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Monsters of post-Celtic Tiger Ireland
Kieran Keohane
Carmen Kuhling

drochfholla idir a chéile ‘there is bad blood between them’, m ­ eaning a grudge, ill-­feeling, a poisoned relationship. Drochfholla – Dracula – is a condensed metaphor for Anglo-­Irish relations in the nineteenth century; bad blood that courses through the veins and capillaries of a corrupt and corrupting Irish body politic. In this interminable stasis the collective Irish social body is preyed on by new generations of bloodsucking parasites in a never-­ending repetition of the past. The Count, the embodiment of this morbid condition, is the un-­dead vestige of a remote

in From prosperity to austerity
Competing imaginaries of science and social order in responsible (research and) innovation
Stevienna de Saille
Paul Martin

8 Monstrous regiment versus Monsters Inc.: competing imaginaries of science and social order in responsible (research and) innovation Stevienna de Saille, Paul Martin All monsters are undead. Maybe they keep coming back because they still have something to say or show us about our world and ourselves. Maybe that is the scariest part. (Beal, 2014: 10) As new technological domains emerge, so too do promises and warnings about the future they will bring. However, as technology has grown ever more complex, predicting either benefits or risks has become increasingly

in Science and the politics of openness
Neal Curtis

aside the fact that her grandfather is a member of the undead, Tefé’s direct kin consist of a father who is a plant and a human mother, who used a surrogate father for conception. If we also add to this the fact that Constantine had the blood of the demon, Negral, running through him at the time it should also be noted that Tefé is part demon. Couplings and collectives While Animal Man and Swamp Thing exemplify the alternative kinship relations that are an integral part of numerous superhero comics, it is Swamp Thing that also epitomises the perverse couplings

in Sovereignty and superheroes
Auteurship and exploitation in the history of punk cinema
Bill Osgerby

-punk soundtrack (that includes numbers from The Cramps and The Damned), the flesh-eating undead infest the town, forcing a cluster of wastrel punks to hole-up in a mortuary with the blundering warehousemen. Full of dark humour, Return of the Living Dead is a cartoon-like, splattery gore-fest. But lurking beneath the visceral slapstick are pronounced elements of political satire. As Barber observes, the film’s zombies stand (or shamble along) as a neat metaphor ‘for the “old”, “parental”, reactionary conservative citizens – the establishment of the Nixon era coming back from the

in Fight back
Abstract only
Class, locality and British punk
Matthew Worley

. Laing, ‘Interpreting Punk Rock’, Marxism Today (April 1978), pp. 123–8; Laing, One Chord Wonders, pp. 104–5; Savage, England’s Dreaming, pp. 277–9 and pp. 396–9. See also G. Bushell, ‘Night of the Punk Undead’, Sounds (11 July 1981), pp. 26–7, which placed Oi! in the populist tradition of the Sex Pistols, The Clash, Sham 69 and UK Subs, as opposed to the ‘arty school’ of bands such as Magazine, Television and Public Image Ltd.   29 For example, 1977–82 saw mod, skinhead and rockabilly revivals, futurism and new romantics, 2-tone, new pop and the varied permutations

in Fight back