DOCSLIB.ORG

Anatomy of Spectatorship: Tracing the Body in Body Worlds, the Anatomical Exhibition of Real Human Bodies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anatomy of Spectatorship: Tracing the Body in Body Worlds, the Anatomical Exhibition of Real Human Bodies ANATOMY OF SPECTATORSHIP: TRACING THE BODY IN BODY WORLDS, THE ANATOMICAL EXHIBITION OF REAL HUMAN BODIES by Rebecca Scott Bachelor of Arts, Simon Fraser University, 2005 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the School of Communication © Rebecca Scott 2008 SIMON FRASER UNIVERSITY Summer 2008 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-58543-6 Our file Notre référence ISBN: 978-0-494-58543-6 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author’s permission. In compliance with the Canadian Conformément à la loi canadienne sur la Privacy Act some supporting forms protection de la vie privée, quelques may have been removed from this formulaires secondaires ont été enlevés de thesis. cette thèse. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n’y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. APPROVAL Name: Rebecca Scott Degree: MA Titles: Anatomy of Spectatorship: Tracing the Body in Body Worlds, the Anatomical Exhibition of Real Human Bodies Examining Committee: Chair: Dr. Peter Chow-White Assistant Professor, School of Communication Dr. Kirsten McAllister Assistant Professor School of Communication Dr. Zoe Druick Associate Professor School of Communication Dr Kimberly Sawchuk Associate Professor Department of Communication Studies Concordia University Date: ii SIMON FRASER UNIVERSITY LIBRARY Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the pUblic at the "Institutional Repository" link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. Permission for pUblic performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. While licensing SFU to permit the above uses, the author retains copyright in the thesis, project or extended essays, including the right to change the work for subsequent purposes, including editing and pUblishing the work in whole or in part, and licensing other parties, as the author may desire. The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Simon Fraser University Library Burnaby, BC, Canada Revised: Fall 200/' Abstract Body Worlds is an exhibition of real, recently-deceased, dissected and posed human bodies. Far from being just educational, as Body Worlds purports them to be, I argue that the bodies are stripped of social and affective meaning in favor of scientific understandings. I conduct a genealogy of the exhibition, outlining its preferred reading and subject. I then explicate the process of spectatorship as a specific kind of seeing called the autopsic gaze. The preferred reading and subject and the autopsic gaze constitute a process of control of the body and its meaning. I refer to this as closure. Seeking to problematize closure, I develop a counter reading strategy, called critical spectatorship, which uncovers lost elements of the exhibition, called traces, that defy the preferred reading. I deploy critical spectatorship to construct a counter reading through the lens of affect. I also comment on different theoretical approaches to the body. Keywords: Body Worlds; the body; genealogy; affect; science studies; the gaze; anatomy III ~TOAlejandrO Yoshizawa Always longing to dig in the garden, pickfigs, and have tea and hot chocolate with you. iv Acknowledgements It has been my absolute privilege and joy to have been supported and loved by the wondertul people I have in my life. My gratitude and love is exponentially greater than the words here can express. I would like to thank my senior supervisor, Dr. Kirsten Emiko McAllister. As a supervisor, she supported me and my work from the beginning, carefully guiding me while always giving me the freedom to go my own way in every facet of my work, and her rigorousness and creativity inspired me to innovate with my thinking. Yet she has been more than just a dedicated supervisor: she has been a friend, mentor and confidant, her wisdom and care helping me through tough times. I could not have hoped for a better supervisor, and I aspire to be as dedicated a mentor as her in my own life. To Dr. Zoe Druick lowe much gratitude. As my supervisor, she always took the time to comment on my work and carefully guide me. Her enthusiasm for my work encouraged and inspired me, and it's been my privilege working with her. I would like to thank Dr. Kim Sawchuk, my external examiner. Not only did she take the time to read and comment on my work, she also provided me with challenging questions and encouraging praise. Karen Scott, Mum, you are my heart. Your love, resolved and indestructible, is the principle by which you live your life and that inspires me every day. You are also fun, cute, and make good soup. I couldn't love you more. v Blendle Scott, Daddy, you are my rock. You are wonderful, warm, and sensitive. You are sweet, funny and caring. Thanks for driving the boat for us and always offering to "buy me a pony." I love you. To Katie and Sara, thanks for being my sisters. You guys are my best friends and I'm glad I have you. My sweet little one, Dody, I love you. Naomi and Claudio Vidal, it has been ajoy to have you in my life. You have done so much to support me and Alejandro and we couldn't thank you enough. Natasha, I've had the privilege of watching you grow up to be a wonderful and sweet woman. Thank you to my wonderful friend Michael Phillips. You have made life provocative and I couldn't imagine it without you. I got nothing to do today but smile... Thank you to the wonderful friends I made in the School of Communication. Terry Neiman, it's been my pleasure and privilege working with you. You are also a special friend and mentor. I had a lot of fun with my cultural studies and Stream journal folk: Ben Woo, Danielle Deveau, Siobhan Quinn, Rob Rao and Dylan Mulvin. You guys are great people and I am so thankful I met you. I have a lot of love for Dr. Habiba Zaman; she has been a wonderful teacher and caring friend. lowe a lot of thanks to the many people at SFU who helped me in big and small ways: Dr. Helen Leung, Dr. Mark Winston, Dr. Gary McCarron, Neena Shahani, Lucie Menkveld, Denise Vanderwolf, Monique Cloutier and Penny Simpson. Finally, Alejandro Yoshizawa, lowe you more thanks and love than I could pay back in a lifetime. I love you, crazily. VI I would like to thank the Social Sciences and Humanities Research Council, the School of Communication at SFU, the Office for the Dean of Graduate Studies at SFU, the Faculty of Applied Sciences at SFU, and Dr. Kirsten McAllister for financially supporting my MA and the writing of this thesis. VB Table of Contents Approval ii Abstract iii Dedication iv Acknowledgements v Table of Contents viii List of Figures ix Introduction 1 Background 5 Study Delimitation 8 Literature Review 10 The Body 10 Body Worlds 15 Methodology 16 Chapter 1: Genealogy 21 Preferred Reading 22 Preferred Subject.
Load more

Recommended publications
  • EXHIBITS an Evolution
    CHAPTER 2 EXHIBITS An Evolution Frances Kruger, Not Finished After All These Years Liz Clancy, and Museums have many important functions, but exhibits are what most Kristine A. Haglund people come to see. In addition to educating and entertaining, exhibits bring visitors in the door, generating revenue that supports Museum operations. More than a century after John F. Campion spoke at the Museum’s opening exercises on July 1, 1908, his observation that “a museum of natural history is never finished” is especially true in the world of exhibits (Fig. 2.1)—and in fact needs to stay true for the Museum to remain relevant (Alton 2000). Times change, expectations change, demographics change, and opportuni- ties change. This chapter is a selective, not-always-chronological look at some of the ways that the Museum’s exhibits have changed with the times, evolving from static displays and passive observation to immersive experi- ences to increased interactivity and active visitor involvement. Starting from a narrow early focus, the Museum went on to embrace the goal of “bringing the world to Denver” and, more recently, to a renewed regional emphasis and a vision of creating a community of critical thinkers who understand the lessons of the past and act as responsible stewards of the future.1 Figure 2.1. Alan Espenlaub putting finishing touches on the Moose-Caribou diorama. 65 DENVER MUSEUM OF NATURE & SCIENCE ANNALS | No. 4, December 31, 2013 Frances Kruger, Liz Clancy, and Kristine A. Haglund Displays and Dioramas Construction of the Colorado Museum of Natural History, as the Museum was first called, began in 1901.
    [Show full text]
  • View/Open: ETD Quigley.Pdf
    TÇtàÉÅ|vtÄ \wxÇà|àç _xäxÄá Éy \wxÇà|àç Tààtv{xw àÉ cÜxáxÜäxw [âÅtÇ exÅt|Çá A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Communication, Culture & Technology by Christine Quigley, B.A., B.F.A. Washington, D.C. April 20, 2007 © 2007 by Christine Quigley ii TuáàÜtvà Head slice on table. Max Aguilera-Hellweg (1994). Sagittsl section, part of a series demonstrating the anatomy of the head, prepared for the Mutter Muaeum by Dr. Joseph P. Tunis (1866-1936), 1910 (www.blastbooks.com). When a human body part is removed and preserved after death, what kinds of identity remain attached to it? There are the extremes of complete anonymity and the named remains of a famous or infamous person, but there are many shades of gray in between. Is the specimen that of a known individual or recognizable only as a race and gender? What reason would someone have to designate the preservation of his remains and ensure that the narrative of his life stays permanently attached? Does a very personal part, like face or skin, commemorate the life of that particular body or can it still be used to represent universal human anatomy? The answers are in part determined by whether the donor wanted his or her identity associated with the specimen. I examine the gradations of identity as represented by three museum objects in three different time periods. The first is the autobiography of a nineteenth-century criminal bound at his request in iii his skin (at the Boston Athenaeum).
    [Show full text]
  • Body Worlds: Towards an Interdisciplinary Approach to Science Exhibitions
    Making Meaning of von Hagens’ Body Worlds: Towards an Interdisciplinary Approach to Science Exhibitions by Michelle Melodie Dubek A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Curriculum Teaching and Learning Ontario Institute for Studies in Education University of Toronto © Copyright by Michelle Melodie Dubek 2013 Making Meaning of von Hagens’ Body Worlds: Towards an Interdisciplinary Approach to Science Exhibitions Michelle Melodie Dubek Doctor of Philosophy Department of Curriculum Teaching and Learning Ontario Institute for Studies in Education University of Toronto 2013 Abstract Body Worlds is a traveling exhibition of plastinated human cadavers that offers the general public an opportunity to experience the human body in a unique way. It has been met with controversy and awe; public reactions and responses have been mixed. This case study research explored visitor responses to this controversial science exhibition, and examined the meaning visitors made of their experience. Specifically, the following research questions directed this study: Within the context of the Body Worlds exhibition: (a) What meaning did visitors make and how did they respond to the exhibits? (b) What tensions and issues arose for visitors? and (c) What did this type of exhibition convey about the changing role of science centres and the nature of their exhibitions? The primary sources of data for this study were 46 semi-structured interviews with visitors to the exhibition, observation notes, and 10 comment books including approximately 20 000 comments. Data suggested that the personal, physical, and sociocultural contexts (Falk & Dierking, 2000) contributed to visitor meaning meaning-making.
    [Show full text]
  • Body Worlds and the Victorian Freak Show
    “Skinless Wonders”: Body Worlds and the Victorian Freak Show Nadja Durbach Journal of the History of Medicine and Allied Sciences, Volume 69, Number 1, January 2014, pp. 38-67 (Article) Published by Oxford University Press For additional information about this article http://muse.jhu.edu/journals/jhm/summary/v069/69.1.durbach.html Access provided by Middlebury College (28 Jul 2014 12:06 GMT) “Skinless Wonders”: Body Worlds and the Victorian Freak Show NADJA DURBACH Department of History, University of Utah, Carolyn Tanner Irish Humanities Building, 215 South Central Campus Drive, Room 310, Salt Lake City, Utah 84112. Email: [email protected] ABSTRACT. In 2002, Gunther von Hagens’s display of plastinated corpses opened in London. Although the public was fascinated by Body Worlds, the media largely castigated the exhibition by dismissing it as a resuscitated Victorian freak show. By using the freak show analogy, the British press expressed their moral objection to this type of bodily display. But Body Worlds and nineteenth-century displays of human anomalies were linked in more complex and telling ways as both attempted to be simultaneously entertaining and educational. This essay argues that these forms of corpo- real exhibitionism are both examples of the dynamic relationship between the popular and professional cultures of the body that we often errone- ously think of as separate and discrete. By reading Body Worlds against the Victorian freak show, I seek to generate a fuller understanding of the his- torical and enduring relationship between exhibitionary culture and the discourses of science, and thus to argue that the scientific and the spectac- ular have been, and clearly continue to be, symbiotic modes of generating bodily knowledge.
    [Show full text]
  • Body Work and the Work of the Body
    Journal of Moral Theology, Vol. 2, No. 1 (2013): 113-131 Body Work and the Work of the Body Jeffrey P. Bishop e cult of the body beautiful, symbolizing the sacrament of life, is celebrated everywhere with the earnest vigour that characterized rit- ual in the major religions; beauty is the last remaining manifestation of the sacred in societies that have abolished all the others. Hervé Juvin HE WORLD OF MEDICINE has always been focused on bod- ies—typically ailing bodies. Yet recently, say over the last century or so, medicine has gradually shied its emphasis away from the ailing body, turning its attention to the body Tin health. us, it seems that the meaning of the body has shied for contemporary medicine and that it has done so precisely because our approach to the body has changed. Put in more philosophical terms, our metaphysical assumptions about the body, that is to say our on- tologies (and even the implied theologies) of the body, come to shape the way that a culture and its medicine come to treat the body. In other words, the ethics of the body is tied to the assumed metaphys- ics of the body.1 is attitude toward the body is clear in the rise of certain con- temporary cultural practices. In one sense, the body gets more atten- tion than it ever has, as evident in the rise of the cosmetics industry, massage studios, exercise gyms, not to mention the attention given to the body by the medical community with the rise in cosmetic derma- tology, cosmetic dentistry, Botox injections, and cosmetic surgery.
    [Show full text]
  • Bodies for Science. the Display of Human Statues for Educational Purposes Francesca Monza1, Silvia Iorio2 1 Department of Medicine and Aging Sciences, “G
    Medicina Historica 2018; Vol. 2, N. 3: 145-151 © Mattioli 1885 Original article: history of medicine Bodies for science. The display of human statues for educational purposes Francesca Monza1, Silvia Iorio2 1 Department of Medicine and Aging Sciences, “G. d’Annunzio” University of Chieti and Pescara; 2 Unit of History of Medicine Department of Molecular Medicine, Sapienza - University of Rome, Italy Abstract. Every time von Hagens’ plastinated bodies are exposed, they cause polemics, controversies and an inevitable echo in the media. It is not clear whether what raises greater scandal and ethical doubts is the exposure of real bodies, corpses for anatomical demonstration, or the fact that the Body Worlds Exhibition attracts crowds of visitors, resulting in huge financial revenues. Contextualized within the history of medicine, if it were only the display of “prepared” corpses to be called into question, the issue should not cause outcry, as we are merely in the presence of the latest technique, plastination, in the long evolution of medical and anatomical teaching. Such statues, created in anatomical cabinets, were used in the past as a compendium for courses of anatomical studies. The bodies were prepared using complex techniques, treated with great care and postured as if they were “alive” in order to make them more understandable and effective for teaching. A related theme - with important ethical implications - is how these bodies were made available to anatomical institutes. In Britain there was the very interesting case of Jeremy Bentham (1748-1832), father of utilitarian- ism: he donated his body for research purposes and display. This philosopher was ahead of his time not only regarding the display of bodies for scientific purposes, but also the formula for the donation of bodies to sci- ence, now the only really viable solution for the use of the human body in educational and scientific settings.
    [Show full text]
  • Tracing the Body in Body Worlds, the Anatomical Exhibition of Real Human Bodies
    ANATOMY OF SPECTATORSHIP: TRACING THE BODY IN BODY WORLDS, THE ANATOMICAL EXHIBITION OF REAL HUMAN BODIES by Rebecca Scott Bachelor of Arts, Simon Fraser University, 2005 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the School of Communication © Rebecca Scott 2008 SIMON FRASER UNIVERSITY Summer 2008 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Rebecca Scott Degree: MA Titles: Anatomy of Spectatorship: Tracing the Body in Body Worlds, the Anatomical Exhibition of Real Human Bodies Examining Committee: Chair: Dr. Peter Chow-White Assistant Professor, School of Communication Dr. Kirsten McAllister Assistant Professor School of Communication Dr. Zoe Druick Associate Professor School of Communication Dr Kimberly Sawchuk Associate Professor Department of Communication Studies Concordia University Date: ii SIMON FRASER UNIVERSITY LIBRARY Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the pUblic at the "Institutional Repository" link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work.
    [Show full text]
  • A Life in Science Dr. Gunther Von Hagens
    Dr. Gunther von Hagens A Life in Science Dr. Gunther von Hagens’ life reads like He also showed an interest in science an archetypal scientist’s resume— dis- from an early age. tinguished by early precocity, scholar- ship, discovery, experimentation and He entered medical school at the Uni- invention. It is also the profi le of a man versity of Jena. While there, he began shaped by extraordinary events and to question communism and socialism marked by defi ance and daring. and widened his knowledge of politics by gathering information from Western Anatomist, inventor of Plastination, news sources. He later participated in and creator of BODY WORLDS, Dr. student protests against the invasion of von Hagens (christened Gunther Ger- Czechoslovakia by Warsaw Pact troops. hard Liebchen) was born in 1945 in Alt- Skalden, Posen, Poland—then part of A failed attempt to cross the Czechoslo- Germany. To escape the imminent and vakian border into Austria and freedom eventual Russian occupation of their in January of 1969 caused 23-year-old homeland, his parents placed the 5-day- von Hagens to be arrested, extradited to old infant in a laundry basket and began East Germany and imprisoned for two a six-month trek west by horse wagon. years. Th e family lived briefl y in Berlin, before fi nally settling in Greiz, where von Ha- In 1970, after West Germany’s purchase gens remained until he was 19. of his freedom, von Hagens enrolled at the University of Lubeck, where he As a child, he was diagnosed with a rare completed his medical studies in 1973.
    [Show full text]
  • Dr. Gunther Von Hagens Inventor of Plastination – Creator of BODY WORLDS
    Dr. Gunther von Hagens Inventor of Plastination – Creator of BODY WORLDS Bringing the anatomy of humans and animals to audiences worldwide: Dr. Gunther von Hagens is not only a physician and anatomist but also a scientist and inventor. He is recognized as a forward-thinking free spirit who made the human body accessible for education and research in unprecedented ways. Dr. Gunther von Hagens began his medical studies at the University of Jena in 1965. He was arrested while attempting to flee East Germany after distributing leaflets in protest against the invasion of Czechoslovakia by Warsaw Pact troops. In 1970, West German authorities secured his freedom. He completed his medical studies at the University of Lubeck in 1973 and a year later he received his license to practice medicine. He then moved to the University of Heidelberg, where he completed his doctorate in the Department of Anaesthesia and Emergency Medicine. In 1975, he began to work at the Institutes of Anatomy and Pathology, which ignited his passion for invention and to teach anatomy in a new way. It was in 1977 at the University of Heidelberg that he invented plastination, a vacuum technique to permanently preserve anatomical specimens with reactive plastics specially developed for this purpose. He subsequently founded BIODUR® Products to market the respective polymers and equipment to other institutions around the world. In order to bring plastination to a wider audience, he founded the Institute for Plastination in 1993. Soon after, together with his colleague and wife Dr. Angelina Whalley, he created the first anatomical exhibition of real human bodies, titled BODY WORLDS, which has now seen by more than 47 million people worldwide.
    [Show full text]
  • Recent Ethical and Technical Issues Of
    ISRA MEDICAL JOURNAL Volume 4 Issue 2 Jun 2012 ORIGINAL ARTICLE RECENT ETHICAL AND TECHNICAL ISSUES OF CADAVERIC HUMAN BODIES AND TISSUES FOR EDUCATIONAL PURPOSES IN PAKISTAN: INITIATION OF A DISCUSSION FOR MAKING A POLICY Mansoor Ali Khan1 , Muhammad Ilyas Anjum2 , Afroz S Kazi3 ABSTRACT OBJECTIVE: To initiate a discussion, for devising a standardized nationwide policy for procurement and use of Cadaveric human bodies and tissues for educational purposes and then respectful disposition of the remains. DESIGN: Cohort design. PLACE: A Public Medical College DURATION: 2006 through 2011 METHODS: Available data was grouped into two chronological equal halves, Group–A 2006 to 2008, Group–B 2009 to 2011. The data was analyzed for age, sex, Known identity, Unknown Identity, later identified-claimed and remaining unidentified-unclaimed dead bodies. Studies related to policies for cadaveric procurement, transport, handling, utilization and disposal are presented. RESULTS: A total of 1605 records were analyzed. 54.9 % Cadavers were from 2nd and 3rd decade of life. The males in Group-A were 86.32% and in Group-B were 81.82%. DISCUSSION: About 41.55 % cadavers brought to Anatomy department were with Unknown Identity. But 34.93 % were later identified and claimed. Hence the police department of the region and the Anatomy Department of the institution with the help of print media are providing a great service to the society. The remaining unclaimed bodies are also utilized for dissection or in case of putrefied bodies bones were used for medical education. Even after exhaustive search no published data was available for cadavers brought to a public mortuary in Pakistan, as is presented here.
    [Show full text]
  • January 2008 TABLE of CONTENTS
    \ Volume 20, Issue 1 – January 2008 TABLE OF CONTENTS News from the Chair ..... Page 2 CCW Program Committee Editor‘s Notes .............. Page 2 Announcements: Announcements/Events. Page 3 The Audrey Jessup. ...... Page 4 January 9th, 2008 Meeting: Forensic Corner: A is for Autopsy … ........ Page 5 Identity Theft Website News ............. Page 8 Spice up your Dialogue.. Page 9 RCMP Sgt. Chaughan Garvey will speak on identity theft. Sgt. Garvey was formerly with the RCMP fraud section, and has recently been seconded to Top Ten List for 2007…...Page 10 the proceeds of crime division. Membership Update……..Page 10 Giles Blunt Meeting Report by Paul Sadler ….Page 11 th* February 20 2008 Meeting: Member Bio: Rachel Pitcher ............ Page 13 Characters with Character Prime Crime Book Review: Come to the February meeting and hear our very own all-star panel talk The Writing Diet ......... Page 13 about how to build interesting and believable characters. Tom Curran, Barbara Fradkin and Mary Jane Maffini will tell us about how they create characters for their novels, the essence of their principal protagonists, and the role of sidekicks. This is a session you won‘t want to miss. Capital Crime Writers is an organization of writers working in the mystery field, and readers who love the genre. We meet on the second Wednesday of each month to discuss writing and crime, with the exception of July and August when meetings are suspended Thomas Rendell Barbara Fradkin Mary Jane for the summer. Curran Maffini Membership is $30 per year, $15 corresponding. *Please note that due to other commitments the Library and Archives Canada is not available to us on our usual meeting date.
    [Show full text]
  • BODY WORLDS Family Guide
    FAMILYGUIDE CONTENTS Planning your visit 3 FAQ 4 Q&A with kids 9 What is Plastination 11 WELCOME—a letter from BODY WORLDS 13 EXHIBITION OVERVIEW 14 The Locomotive System 15 The Nervous System 16 The Respiratory System 17 The Cardiovascular System 18 The Digestive System 19 Embryonic & Fetal Development 20 Post-visit activities 21 Discussion questions 23 Additional resources 24 This material is protected under copyright laws and may not be reproduced in any manner without the express written permission of the Institute for Plastination. MARCH, 2017 US FAMILYGUIDE 2 PLANNING YOUR VISIT BEFORE + Read the note to parents and frequently asked questions in this family guide. + Visit the BODY WORLDS website: www.bodyworlds.com. + Discuss the visit with your children and explain what they are going to see and why. DURING + Consult this Family Guide for an overview of the exhibit. + Seek out the Museum Hosts for answers to your questions about the exhibition. AFTER + Discuss the experience with your family using some of the discussion questions included in this guide as prompts. + Try some of the Post-Visit Activities. + Visit some of the websites listed in the additional resources section. FAMILYGUIDE 3 FREQUENTLY ASKED QUESTIONS What is BODY WORLDS? How do the various BODY WORLDS The exhibition BODY WORLDS, internationally known exhibitions that are being shown differ as BODY WORLDS: The Original Exhibition of Real from each other? Human Bodies, is the first exhibition of its kind to While all of the BODY WORLDS exhibitions focus inform the visitor about anatomy, physiology, and on general anatomy revealed through Plastination, health by viewing real human bodies.
    [Show full text]