Today, death is being reconceptualised around the world as heritage, replete with material markers and intangible performances. These heritages of death are personal, national and international. They are vernacular as well as official, sanctioned as well as alternative. This book brings together more than twenty international scholars to consider the heritage of death from spatial, political, religious, economic, cultural, aesthetic and emotive aspects. It showcases different attitudes and phases of death and their relationship to heritage through ethnographically informed case studies to illustrate both general patterns and local and national variations. Through analyses of material expressions and social practices of grief, mourning and remembrance, this book shows not only what death means in contemporary societies, but also how individuals, groups and nations act towards death.

Today, death is being reconceptualised around the world as heritage, replete with material markers and intangible performances. This book brings together more than twenty international scholars to consider the heritage of death from spatial, political, religious, economic, cultural, aesthetic and emotive aspects. It showcases different attitudes and phases of death and their relationship to heritage through ethnographically informed case studies to illustrate both general patterns and local and national variations. This innovative and timely contribution will appeal to students and scholars of geography, sociology, anthropology, history and cultural studies.

“A meticulous and shattering investigation of eight horrific pictures...”—L’Arche In December 1941, on a shore near the Latvian city of Liepaja, Nazi death squads (the Einsatzgruppen) and local collaborators murdered in three days more than 2,700 Jews. The majority were women and children, most men having already been shot during the summer. The perpetrators took pictures of the December killings. These pictures are among the rare photographs from the first period of the extermination, during which over 800 000 Jews from the Baltic to the Black Sea were shot to death. By showing the importance of photography in understanding persecution, Nadine Fresco offers a powerful meditation on these images while confronting the essential questions of testimony and guilt. From the forward by Dorota Glowackay: Straddling the boundary between historical inquiry and personal reflection, this extraordinary text unfolds as a series of encounters with eponymic Holocaust photographs. Although only a small number of photographs are reproduced here, Fresco provides evocative descriptions of many well-known images: synagogues and Torah scrolls burning on the night of Kristallnacht; deportations to the ghettos and the camps; and, finally, mass executions in the killing fi elds of Eastern Europe. The unique set of photographs included in On the Death of Jews shows groups of women and children from Liepaja (Liepája), shortly before they were killed in December 1941 in the dunes of Shkede (Škéde) on the Baltic Sea. In the last photograph of the series, we see the victims’ bodies tumbling into the pit.

A "gripping…sober and meticulous" (David Margolick, Wall Street Journal) biography of the infamous Nazi doctor, from a former Justice Department official tasked with uncovering his fate. Perhaps the most notorious war criminal of all time, Josef Mengele was the embodiment of bloodless efficiency and passionate devotion to a grotesque worldview. Aided by the role he has assumed in works of popular culture, Mengele has come to symbolize the Holocaust itself as well as the failure of justice that allowed countless Nazi murderers and their accomplices to escape justice. Whether as the demonic doctor who directed mass killings or the elusive fugitive who escaped capture, Mengele has loomed so large that even with conclusive proof, many refused to believe that he had died. As chief of investigative research at the Justice Department’s Office of Special Investigations in the 1980s, David G. Marwell worked on the Mengele case, interviewing his victims, visiting the scenes of his crimes, and ultimately holding his bones in his hands. Drawing on his own experience as well as new scholarship and sources, Marwell examines in scrupulous detail Mengele’s life and career. He chronicles Mengele’s university studies, which led to two PhDs and a promising career as a scientist; his wartime service both in frontline combat and at Auschwitz, where his “selections” sent innumerable innocents to their deaths and his “scientific” pursuits—including his studies of twins and eye color—traumatized or killed countless more; and his postwar flight from Europe and refuge in South America. Mengele describes the international search for the Nazi doctor in 1985 that ended in a cemetery in Sao Paulo, Brazil, and the dogged forensic investigation that produced overwhelming evidence that Mengele had died—but failed to convince those who, arguably, most wanted him dead. This is the riveting story of science without limits, escape without freedom, and resolution without justice.

Dark Secrets Hidden in Norwegian Traditions For curator Chloe Ellefson, a family bonding trip to Decorah, Iowa, for rosemaling classes seems like a great idea—until the drive begins. Chloe's cop friend Roelke takes her mother's talk of romantic customs good-naturedly, but it inflates Chloe's emotional distress higher with each passing mile. After finally reaching Vesterheim Norwegian-American Museum, Chloe's resolve to remain positive is squashed when she and Roelke find Petra Lekstrom's body in one of the antique immigrant trunks. Everyone is shaken by the instructor's murder, and when Mom volunteers to take over the beginners' class, Chloe is put in the hot seat of motherly criticism. As she investigates, Chloe uncovers dark family secrets that could be deadly for Mom...and even herself. Includes photos of featured artifacts from the real Norwegian-American museum! Praise: "Chloe's fourth...provides a little mystery, a little romance and a little more information about Norwegian folk art and tales."—Kirkus Reviews

Death, dying and burial produce artefacts and occur in spatial contexts. The interplay between such materiality and the bereaved who commemorate the dead yields interpretations and creates meanings that can change over time. Materiality is more than simple matter, void of meaning or relevance. The apparent inanimate has meaning. It is charged with significance, has symbolic and interpretative value—perhaps a form of selfhood, which originates from the interaction with the animate. In our case, gravestones, bodily remains and the spatial order of the cemetery are explored for their material agency and relational constellations with human perceptions and actions. Consciously and unconsciously, by interacting with such materiality, one is creating meaning, while materiality retroactively provides a form of agency. Spatiality provides more than a mere context: it permits and shapes such interaction. Thus, artefacts, mementos and memorials are exteriorised, materialised, and spatialized forms of human activity: they can be understood as cultural forms, the function of which is to sustain social life. However, they are also the medium through which values, ideas and criteria of social distinction are reproduced, legitimised, or transformed. This book will explore this interplay by going beyond the consideration of simple grave artefacts on the one hand and graveyards as a space on the other hand, to examine the specific interrelationships between materiality, spatiality, the living, and the dead. The chapters in this book were originally published as a special issue of the journal Mortality.