Jack Denham – författare

This book offers an ethnographic exploration of three sites of infamous atrocity and their differing memorialization. ‘Dark tourism’ research has studied the consumerization of spaces associated with death and barbarity, whilst ‘difficult heritage’ has looked at politicized, national debates that surround the preservation of death. This book contributes to these debates by applying spatial theory on a scalar level, particularly through the work of Henri Lefebvre. It uses escalating case studies to situate memorialization, and the multifarious demands of politics, consumption and community, within a framework that rearticulates ‘lived’, ‘perceived’ and ‘conceived’ aspects of deviant spaces ranging from the small (a bench) to the very large (a city). The first case study, the Tyburn gallows site in York, uses Lefebvre’s notion of ‘theatrical space’ to contextualize the role of performativity in memorialization. The second, Number 25 Cromwell Street in Gloucester, builds on this by exploring the absence of memorialization through Lefebvre’s concept of ‘contradictory space’ and the impact this has on consumption. The third expands to consider the city as a problematic memorial, here focusing on the political subjectivities of Dresden – rebuilt following the devastation of the Second World War – and its contemporary associations with neo-Nazi and anti-fascist protests. Ultimately, by examining the issue of scale in heritage, the book seeks to develop a new way of unpacking and understanding the heteroglossic nature of deviant space and memorialization.

This book offers an ethnographic exploration of three sites of infamous atrocity and their differing memorialization. ‘Dark tourism’ research has studied the consumerization of spaces associated with death and barbarity, whilst ‘difficult heritage’ has looked at politicized, national debates that surround the preservation of death. This book contributes to these debates by applying spatial theory on a scalar level, particularly through the work of Henri Lefebvre. It uses escalating case studies to situate memorialization, and the multifarious demands of politics, consumption and community, within a framework that rearticulates ‘lived’, ‘perceived’ and ‘conceived’ aspects of deviant spaces ranging from the small (a bench) to the very large (a city). The first case study, the Tyburn gallows site in York, uses Lefebvre’s notion of ‘theatrical space’ to contextualize the role of performativity in memorialization. The second, Number 25 Cromwell Street in Gloucester, builds on this by exploring the absence of memorialization through Lefebvre’s concept of ‘contradictory space’ and the impact this has on consumption. The third expands to consider the city as a problematic memorial, here focusing on the political subjectivities of Dresden – rebuilt following the devastation of the Second World War – and its contemporary associations with neo-Nazi and anti-fascist protests. Ultimately, by examining the issue of scale in heritage, the book seeks to develop a new way of unpacking and understanding the heteroglossic nature of deviant space and memorialization.

This book offers an ethnographic exploration of three sites of infamous atrocity and their differing memorialization. ‘Dark tourism’ research has studied the consumerization of spaces associated with death and barbarity, whilst ‘difficult heritage’ has looked at politicized, national debates that surround the preservation of death. This book contributes to these debates by applying spatial theory on a scalar level, particularly through the work of Henri Lefebvre. It uses escalating case studies to situate memorialization, and the multifarious demands of politics, consumption and community, within a framework that rearticulates ‘lived’, ‘perceived’ and ‘conceived’ aspects of deviant spaces ranging from the small (a bench) to the very large (a city). The first case study, the Tyburn gallows site in York, uses Lefebvre’s notion of ‘theatrical space’ to contextualize the role of performativity in memorialization. The second, Number 25 Cromwell Street in Gloucester, builds on this by exploring the absence of memorialization through Lefebvre’s concept of ‘contradictory space’ and the impact this has on consumption. The third expands to consider the city as a problematic memorial, here focusing on the political subjectivities of Dresden – rebuilt following the devastation of the Second World War – and its contemporary associations with neo-Nazi and anti-fascist protests. Ultimately, by examining the issue of scale in heritage, the book seeks to develop a new way of unpacking and understanding the heteroglossic nature of deviant space and memorialization.

Photography represents a medium in which the moment of death can be captured and preserved, the image becoming a mechanism through which audiences are beguiled by the certainty of their own mortality. Examining a spectrum of post-mortem images, Photography and Death considers various ways in which the death image has been framed and what these styles communicate about changing social attitudes related to dying, mourning and the afterlife.Presenting a fresh perspective on how we might view death photography in the context of our contemporary cultural milieu, this book brings together a range of historical examples to create a richer narrative of how we see, understand and discuss death in both the private and public forum. Building upon existing publications which relate explicitly to the study of death, dying and cultures of mourning, the book discusses topics such as post-mortem portraiture, the Civil War, Spiritualism and lynching. These are positioned alongside contemporary representations of death, as seen in celebrity death images and forensic photography. Uncovering an important historical contrast, in which modern notions of death are a comment on ownership or an emotionless, clinical state, Harris highlights the various ways that the deceased body is a site of contestation and fascination. An engaging read for students and researchers with an interest in death studies, this book represents a unique account of the various ways that attitudes about death have been shaped through the photographic image.

Photography represents a medium in which the moment of death can be captured and preserved, the image becoming a mechanism through which audiences are beguiled by the certainty of their own mortality. Examining a spectrum of post-mortem images, Photography and Death considers various ways in which the death image has been framed and what these styles communicate about changing social attitudes related to dying, mourning and the afterlife.Presenting a fresh perspective on how we might view death photography in the context of our contemporary cultural milieu, this book brings together a range of historical examples to create a richer narrative of how we see, understand and discuss death in both the private and public forum. Building upon existing publications which relate explicitly to the study of death, dying and cultures of mourning, the book discusses topics such as post-mortem portraiture, the Civil War, Spiritualism and lynching. These are positioned alongside contemporary representations of death, as seen in celebrity death images and forensic photography. Uncovering an important historical contrast, in which modern notions of death are a comment on ownership or an emotionless, clinical state, Harris highlights the various ways that the deceased body is a site of contestation and fascination. An engaging read for students and researchers with an interest in death studies, this book represents a unique account of the various ways that attitudes about death have been shaped through the photographic image.