The current trajectory of the Earth, itself becoming a vast graveyard amidst the ongoing destruction of life-sustaining conditions, is a pressing reality that demands earnest consideration. This thesis is based on the premise that reorienting this necrophiliac tendency requires, in part, a transformation in how we think about mortality and subjectivity. Gesturing towards this fundamental shift, the interdisciplinary investigation here presented delves into the educational potential of death, i.e., education imparted by death, rather than education about death. Its aim is to expand on recent studies dealing with the subject of death in educational philosophy and theory, meanwhile distinguishing itself through a unique theoretical and methodological approach. Situated in the field of philosophy of education, this work also draws on continental philosophy – particularly feminist posthuman theory, queer death studies, and the environmental humanities – and builds on contributions from the arts. Following a research question of my own, this thesis positions death as a critical site of learning, with the aim of questioning its educational value. This approach establishes new ways to reflect on the lessons that death and the dead can offer in the era of the posthuman convergence, as well as the potential responses that may be envisaged in light of these teachings. Against this backdrop, my methodology takes the form of an aesthetic-theoretical provocation, which is itself developed through registers of ‘gesture’ and ‘choreography’ as well as three case studies analysing depictions of death in four contemporary artworks. As such, my methods and styles of thinking with and from death support the exploratory, open-ended, and cross-disciplinary character of the inquiry that brings multiple texts, materials, and ideas into play, while also drawing on the expressions and perspectives of artistic bodies and the aesthetics of knowledge, to expand understandings of death in innovative ways and without immobilising a definition or seeking to lay claim to any particular discipline. Within the choreographic structure of the thesis, I articulate teachings of death around three main intersecting lenses, which I call ‘scenes’: philosophical, educational, and aesthetic-pedagogical. In the first scene, I lay conceptual foundations by elaborating a concept of death in terms of relation. Deploying feminist and posthuman philosophy, I seek to understand death not as an individualising event, but, on the contrary, as one that highlights relationality and the singularity of a life. This proposed conceptualisation defines a model for understanding relations with and of death in which the human individual is not at the centre but entangled in multiple networks of human, more-than-human, and ahuman mortal legacies and assemblages. This philosophical envisioning of death propels the second scene, in which I give attention to the educational implications of the relational approach, including its ethical and political dimensions. Here, I propose to examine death as a source of education that can generate affirmative and ethical modes of subjectivity and relationality, thus challenging the paradigm of modernity’s social and political denials of death. The third scene continues and deepens this reflection by examining the aesthetic aspect of death’s teachings through a pedagogical analysis of four works of art, each featuring a distinct ‘death narrative’. While differing in form and content, these works question various forms of violence, highlighted in their narratives, and the normalisation of certain deaths, often assumed or implicit within the context of entangled, multiple crises that are characteristic of the posthuman convergence. Through their narratives, I examine how each work points toward neglected, irreverent, and novel ways of thinking with death, overturning conventional representations and opening new avenues for pedagogical reflection and action. Overall, this dissertation contends that while education is, and always has been, linked to issues of death, the lessons that death imparts have rarely been incorporated into our lives in a concrete, pedagogical way. This research attempts to address this point, and it moves towards a position where facing up to death is not about negating life, but about deepening our awareness of what constitutes it.