Originally published in 1983 and as a second edition in 1993, this book deals with 3 universal but culturally variable phenomena: the family, women and death. The book poses questions about our own ways of looking at the family and private life, at sex and gender and at death, by analysing ancient Greek ideas and by showing how researchers’ presuppositions have been influenced by their own culture and experience. The views of Fustel de Coulanges on the place of tomb-cult in the evolution of the family in the ancient world are critically examined and related to their 19th Century context; the study of the classical Athenian family is related to current historical and sociological debates on the separation between public and private life.

Study of public and private life in classical Athens.

'...From out of a world of death and destruction, extermination camps, ghettos, starvation and disease, there rises the figure of the woman in the Holocaust... the core of the fascinating studies in this collection. The importance of these research essays is, above all, their historical documentation of situations and events related to women in the Holocaust...'....In the face of imminent death, there was kindness to be seen, self-sacrifice, and the saving of another's life. And from a world that had lost all semblance of humanity came a sense of independence that welled up in the survivors, infusing them with the spirit of life as they emerged from the inferno. 'And what is for me the most moving, the most exciting thing of all, is the ability of those who endured to climb to their feet and shake themselves free of the killing fields, to begin a new life, to start a family....' Ayala Procaccia, Israel Supreme Court Justice'The book contains articles by some of the most prominent scholars in the field... They tell the stories of women who were humiliated, tortured and murdered; their eternally etched-in-the-memory stories of struggle and survival. 'This collection of articles is based on two international conferences on women in the Holocaust, held in recent years at Beit Berl Academic College, Beit Theresienstadt, and the Ghetto Fighters' House in Israel. Hertzog is a daughter of Holocaust survivors, who never spoke about the subject at home. She discovered a feminist perspective on the Holocaust at a conference at Oxford she attended, almost by chance, seven years ago. That experience motivated her to speak with her mother and document their conversations in the article that appears herein.'Ruth Sinai ('"Their heroism was never acknowledged')Haaretz

A storm-struck island. A blood-soaked bed. A missing man. In this captivating mystery that's perfect for fans of Knives Out, Senior Investigator Shana Merchant discovers that murder is a family affair. Thirteen months ago, former NYPD detective Shana Merchant barely survived being abducted by a serial killer. Now hoping to leave grisly murder cases behind, she's taken a job in her fiancé's sleepy hometown in the Thousand Islands region of Upstate New York. But as a nor'easter bears down on her new territory, Shana and fellow investigator Tim Wellington receive a call about a man missing on a private island. Shana and Tim travel to the isolated island owned by the wealthy Sinclair family to question the witnesses. They arrive to find blood on the scene and a house full of Sinclair family and friends on edge. While Tim guesses they're dealing with a runaway case, Shana is convinced that they have a murder on their hands. As the gale intensifies outside, she starts conducting interviews and discovers the Sinclairs and their guests are crawling with dark and dangerous secrets. Trapped on the island by the raging storm with only Tim whose reliability is thrown into question, the increasingly restless suspects, and her own trauma-fueled flashbacks for company, Shana will have to trust the one person her abduction destroyed her faith in—herself. But time is ticking down, because if Shana's right, a killer is in their midst and as the pressure mounts, so do the odds that they'll strike again.

Examining the compelling and often poignant connection between women and the material culture of death, this collection focuses on the objects women make, the images they keep, the practices they use or are responsible for, and the places they inhabit and construct through ritual and custom. Women?s material practices, ranging from wearing mourning jewelry to dressing the dead, stitching memorial samplers to constructing skull boxes, collecting funeral programs to collecting and studying diseased hearts, making and collecting taxidermies, and making sculptures honoring the death, are explored in this collection as well as women?s affective responses and sentimental labor that mark their expected and unexpected participation in the social practices surrounding death and the dead. The largely invisible work involved in commemorating and constructing narratives and memorials about the dead-from family members and friends to national figures-calls attention to the role women as memory keepers for families, local communities, and the nation. Women have tended to work collaboratively, making, collecting, and sharing objects that conveyed sentiments about the deceased, whether human or animal, as well as the identity of mourners. Death is about loss, and many of the mourning practices that women have traditionally and are currently engaged in are about dealing with private grief and public loss as well as working to mitigate the more general anxiety that death engenders about the impermanence of life.

This volume focuses on women whose lives are entangled in the workings of the Mafia, drawing on courtroom testimonies, interviews, contemporary journalism and recent research. Individual narratives illuminate women's experiences, both as victims or active opponents.

Dead women litter the visual landscape of the 2000s. In this book, Clarke Dillman explains the contextual environment from which these images have arisen, how the images relate to (and sometimes contradict) the narratives they help to constitute, and the cultural work that dead women perform in visual texts.