Fabien Provost

In contemporary forensic medicine, in India, the label of complete autopsy applies to a whole range of post-mortem examinations which can present consid- erable differences in view of the intellectual resources, time, personnel and material means they involve. From various sources available in India and elsewhere, stems the idea that, whatever the type of case and its apparent obviousness, a complete autopsy implies opening the abdomen, the thorax and the skull and dissecting the organs they contain. Since the nineteenth century, procedural approaches of complete autopsies have competed with a practical sense of completeness which requires doctors to think their cases according to their history. Relying on two case studies observed in the frame of an ethnographic study of eleven months in medical colleges of North India, the article suggests that the practical completeness of autopsies is attained when all aspects of the history of the case are made sense of with regard to the observation of the body. Whereas certain autopsies are considered obvious and imply a reduced amount of time in the autopsy room, certain others imply successive redefinitions of what complete implies and the realisation of certain actions which would not have been performed otherwise.

Human Remains and Violence: An Interdisciplinary Journal
Towards atypology of the treatment of corpses of ‘disappeared detainees’ in Argentinafrom 1975 to 1983
Mario Ranalletti

not recorded on the relevant documents. The perpetrators had to put a lot of effort into ensuring that this was achieved. Their desire for denial was absurd, as the terrible autopsy descriptions contained in the sources demonstrate. However, combinations of different forensic, police, and judicial proceedings were set in train, as though this glut of procedures would hide the truth forever. Among one of many possible examples is the kidnapping, torture, and murder of Eduardo Ruibal. In his case, the way in which different military and judicial authorities (the army

in Destruction and human remains
Missing persons and colonial skeletons in South Africa
Nicky Rousseau

living and the dead body, Crossland’s work points to finer distinctions, which may operate to draw a line between the dissected and the autopsied body. These are suggestive of different ontologies at work,49 but also of a certain instability of meaning associated with the dead body (or its remains), which is subject both to continuity and difference. In several respects, then, the developments associated with the long dead served to interrupt the promise of closure suggested by the TRC and exemplified in the physical acts of exhumation and reburial. By calling

in Human remains and identification
Suhad Daher-Nashif

This article aims to shed light on the post-mortem practices for Palestinian dead bodies when there is suspicion of human rights violations by Israeli military forces. By focusing on the case of Omran Abu Hamdieh from Al-Khalil (Hebron), the article explores the interactions between Palestinian social-institutional agents, Israeli military forces and international medico-legal agents. Drawing on ethnographic and archival data, the article explores how the intersectionality between the various controlling powers is inscribed over the Palestinian dead bodies and structures their death rites. The article claims that inviting foreign medico-legal experts in the Palestinian context could reveal the true death story and the human rights violations, but also reaffirms the sovereignty of the Israeli military forces over the Palestinian dead and lived bodies.

Human Remains and Violence: An Interdisciplinary Journal
Edward Bacal

I focus on two contemporary art installations in which Teresa Margolles employs water used to wash corpses during autopsies. By running this water through a fog machine or through air conditioners, these works incorporate bodily matter but refuse to depict, identify or locate anybody (or any body) within it. Rather, Margolles creates abstract works in which physical limits – whether of bodies or of art works – dissolve into a state of indeterminacy. With that pervasive distribution of corporeal matter, Margolles charts the dissolution of the social, political and spatial borders that contain death from the public sphere. In discussing these works, I consider Margolles’ practice in relation to the social and aesthetic function of the morgue. Specifically, I consider how Margolles turns the morgue inside out, opening it upon the city in order to explore the inoperative distinctions between spaces of sociality and those of death. In turn, I consider how Margolles places viewers in uneasy proximity to mortality, bodily abjection and violence in order to illustrate the social, political and aesthetic conditions by which bodies become unidentifiable. I ultimately argue that her aesthetic strategies match her ethical aspirations to reconsider relations to death, violence and loss within the social realm.

Human Remains and Violence: An Interdisciplinary Journal