Resurrection by Surrogation: Spectral Performance in Putin's Russia

Slavic Review ◽  
2020 ◽  
Vol 79 (4) ◽  
pp. 800-824
Author(s):  
Maksim Hanukai
Keyword(s):  
Political Theology ◽  
Memory Studies ◽  
Cultural Critique ◽  
Sovereign Power ◽  
Generational Change ◽  
Life And Death ◽  
The People ◽  
Spectral Performance ◽  
Three Stages ◽  
The Dead

This article examines the emergence of what I call “spectral performance” in Putin's Russia. Focusing on the Immortal Regiment initiative, I investigate the growing importance of practices that ask the living to act as surrogates for the dead. My analysis proceeds in three stages. First, applying a memory studies frame, I show how the Regiment helps preserve memory of WWII in a time of significant generational change. Second, drawing on theories of political theology and biopolitics, I show how the Regiment reaffirms the Kremlin's sovereign power to regulate the boundaries between life and death while symbolically displacing sovereignty from the “flesh” of the people to a growing ranks of “immortals.” Finally, focusing on the question of representation, I show how the Regiment helps construct an oppressive distribution of the sensible that privileges the dead over the living. I conclude by examining St. Petersburg artist Maksim Evstropov's necro-activist project Party of the Dead as a cultural critique of the Regiment.

scholarly journals The disorderly body: considerations of The Book of Numbers, 19 and ritual impurity after contact with a corpse

2011 ◽  
Vol 23 ◽  
pp. 197-205
Author(s):  
Sandra Junker
Keyword(s):  
Hebrew Bible ◽  
Human Body ◽  
The Body ◽  
Human Being ◽  
Dead Body ◽  
Life And Death ◽  
Living Body ◽  
The People ◽  
The Dead ◽  
Living Creature

This article deals with the idea of ritual bodily impurity after coming into contact with a corpse in the Hebrew Bible. The evanescence and impermanence of the human body testifies to the mortality of the human being. In that way, the human body symbolizes both life and death at the same time; both conditions are perceivable in it. In Judaism, the dead body is considered as ritually impure. Although, in this context it might be better to substitute the term ‘ritually damaged’ for ‘ritually impure’: ritual impurity does not refer to hygienic or moral impurity, but rather to an incapability of exercising—and living—religion. Ritual purity is considered as a prerequisite for the execution of ritual acts and obligations. The dead body depends on a sphere which causes the greatest uncertainty because it is not accessible for the living. According to Mary Douglas’s concepts, the dead body is considered ritually impure because it does not answer to the imagined order anymore, or rather because it cannot take part in this order anymore. This is impurity imagined as a kind of contagious illness, which is carried by the body. This article deals with the ritual of the red heifer in Numbers 19. Here we find the description of the preparation of a fluid that is to help clear the ritual impurity out of a living body after it has come into contact with a corpse. For the preparation of this fluid a living creature – a faultless red heifer – must be killed. According to the description, the people who are involved in the preparation of the fluid will be ritually impure until the end of the day. The ritual impurity acquired after coming into contact with a corpse continues as long as the ritual of the Red Heifer remains unexecuted, but at least for seven days. 

Horror and Death: Rethinking Coco's Border Politics

2020 ◽  
Vol 73 (4) ◽  
pp. 41-49
Author(s):  
Orquidea Morales
Keyword(s):  
The United States ◽  
Horror Film ◽  
Walt Disney Company ◽  
Life And Death ◽  
Walt Disney ◽  
Day Of The Dead ◽  
Animated Film ◽  
Border Politics ◽  
The Dead ◽  
The U.S

In 2013, the Walt Disney Company submitted an application to trademark “Día de los muertos” (Day of the Dead) as they prepared to launch a holiday themed movie. Almost immediately after this became public Disney faced such strong criticism and backlash they withdrew their petition. By October of 2017 Disney/Pixar released the animated film Coco. Audiences in Mexico and the U.S. praised it's accurate and authentic representation of the celebration of Day of the Dead. In this essay, I argue that despite its generic framing, Coco mobilizes many elements of horror in its account of Miguel's trespassing into the forbidden space of the dead and his transformation into a liminal figure, both dead and alive. Specifically, with its horror so deftly deployed through tropes and images of borders, whether between life and death or the United States and Mexico, Coco falls within a new genre, the border horror film.

כסתות, מספחות and נפשות (Ezek 13:17–23)

2020 ◽  
Vol 132 (2) ◽  
pp. 301-305
Author(s):  
Daewook Kim
Keyword(s):  
Human Beings ◽  
Content Type ◽  
Conceptual Connection ◽  
The People ◽  
The Dead

AbstractThe expression נפשות in Ezekiel 13 refers to two different meanings: (living) human beings and the spirits of the dead. The words כסתות and מספחות seem to refer to the paraphernalia involved in the women’s practice of necromancy and in the fall of the people, respectively. The expression נפשות is employed as antanaclasis to establish a conceptual connection between necromancy and ruin.

scholarly journals I. A Dissertation on St. Æthelwold's Benedictional, an illuminated MS. of the 10th Century, in the Library of his Grace the Duke of Devonshire; communicated by John Gage, Esq. F.R.S., Director, in a Letter to the Right Honourable George Earl of Aberdeen, President, &c.

Archaeologia ◽  
1832 ◽  
Vol 24 ◽  
pp. 1-117
Author(s):  
John Gage
Keyword(s):  
Anglo Saxon ◽  
The People ◽  
The Dead ◽  
The Right ◽  
The Sacrifice

It was an ancient custom for the Bishop, before he received the Eucharist in the sacrifice of the Mass, to bless the people in a form of prayer apporiate to the feast of the day. This solemn observation was made on the fraction of the host, and as that was the time at which a blessing was asked for the living, so also was it the special moment, when, according to the Anglo-Saxon Mass for the dead, on the day of the burial, the deceased was prayed for, by name.

DRAMATURGI KESENIAN TRADISIONAL DALUPA PRODUKSI SANGGAR SENI DATOK RIMBA DI WOYLA ACEH BARAT

2021 ◽  
Vol 10 (1) ◽  
pp. 15
Author(s):  
Susandro Susandro ◽  
Rika Wirandi ◽  
Hatmi Negria Taruan
Keyword(s):  
New York ◽  
Creative Process ◽  
Creation Process ◽  
Folk Tale ◽  
The Third ◽  
The People ◽  
Third Stage ◽  
Three Stages ◽  
Banda Aceh

Dalupa art emerged from the creative process of the people of West Aceh which can be stretched into three stages. First, Dalupa was originally a folk tale or folklore that was narrated from generation to generation. Second, the Dalupa then manifests (a person wearing the costume of a Dalupa character) so that it can be witnessed in person. At this stage, the Dalupa character does not manifest itself in the form of theater or dance. Its presence is only intended to entertain or enliven an event, such as weddings, processions, campaigns and so on. Third, the Dalupa character is presented by considering the dramatic element; arrangement of a series of events that tell the beginning of the appearance to the end of the Dalupa story. This study aims to record and describe how the process of creating the Dalupa art, as mentioned in the third stage. The method used is qualitative with the dramaturgy approach. This study shows the results that the art of Dalupa presents a story about the origin of the appearance of Dalupa with the manifestation of organized events. On this basis, it can be concluded that Dalupa art can be categorized as dramatic or theater art.Keywords: dalupa, creation process, dramatic, dramaturgy.AbstrakKesenian Dalupa muncul dari proses kreatif masyarakat Aceh Barat yang dapat direntangkan menjadi tiga tahap. Pertama, Dalupa mulanya merupakan cerita rakyat atau folklor yang dinarasikan secara turun-temurun. Kedua, Dalupa kemudian mewujud (seseorang yang mengenakan kostum tokoh Dalupa) sehingga dapat disaksikan secara langsung. Pada tahap ini, tokoh Dalupa mewujud tidaklah dalam bentuk kesenian teater atau tari. Kehadirannya hanya bertujuan untuk menghibur atau meramaikan suatu acara, seperti pernikahan, arak-arakan, kampanye dan sebagainya. Ketiga, tokoh Dalupa dihadirkan dengan mempertimbangkan unsur dramatika; penataan rangkaian peristiwa yang menceritakan awal kemunculan hingga akhir kisah Dalupa. Penelitian ini bertujuan mencatat serta memaparkan bagaimana proses penciptaan kesenian Dalupa, sebagaimana disebut pada tahap ketiga. Metode yang dilaksanakan yaitu kualitatif dengan pendekatan dramaturgi. Penelitian ini menunjukkan hasil bahwa kesenian Dalupa menyajikan cerita tentang asal mula kemunculan Dalupa dengan perwujudan peristiwa-peristiwa yang tertata. Atas dasar tersebut, dapat dismpulkan bahwa kesenian Dalupa dapat dikategorikan sebagai seni dramatik atau teater.  Kata Kunci: dalupa, proses penciptaan, dramatika, dramaturgi. Authors: Susandro : Institut Seni Budaya Indonesia Aceh Rika Wirandi : Institut Seni Budaya Indonesia Aceh Hatmi Negria Taruan : Institut Seni Budaya Indonesia Aceh References:Barba, Eugenio. (2010). On Directing and Dramaturgy: Burning the House. New York: Routledge.Harymawan. (1993). Dramaturgi. Bandung: Rosdakarya.Herman, RN. (2016). Dalupa: Teater Tradisional Pantai Barat. Buletin Tuhoe edisi XVII. Banda Aceh: JKMA Aceh.Koster, G.L. (1998). Kacamata Hitam Pak Mahmud Wahid Atau Bagaimanakah Meneliti Puitika Sebuah Sastra Lisan?, dalam Pudentia MPSS (Ed.), Metodologi Kajian Tradisi Lisan. Jakarta: Yayasan Obor Indonesia dan Yayasan Asosiasi Tradisi Lisan.Moleong, Lexy J. (2005). Metodologi Penelitian Kualitatif, Ed. Revisi cetakan keduapuluhsatu. Bandung: Rosdakarya.Pramayoza, Dede. (2013). Dramaturgi Sandiwara: Potret Teater Populer Dalam Masyarakat Poskolonial. Yogyakarta: Penerbit Ombak.Soedarsono, R.M. (2001). Metodologi Penelitian Seni Pertunjukan dan Seni Rupa. Bandung: MSPI (Masyarakat Seni Pertunjukan Indonesia).SSDR. (2019). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.Stokes, Jane. (2007). How to do Media and Kultural Studies: Panduan Untuk Melaksanakan Penelitian dalam Kajian Media dan Budaya. Terj. Santi Indra Astuti. Yogyakarta: Bentang.Taruan, H.N. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.  Wirandi, R. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.

Everything Seems So Illogical: Constructing Missingness Between Life and Death in Israel

2021 ◽  
pp. 003022282110543
Author(s):  
Ori Katz
Keyword(s):  
Rites Of Passage ◽  
Social Category ◽  
Ontological Category ◽  
Cultural Scripts ◽  
Life And Death ◽  
Narrative Ethnography ◽  
Left Behind ◽  
Missing Persons ◽  
The People ◽  
High Uncertainty

This paper discusses the case of missing persons in Israel, to show how the category of “missingness” is constructed by the people who have been left behind, and how this may threaten the life-death dichotomy assumption. The field of missing persons in Israel is characterized not only by high uncertainty, but also by the absence of relevant cultural scripts. Based on a narrative ethnography of missingness in Israel, I claim that a new and subversive social category of “missingness” can be constructed following the absence of cultural scripts. The left-behinds fluctuate not only between different assumptions about the missing person’s fate; they also fluctuate between acceptance of the life-death dichotomy, thus yearning for a solution to a temporary in-between state, and blurring this dichotomy, and thus constructing “missingness” as a new stable and subversive ontological category. Under this category, new rites of passage are also negotiated and constructed.

BLINDNESS AS THE THRESHOLD BETWEEN LIFE AND DEATH IN SENECA'S OEDIPVS AND PHOENISSAE

2021 ◽  
pp. 1-14
Author(s):  
Ricardo Duarte
Keyword(s):  
Thought Processes ◽  
Life And Death ◽  
Self Knowledge ◽  
The Dead

Abstract This article looks at the complexity of the thought processes that lead Seneca's Oedipus to choose the mors longa of blindness as punishment for his crime (in his blindness, he is to live in a kind of ostracism, separately from both the living and the dead). It offers an analysis of the consolation of this existence on the threshold between life and death, notably with reference to the end of the Oedipus, but also of the sorrow of this liminal existence. The latter is described in Seneca's Phoenissae, which suggests an escape, by death stricto sensu, from the threshold represented by blindness, by which Oedipus now feels trapped. By examining these three topics, the article shows how the threshold between life and death which Oedipus chooses at the end of Seneca's Oedipus and experiences in the Phoenissae mirrors the ambivalence and the errors of his life before he blinded himself. Ultimately, it also illustrates Oedipus’ continuing failure to achieve self-knowledge.

scholarly journals Analysis and identification of Pseudomonas sp. and molds on dried anchovy (Stelophorus sp) products produced by the people of Toniku Village, Halmahera Barat Regency, North Maluku Province

2019 ◽  
Vol 3 (1) ◽  
pp. 1
Author(s):  
Ruslan A. Daeng ◽  
Azis Husen
Keyword(s):  
Plate Count ◽  
Bacterial Cells ◽  
Pseudomonas Sp ◽  
Fishing Community ◽  
Total Plate Count ◽  
The People ◽  
Sampling Locations ◽  
Preparation Stage ◽  
Three Stages ◽  
Identification Stage

This research was conducted to determine the characteristics of Pseudomonas sp. and mold on dried anchovies. The sample in this study was obtained from the fishing community of Toniku Village, West Halmahera Regency, North Maluku Province. The stages carried out in this study were 3 (three) stages, namely the sample preparation stage, the analysis phase and the identification stage of Pseudomonas sp. and mold. The results showed that the characteristics of the Total Plate Count (TPC) of dried anchovy in the Toniku Village obtained a different composition from each other, with the highest log Total Plate Count (TPC) obtained, namely 5.5 or 3.2 x 105 Cfu/g or 320.000 cells bacteria, while the lowest Total Plate Count (TPC) log was obtained, 2.5 or 3.1 x 102 Cfu/g or 310 bacterial cells and for total Pseudomonas bacteria from the three sampling locations no growth was found. The highest total log fungi were obtained ie 5.6 or 3.7 x 105 Cfu/g or 370.000 mold cells, while the lowest total log fungi were obtained which were 2.4 or 2.6 x 102 Cfu/g or 260 mold cells

scholarly journals THE Utilization of Family Medicine Plant in Nias Islands, North Sumatra Province

2020 ◽  
Vol 1 (3) ◽  
pp. 174-184
Author(s):  
Adam Smith Bago
Keyword(s):  
Qualitative Research ◽  
Data Analysis ◽  
Family Medicine ◽  
Medicinal Plants ◽  
Data Presentation ◽  
The People ◽  
Analysis Technique ◽  
Long Time ◽  
Three Stages ◽  
North Sumatra

Based on preliminary observations, it was found that the people in Nias Islands,North Sumatra province had used medicinal plants for a long time and had inheritedthem from generation to generation. So that many people still use medicinal plants.This study aims to determine the types of family medicinal plants used by thecommunity, how to mix or process family medicinal plants, and public perceptionsof family medicinal plants. This research is a type of qualitative research withdescriptive methods with 125 respondents. Collecting data by observation,interviews, documentation. The data analysis technique uses three stages, namelydata reduction, data presentation, and drawing conclusions or verification. Fromthe research results, there were 23 plant species used by the community in NiasIsland as Family Medicinal Plants. The method of concocting family medicinalplants varies greatly, depending on the type of plant and disease, the people ofSambulu village have good perceptions about family medicinal plants. Suggestionsare expected to maintain the habit of using medicinal plants, and also teach them tochildren or young people.

scholarly journals Impossible Emotions: The Ethics of Mourning and Melancholia

2021 ◽  
Vol 12 ◽  
pp. 74-93
Author(s):  
Tirna Chatterjee
Keyword(s):  
Sigmund Freud ◽  
Jacques Derrida ◽  
Life And Death ◽  
Ethical Implications ◽  
Impossible Task ◽  
The Dead ◽  
Mourning And Melancholia ◽  
Discursive Traditions

This paper looks at mourning and melancholia, and their ethical implications through the work of Sigmund Freud and mostly Jacques Derrida. The attempt here is to read through Derrida’s auto thanatological oeuvre through questions of fidelity, interminability, impossibility and ethics. In our perpetual struggle as scholars dealing with questions of meaning, existence, loss, life and death this paper tries to navigate the discursive traditions of looking at mourning and melancholia and what their radical potential is or can be where the mourning; melancholic; haunted; living subjects bear an impossible task unto the dead.

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