“The hunger strike and the fast are reflective experiences, performances of death in which we see ourselves.” ( Grant 2019: 1 ) “We have now learned our power to starve ourselves out of prison, and this power we shall use.” (Christobel
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Performances of Death
Hunger Strikes, Discipline, and Democracy
Amanda Machin
The “Transnational Business of Death” Among Somali Migrants in the Streets of Athens
Anja Simonsen
The Trade in Death in Contexts of Migration The year 2015 saw an increase in people without the necessary travel documents seeking protection in Europe from war, poverty, and other insecurities in countries such as Syria, Afghanistan, Iraq
Sex and Death in Quebec
Female AutobioBD and Julie Doucet's Changements d'adresses
Catriona MacLeod
In comparison to the U.S. market, the trend for autobiographical sequential art arrived late within the history of the francophone bande dessinée. Its rising popularity throughout the 1990s and into the new millennium coincided, and to an extent connected, with another belated development in the French-language industry however: that of the growing presence of the female artist. This article considers the strong presence of life narratives in bandes dessinées created by women, before presenting a case-study examining the manipulation of the medium to an autobiographical end in Québécoise artist Julie Doucet's 1998 Changements d'adresses ['Changes of Addresses']. It considers how, in this coming-of-age narrative set first in Montreal and then New York, Doucet utilises the formal specificity of the bande dessinée to emphasise both the fragmentation and then reintegration of her hybrid enunciating instances. It further examines Doucet's usage of the life-narrative bande dessinée to oppose her representation from that of the disruptive male figures in her life, whose sexual presence in her personal evolution is often connected to images of dysfunction and death, finally suggesting via this examination of Julie Doucet and Changements d'adresses the particular suitability of female-created life narratives to feminist reappropriations of the francophone bande dessinée.
The Queer Death of the Hanged Dog
The 1677 Execution of Mary Higgs’ Mongrel
Jennifer Lodine-Chaffey
that the neighbors bore her malice, the court found her guilty and sentenced her to death. 11 An account of the dog's and Higgs’ executions appeared in News from Tybourn that same year. Deemed hardhearted and unrepentant by the anonymous author
It Begins and Ends with an Image
Reflections on Life/Death across Autobiography and Visual Culture
Paolo S. H. Favero
connection between photography and death, it builds on my own journey of grief and bereavement that followed the sudden death of my father. Despite being already in his early 80s, my father was a very healthy man. He passed away unexpectedly in the summer of
Fates Worse Than Death
Destruction and Social Attachment in Timor-Leste
Gabriel Tusinski
importance of bodily injury and death over the destruction of material architectural structures. Despite the fact that house destruction has featured prominently in Timorese repertoires of violence—indeed, 5,000–8,000 houses were destroyed in violence between
Waiting
Anticipation and Episodic Time
Cheryl Mattingly
waiting for? Second, what kind of temporal horizon does this open up? My first question may seem odd. I have already announced that she is waiting for death and, soon after she joined the study, the oncologist delivered a definite time frame: two months
The Lived Temporalities of Prognosis
Fixing and Unfixing Futures
Dikaios Sakellariou, Nina Nissen, and Narelle Warren
, who lived with motor neurone disease (MND), these tensions were foregrounded when the biomedically prognosticated early death did not arrive, highlighting both the reach of biomedicine as the hegemonic regulatory framework in the UK governing health
Narrating death
Affective reworking of suicide in rural Greece
Stavroula Pipyrou
This paper examines cases of suicide in rural Greece where the deceased have been provided with new affective narratives that detract from the circumstances of death. Living relatives redirect public attention away from the social taboo of suicide by reconfiguring affective stories that appeal to the local tool‐kit for dealing with unexpected death. Resultantly, the reputation of the family remains untainted by the connotations of immorality and insanity that suicide carries. Grabbing public attention, the affective story rouses sympathy for the victim and their family, whilst cultivating abhorrence towards a culprit, representing a final mark of respect to the dead person.
Sartre and the Death of God
John H. Gillespie
has been fascinating to discover the number of references to ‘la Mort de Dieu’ [the Death of God] 2 in various documents during a key period of his intellectual development (1943–1952). In this article we examine the significance of these references