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Bryan Fanning

feature of debates about the future of the Irish language after independence was that these, by necessity, took place in English. The free Irish people mostly chose to read novels and newspapers in English. Writers as different as Canon Sheehan, Frank O’Connor, James Joyce, John McGahern and Maeve Binchy all wrote about what it was to be Irish in English. People went to the cinema where English became, once the talkies arrived, the language of romance and adventure. Their greatgrandchildren most probably know more about Lord of the Rings or Game of Thrones than the Táin

in Irish adventures in nation-building
Thomas A. Prendergast and Stephanie Trigg

in a way that has the effect of breaking down some of the more formal academic hierarchies and disciplinary distinctions that have often set medieval and medievalism studies at odds with each other. And in a most conspicuous example, the HBO television series Game of Thrones , based on George R. R. Martin’s A Song of Ice and Fire , regularly brings scholars and fans into the immediacy of online

in Affective medievalism
A test case on Noah
Peter Phillips

and thus towards Noah’s internal conversations either with his own doubts or fears, or with his assumptions about religion, family and society. It is precisely this route which both Jordan and Aronofsky take. The raw material of the narrative, of course, is relatively sparse and the key problem (or the key spark to the imagination) with any interpretation of the Noah story might not be how much material there is ( Game of Thrones (HBO, 2011–2019) in either of its dual traditions (novelistic or filmic) springs to mind) but rather how little. Eight verses of

in The Bible onscreen in the new millennium
Richard Lapper

him in December 2020. “Each morro had a boss. It was like Game of Thrones.” 9 Rio de Janeiro’s growth in the west introduced another element into the equation. At the beginning of the 1970s the completion of big road and tunnel projects suddenly opened up transport routes through and around the mountainous Tijuca National Park, triggering the rapid development of a previously wild rural area inhabited by jaguars and alligators. An extensive beachfront suburb called Barra da Tijuca was the focus, but dozens of new favelas providing homes for the construction

in Beef, Bible and Bullets
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Resisting racism in times of national security
Editor: Asim Qureshi

In times of national security, scholars and activists who hail from the communities under suspicion attempt to draw readers and listeners to the complexity of the world we inhabit. For those who campaigned against the SUS law in the 1980s, when young Black men were being routinely stopped in the streets, the wave of counter-terrorism legislation and policy that exists today will be very familiar. Similarly, recent discussions about the impact of drill music in the culture of young Black men has drawn questions around the ways in which they should be securitised, with senior police calling for the use of terrorism legislation against them. In this environment, when those who study and have lived alongside the communities who are at the scrutiny of the state raise questions about the government, military and police policy, they are often shut down as terrorist-sympathisers, or apologists for gang culture. In such environments, there is an expectation on scholars and activists to condemn what society at large fears. This volume is about how that expectation has emerged alongside the normalisation of racism, and how these writers choose to subvert the expectations raised on them, as part of their commitment to anti-racism.

Kerstin Bergman

actually present in Larsson’s novels. 15 See Larsson 2010a : 710 (the dug-up grave) and 724 (Blomkvist finds and saves Salander). 16 I have discussed Larsson’s use of crime fiction genres extensively in Bergman ( 2013 ). BIBLIOGRAPHY Arnold, Martin (2018), Dragon-power: From ancient mythology to ‘Game of thrones’ (London: Reaktion). Beeler, Karin (2006), Tattoos, desire and violence: Marks of

in Tattoos in crime and detective narratives
Determining the methodology
Olivier Corten and François Dubuisson

(1977); Air Force One (1997); Quai d’Orsay (2013); Game of Thrones (2011–14)). 19 See, for example, Michael Ryan and Douglas Kellner , Camera Politica: The Politics and Ideology of Contemporary Hollywood Film ( Bloomington and Indianapolis : Indiana University Press , 1988 ); Douglas Kellner , Cinema Wars. Hollywood Film and Politics in the Bush-Cheney Era ( Chichester : Blackwell , 2010 ); Régis Dubois , Hollywood, Cinéma et idéologie ( Paris : Editions Sulliver , 2008 ); Laurent Aknin , Mythe et idéologie du cinéma américain

in Cinematic perspectives on international law
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David Annwn Jones

.) The questions remain: what is it about Frank Darabond’s apocalyptic zombie TV series or David Benioff and D. B. Weiss’s The Game of Thrones that their promotional teams should ostensibly choose to turn back the clock by presenting their franchises in the form of a medium that was already venerable by the start of the nineteenth century? Why did Heinz Keller, in his chilling meditation on the wars in

in Gothic effigy
Sylvie Magerstädt

outclassing those high-grossing movies in almost every department, save popularity’. On a similar note, Ross Jones (2013) in The Telegraph claimed that the season finale of ‘Spartacus is . . . more action-packed – and more entertaining .  .  . than the hugely popular fantasy series Game of Thrones’. Some of these differences in opinion are no doubt due to the significant developments and change in tone that the series undergoes particularly during the three main seasons that deal with the rise and ultimate fall of Spartacus. I will therefore focus on these three seasons

in TV antiquity
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‘You know nothing, Jon Snow’
Asim Qureshi

he would ask them the same, and because he is Jon Snow I concede and say that I condemn any form of arbitrary execution and violence. I am at pains not to say it in the language he demands – because I don’t want my life and work reduced to the notions of propriety that this White man demands. My life, my work, my ethics are caged through his fears of me, the Other. You know nothing, Jon Snow.3 2 QURESHI PRINT.indd 2 24/09/2020 10:17 INTRODUCTION The famous line from Game of Thrones comes to me after the interview is over. He doesn’t know why this questioning is

in I Refuse to Condemn