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Everyone knows about the Ramsays - even those who have never watched a Ramsay film. But who were they really? Where did they come from? Why did they make the films they did? And how? How, really, did they pull it off? In India, the Ramsay name remains synonymous with horror movies. Still, all these decades later.Don't Disturb the Dead is the story of their cinema, their methods and madnesses, the people and the processes, arguments and agreements, about horror cinema as a business model, and more. It is also an open-minded and affectionate ode to the 'disreputable' Ramsay films, and to a family that was once a genre in itself, one whose contribution to cinema deserves to be recognized.
Tom Bridger, who is half Melungeon, thought he had escaped his mountain community's lingering prejudice against the mixed-race group when he left to work for the Richmond, Virginia Police Department. Tom was moving up the detective ranks when a family tragedy brought him back home and moved him into his father's job as a county sheriff's deputy. Now the bones of a Melungeon woman have surfaced on a remote mountaintop, and all evidence points to murder. Violence escalates as the victim's poor family and the wealthy white family she married into scramble to protect their secrets from Toms probing. But as he probes into his father's investigation of the case, he finds his father is not the man he idolized. The woman Tom is falling in love with, veterinarian Rachel Goddard, is struggling to start over in a place that holds no memories for her. Rachel puts herself in danger when she befriends the dead Melungeon woman's niece, Holly. As a child, the girl witnessed something that could implicate her aunt's killer, but she is too terrified to tell anyone what she knows. While Rachel is determined to keep Holly safe and help her piece together past events, the guilty are equally determined to silence the girl—and Rachel too, if necessary. Will this murder be Tom's and Rachel's undoing or will it free them to look into the future?
Dispatches from the front lines of American culture by the great humorist Ian Frazier, “America’s greatest essayist” (Los Angeles Times), has gathered his insights on the most urgent issues of today in Cranial Fracking. From climate change (what did Al Gore say at his colloquium on the rising temperatures in Hell?) to the state of culture (what do you do when you’re afflicted with Loss of Funding?) to Texas (what should we do with Texas?), he has all the answers. Or, at the very least, a lot of questions. Frazier is endlessly curious and perpetually delighted, and seeing the absurdity of the world through his eyes is irresistible. Once more, the author of Hogs Wild and Travels in Siberia has struck oil.
Disturbing the Dead is the latest in a unique series with one foot in the 1860s and the other in the present day. The Rip Through Time crime novels are a genre-blending, atmospheric romp from New York Times bestselling author Kelley Armstrong. Victorian Scotland is becoming less strange to modern-day homicide detective Mallory Atkinson. Though inhabiting someone else’s body will always be unsettling, even if her employers know that she’s not actually housemaid Catriona Mitchell, ever since the night both of them were attacked in the same dark alley 150 years apart. Mallory likes her job as assistant to undertaker/medical examiner Dr. Duncan Gray, and is developing true friends—and feelings—in this century. So, understanding the Victorian fascination with death, Mallory isn’t that surprised when she and her friends are invited to a mummy unwrapping at the home of Sir Alastair Christie. When their host is missing when it comes time to unwrap the mummy, Gray and Mallory are asked to step in. And upon closer inspection, it’s not a mummy they’ve unwrapped, but a much more modern body.
The meaning of our concern for mortal remains—from antiquity through the twentieth century The Greek philosopher Diogenes said that when he died his body should be tossed over the city walls for beasts to scavenge. Why should he or anyone else care what became of his corpse? In The Work of the Dead, acclaimed cultural historian Thomas Laqueur examines why humanity has universally rejected Diogenes's argument. No culture has been indifferent to mortal remains. Even in our supposedly disenchanted scientific age, the dead body still matters—for individuals, communities, and nations. A remarkably ambitious history, The Work of the Dead offers a compelling and richly detailed account of how and why the living have cared for the dead, from antiquity to the twentieth century. The book draws on a vast range of sources—from mortuary archaeology, medical tracts, letters, songs, poems, and novels to painting and landscapes in order to recover the work that the dead do for the living: making human communities that connect the past and the future. Laqueur shows how the churchyard became the dominant resting place of the dead during the Middle Ages and why the cemetery largely supplanted it during the modern period. He traces how and why since the nineteenth century we have come to gather the names of the dead on great lists and memorials and why being buried without a name has become so disturbing. And finally, he tells how modern cremation, begun as a fantasy of stripping death of its history, ultimately failed—and how even the ashes of the victims of the Holocaust have been preserved in culture. A fascinating chronicle of how we shape the dead and are in turn shaped by them, this is a landmark work of cultural history.
A young hospital security guard with a disturbingly unique taste in women. A maternity doctor with a horrifically unusual appetite. When the two of them meet, they embark on a journey of self-discovery while shattering societal norms and engaging in destructively aberrant behavior. As they unwittingly help each other understand a world in which neither seems to belong, they begin to realize what it truly means to be alive...And that it might not always a good thing.
In 1846, Edgar Allen Poe wrote that 'the death of a beautiful woman is, unquestionably, the most poetic topic in the world'. The conjuction of death, art and femininity forms a rich and disturbing strata of Western culture, explored here in fascinating detail by Elisabeth Bronfen. Her examples range from Carmen to Little Nell, from Wuthering Heights to Vertigo, from Snow White to Frankenstein. The text is richly illustrated throughout with thirty-seven paintings and photographs. The argument that this book presents is that narrative and visual representations of death can be read as symptoms of our culture and because the feminine body is culturally constructed as the superlative site of "other" and "not me", culture uses art to dream the deaths of beautiful women.
Dead People is a book of eulogies, written for an eclectic assortment of famous and interesting people who died in recent years. The essays were written by Stefany Anne Golberg and 2013 Whiting Award winner Morgan Meis. The book covers twenty-eight dead people in all, including intellectuals like Susan Sontag, Christopher Hitchens and Eric Hobsbawn; musicians like Sun Ra, MCA (Beastie Boys) and Kurt Cobain; writers like David Foster Wallace, John Updike and Tom Clancy; artists like Thomas Kinkade and Robert Rauschenberg; and controversial political figures like Osama bin Laden and Mikhail Kalashnikov.
Archaeologists excavating burials often find that they are not the first to disturb the remains of the dead. Graves from many periods frequently show signs that others have been digging and have moved or taken away parts of the original funerary assemblage. Displaced bones and artefacts, traces of pits, and damage to tombs or coffins can all provide clues about post-burial activities. The last two decades have seen a rapid rise in interest in the study of post-depositional practices in graves, which has now developed into a new subfield within mortuary archaeology. This follows a long tradition of neglect, with disturbed graves previously regarded as interesting only to the degree they revealed evidence of the original funerary deposit. This book explores past human interactions with mortuary deposits, delving into the different ways graves and human remains were approached by people in the past and the reasons that led to such encounters. The primary focus of the volume is on cases of unexpected interference with individual graves soon after burial: re-encounters with human remains not anticipated by those who performed the funerary rites and constructed the tombs. However, a first step is always to distinguish these from natural and accidental processes, and methodological approaches are a major theme of discussion. Interactions with the remains of the dead are explored in eleven chapters ranging from the New Kingdom of Egypt to Viking Age Norway and from Bronze Age Slovakia to the ancient Maya. Each discusses cases of re-entries into graves, including desecration, tomb re-use, destruction of grave contents, as well as the removal of artefacts and human remains for reasons from material gain to commemoration, symbolic appropriation, ancestral rites, political chicanery, and retrieval of relics. The introduction presents many of the methodological issues which recur throughout the contributions, as this is a developing area with new approaches being applied to analyze post-depositional processes in graves.
Macabre tales of death and mourning in Victorian America.