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An interdisciplinary exploration of the visual presence of death in contemporary culture.
The Nutshell Studies of Unexplained Death offers readers an extraordinary glimpse into the mind of a master criminal investigator. Frances Glessner Lee, a wealthy grandmother, founded the Department of Legal Medicine at Harvard in 1936 and was later appointed captain in the New Hampshire police. In the 1940s and 1950s she built dollhouse crime scenes based on real cases in order to train detectives to assess visual evidence. Still used in forensic training today, the eighteen Nutshell dioramas, on a scale of 1:12, display an astounding level of detail: pencils write, window shades move, whistles blow, and clues to the crimes are revealed to those who study the scenes carefully. Corinne May Botz's lush color photographs lure viewers into every crevice of Frances Lee's models and breathe life into these deadly miniatures, which present the dark side of domestic life, unveiling tales of prostitution, alcoholism, and adultery. The accompanying line drawings, specially prepared for this volume, highlight the noteworthy forensic evidence in each case. Botz's introductory essay, which draws on archival research and interviews with Lee's family and police colleagues, presents a captivating portrait of Lee.
Taking a multifaceted approach to attitudes toward race through popular culture and the American superhero, All New, All Different? explores a topic that until now has only received more discrete examination. Considering Marvel, DC, and lesser-known texts and heroes, this illuminating work charts eighty years of evolution in the portrayal of race in comics as well as in film and on television. Beginning with World War II, the authors trace the vexed depictions in early superhero stories, considering both Asian villains and nonwhite sidekicks. While the emergence of Black Panther, Black Lightning, Luke Cage, Storm, and other heroes in the 1960s and 1970s reflected a cultural revolution, the book reveals how nonwhite superheroes nonetheless remained grounded in outdated assumptions. Multiculturalism encouraged further diversity, with 1980s superteams, the minority-run company Milestone’s new characters in the 1990s, and the arrival of Ms. Marvel, a Pakistani-American heroine, and a new Latinx Spider-Man in the 2000s. Concluding with contemporary efforts to make both a profit and a positive impact on society, All New, All Different? enriches our understanding of the complex issues of racial representation in American popular culture.
While the crisis that took place in photojournalism during the 1960's brought about a significant shift in the practices, discourses and institutional structures of press photography, it also affected the practices of artists, specifically with regard to work devoted to revitalizing the depiction of events. The art world attempted to revitalize the historical genre by undertaking its critical rereading, in the spirit of restoring a tradition diminished by the mass media. The problem may be expressed in these terms: How can history be depicted, bearing in mind that the media (mainly photojournalism and the electronic press) have claimed a monopoly of the genre unto themselves? At issue is the sizeable problem of mass media omnipotence as an obligatory referential universe for historiographical artistic practices. Today, it seems impossible to depict the event in any way other than by accentuating or eschewing the formal attributes, rhetorical artifices, and ideological precepts of the mass media. These approaches to addressing historical moments have been examined in this article both because they epitomize contemporary historical writing and, for the most part, they constitute critical responses to stereotyped depictions of events. Above all, they represent a paradigm shift: the mass media's prerogatives for depicting historical moments has shifted towards the field of art. Contemporary depictions of catastrophe - crimes, sensationalist news items, terrorist attacks, humanitarian disasters, genocides - (common themes in many of the artistic projects represented in the 8th edition of the Mois de la Photo a Montreal} have been especially striking in this respect. For of all contemporary events, catastrophes are the most likely to be spontaneously propelled to the top of the news - roster and the most susceptible to the various inflections of contemporary art photography.
Death and dying experiences are not common across human race because humans do not share common cultural heritage and physical environment. The fact of death thus can be considered as socially constructed fact abounded by idiosyncratic religious beliefs and rituals existing within social life. It is almost impossible to have common consensual understanding of death and dying. This book tries to investigate various sources of knowledge about death in multiple disciplines from sociological lenses.
The plot thickens as Jill and her friends must collect evidence in order to reveal the true concept behind the mystery of the Faces of Death murders, which will put a spin on things as the mystery unfolds.
ABC Death is a hilarious, educational picture book for folks of all ages. Written by Shane Hawley with intricate cartoon illustrations by Joel Erkkinen, ABC Death takes you on a journey through the alphabet of animals that can kill you, especially if you make poor life choices. From vengeful dolphins to toxic newts, you'll never see the alphabet the same way again. Full of fun, grisly facts for the inquisitive child and wry humor for all readers, ABC Death is a macabre treat for children and adults alike.
The first comprehensive account of the Trump administration’s efforts to destroy our government institutions, by the man Ralph Nader says “writes authoritatively and with revealing detail about important topics that few others cover” “Tom McGarity writes authoritatively and with revealing detail about important topics that few others cover.” —Ralph Nader Koch Industries spent $3.1 million in the first three months of the Trump administration, largely to ensure confirmation of Scott Pruitt as head of the EPA. By July 2018, more than sixteen federal inquiries were pending into Pruitt’s mismanagement and corruption. But Pruitt was just the first in a long line of industry-friendly, incompetent, and destructive agency heads put in place by the Trump administration in its effort to dismantle the federal government’s protective edifice. Remember Secretary of the Interior Ryan Zinke, who, before he faced eighteen separate federal inquiries and was fired, made a deal with Halliburton to build a brewery on land that Zinke owned in Montana? Or how about Transportation Secretary Elaine Chao, who rescinded requirements that high-hazard trains install special braking systems, weakened standards for storing natural gas, and lengthened the hours that truck drivers could be on the road without a break, even as she failed for two years to divest her interest in a road materials manufacturer? And then there were Rick Perry, Betsy DeVos, Sonny Perdue, Andrew Puzder . . . the list goes on. In an original and compelling argument, Thomas McGarity shows how adding populists to the Republican’s traditional base of free market ideologues and establishment Republicans allowed Trump to come dangerously close to achieving his goal of demolishing the programs that Congress put in place over the course of many decades to protect consumers, workers, communities, children, and the environment. Finally, McGarity offers a blueprint for rebuilding the protective edifice and restoring the power of the American government to offer all Americans better lives.