zombie

(American mythology)

A soulless body. In the Voodoo cult of Haiti, a zombi is the slave of a magician. The soul may have been removed by magic from a living person, or the body of someone recently deceased may have been brought up out of the grave after the soul had been separated from it by regular rites of death. As the lord of the dead, Ghede has the power to animate corpses as zombis.

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Dictionary: zom·bie (zŏm'bē) pronunciation

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A snake god of voodoo cults in West Africa, Haiti, and the southern United States.
1. A supernatural power or spell that according to voodoo belief can enter into and reanimate a corpse.
2. A corpse revived in this way.
One who looks or behaves like an automaton.
A tall mixed drink made of various rums, liqueur, and fruit juice.

[Caribbean French and English Creole, from Kimbundu -zumbi, ghost, departed spirit.]

Wordsmith Words: zombie

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(ZOM-bee)
noun, also zombi
1. A person behaving like an automaton: listless, wooden, or lacking energy.
2. A snake god in West Indian, Brazilian, and West African religions.
3. In voodoo, a supernatural force or spirit that can enter a dead body; also, the soulless body that is revived in this manner.
4. A computer process that has died but is still listed in the process table.
5. A drink made of various kinds of rum, liqueur, and fruit juice.

Etymology
From Kimbundu nzambi (god, ghost). Kimbundu is a Bantu language of northern Angola.

Usage
"Only a zombie would fail to see the brilliance of Cowan's campaign." — Peter Howell; The Beyond's Zombies Have Long, Gory Family History; The Toronto Star (Canada); Jun 17, 1998.

"Any film that manages to put together, for example, a battle between two real-life giants; a zombie emerging from the grave; a six-car demolition derby in the lobby of the Chrysler Building; a trotting race run by dead horses; a stunning, blond athlete named Aimee Mullins, who happens to be a double amputee, ... and much more, including a final scene in which the Irish giant flings a stone into the sea, where--in time for `Cremaster 4' -- it becomes the Isle of Man, well, a film like this may be one that only a Dick Cheney could walk out on without a frisson of self-doubt." — Calvin Tomkins; His Body, Himself; The New Yorker; Jan 27, 2003.

Britannica Concise Encyclopedia: zombi

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In Vodou, a dead person who is revived after burial and compelled to do the bidding of the reviver, including criminal acts and heavy manual labour. It is believed that actual zombis are living persons under the influence of powerful drugs, including burundanga (a drug reportedly used by Colombian criminals) and drugs derived from poisonous toads and puffer fish.

For more information on zombi, visit Britannica.com.

World of the Body: zombie

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The word zombie refers to the ‘living dead’. In folklore zombies are portrayed as innocent victims who are raised in a comatose trance from their graves by malevolent sorcerers, and led to distant farms or villages where they toil indefinitely as slaves. Zombies are recognized by their docile nature, by their glassy empty eyes, and by the evident absence of will, memory, and emotion. Part of their souls may also be captured by the sorcerers. Zombies can only return to the world of the living upon the death of their masters. Accounts are sometimes cited of actual people who have undergone this ordeal, were declared dead, and later turned up at the homes of their kin in various degrees of health.

Sources indicate that the word is of African origin. The cadaver or spirit of a deceased person is called zumbi in the Bonda language, ndzumbi in Gabon, and nzambi in Kongo. However, the conviction that zombies exist is more widespread. It is encountered not only in sub-Saharan Africa, but also in the Caribbean and in Latin America.

A controversial theory by Wade Davis suggests that there may well be an ethnobiological basis for popular reports of the zombie phenomenon in Haiti. He refers to a case of zombification which had been verified by a team of physicians. In 1962 Clairvus Narcisse was pronounced dead at a hospital, and buried 8 hours later. In 1980 Clairvus reappeared, claiming that he had been made a zombie by his brother because of a land dispute. Davis argues that Clairvus was mistakenly diagnosed as dead, buried alive, and taken from the grave. Among the various preparations of Haitian sorcerers, Davis identified a marine fish containing tetrodotoxin, an extremely potent neurotoxin which induces a complete state of peripheral paralysis and imperceptibly low metabolic levels. He postulates that the Haitian belief in zombies could be based on those rare instances where the individual receives the correct dosage of the poison, is misdiagnosed as dead, and is taken from the grave by a sorcerer. Moreover, Davis argues that zombification is a form of punishment imposed by Bizango secret societies to maintain order in local communities.

Other scholars of Haiti regard the belief in zombies as purely mythical. From a Marxist perspective zombification — the image of people who have lost their minds and souls and are left only with the ability to work — is explained as symbolic comment on the historical process of colonialism.

In many parts of Africa zombies are an integral aspect of witchcraft beliefs; particularly where witchcraft discourses address issues raised by inequalities of wealth and power. For example, among the Bakweri of Cameroon new forms of wealth signalled a transformation in occult forces. When land was alienated for plantations by German and British colonists, the Bakweri were confined to reservations, and the plantations attracted a workforce from elsewhere. In this context a concept of nyongo witchcraft emerged. The Bakweri suspected prosperous outsiders of forming witch associations, taking deceased kin from the graves, and of transporting them by lorries to mount Kupe where they used the zombie spirits to work on invisible plantations. Yet the nyongo men themselves were in danger. If they were no longer able to sell their intimates to fellow witches, their colleagues would kill them, and reduce them to slavery. Initially these ideas exaggerated ambivalence towards wealth and hindered the emergence of a new elite among the Bakweri. However, when the Bakweri themselves earned much money from the cultivation of bananas, in the 1950s, nyongo witches were soon flushed out and brought under control. Hence the ban on individual enrichment was broken.

Similarly, in Malawi, witchcraft discourses constitute an argument about the morality of accumulation. Accumulation is endowed with moral adequacy when entrepreneurs make their constitutive relations visible by supporting their kin financially; and by redistributing wealth through patronage, gift-giving, and feasting. It is perfectly legitimate when entrepreneurs, who are motivated by these concerns, use medicines to protect their businesses and to ensure a steady flow of many customers. By contrast, accumulation which is motivated by individualism and greed is morally despised. In this situation entrepreneurs are said to achieve prosperity at the cost of human lives. Zombies are believed to reside with them, to protect their money, and to affect the minds of customers so that they can come to the business in large numbers. Zombies thus serve exactly the same purposes as medicines, but are an index of morally disputable witchcraft.

In South Africa discourses of zombies capture the illicit desire to dominate and the fear of being dominated. At a symbolic level the image of witches who keep many zombies resonates with the status of white industrialists and farm owners who employ many black labourers. The employment of zombies as servants in a nocturnal ‘second world’ echoes the daunting experiences of migrant labourers who leave their rural households for alien industrial and mining centres. The tasks of zombies resemble those of domestic assistants and farm labourers. They clean the homes of witches, fetch water and firewood, herd cattle, plough, sow, harvest, and run errands. The unique features of zombies exaggerate some of the less apparent consequences of domination. Zombies are only a metre tall; are similar in appearance; are hypnotized so that they display unquestioning obedience; and their tongues are cut. These features allude to the diminutive, childlike status of African labourers; who are all treated alike by their bosses; and are unable to express themselves. Moreover, zombies are sexless, are devoid of human desires, and are fed a meagre diet of maize porridge — the staple diet of South African labourers. Narratives of zombies also reflect upon the dependence of the dominated. Should witches die, their zombies will wander about endlessly in search of porridge. Being undead, they cannot return to their kin. Persons who aspire to positions of influence; and strong-willed mothers-in-law who command great authority over the wives of their sons, are those most often accused of keeping zombies.

— I. Niehaus

Bibliography

Davis, W. (1988). Passages of darkness: the ethnobiology of the Haitian zombie. The University of North Carolina Press, Chapel Hill and London

Voodoo magic

A zombie in Haiti

Popular culture

This section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2009)

Main article: Zombies in popular culture

Zombies from George Romero's Night of the Living Dead, a zombie film

Origin

The flesh-hungry undead, often in the form of ghouls and vampires, have been a fixture of world mythology.^{[citation needed]} One Thousand and One Nights is an early piece of literature to reference ghouls. A prime example is the story "The History of Gherib and His Brother Agib" (from Nights, vol. 6), in which Gherib, an outcast prince, fights off a family of ravenous ghouls, enslaves them, and converts them to Islam.^[7]

Frankenstein by Mary Shelley, while not a zombie novel proper, prefigures many 20th century ideas about zombies in that the resurrection of the dead is portrayed as a scientific process rather than a mystical one, and that the resurrected dead are degraded and more violent than their living selves. The novel, published in 1818, has its roots in European folklore,^[8] whose tales of vengeful dead also informed the evolution of the modern conception of vampires as well as zombies. Later notable 19th century stories about the avenging undead included Ambrose Bierce's "The Death of Halpin Frayser", and various Gothic Romanticism tales by Edgar Allan Poe. Though their works could not be properly considered zombie fiction, the supernatural tales of Bierce and Poe would prove influential on later writers such as H. P. Lovecraft, by Lovecraft's own admission.^[9]

One book to expose more recent western culture to the concept of the zombie was The Magic Island by W.B. Seabrook in 1929. Island is the sensationalized account of a narrator in Haiti who encounters voodoo cults and their resurrected thralls. TIME magazine claimed that the book "introduced 'zombi' into U.S. speech".^[10]

In the 1920s and early 1930s, the American horror author H. P. Lovecraft wrote several novelettes that explored the undead theme from different angles. "Cool Air," "In the Vault," "The Thing on the Doorstep," "The Outsider," and "Pickman's Model" are all undead related, but the most definitive undead story in Lovecraft's oeuvre was 1921's Herbert West--Reanimator, which "helped define zombies in popular culture".^[11] This Frankenstein-inspired series featured Herbert West, a mad scientist who attempts to revive human corpses with mixed results. Notably, the resurrected dead are uncontrollable, mostly mute, primitive and extremely violent; though they are not referred to as zombies, their portrayal was prescient, anticipating the modern conception of zombies by several decades.

In 1932, Victor Halperin directed White Zombie, a horror film starring Bela Lugosi. This film, capitalizing on the same voodoo zombie themes as Seabrook's book of three years prior, is often regarded as the first legitimate zombie film ever made.^[12] Here zombies are depicted as mindless, unthinking henchmen under the spell of an evil magician. Zombies, often still using this voodoo-inspired rationale, were initially uncommon in cinema, but their appearances continued sporadically through the 1930s to the 1960s, with famous titles such as I Walked With a Zombie (1943) and the infamous Plan 9 from Outer Space (1959).

The 1936 film Things to Come, based on the novel by H.G. Wells, anticipates later zombie films with an apocalyptic scenario surrounding "the wandering sickness", a highly contagious viral plague that causes the infected to wander slowly and insensibly, very much like zombies, infecting others on contact.^[13] Though this film's direct influence on later films is unknown, Things to Come is still compared favorably by some critics^[14] to modern zombies.

Richard Matheson's 1954 post-apocalyptic novel I Am Legend is also considered a pioneer of the modern zombie, despite the creatures being described by the main character as vampires. Nevertheless, the film deals with isolation and a worldwide outbreak of a disease causing the population to turn into weak, infected creatures that feed on the blood of the living. Matherson's novel was adapted into the film The Last Man on Earth in 1964, starring Vincent Price. The book would be adapted twice more The Omega Man (1971) and I Am Legend (2007).

Hammer Horror's Plague of the Zombies (1966) is another turning stone in the cinematic zombie, being the first film to show zombies as walking corpses. The film set the standard for zombie make-up to come and green rotting flesh as a standard. However, zombies would not be depicted as being free from their masters until 1967.

Modern zombie movies

In 1968 director George Romero released the independent black-and-white zombie film Night of the Living Dead. The story, which was cited as groundbreaking, was the first modern zombie film. Although not the first zombie film, Night of the Living Dead was the predecessor of many films with the same plot.

The movie ushered in the splatter film sub-genre. As many film historians have pointed out, horror prior to Romero's film had mostly involved rubber masks and costumes, cardboard sets, or mysterious figures lurking in the shadows. They were set in locations far removed from urban and suburban America. While the word zombie is never used, Romero's film introduced the theme of zombies as reanimated, flesh-eating cannibals.

The film and its successors spawned countless imitators that borrowed elements instituted by Romero: Tombs of the Blind Dead, Zombie, Hell of the Living Dead, The Evil Dead, Night of the Comet, Return of the Living Dead, Night of the Creeps, Braindead, Children of the Living Dead, and the video game series Resident Evil (later adapted as films in 2002, 2004, and 2007), Dead Rising, and House of the Dead. Night of the Living Dead is parodied in films such as Night of the Living Bread and Shaun of the Dead, and in episodes of The Simpsons ("Treehouse of Horror III", 1992), South Park ("Pink Eye", 1997; "Night of the Living Homeless", 2007) and Invader Zim (Halloween Spectacular of Spooky Doom, 2001;).^[15]^[16]^[17] and Zombieland.

In modern films, zombies are often depicted as being created by an infectious virus, which is passed on via bites and contact with fluids. Harvard psychiatrist Steven Schlozman has termed the condition of zombies Ataxic Neurodegenerative Satiety Deficiency Syndrome.^[18]

Man with rabies virus, 1959, note limb restraints

Other origins shown in films include the radiation from a destroyed NASA Venus probe (as in Night of the Living Dead), as well as mutations of existing conditions such as prions, mad-cow disease, measles and rabies. The film 28 Days Later, on the other hand, depicts the outbreak of an engineered "rage virus" which transforms its victims into a zombie-like state; however, they maintain higher cerebellar function. They exhibit pack and hunting behavior and move too fluidly to be classified as true zombies.^[19] The zombies in 28 Days Later also do not appear to exhibit the enhanced resistance to normal injury, like most zombies in popular culture do.

In other media

Modern zombies, as portrayed in books, films, games, and haunted attractions, are different from both voodoo zombies and those of folklore. Modern zombies are typically depicted in popular culture as mindless, unfeeling monsters with a hunger for human flesh. Typically, these creatures can sustain damage far beyond that of a normal, living human. Generally these can only be killed by a wound to the head, or being set on fire, and can pass whatever syndrome that causes their condition onto others through bites or cuts.

Usually, zombies are not depicted as thralls to masters, as in the film White Zombie or the spirit-cult myths. Rather, modern zombies are depicted in mobs, flocks or waves, seeking either flesh to eat or people to kill, and are typically rendered to exhibit signs of physical decomposition such as rotting flesh, discolored eyes, and open wounds, and moving with a slow, shambling gait. They are generally incapable of communication and show no signs of personality or rationality, though George Romero's zombies appear capable of learning and very basic levels of speech as seen in the films Day of the Dead and Land of the Dead.^[20]^[20]

Zombies are a popular theme for video games, particularly of the first-person shooter and role-playing genre. Some important titles in this area include the Resident Evil series, Dead Rising, House of the Dead and Left 4 Dead.^[21] The popular, multiplayer online role-playing game Urban Dead, a free grid-based browser game where zombies and survivors fight for control of a ruined city, is one of the most popular games of its type. Some games even allow the gamer to play as a zombie such as Stubbs the Zombie in "Rebel Without a Pulse". Commonly in these games, zombies are impervious to most attacks, except trauma to the head (which would instantly "kill" the zombie).

There are still significant differences among the depictions of zombies by various media; for one comparison see the contrasts between zombies by Night of the Living Dead authors George A. Romero and John A. Russo as they evolved in the two separate film series that followed. In some zombie apocalypse narratives, such as The Return of the Living Dead and Dead Set, zombies are depicted as being as quick and nimble as the living, a further departure from the established genre stereotype.

Another departure may consist of the image of zombies as lovable creatures, "being tamed, Disneyfied and made suitable for children", as featured in "zom-coms" (derived from the abbreviation of situation comedies, sit-coms) such as Fido, starring comic actor Billy Connolly as a boy's pet zombie ^[22].

The zombie theme has also emerged for the first time in the erotica and romance genres, as evidenced by recent books such as Hungry For Your Love: A Zombie Romance Anthology.^[23]^[24] The love in zombie romance tales may exist between a human and one of the living dead (such as the characters Phoebe and Tommy in Daniel Waters’ novel Generation Dead^[25]), or even between two zombies (like the undead couple in Vanessa Vaughn’s short story "Some New Blood"^[26]).

Zombies have also appeared in advertising to suggest one who mindlessly follows the crowd; see, for example, the college zombies website collegezombies.com, which features a short animated film that depicts students who do not consider taking their first two years of undergraduate studies (and, instead, adopt the burden of enormous student loans, thus trapping them in literally dead-end jobs) as "college zombies." The video, produced by two community colleges, has proved popular among pre-teens. Ads for a zombie walk (a gathering of people in costume) in Seattle featured a giant female zombie ^[27] hanging off the Space Needle like a huge, mindless pole-dancer. Some advertisers have used zombies to parody the consumers of other products; for example, when Evony's ads for online gaming became sexually suggestive, a new game recreated the ads using a drooling female zombie in place of the buxom Renaissance maiden, changing the tag line "Free Forever" to "Undead Forever." ^[28]

Zombies have also appeared in the Harry Potter series of books and films, starting in Harry Potter and the Half-Blood Prince in the form of Inferi or dead bodies controlled by dark magic. most commonly used by Tom Marvolo Riddle during the Wizarding Wars as well as to guard his Locket Horcrux.

Zombies are also used in Anthony Horowitz's Power of Five series as dead bodies controlled by dark magic. Peruvian zombies are used in Necropolis to attack Professor Joanna Chambers at her house to delay the gatekeepers from getting to London.

Zombie Apocalypse

Main article: Zombie Apocalypse

The zombie apocalypse is a particular scenario of apocalyptic fiction that customarily has a science fiction/horror rationale. In a zombie apocalypse, a widespread (usually global) rise of zombies hostile to human life engages in a general assault on civilization. Victims of zombies may become zombies themselves. This causes the outbreak to become an exponentially growing crisis: the spreading "zombie plague" swamps normal military and law enforcement organizations, leading to the panicked collapse of civilian society until only isolated pockets of survivors remain, scavenging for food and supplies in a world reduced to a pre-industrial hostile wilderness.

The literary subtext of a zombie apocalypse is usually that civilization is inherently fragile in the face of truly unprecedented threats and that most individuals cannot be relied upon to support the greater good if the personal cost becomes too high.^[21] The narrative of a zombie apocalypse carries strong connections to the turbulent social landscape of the United States in the 1960s when the originator of this genre, the film Night of the Living Dead, was first created.^[29]^[30] Many also feel that zombies allow people to deal with their own anxiety about the end of the world.^[31] In fact the breakdown of society as a result of zombie infestation has been portrayed in countless zombie-related media since Night of the Living Dead.^[32] Kim Paffrenroth notes that "more than any other monster, zombies are fully and literally apocalyptic ... they signal the end of the world as we have known it."^[32]

Thanks to large number of films and video games, the idea of a zombie apocalypse has entered the mainstream and there have been efforts by many fans to prepare for the hypothetical future zombie apocalypse. Efforts include creating weapons ^[33] and selling posters to inform people on how to survive a zombie outbreak.^[34]

Philosophical zombie

Main article: Philosophical zombie

A philosophical zombie is a concept used in the philosophy of mind, a field of research which examines the association between conscious thought and the physical world. A philosophical zombie is a hypothetical person who lacks full consciousness but has the biology or behavior of a normal human being; it is used as a null hypothesis in debates regarding the identity of the mind and the brain. The term was coined by philosopher David Chalmers.^[35]

Social activism

A zombie walk in Pittsburgh, Pennsylvania.

Main article: Zombie walk

Some zombie fans continue the George A. Romero tradition of using zombies as a social commentary. Organized zombie walks, which are primarily promoted through word of mouth, are regularly staged in some countries. Usually they are arranged as a sort of surrealist performance art but they are occasionally put on as part of a unique political protest.^[36]^[37]^[38]^[39]^[40]

References

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^ Smith, Neil. "Zombie maestro lays down the lore". BBC News. http://news.bbc.co.uk/2/hi/entertainment/7280793.stm. Retrieved 2009-10-01.
^ *McAlister, Elizabeth. 1995.“A Sorcerer's Bottle: The Visual Art of Magic in Haiti.” In Donald J. Cosentino, ed., Sacred Arts of Haitian Vodou. UCLA Fowler Museum of Cultural History, 1995: 304-321.”
^ Hurston, Zora Neale. Dust Tracks on a Road. 2nd Ed. (1942: Urbana: University of Illinois Press, 1984, p. 205).
^ Booth, W. (1988), “Voodoo Science”, Science, 240: 274-277.
^ Hines, Terence; "Zombies and Tetrodotoxin"; Skeptical Inquirer; May/June 2008; Volume 32, Issue 3; Pages 60-62.
^ Oswald, Hans Peter (2009 (84 pages)). Vodoo. BoD – Books on Demand. pp. 39. ISBN 3837059049.
^ Al-Hakawati. ""The Story of Gherib and his Brother Agib"". Thousand Nights and One Night. http://www.al-hakawati.net/english/Stories_Tales/laila170.asp. Retrieved October 2 2008.
^ Marina Warner, A forgotten gem: Das Gespensterbuch ('The Book of Ghosts'), An Introduction (book review) http://www.new-books-in-german.com/aut2006/book15a.htm#top
^ H. P. Lovecraft, Supernatural Horror in Literature (1927, 1933 - 1935) http://gaslight.mtroyal.ca/superhor.htm
^ Time Magazine, Sep. 1940 http://www.time.com/time/magazine/article/0,9171,764649,00.html
^ Underground Online, Our Favorite Zombies http://www.ugo.com/a/zombies-attack/?cur=favorite-zombies&content=reanimator
^ Lee Roberts, White Zombie is regarded as the first zombie film Nov. 2006 (film review) http://www.best-horror-movies.com/white-zombie.html
^ Things to Come (film review)
^ Philip French, 28 Days Later, The Observer 3 Nov. 2002 (film review) http://film.guardian.co.uk/News_Story/Critic_Review/Observer_review/0,,824813,00.html
^ Rockoff, Going to Pieces, p. 36.
^ "Treehouse of Horror III", episode 64, The Simpsons, October 29, 1992, at the Internet Movie Database; last accessed June 24, 2006.
^ "Pink Eye", episode 107, South Park, October 29, 1997, on South Park: The Complete First Season (DVD, Warner Bros., 2002)
^ Shea, Christopher (April 9, 2009). "The neuropsychology of zombies". The Boston Globe. http://www.boston.com/bostonglobe/ideas/brainiac/2009/04/the_neuropsycho.html. Retrieved 2009-11-03.
^ Schlozman, Steven. "A Head-Shrinker Studies The Zombie Brain". NPR.org. http://www.npr.org/templates/story/story.php?storyId=114319726. Retrieved 2009-10-31.
^ ^a ^b "Character Profile: Suzaku". absoluteanime.com. http://www.absoluteanime.com/yu_yu_hakusho/suzaku.htm. Retrieved 2009-10-06.
^ ^a ^b Christopher T. Fong (December 2, 2008). "Playing Games: Left 4 Dead". Video game review. San Francisco Chronicle. http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/12/01/DD4R14F77J.DTL. Retrieved 6 October 2009.
^ The Guardian Weekly of 10 July 2009, p.35
^ Perkins, Lori, “Hungry For Your Love: A Zombie Romance Anthology”, October 2009, Ravenous Romance
^ Flood, Alison, The Guardian, "The New Thing In Romantic Fiction: Zombie Love" October 30 2009[1]
^ Waters, Daniel “Generation Dead”, Hyperion Books
^ Perkins, L. “Hungry For Your Love: A Zombie Romance Anthology”, October 2009, Ravenous Romance
^ http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=105896887&blogId=512140794
^ http://osxreality.com/2009/10/16/plants-vs-zombies-vs-evony-parody-ads/
^ Adam Rockoff, Going to Pieces: The Rise and Fall of the Slasher Film, 1978–1986 (Jefferson, N.C.: McFarland, 2002), p.35, ISBN 0-7864-1227-5.
^ "Zombie Movies" in The Encyclopedia of Fantasy, ed. John Clute and John Grant (New York: St. Martin's Press, 1999), p.1048, ISBN 0-312-19869-8
^ Cripps, Charlotte (November 1, 2006). "Preview: Max Brooks' Festival of the (Living) Dead! Barbican, London". The Independent. http://www.independent.co.uk/arts-entertainment/film-and-tv/features/preview-max-brooks-festival-of-the-living-dead-barbican-london-422481.html. Retrieved September 19, 2008.
^ ^a ^b Kim Paffenroth, Gospel of the Living Dead: George Romero's Visions of Hell on Earth. Waco: Baylor University Press, 2006.
^ Andy Fliege (December 5, 2008). "Daily Distraction: UItimate Zombie Weapon". Windy Citizen. http://techloop.windycitizen.com/2008/12/05/daily-distraction-uitimate-zombie-weapon. Retrieved 6 December 2008.
^ Michael Harrison (December 05, 2008). "10 Geeky Gifts for Under $10". Wired. http://blog.wired.com/geekdad/2008/12/10-geeky-gifts.html. Retrieved 6 December 2008.
^ Chalmers, David. 1995. "Facing Up to the Problem of Consciousness", Journal of Consciousness Studies, vol. 2, no. 3, pp. 200-219
^ Colley, Jenna. "Zombies haunt San Diego streets". signonsandiego.com. http://www.signonsandiego.com/news/metro/20070726-9999-1n26zombies.html. Retrieved 2009-10-01.
^ Kemble, Gary. "They came, they saw, they lurched". abc.net. http://www.abc.net.au/news/arts/articulate/200604/s1627099.htm. Retrieved 2009-10-01.
^ Dalgetty, Greg. "The Dead Walk". Penny Blood magazine. http://www.pennyblood.com/zombiewalk1.html. Retrieved 2009-10-01.
^ Horgen, Tom. "Nightlife: 'Dead' ahead". StarTribune.com. http://www.startribune.com/entertainment/dining/31116719.html?elr=KArksD:aDyaEP:kD:aUt:aDyaEP:kD:aUiD3aPc:_Yyc:aULPQL7PQLanchO7DiU. Retrieved 2009-10-01.
^ Dudiak, Zandy. "Guinness certifies record for second annual Zombie Walk". yourpenntrafford.com. http://www.yourpenntrafford.com/penntraffordstar/article/guinness-certifies-record-second-annual-zombie-walk. Retrieved 2009-10-01.

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Translations: Zombie

Top

Dansk (Danish)
n. - zombie, robot, person, der bevæger sig tranceagtigt

Nederlands (Dutch)
levenloos persoon, tot leven teruggebracht dode

Français (French)
n. - (lit) zombie, (fig) automate (péj), mort(e) vivant(e)

Deutsch (German)
n. - Zombie

Ελληνική (Greek)
n. - ζόμπι, βρικόλακας

Italiano (Italian)
zombie, morto ambulante

Português (Portuguese)
n. - cadáver reanimado por vodu (m), zumbi (m)

Русский (Russian)
зомби, тупица, малохольный тип

Español (Spanish)
n. - zombi, muerto resucitado por magia negra, autómata

Svenska (Swedish)
n. - zombie, levande död (vard.), sl. ormgud (enligt voodookulten), sl. romdrink (am.)

中文（简体）(Chinese (Simplified))
巫毒崇拜, 生性怪癖的人, 蛇神

中文（繁體）(Chinese (Traditional))
n. - 巫毒崇拜, 生性怪癖的人, 蛇神

한국어 (Korean)
n. - 죽은 자를 살리는 초자연적인 힘, 무기력한 사람, 기인

日本語 (Japanese)
n. - 蛇神, ゾンビ, ふぬけ, 変人

العربيه (Arabic)
‏(الاسم) جثه يظن انها اعيدت الى الحياة واصبحت شخصا عديم الارادة ( زومبي)‏

עברית (Hebrew)
n. - ‮אדם אדיש ומשעמם, מת שקם לתחייה‬

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Best of the Web: zombie

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Some good "zombie" pages on the web:

Drink Recipe
www.webtender.com

Haitian Mythology
www.pantheon.org

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	undead
	zombie bot (technology)

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		World Mythology Dictionary. A Dictionary of World Mythology. Copyright © Arthur Cotterell 1979, 1986, 2003. All rights reserved. Read more
		Dictionary. The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2007, 2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved. Read more
		Wordsmith Words. © 2009 Wordsmith.org. All rights reserved. Read more
		Britannica Concise Encyclopedia. Britannica Concise Encyclopedia. © 2006 Encyclopædia Britannica, Inc. All rights reserved. Read more
		World of the Body. The Oxford Companion to the Body. Copyright © 2001, 2003 by Oxford University Press. All rights reserved. Read more
		Food Lover's Companion. Food Lover's Companion. Copyright © 2001 by Barron's Educational Series, Inc. All rights reserved. Read more
		Word Origins. The World in So Many Words, by Allan A. Metcalf. Copyright © 1999 by Houghton Mifflin Company. Published by Houghton Mifflin Company. All rights reserved. Read more
		Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/. Read more
		Occultism & Parapsychology Encyclopedia. Encyclopedia of Occultism and Parapsychology. Copyright © 2001 by The Gale Group, Inc. All rights reserved. Read more
		World of the Mind. The Oxford Companion to the Mind. Second Edition. Copyright © Oxford University Press, 2004. All rights reserved. Read more
		Poker Guide. ©2006 SoundPoker.com All rights reserved. Owned and Operated by Poker Interactive Inc. Read more
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		Dream Symbol. The Dreams Encyclopedia. 1995 ©Visible Ink Press. All rights reserved. Read more
		Wikipedia. This article is licensed under the Creative Commons Attribution/Share-Alike License. It uses material from the Wikipedia article "Zombie". Read more
		Translations. Copyright © 2007, WizCom Technologies Ltd. All rights reserved. Read more