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Six Feet Under is one of HBO's most unlikely success stories, which in its third season in 2002 was nominated for ten Emmy awards. Let's say you are the CEO of HBO and I come in proposing to do a series on a family of morticians, living in their funeral home. Dad dies in the pilot episode (although he makes cameo appearances from the great beyond). Ruth, the mother, is a repressed housewife who smothers her family. David, the son who takes over at dad's death is a closeted gay, who comes out in the second year of the series. Nate, the elder son, is a Birkenstock-style floater, who, after an Oregonian vegan experience, finds himself caught at home by his father's death, suddenly a partner in the family business. His teenaged sister Claire, suffers from the angst that characterizes her cohort, angst intensified by growing up and living in a funeral home. You, as the CEO of HBO are likely to say: You want to do what? We’ll call you, don’t call us. However, then, you learn that my name is Alan Ball, and that I just won the Oscar for writing American Beauty. I get to do the unlikely series about morticians and burials.

In In Re Widening of Beekman Street, a nineteenth century legal case in New York State which involved questions of who owned the bodies of the dead – whether it was the state, the church who owned the land where they were buried or the relatives of the deceased – we see an interesting legal aporia. Claims of ownership were complicated by the idea that the dead perhaps owned themselves, having once been full legal subjects. In this and other legal cases in US law (with similar results in the UK as well) a kind of compromise is reached where, as the body decays, the question of its self-ownership becomes increasingly settled in favour of other parties. Yet, even in such cases, the body and its sense of personhood lingers to haunt, as it were, the certainties of law about who precisely owns whom The uncertainties that are made manifest among the dead have their equivalents among the living as well; the presence of slavery at the time meant that in some cases even living persons did not own themselves. In this mix of overlapping forms of self and other ownership then, we see an anxiety in the law, one that it must settle definitively even as the very terms of legal personhood resist the very closure that the law seeks.

This paper presents the experience of proximity to death in old age in light of ancient ritual practices. Characteristic mechanisms of coping with impending death among the elderly are discussed from the perspective of rites of passage. In accordance with Van Gennep’s model, this paper postulates that the subjects belong to a “death culture” characterized by patterns of “separation,” “transition” and “fusion.” A comparison of funeral and burial rites with daily practices of the elderly offers an interpretation deriving from the domain of ritual symbolism and provides an opportunity for a renewed examination of gerontological approaches and concepts. The discussion will focus on the term “dignity of the dead” which sheds light on patterns of separation from reality espoused by the subjects. The paper asserts that the ritual perspective offers an empathic framework for understanding the predicament of the elderly at the end of their life.

The purpose of this paper is to examine residents’ perception on the polluting effects of the disposal of the dead in Ile-Ife, a traditional African city. This came about based on the recognition of the disposal of corpses and carcasses as sources of environmental pollution in the built environment. The perception study becomes imperative since introduction of perception is adjudged a tool for proffering solution to different problems in the different human endeavours and a method of getting policy information from the people that will be eventual subjects of the policy.

The study used household survey through questionnaire administration. The city of Ile-Ife was stratified into residential zones comprising the traditional zone, the transition zone and the peripheral zone. Across the zones, a total of 306 residents were systematically sampled on which the designed questionnaires were administered.

Dumping was the commonest method of the disposal of carcasses and burial was the commonest for corpses. The practices of the disposal of dead in the city were without consideration for its polluting effect and public health concern.

The study is capable of generating hypotheses for future research in the area of environmental studies, especially in the global south.

The findings and recommendations of this study can provide information on future policy making, review and implementation on the disposal of the dead and other related issues in environmental studies both in the city and others with similar setting.

This paper is based on primary data from a survey of residents of Ile-Ife, Nigeria in March 2015. Its value lies in its capacity to suggest policy response for enhanced liveable environment through a study on residents’ perception, a bottom-up approach to policy making.

This chapter examines the acts of burial and exhumation in three contemporary British history plays. For the purposes of this argument, a ‘history play’ may be defined as a piece of writing for the theatre that engages with historical events or settings. Such plays inevitably, at the moment of their staging or revival, take on particular meanings for audiences, since theatre as a live, durational art form encourages spectators to compare the historical events depicted with their present historical moment. The chapter argues that acts of burial and exhumation in contemporary British theatre are intimately tied to notions of land, soil and belonging. These became increasingly pertinent ideas in the UK’s political climate in the years following the 2016 Referendum on membership of the European Union. Of the three case studies, Victoria by David Greig (2000) dates from more than a decade before this vote, whilst Common by D. C. Moore (2017), and Eyam by Matt Hartley (2018) were written and staged in the interim between the Referendum result and the UK’s withdrawal from the EU. All three, however, feature corpses on stage as a means to consider time, temporality, place and history. Each play offers a different interpretation of what it means to play dead and to stay dead.