Forensic Traces

Chapter
Part of the Palgrave Macmillan Memory Studies book series (PMMS)

Abstract

Bøndergaard analyses Aleksandar Hemon’s novel The Lazarus Project in relation to the emergence of forensic science, and takes as a point of departure a parallel between the concern with risk and recognition of danger at the end of the nineteenth century and at the beginning of the twenty-first century. Bøndergaard argues that the novel’s connection between disparate times and places serves to question the extent to which we still judge each other on signs on the surface of our bodies. Bøndergaard considers the use and development of visual evidence in early forensic practices in order to approach the function of photography and visual media in (forensic) literature, of which Hemon’s book again serves as an example.

References

  1. Banita, Georgiana. 2012. Plotting Justice—Narrative Ethics and Literary Culture after 9/11. Lincoln: University of Nebraska Press.CrossRefGoogle Scholar
  2. Barthes, Roland. 2000. Camera Lucida. London: Vintage.Google Scholar
  3. Brain, Robert, and Daniel Broderick. 1992. The Derivative Relevance of Demonstrative Evidence: Charting its Proper Evidentiary Status. University of California Davis Law Review 25: 4.Google Scholar
  4. Burney, Ian, and Neil Pemberton. 2013. Making Space for Criminalistics: Hans Gross and fin-de-siécle CSI. Studies in History and Philosophy of Biological and Biomedical Sciences 44 (1): 16–25.CrossRefGoogle Scholar
  5. Daston, Lorraine, and Peter Gallison. 2010. Objectivity. New York: Zone Books.Google Scholar
  6. Gardner, H. Wayne. 1996. Explanations and Illustrations: Demonstrative Evidence in the Criminal Court-room. Criminal Law Quarterly 38: 4.Google Scholar
  7. Gould, Stephen Jay. 1997. The Mismeasure of Man. London: Penguin Books.Google Scholar
  8. Hedrick, Charles. 2000. History and Silence. Austin: University of Texas Press.Google Scholar
  9. Hertmans, Stefan. 2016. War and Turpentine. New York: Patheon.Google Scholar
  10. Hirsch, Marianne. 2008. The Generation of Post-Memory. Poetics Today 29 (1): 103–128.Google Scholar
  11. Horn, David G. 2003. The Criminal Body—Lombroso and the Anatomy of Deviance. New York: Routledge.Google Scholar
  12. Horstkotte, Silke. 2008. Photo-Text Topographies: Photography and the Representation of Space In ed. W.G. Sebald and Monika Maron. Poetics Today 29 (1): 49–78.CrossRefGoogle Scholar
  13. Horstkotte, Silke, and Nancy Pedri. 2008. Introduction: Photographic Interventions. Poetics Today 29 (1): 1–29.CrossRefGoogle Scholar
  14. Hutcheon, Linda. 2005. A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge.Google Scholar
  15. Keenan, Thomas. 2014. Getting the Dead to Tell Me What Happened. In Forensis—The Architecture of Public Truth, ed. Forensic Architecture. Berlin: Sternberg Press.Google Scholar
  16. Keenan, Thomas, and Eyal Weizman. 2012. Mengele’s Skull. Portikus: Sternberg Press.Google Scholar
  17. Mnookin, Jennifer L. 2008. The Image of Truth: Photographic Evidence and the Power of Analogy. Yale Journal of Law and the Humanities 10 (1). Selvmordsaktionen, Gyldendal. Clausbeck-nielsen.net
  18. Moretti, Franco. 2000. The Slaughterhouse of Literature. Modern Language Quarterly 61 (1): 207–227.CrossRefGoogle Scholar
  19. Orvell, Miles. 1989. The Real Thing: Imitation and Authenticity in American Culture, 1880–1940. Chapel Hill: The University of North Carolina Press.Google Scholar
  20. Pellegrino, Charles. 2010. The Last Train from Hiroshima. New York: Henry Holt and Company.Google Scholar
  21. Rafter, Nicole Hahn. 1997. Creating Born Criminals. Urbana: University of Illinois Press.Google Scholar
  22. Rafter, Nicole Hahn. 2008. The Criminal Brain. New York: New York University Press.Google Scholar
  23. Roth, Walter, and Joe Kraus. 1998. An Accidental Anarchist. San Fransisco: Rudi Publishing.Google Scholar
  24. Scholz, Susanne. 2013. Phantasmatic Knowledge—Visions of the Human and the Scientific Gaze in English Literature, 1880–1930. Universitätsverlag Winter: Heidelberg.Google Scholar
  25. Siegel, Greg. 2011. The Similitude of the Wound. Cabinet 43: 95–100.Google Scholar
  26. Sontag, Susan. 2003. Regarding the Pain of Others. New York: Picador.Google Scholar
  27. Thomsen, Mads Rosendahl. 2008. Mapping World Literature. London: Continuum.Google Scholar
  28. Ward, Wendy. 2011. Does Autobiography Matter? Fictions of the Self in Aleksandar Hemon’s The Lazarus Project. Brno Studies in English 37(2): 185–199.CrossRefGoogle Scholar
  29. Weizman, Eyal. 2011. The Least of all Possible Evils. London: Verso.Google Scholar
  30. Weizman, Eyal. 2013. The Image is the Bone. In The Human Snapshot, ed. Thomas Keenan, and Tirdad Zolghadr. Berlin: Sternberg Press.Google Scholar

Web Pages

  1. GenomeWeb. 2014. DNA Mugshots. Blog Entry, March 25, 2014. https://www.genomeweb.com/blog/dna-mugshots. Accessed 27 Aug 2015.
  2. Reardon, Sara. 2014. Mugshots Built from DNA Data. Nature. March 20, 2014. http://www.nature.com/news/mugshots-built-from-dna-data-1.14899.

Copyright information

© The Author(s) 2017

Authors and Affiliations

  1. 1.Aarhus UniversityAarhusDenmark

Personalised recommendations