is frequently referenced in popular culture. Anatomica brings together some of the most striking, fascinating and bizarre artworks from the 16th through to the 20th century, exploring human anatomy in one beautiful volume. |
| anatomy of death museum: Anatomy as Spectacle Elizabeth Stephens, 2013 From the late eighteenth century to the present day, public exhibitions featuring displays of human anatomy have proven popular with a wide range of audiences, successfully marketed as educational facilities for medical professionals as well as improving entertainments for the general public. Partly a product of the public sanitation and health reform movements that began in the eighteenth century, partly a form of popular spectacle, early public anatomical exhibitions drew on two apparently distinct cultural developments: firstly, the professionalisation of medicine from the mid 1700s and the increasingly central role of practical anatomy within it; secondly, the rise of a culture of public spectacles such as world fairs, public museums, circuses and side shows, and the use of new visual technologies these spaces pioneered. Such spectacles often drew on medical discourses as a way of lending legitimacy to their displays of human bodies, while their popularity also helped make the then-contentious practice of anatomy publicly acceptable. This book examines the cultural work performed by such exhibitions and their role in (re)producing new ways of seeing and knowing the body over the modern era. While public anatomical exhibitions might seem to occupy a marginal position in the history of popular culture and that of medicine, their distinctive intermixing of the medical and the spectacular has made them an influential and intensely productive cultural space, an important site of emergence for new ideas about bodily health and care. This book traces the influential role of such exhibitions in popularising a distinctly modern idea of the body as something requiring constant work and careful self-cultivation-an idea which continues to play a central role in the contemporary fascination with practices and possibilities of self-improvement. Through a series of representative case studies-including eighteenth-century exhibitions of anatomical Venuses, nineteenth-century anatomical museums for men only that served as quack clinics for sexual disorders, traditional and contemporary freak shows, and the recent public display of real human remains in Body Worlds and other such exhibitions-Anatomy as Spectacle traces how these exhibitions taught their spectators to see their bodies as something requiring constant self-monitoring and management, constructing an embodied modern subject who is always responsible, productive, temperate, and focused on self-improvement. |
| anatomy of death museum: Making Marvels Wolfram Koeppe, Noam Andrews, Florian Thaddäus Bayer, Jens Ludwig Burk, Wolfram Dolz, Ana Matisse Donefer-Hickie, Karsten Gaulke, Michael Korey, Lothar Lambacher, Peter Plassmeyer, Paulus Rainer, Antje Scherner, Konrad Schlegel, Pamela H. Smith, Dirk Syndram, 2019-11-25 Featuring more than 150 treasures from several of the world’s most prestigious collections, Making Marvels explores the vital intersection of art, technology, and political power at the courts of early modern Europe. It was there, from the sixteenth through eighteenth centuries, that a remarkable outpouring of creativity and learning gave rise to exquisite objects that were at once beautiful works of art and technological wonders. By amassing vast, glittering collections of these ingeniously crafted objects, princes flaunted their wealth and competed for mastery over the known world. More than mere status symbols, however, many of these marvels ushered in significant advancements that have had a lasting influence on astronomy, engineering, and even international politics. Incisive texts by leading scholars situate these works within the rich, complex symbolism of life at court, where science and splendor were pursued with equal vigor and together contributed to a culture of magnificence. |
| anatomy of death museum: Sacrifice J. Thorn, J. F. Penn, Zach Bohannon, Lindsay Buroker, 2017-04-17 A relic thief. An ex-military Mom. A grief-stricken father willing to do anything to save his son. An American Demon Hunter. All aboard the 8.05pm from Chicago to New Orleans for 19 hours that will change their lives. When the relic of an ancient blood cult is used to summon the dead and open a portal to the beyond, demons escape onto the train. As the body count rises, each must fight to save their own lives and those of the people they love. New friendships are forged in the battles and love blossoms in the carnage. But who will have to pay the ultimate sacrifice? A dark fantasy from four bestselling authors who just happened to be on the 8.05pm from Chicago one March evening... |
| anatomy of death museum: Death, Memory and Material Culture Elizabeth Hallam, Jenny Hockey, 2020-05-26 - How do the living maintain ongoing relationships with the dead in Western societies? - How have the residual belongings of the dead been used to evoke memories? - Why has the body and its material environment remained so important in memory-making? Objects, images, practices, and places remind us of the deaths of others and of our own mortality. At the time of death, embodied persons disappear from view, their relationships with others come under threat and their influence may cease. Emotionally, socially, politically, much is at stake at the time of death. In this context, memories and memory-making can be highly charged, and often provide the dead with a social presence amongst the living. Memories of the dead are a bulwark against the terror of forgetting, as well as an inescapable outcome of a life's ending. Objects in attics, gardens, museums, streets and cemeteries can tell us much about the processes of remembering. This unusual and absorbing book develops perspectives in anthropology and cultural history to reveal the importance of material objects in experiences of grief, mourning and memorializing. Far from being ‘invisible', the authors show how past generations, dead friends and lovers remain manifest - through well-worn garments, letters, photographs, flowers, residual drops of perfume, funerary sculpture. Tracing the rituals, gestures and materials that have been used to shape and preserve memories of personal loss, Hallam and Hockey show how material culture provides the deceased with a powerful presence within the here and now. |
| anatomy of death museum: William Hunter and the Anatomy of the Modern Museum María Dolores Sánchez-Jáuregui, 2018 This publication accompanies the exhibitions William Hunter and the Anatomy of the Modern Museum co-organized by The Hunterian Museum, Glasgow, on view 27 September 2018-6 January, 2019, and the Yale Center for British Art, New Haven, on view 14 February-20 May 2019. |
| anatomy of death museum: The Ivory Mirror Stephen Perkinson, 2017 The Ivory Mirror / Stephen Perkinson -- The Light at the End of the Tunnel : Manuscript Illumination and the Concept of Death / Elizabeth Morrison -- Chicart Bailly and the Specter of Death : Memento Mori in a Sixteenth-Century Estate Inventory / Katherine Baker -- Plates -- List of Plates -- Memento mori Beads : Collecting Histories and Contexts / Naomi Speakman -- The Poetry of Death / Emma Maggie Solberg |
| anatomy of death museum: Curiosity and Enlightenment Arthur MacGregor, 2007 Offers a history of museum collecting in western Europe over the course of its formative centuries, tracing its origins from the culture of collecting that emerged during the Renaissance, which served the purposes of both prestige and academic enquiry. |
| anatomy of death museum: 1242 James Drake, 2014 Three years ago, the artist James Drake (born 1946) began the ambitious project of creating 1,242 drawings that would trace and reference all of the developments of his multifaceted career. Known as both a sculptor and video artist, Drake has always considered draftsmanship to be a key to his process, and this body of drawings does not disappoint. It is both a fascinating tour of Drake's creative thinking and a testament to the simple power of graphite and ink on paper in the hands of a master of the craft. The volume is published to accompany a touring exhibition (titled The Anatomy of Drawing and Space) opening at The Museum of Contemporary Art San Diego in July 2014--the largest show of Drake's work to date. |
| anatomy of death museum: Witches of America Alex Mar, 2015-10-20 Witches are gathering. When most people hear the word witches, they think of horror films and Halloween, but to the nearly one million Americans who practice Paganism today, witchcraft is a nature-worshipping, polytheistic, and very real religion. So Alex Mar discovers when she sets out to film a documentary and finds herself drawn deep into the world of present-day magic. Witches of America follows Mar on her immersive five-year trip into the occult, charting modern Paganism from its roots in 1950s England to its current American mecca in the San Francisco Bay Area; from a gathering of more than a thousand witches in the Illinois woods to the New Orleans branch of one of the world's most influential magical societies. Along the way she takes part in dozens of rituals and becomes involved with a wild array of characters: a government employee who founds a California priesthood dedicated to a Celtic goddess of war; American disciples of Aleister Crowley, whose elaborate ceremonies turn the Catholic mass on its head; second-wave feminist Wiccans who practice a radical separatist witchcraft; a growing mystery cult whose initiates trace their rites back to a blind shaman in rural Oregon. This sprawling magical community compels Mar to confront what she believes is possible-or hopes might be. With keen intelligence and wit, Mar illuminates the world of witchcraft while grappling in fresh and unexpected ways with the question underlying every faith: Why do we choose to believe in anything at all? Whether evangelical Christian, Pagan priestess, or atheist, each of us craves a system of meaning to give structure to our lives. Sometimes we just find it in unexpected places. |
| anatomy of death museum: The Good Death Ann Neumann, 2017-02-07 Following the death of her father, journalist and hospice volunteer Ann Neumann sets out to examine what it means to die well in the United States. When Ann Neumann’s father was diagnosed with non-Hodgkin’s lymphoma, she left her job and moved back to her hometown of Lancaster, Pennsylvania. She became his full-time caregiver—cooking, cleaning, and administering medications. When her father died, she was undone by the experience, by grief and the visceral quality of dying. Neumann struggled to put her life back in order and found herself haunted by a question: Was her father’s death a good death? The way we talk about dying and the way we actually die are two very different things, she discovered, and many of us are shielded from what death actually looks like. To gain a better understanding, Neumann became a hospice volunteer and set out to discover what a good death is today. She attended conferences, academic lectures, and grief sessions in church basements. She went to Montana to talk with the attorney who successfully argued for the legalization of aid in dying, and to Scranton, Pennsylvania, to listen to “pro-life” groups who believe the removal of feeding tubes from some patients is tantamount to murder. Above all, she listened to the stories of those who were close to death. What Neumann found is that death in contemporary America is much more complicated than we think. Medical technologies and increased life expectancies have changed the very definition of medical death. And although death is our common fate, it is also a divisive issue that we all experience differently. What constitutes a good death is unique to each of us, depending on our age, race, economic status, culture, and beliefs. What’s more, differing concepts of choice, autonomy, and consent make death a contested landscape, governed by social, medical, legal, and religious systems. In these pages, Neumann brings us intimate portraits of the nurses, patients, bishops, bioethicists, and activists who are shaping the way we die. The Good Death presents a fearless examination of how we approach death, and how those of us close to dying loved ones live in death’s wake. |
| anatomy of death museum: Stuffed Animals and Pickled Heads Stephen T. Asma, 2003-05-01 The natural history museum is a place where the line between high and low culture effectively vanishes--where our awe of nature, our taste for the bizarre, and our thirst for knowledge all blend happily together. But as Stephen Asma shows in Stuffed Animals and Pickled Heads, there is more going on in these great institutions than just smart fun. Asma takes us on a wide-ranging tour of natural history museums in New York and Chicago, London and Paris, interviewing curators, scientists, and exhibit designers, and providing a wealth of fascinating observations. We learn how the first museums were little more than high-toned side shows, with such garish exhibits as the pickled head of Peter the Great's lover. In contrast, today's museums are hot-beds of serious science, funding major research in such fields as anthropology and archaeology. Rich in detail, lucid explanation, telling anecdotes, and fascinating characters.... Asma has rendered a fascinating and credible account of how natural history museums are conceived and presented. It's the kind of book that will not only engage a wide and diverse readership, but it should, best of all, send them flocking to see how we look at nature and ourselves in those fabulous legacies of the curiosity cabinet.--The Boston Herald. |
| anatomy of death museum: Gothic Remains Laurence Talairach, 2019 Gothic Remains: Corpses, Terror and Anatomical Culture, 17641897 traces anatomical culture in Gothic texts from Horace Walpole to Bram Stoker, showing how the Gothic developed and evolved alongside the medical profession, and proposing a genealogy of some of the Gothic texts that marked the eighteenth and nineteenth centuries. |
| anatomy of death museum: British Medical Journal , 1894 |
| anatomy of death museum: Past, Present, Future Samuel J. M. M. Alberti, Elizabeth Hallam, 2013 This title brings together curators and scholars to open up new perspectives on the past, present and future of medical museums in Europe and North America. |
| anatomy of death museum: Science Museums in Transition Carin Berkowitz, Bernard Lightman, 2017-07-19 The nineteenth century witnessed a dramatic shift in the display and dissemination of natural knowledge across Britain and America, from private collections of miscellaneous artifacts and objects to public exhibitions and state-sponsored museums. The science museum as we know it—an institution of expert knowledge built to inform a lay public—was still very much in formation during this dynamic period. Science Museums in Transition provides a nuanced, comparative study of the diverse places and spaces in which science was displayed at a time when science and spectacle were still deeply intertwined; when leading naturalists, curators, and popular showmen were debating both how to display their knowledge and how and whether they should profit from scientific work; and when ideals of nationalism, class politics, and democracy were permeating the museum's walls. Contributors examine a constellation of people, spaces, display practices, experiences, and politics that worked not only to define the museum, but to shape public science and scientific knowledge. Taken together, the chapters in this volume span the Atlantic, exploring private and public museums, short and long-term exhibitions, and museums built for entertainment, education, and research, and in turn raise a host of important questions, about expertise, and about who speaks for nature and for history. |
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