![]() The Decretum is in itself an important collection of canon law of its time, but the Corrector in particular has drawn the attention of scholars because of its peculiarities. in Germany – more specifically, in the Rhenish Hesse. ![]() The Corrector, that is, the nineteenth book of Burchard of Worms’s Decretum, is widely recognized as one of the essential sources for the study of pagan survivals around the year 1000 A.D. The aim is to bring together a wide variety of depictions and interpretations of the undead in various sources, ranging from historical accounts to present-day popular culture. The answers to the question are many, but do we know them all? This issue of Thanatos focuses on various representations of the undead, that is, the deceased who have returned to the world of the living. At dusk in a rural cemetery in the remote north, a bunch of immaterial spirits lurk behind a tombstone, about to ambush an unsuspecting old man in search of bones to use for magical purposes. In an old mouldy castle somewhere in Transylvania, a vampire grins, revealing its yellowish canine teeth. In the dark hours of the night, rotten corpses crawl out of their graves. They are numerous, and they are of many types. Through the history of humankind, the undead appear to be everywhere. What happens if something goes wrong at death and the dead person does not find peace? This question is colourfully answered by innumerable representations of the "undead" in various cultural practices, products, creations and beliefs. Embodied experience of living death has the potential to illustrate what people with long-term illnesses (and their families) are facing, yet the context of the horror genre creates an ambiguity about whether it is the illness or the person with the illness that is seen as monstrous. I argue that by symbolizing experiences of illness through dreaded monsters, these horror stories both reveal and stigmatize the health issues they represent. This demonstrates the various effects that illness has on social roles and social identities. In these terrifying storylines, the living dead are easily discriminated against and viewed with horror. The degenerative processes of the body are portrayed as monstrous, and they have severe consequences for identity and sense of self. My analysis shows that living dead films symbolically express fears related to fragile bodies and progressive illnesses. In particular, I am interested in how organ transplants, as a way of treating sick bodies raise questions of (personal and social) identity. Thirdly, I use the Frankenstein narrative to discuss the limits of medical science. Secondly, I examine how zombies symbolize progressive and degenerative diseases, such as memory diseases, which alienate the living from those affected. First, I focus on lifestyle-generated health issues in vampire films that emphasize the consequences of individual decisions and social stigma. In this article, I discuss three different allegories of illness in contemporary living dead films. For these reasons, the living dead have the potential to create embodied narratives of illness. Their problematic and abnormal bodies also symbolize the boundaries between normal, proper or healthy bodies and abnormal or unhealthy bodies. They are liminal characters whose continuing corporeal existence questions the limits of life and death. The living dead, such as vampires, zombies and Frankenstein’s monster, serve the role of monsters in many horror films.
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