Irish republican media activism since the Good Friday Agreement
Author: Paddy Hoey

Newspapers, magazines and pamphlets have always been central, almost sacred, forms of communication within Irish republican political culture. While social media is becoming the primary ideological battleground in many democracies, Irish republicanism steadfastly expresses itself in the traditional forms of activist journalism.

Shinners, Dissos and Dissenters is a long-term analysis of the development of Irish republican activist media since 1998 and the tumultuous years following the end of the Troubles. It is the first in-depth analysis of the newspapers, magazines and online spaces in which the differing strands of Irish republicanism developed and were articulated during a period where schism and dissent defined a return to violence.

Based on an analysis of Irish republican media outlets as well as interviews with the key activists that produced them, this book provides a compelling long-term snapshot of a political ideology in transition. It reveals how Irish Republicanism was moulded by the twin forces of the Northern Ireland Peace Process and the violent internal ideological schism that threatened a return to the ‘bad old days’ of the Troubles.

This book is vital for those studying Irish politics and those interestedin activism as it provides new insights into the role that modern activist media forms have played in the ideological development of a 200-year-old political tradition.

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Transitioning from film to digital
Ben Lamb

characters as a staple of horror because the genre consistently works through Julia Kristeva’s abject theory. The abject is a sight that reminds one of one’s materiality. Discovering ‘the border’ of one’s ‘condition as a living being’ provokes trauma in the form of ‘a gagging sensation’ and ‘spasms’, causing the ‘forehead and hands to perspire’ (Kristeva 1982 : 3). Creed agrees that in order for society

in You’re nicked
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Distanciation and embodiment
Deborah Martin

-fight in town; Momi’s dip in the dirty pool and careful application of sun cream to her skin; the experiments of Luchi and Momi with sensory perception, especially vision; the experiments of Tali’s daughters with their voices as they sing into a whirring fan. The sticky, swampy world of the film emphasises dirt, bodily fluids, 34 The cinema of Lucrecia Martel odours and the abject. It privileges texture: rumpled sheets, peeling walls, the feeling of shampooing long hair. Images of hands, skin and touch abound. Through texture, smell and touch the film invites an

in The cinema of Lucrecia Martel
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The monstrous feminine as femme animale
Barbara Creed

caesura, it is crucial to an understanding of the workings of patriarchal ideology in cultural discourses. The negative pairing of woman and animal is particularly evident in publications such as the Malleus Maleficarum. In Western patriarchal discourses, woman is associated more with the abject face of nature because of her role as mother of the human species. Like many female animals, she is

in She-wolf
Open Access (free)
Theoretical approaches
Finn Stepputat

feeling of fear by different means, ensuring that it emerges only in particular ruptures and chocks Governing the dead? Theoretical approaches 13 such as those provoked by the encounter with dead bodies. Looking into this encounter and borrowing Bataille’s concept of ‘the abject’, Kristeva (1982) characterises the corpse as the paradigmatic form of the abject, understood as something nauseating and repulsing that causes us to turn away, and from which we seek to distance ourselves: ‘The corpse, seen without God and outside of science, is the utmost of abjection. It

in Governing the dead
Anatomy and the birth of horror in The [First] Book of Urizen
Lucy Cogan

truly living nor wholly dead. In his quest to gain total mastery over the material universe Urizen has debased the scientific foundations of his philosophy to the extent that it generates this irrational contradiction from within. The cognitive dissonance produced by Urizen's birth is reminiscent of the imagery used by Julia Kristeva in outlining her theory of the abject. In Powers of Horror , Kristeva examines the psychic shock caused by an

in William Blake's Gothic imagination
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Fly Away Peter and Harland’s Half Acre
Don Randall

place-claiming, place-defining function, Aboriginality is disturbingly associated with the abject, and begins to function as the organising core of Malouf’s more broad-based portrayal of abjection. The Aborigine first takes shape as modern Australia’s abjected element (that is, the element rendered abject by social and historical forces) during Frank’s Depression-era wanderings, in the episode that concludes the novel’s first section, ‘Killarney’. Frank seeks shelter in the grimmest of all sites symbolising modernity’s failures, an auto junkyard, or in Malouf’s words

in David Malouf
Kimberly Lamm

constitute it. In response, ‘Mama’s Baby’ is a call to develop forms of writing that can move between the repressed disorder of bodily erasure and the recognisable order of hyper-visibility. Spillers argues that the psychic legacies of ungendering need not automatically translate into disorder, nor do they have to be covered over or compensated for with the familiar icons through which black women have been named. Both can be revised. At her essay’s conclusion, Spillers argues not for redeeming or repressing the abjection attributed to the psychic legacies of ungendering

in Addressing the other woman
The Innocent and Black Dogs
Dominic Head

, may not do full justice to the episode. The effect of the dismemberment on Leonard is both profound and ambiguous. It propels him, in fact, into a state that corresponds very closely to abjection, as articulated by Julia Kristeva. For Kristeva, the abject is the horrified response to the threatened collapse of meaning when the distinction between self and other is blurred. A corpse, which instantly reminds us of our own mortality, is Kristeva’s chief example of that which triggers the abject: ‘the corpse, seen without God and outside of science, is the utmost of

in Ian McEwan
The case of Pier Paolo Pasolini
Michael Mack

. Contamination could be defined in terms of the gaze. Pasolini’s aesthetic and ethical notion of scandal makes us see the profane, the threatening other, the abject and or poisonous from a new perspective. Pasolini’s site of scandal is first of all his selfhood, his autobiographical self. It is important not to equate the artistic presentation of Pasolini with Pasolini himself. The author and director Pasolini

in Incest in contemporary literature