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During the archaic and classical periods, Greek ideas about the dead evolved in response to changing social and cultural conditions—most notably changes associated with the development of the polis, such as funerary legislation, and changes due to increased contacts with cultures of the ancient Near East. In Restless Dead, Sarah Iles Johnston presents and interprets these changes, using them to build a complex picture of the way in which the society of the dead reflected that of the living, expressing and defusing its tensions, reiterating its values and eventually becoming a source of significant power for those who knew how to control it. She draws on both well-known sources, such as Athenian tragedies, and newer texts, such as the Derveni Papyrus and a recently published lex sacra from Selinous. Topics of focus include the origin of the goes (the ritual practitioner who made interaction with the dead his specialty), the threat to the living presented by the ghosts of those who died dishonorably or prematurely, the development of Hecate into a mistress of ghosts and its connection to female rites of transition, and the complex nature of the Erinyes. Restless Dead culminates with a new reading of Aeschylus' Oresteia that emphasizes how Athenian myth and cult manipulated ideas about the dead to serve political and social ends.

In ancient Rome, it was believed some humans were transformed into special, empowered beings after death. These deified dead, known as the manes, watched over and protected their surviving family members, possibly even extending those relatives’ lives. But unlike the Greek hero-cult, the worship of dead emperors, or the Christian saints, the manes were incredibly inclusive—enrolling even those without social clout, such as women and the poor, among Rome's deities. The Roman afterlife promised posthumous power in the world of the living. While the manes have often been glossed over in studies of Roman religion, this book brings their compelling story to the forefront, exploring their myriad forms and how their worship played out in the context of Roman religion’s daily practice. Exploring the place of the manes in Roman society, Charles King delves into Roman beliefs about their powers to sustain life and bring death to individuals or armies, examines the rituals the Romans performed to honor them, and reclaims the vital role the manes played in the ancient Roman afterlife.

This paper focuses on Musa Idris Okpanachi’s poetry: The Eaters of the Living (2007), From the Margins of Paradise (2012), and Music of the Dead (2016). Nigeria, even after the military had relinquished power over a decade ago, is still faced with the issues that provoked the trope of protest in much of the poetry published between the mid-eighties and late nineties. Okpanachi’s poetry revisits these issues, demonstrating that democracy has been no less horrifying than military despotism. Dark, haunting images of blood, corpses, and cemetery recur in all three collections, depicting the regularity of death in the nation. I argue that Okpanachi employs funereal imagery to comment on the state’s morbid relationship with its citizenry. The Nigerian state is represented as murderous, so death fulfills its political objective. I conclude that although Okpanachi articulates a cynical commentary on postcolonial Nigeria, he marshals his creative energies to illuminate the political moment of his time.

Ecementerio arqueológico de Toconao Oriente fue utilizado por Tarragó (1968 y 1989) como prototipo para definir la fase temprana del Período Agroalfarero de San Pedro de Atacama; sin embargo, hasta el momento solo se han realizado análisis parciales y no se ha hecho una revisión detallada y completa del mencionado sitio. Por este motivo, hemos considerado importante llevar a cabo un análisis integral y una evaluación de sus contextos, con el fin de aportar mayor información para el conocimiento más documentado de un yacimiento considerado un referente fundamental en la estructura de la secuencia cronológica del Período Agroalfarero de San Pedro de Atacama. El entrecruzamiento de la información de los contextos funerarios facilitó la segregación de asociaciones de acuerdo a las coincidencias y divergencias tipológicas, logrando definir cuatro agrupaciones contextuales, las que a su vez se contrastaron con las fases definidas para la periodificación de San Pedro de Atacama. Esto ha permitido determinar que Toconao Oriente es un sitio que presenta varias fases, incluyendo las Fases Toconao, Séquitor, Quitor y Coyo. Asimismo, fue posible definir y caracterizar con mayor detalle y certeza la Fase Toconao. Toconao Oriente is an archaeological cemetery located in the modern town of Toconao, on the edge of the Salar de Atacama (Antofagasta Region), approximately 40 km from San Pedro de Atacama. Tarragó (1968, 1989) employed this cemetery as a type site in defining the early Agro-ceramic period of San Pedro de Atacama; however, to date only partial analyses have been conducted and there is no detailed and comprehensive review of the site. Consequently, we have considered it important to conduct a comprehensive analysis and evaluation of the mortuary contexts in order to provide more information concerning a site that is considered to be a fundamental reference in our understanding of Agro-ceramic period San Pedro Atacama. Correlating and linking information from the funerary contexts has facilitated the creation of four groups according to typological synchrony and divergence, which in turn are compared to the phases defined in the San Pedro de Atacama periodization. This has established that Toconao Oriente is a site representing several periods including the Toconao, Séquitor, Quitor, and Coyo phases. Moreover, it was possible to use these data to define and characterize the Toconao phase with more detail and certainty.

By 1900, death care had the imprimatur of tradition, a belief that covered the very real transitions that were occurring in the rural South, even as the region had a particular reputation for being deadly. Few lived to their biblically ordained three score and ten. Death care thus reflected the sharecropping economy that had emerged after the Civil War with locals, especially Black midwives, burying the dead. This chapter follows the typical burial, from getting sick to dying to burying the dead.

The First New Deal had the opportunity to systematically sever the link between the region’s landscape and death by literally removing the dead from hundreds of small graveyards to build the Tennessee Valley Authority’s dam projects. Some of the ten thousand or so dead were then centralized into public cemeteries like the Bakers Forge Cemetery in east Tennessee.

This chapter contains section titled: I the question of life's value II funereal imagery and nietzsche's theory of tragedy III schopenhauer's moral awareness and eternal recurrence IV the eternalistic illusion of supreme health V nietzsche's madness and eternalistic consciousness Notes Further Reading

This chapter contains sections titled: Introduction Female Virtues in Latin Literature Female Virtues in Latin Funerary Inscriptions How to Make a Difference: Accumulation and Unusual Formulations The Laudatio Turiae Desiderata Conclusion Recommended Further Reading

Après un rapide recensement des divers types d'actions dans lesquelles les peintres de vases attiques et italiotes ont figuré Médée, nous nous attacherons à l'étude des vases du IVe siècle provenant des ateliers d'Italie du Sud. Même si les imagiers ont utilisé des thèmes que des tragédies ont mis en scène, ils ont reconstruit une histoire tragique avec leurs moyens propres qui ne sont pas ceux des poètes. Ils ont souligné l'écart qui sépare Médée la barbare du monde grec et ils ont inscrit ces images dans un climat religieux et social différent de celui de l'Athènes du Ve siècle. La fonction des vases sur lesquels figure Médée, vases funéraires, et les lieux de provenance, des régions indigènes le plus souvent, permettent d'avancer quelques hypothèses de commentaire. After a quick listing of the various types of actions in which the painters of Attic or Italic vases represented Medea, we shall concentrate on a study of the fourth century vases from the workshops of Southern Italy. Although the imagists did use themes staged by the tragedies, they nevertheless built up a tragic story through devices of their own which are not those of the poets. They underscored the gap that divided Medea the barbarian from the Greed world and they set those images within a different framework from that of fifth-century Athens. The function of the vases on which Medea is represented - funereal vases - and the places they come from, native areas in most cases, allow us to put forward a few tentative comments.