Journal articles on the topic 'Monster masks'

Monsters throughout history are always explained in terms of abjection, horror and something to be avoided in order that the system and regulation of society to be restored. Following the dynamic conception of contemporary utopia, the present paper aims at analyzing the monster or the violence in Ahmed Saadawi’s Frankenstein in Baghdad (FB) 2014 in terms of utopian site of hope, freedom and justice. It intends to show in what ways the issue of the “neo-Utopianism” or a desire for grand narratives is addressed in contemporary Iraqi fiction and why this issue is significant in post- postmodern thought. The paper revolves around post-traditional thinking of monster through investigating how a monster is related to a collective desire of hope for better roles in relation to the multiple societal crises. Other than an abject or “Other”, the value of creating such a monster is to introduce a new vision to the reader accomplished with the hope and salvation instead of the fragile spirit that comes from the postmodern failure and destruction. Within this conception the paper unfolds three routes that explicitly address a utopian desire: the body, the name and the aim or the message. The article, moreover, uncovers a new dimension of monstrosity in Iraqi literature which marks a shift from postmodernism to new era characterized by a utopian revival. The paper concludes that the monster is given a new voice and vision to be accepted in symbolic order unlike its traditional image in Gothic literature, one to speak about horror or monstrosity.

ABSTRACT Dermoid cyst in postmenopausal women is a rare entity. It is seen most commonly in young reproductive age group. It constitutes about 10 to 20% of all ovarian tumors in pregnancy. Chance of malignancy is about 1-2%, torsion is common. Here, we have presented an unusual case of dermoid cyst in a postmenopausal woman who presented with complaints which were not directly related to the cyst. A 16-week mass per abdomen was not bothering the patient at all, rather she presented in the OPD with a mass coming out per vaginum, which was a third degree uterocervical descent. Patient was posted for vaginal hysterectomy and the cyst was removed perabdominally.

We report on the first ALMA observation of the CO(3−2) and rest-frame ∼340 GHz continuum emission in PDS 456, which is the most luminous, radio-quiet QSO in the local Universe (z ≃ 0.18), with a bolometric luminosity LBol ∼ 1047 erg s−1. ALMA angular resolution allowed us to map scales as small as ∼700 pc. The molecular gas reservoir traced by the core of the very bright CO(3−2) emission line is distributed in a compact rotating disk, with a size of ∼1.3 kpc, seen close to face-on (i ∼ 25 deg). Fast CO(3−2) emission in the velocity range v ∈ [ − 1000, 500] km s−1 is also present. Specifically, we detect several blue-shifted clumps out to ∼5 kpc from the nucleus, in addition to a compact (R ≲ 1.2 kpc), broad emission component. These components reveal a galaxy-wide molecular outflow, with a total mass Mmolout ∼ 2.5 × 108 M⊙ (for an αCO = 0.8 M⊙ (K km s−1 pc2)−1) and a mass outflow rate Ṁmol ∼ 290 M⊙ yr−1. The corresponding depletion time is τdep ∼ 8 Myr, shorter than the rate at which the molecular gas is converted into stars, indicating that the detected outflow is potentially able to quench star-formation in the host. The momentum flux of the molecular outflow normalised to the radiative momentum output (i.e. LBol/c) is ≲1, comparable to that of the X-ray ultra-fast outflow (UFO) detected in PDS 456. This is at odds with the expectations for an energy-conserving expansion suggested for most of the large-scale outflows detected in low-luminosity AGNs so far. We suggest three possible scenarios that may explain this observation: (i) in very luminous AGNs such as our target the molecular gas phase is tracing only a fraction of the total outflowing mass; (ii) a small coupling between the shocked gas by the UFO and the host-galaxy interstellar medium (ISM); and (iii) AGN radiation pressure may be playing an important role in driving the outflow.

Terrorism that involves the deliberate release or distribution of biological agents is called bioterrorism. These pathogens are bacteria, viruses, fungi, other microorganisms and their related toxins, insects, and they can be natural or human-modified forms, which are roughly the same way as in biological warfare that can sicken or kill people, livestock, or crops. These high-priority means include organisms or toxins that pose the greatest risk to the public and national security: Anthrax (Bacillus anthracis) Botulism (Clostridium botulinum toxin) Plague (Yersinia pestis). They have the ability to have harmful effects on human health in many ways, from relatively mild allergic reactions to serious medical conditions and even death. Bacillus anthracis, the bacterium that produces anthrax, and is one of the pathogens most likely to be used for biological attacks.Bioterrorism cancausemass deaths, epidemics, medical staff illness, environmental pollution, legal issues, and cause anxiety in the medical community and the wider community (1). Unfortunately, bioterrorism agents are difficult to control and affect military personnel and civilian men, women and children. In the past 100 years, the United States and the international community have experienced various acts of bioterrorism against civilians. The model shows that the economic impact of bioterrorism attacks ranges from an estimated US$477.7 million per 100,000 people exposed (brucellosis scenario) to US$26.2 billion per 100,000 people exposed (anthrax scenario). The possibility of bioterrorism is particularly worrying because it causes disease, death and panic, disproportionate to the resources consumed (2). The purpose of bioterrorism is usually to create fear and / or threaten the government or society in order to obtain political, religious or ideological objectives. Compared to weapons like explosives, it can have a unique impact on society. Depending on the situation, wear a mask to reduce inhalation or spread of bacteria. If you have been in contact with biological agents, remove and store your clothing and personal things. Follow official instructions for disposing of contaminated items. Wash with soap and water and put on clean clothes. Bioterrorism agents can be spread through the air or into food or water, and are extremely difficult to detect. The outbreak of biological weapons’ diseases may lead to the extinction of endangered wild animal species, the erosion of genetic diversity of domesticated animals and plants, and the destruction of traditional human livelihoods (3). Symptoms of exposure to biological agents may include sore throat, fever, blurred vision or diplopia, rash or blistering, exhaustion, slurred speech, confusion, muscle weakness, nausea, abdominal pain, vomiting, diarrhoea, and cough. The occurrence of a weapon attack may be impossible, but planning and preparation can greatly reduce the death and suffering caused by it. Only 16 countries plus Taiwan possess or presumably possess biological weapons programs: Canada, China, Cuba, France, Germany, Iran, Iraq, Israel, Japan, Libya, North Korea, Russia, South Africa, Syria, and the United States. Britain and the United States. The way to deal with such threats is through international law and carefully negotiated treaties and verification mechanisms. An important protection measure against biological weapons is currently being negotiated in Geneva. Available protective equipment includes respiratory protection devices, full-face protective masks and surgical masks for respiratory protection, combat suits, protective gloves, and skin-protecting boots. Full protection is required when the agent is not recognized. The inherent characteristics of biological agents that affect their potential for use as weapons include: virulence; toxicity; pathogenicity; incubation period; transmissibility; lethality and stability. Now regarding the COVID19 pandemic, there is a game of blame between the two superpowers, the United States and China. It is not clear whether the spread of COVID19 is intentional or unintentional, whether it is a natural virus threatening the world or an artificial virus. Two conspiracy theories about the origin of COVID19 are widely circulated in China and the West, one accusing the United States and the other accusing the higher-level biological containment laboratory in Wuhan, the epicentre of the pandemic (4). However, this has caused pain, death, mental distress, depression, and billions of dollars in treatment and vaccine costs all over the world. This whole process reminds us of Frankenstein's sci-fi monster. The moral lesson learned from this is that people need to blend in and feel connected to others in order to survive. In addition, humans must carefully consider the cost of scientific progress.

ABSTRACTThe unrest in London during the ‘Exclusion Crisis’ filled Charles II with fear and foreboding of a new civil war. Yet although recent research has highlighted the important role played by the capital's inhabitants in the period, the evidence available for studying the groups of radicals involved has been sketchy and fragmentary. This article uses a new source, in the form of a mass petition, signed by almost 16,000 citizens, which was presented to the king in January 1680. It offers a unique opportunity to measure public opinion during one of the most turbulent periods of the Restoration, and to test assumptions about the character of the opposition to the king. After a discussion of the aims and conduct of the campaign, a prosopographical study of some of the most readily identifiable signatories provides the basis for a detailed examination of the political, religious, geographical, economic and social dimension of the petition. Finally, London's popular reaction to national politics is considered in terms of its effectiveness in altering royal policy, and its impact on the rest of the country.

We review the construction of monsters in classical general relativity. Monsters have finite ADM mass and surface area, but potentially unbounded entropy. From the curved space perspective, they are objects with large proper volume that can be glued on to an asymptotically flat space. At no point is the curvature or energy density required to be large in Planck units, and quantum gravitational effects are, in the conventional effective field theory framework, small everywhere. Since they can have more entropy than a black hole of equal mass, monsters are problematic for certain interpretations of black hole entropy and the AdS/CFT duality. In the second part of the paper we review recent developments in the foundations of statistical mechanics which make use of properties of high-dimensional (Hilbert) spaces. These results primarily depend on kinematics — essentially, the geometry of Hilbert space — and are relatively insensitive to dynamics. We discuss how this approach might be adopted as a basis for the statistical mechanics of gravity. Interestingly, monsters and other highly entropic configurations play an important role.

In this period of politically correct regard for cultural difference it is easy to overlook the unifying effect on human experience of modernity's cultural boundary-jumping. In the following essay Peter Musolf compares Oscar Wilde's The Importance of Being Earnest with Yukio Mishima's 1954 kabuki play Iwashiuri Koi no Hikiami (The Sardine Seller), focusing on the belief these writers shared in the sovereignty of illusion over fact and their consequent conviction that life is to be lived as if it were a dramatic fiction. Taken together with Mishima's novel Confessions of a Mask, the plays comprise a remarkable ironic commentary on the nature and construction of being in the modern world. Peter Musolf is a teacher and writer living in Yokohama. Gozira to wa nani ka, his book on the science fiction screen monster Godzilla in US-Japanese mass psychology, appeared earlier this year, and he is currently writing a play.

AbstractDetecting the seed black holes from which quasars formed is extremely challenging; however, those seeds that did not grow into supermassive should be found as intermediate-mass black holes (IMBHs) of 100 – 105 M⊙ in local dwarf galaxies. The use of deep multiwavelength surveys has revealed that a population of actively accreting IMBHs (low-mass AGN) exists in dwarf galaxies at least out to z ˜3. The black hole occupation fraction of these galaxies suggests that the early Universe seed black holes formed from direct collapse of gas, which is reinforced by the possible flattening of the black hole-galaxy scaling relations at the low-mass end. This scenario is however challenged by the finding that AGN feedback can have a strong impact on dwarf galaxies, which implies that low-mass AGN in dwarf galaxies might not be the untouched relics of the early seed black holes. This has important implications for seed black hole formation models.

Abstract BACKGROUND AND OBJECTIVE: Nonfunctioning and functioning pituitary tumors can present in numerous ways. They may be difficult to diagnose correctly and, even with proper treatment, may lead to complications. METHODS: We present the case of a patient who presented with a large, invasive sellar mass and underwent both medical and surgical treatment for this lesion. The patient's course did not progress as was expected from his initial workup. RESULTS: The patient's history, physical examination, laboratory values, pathologic specimens, and radiologic findings are discussed. His management before, during, and after medical therapy and surgery is reviewed by pituitary experts from 2 different institutions. Aspects of diagnosis and management of sellar lesions are presented and reviewed in the literature. CONCLUSION: Neurosurgeons frequently treat patients with sellar lesions and should remember that despite modern laboratory, pathologic, and radiologic techniques, the diagnosis and treatment of these lesions is not always clear.

ABSTRACT 4C 71.07 is a high-redshift blazar whose optical radiation is dominated by quasar-like nuclear emission. We here present the results of a spectroscopic monitoring of the source to study its unbeamed properties. We obtained 24 optical spectra at the Nordic Optical Telescope and William Herschel Telescope and 3 near-infrared spectra at the Telescopio Nazionale Galileo. They show no evidence of narrow emission lines. The estimate of the systemic redshift from the Hβ and Hα broad emission lines leads to zsys = 2.2130 ± 0.0004. Notwithstanding the nearly face-on orientation of the accretion disc, the high-ionization emission lines present large broadening as well as noticeable blueshifts, which increase with the ionizing energy of the corresponding species. This is a clear indication of strong ionized outflows. Line broadening and blueshift appear correlated. We applied scaling relationships to estimate the mass of the supermassive black hole from the Balmer and C iv lines, taking into account the prescriptions to correct for outflow. They give $M_{\rm BH} \sim 2 \times 10^9 \, M_\odot$. We derived an Eddington luminosity $L_{\rm Edd} \sim 2.5 \times 10^{47} \rm \, erg \, s^{-1}$ ∼ Ldisc, and a broad-line region (BLR) luminosity of $L_{\rm BLR} \sim 1.5 \times 10^{46} \rm \, erg \, s^{-1}$. The line fluxes do not show significant variability in time. In particular, there is no line reaction to the jet flaring activity detected in 2015 October and November. This implies that the jet gives no contribution to the photoionization of the BLR in the considered period.

Fetus acardius amorphous is a rare fetal malformation, lacking a functional heart and bearing no resemblance to human embryos. The main differential diagnosis is with placental teratoma and is based on the degree of skeletal organization and umbilical cord formation. A 27-year old woman delivered a healthy newborn at 36 weeks gestation. An oval well defined mass, covered with normal looking skin, was connected to the placenta with a thin walled vessel. X-ray examination of the mass revealed the presence of vertebral column. Histopathologic examination demonstrated the presence admixture of tissues including neural tissue, osteoid, cartilage, muscle, fat etc. beneath the skin. The rarity of fetal monsters without a functioning heart is emphasized.

This article engages with communities that invite monstrous characters to come to life and invade three-dimensional spaces through real-life bodies. Through focus group interviews with participants in live action role-play (LARP) and zombie walks in Stockholm, this text explores the ways in which participants engage in physical encounters with monstrosity and the surrounding narrative worlds. First, I address how monstrous corporeality not only functions as fiction or escape but most concretely taps into contemporary discourses connected to corporeal change. Through Butler’s performativity and becoming and in connection with discourses of makeover culture, I argue that both LARPs and walks function as both performances and performative acts in which demands connected to idealized corporeal transformation may be concretized,reenacted and renegotiated. Second, the monstrous body here functions simultaneously as an embodied narrative device and a medium. Participants compare the emotional and physical experience of LARPing and zombie walking to that of consuming popular cultural texts in horror or thriller films and television. However, an aspect of zombie walks and LARPs is the concrete physical transformation of those who participate. Furthermore, the use of masks, clothing and jewelry all add tactile dimensions to (or enhance these dimensions in) an embodied experience of a story-world of monsters.

We present the explicit commutator algebra of integrated vertex operators for all states of the bosonic string in 26 dimensions. When the momenta belong to the unique even self-dual lattice Π25,1, this is the Monster Lie algebra M∞ of Borcherds, Conway, Queen and Sloane, containing all other rank 26 Lorentzian algebras. In a string theory process 1 + 2 → 3, the on-shell momenta q1, q2 and q3 are necessarily restricted to an even lattice L in R25,1 as a result of the fact that [Formula: see text]; hence Lorentzian algebras such as M∞ may be expected to be of direct relevance to string theory. We formulate and verify up to the fourth mass-level [Formula: see text] the conjecture that the on-shell amplitude A(1 + 2 → 3) and the structure constant f123 of M∞ are identical. We briefly compare the implication that space-time may have an underlying discrete structure corresponding to Π25,1 with similar recent suggestions by Klebanov and Susskind, Polchinski and others.

AbstractFlares we observe on stars in white light, UV or soft X-rays are probably harbingers of coronal mass ejections (CMEs). If we use the Sun as a guide, large stellar flares will dissipate two orders of magnitude less X-ray radiative energy than the kinetic energy in the associated CME. Since coronal emission on active stars appears to be dominated by flare activity, CMEs pose a quandary for understanding the fraction of their energy budget stars can spend on magnetic activity. One answer is magnetic suppression of CMEs, in which the strong large-scale fields of active stars entrap and prevent CMEs unless their free energy exceeds a critical value. The CME-less flaring active region NOAA 2192 presents a possible solar analogue of this. Monster CMEs will still exist, and have the potential to ravage planetary atmospheres.

AbstractThe rise of crack cocaine in the late 1980s propelled the war on drugs. The experience of Canton, Ohio, shows how the response to crack solidified mass incarceration. A declining industrial city of 84,000 people in northeast Ohio with deep-seated racial divides, it was overwhelmed by aggressive, enterprising crack dealers from outside the city. In response, politicians and residents united behind the strategy of incessant arrests and drastic prison sentences. The law-enforcement offensive worsened conditions while pursuing African Americans at blatantly disproportionate rates, but few people engaged in reframing the drug problem. Instead, a punitive citizenry positioned punishment as the principal remedy. The emergency foreclosed on more comprehensive assessments of the city’s tribulations, while the criminal justice system emerged as the paramount institution.

Harley Quinn as she is represented in the film Suicide Squad directed by Ayers (2016) marks a dramatic and provocative departure from the manner in which she was originally cast in the DC Comics Batman: The Animated Series (1992) and Mad Love (1994). Depicted as an anti-hero in a dysfunctional relationship with The Joker, she is now transformed into a deviant and defiant super-villain in the film. Gone is her harlequin costume to be replaced with fishnets, blue and red velvet hot pants with red brassiere and high-top Adidas sneakers with heels. Although Quinn has been represented as heterosexual and stereotypically feminine there has always been a queer subtext operating. This article will examine the pornification and queering of Harley Quinn, through dress codes and appearance. It will argue that visual signifiers of femininity challenge notions of gender and sexuality and fold heterosexuality back upon its historical imperatives and conventions.

AbstractDetective fiction counts amongst the most successful literary products that the metropolitan west has exported to the world periphery. Between the end of the nineteenth century and the outbreak of the Second World War the genre acquired a global presence – both in the form of translations of existing works such as the Sherlock Holmes stories, and in the form of numerous indigenous adaptations. This kind of literature represented a prime example of the mass-produced and mass-circulated print entertainment that was part and parcel of the emergence of mass consumption as a social form. Detective fiction was, thus, both a carrier and an expression of modernity. While some literary theorists have pointed to longstanding historical antecedents, detective fiction would not have made sense in earlier historical epochs. The principles of scientific enquiry permeate the genre throughout, not just in terms of the ubiquitous magnifying glasses, finger-prints and assorted scientific apparatuses, but in terms of the subject matter itself – the fact that it is possible to make sense of an increasingly confusing world by uncovering hidden causal connections through rational enquiry.

Michael Ondaatje's second collection of poems, Rat Jelly (1973), is a crucial transitional work that simultaneously consolidates the early promise and achievement of The Dainty Monsters (1967) and The Collected Works of Billy the Kid (1969), articulates Ondaatje's early poetics in a handful of ambitious, sometimes almost allegorical lyrics, and in two of its poems,'Letters and Other Worlds' and 'Burning Hills,' anticipates Ondaatje's turn in the late 1970s and early 1980s towards his Sri Lankan past as a central concern in his poetry and prose. Though the collection contains some of Ondaatje's finest lyrics, it also marks the end of what might be called the modernist phase of his development as a poet, the phase in which one might still hear echoes of Edwin Muir or Wallace Stevens.

To explore Jean-Bertrand Aristide’s rise from obscure rural Haiti to become the nation’s first democratically elected president—by a landslide—is to enter into a world and a swirl of events that reads like surreal fiction or magical realism. As a Catholic priest (Salesian order), Aristide was fueled by the religio-socialist principles of liberation theology, which emerged as a significant force in Latin America primarily in the 1970s and 1980s, forcefully and vocally advocating for the masses of Haitian poor mired in deeply-entrenched disenfranchisement and exploitation. As a charismatic spokesperson for the popular democratic movement in Haiti during an era of entrenched dictatorship and repressive violence, Aristide boldly confronted the “four-headed monster” of the Haitian power structure—the army, the church hierarchy, the tontons macoutes, and the wealthy elite. His seemingly impossible escape from multiple assassination attempts, together with the power of his colorful rhetoric and his close association with urban slum dwellers and rural peasants, led to a rising “flood” (or lavalas) that invested him with an aura of Spirit, or mistik, that in either/both the Haitian-embraced tradition of Christianity or vodoun (voodoo) served to energize and greatly reassure an intense mass movement arrayed against seemingly impossible odds. This article focuses on the rise of Aristide as the embodiment and voice of Spirit among the people and does not extend into his tumultuous secular years in and out of the presidency, having been twice the victim of coups (1991 and 2004); instead it focuses primarily on the years 1985–1990 and does not enter into an assessment of Aristide as president. Aristide’s own vivid narratives of this time, segments of his sermons, and later, passages of his poetry serve to bolster the literary quality or interpretation of this brief but vividly colorful historic epoch in the Haitian experience.

An important aspect of Julian Cobbing's radical critique of the ‘mfecane’ as the pivotal concept of the history of southern Africa in the nineteenth century is the claim that the image of Shaka-as-monster was an ‘alibi’ invented by Europeans in the 1820s to mask their slaving activities. Reconsideration of this claim reveals that it is based on the misuse of evidence and inadequate periodisation of the earliest representations of Shaka. Examination of the image of Shaka promoted by the Port Natal traders in the 1820s reveals that, with two highly specific exceptions which were not influential at the time, the traders' presentation of Shaka was that of a benign patron. It was only in 1829, after the Zulu king's death, that European representations began to include a range of ‘atrocity’ stories regarding Shaka. These were not invented by whites but drew on images of Shaka already in place amongst the African communities of southern Africa. These contemporary African views of Shaka and the ways in which they gave shape to the European versions are ignored by Cobbing, and this contributes to his failure to come to grips with past myth-making processes in their fullest complexity.

accepting furet’s claim that events acquire meaning and significance only in the context of narratives, this article argues that a particular type of international relations narrative has emerged with greater distinction after the traumatic experience of september 11: the gothic narrative. in a sense the political rhetoric of president bush marks the latest example of america’s fine tradition in the gothic genre that began with edgar allan poe and nathaniel hawthorne and extends through henry james to stephen king. his discourse of national security, it will be shown, assumes many of the predicates of gothic narratives. the gothic scenes evoked by bush as much as poe involve monsters and ghosts in tenebrous atmospheres that generate fear and anxiety, where terror is a pervasive tormentor of the senses. poe’s narratives, for example, turn on encounters with dark, perverse, seemingly indomitable, forces often entombed in haunted houses. similarly, bush’s post-september 11 narratives play upon fears of terrorists and rogue states who are equally dark, perverse and indomitable forces. in both cases, ineffable and potently violent and cruel forces haunt and terrorise the civilised, human world.

Solomon and Saturn II, the second verse dialogue between Solomon and Saturn in Cambridge, Corpus Christi College 422, has long enjoyed a rather dubious reputation as an exotic work. In part, the poem suffers a guilt by association with the two other Solomonic dialogues in the manuscript, both of which are fanciful treatments of the powers of the Pater Noster. Kemble's 1848 edition of Solomon and Saturn II formed part of an ambitious survey of the sources and analogues of the later, Latin Solomon and Marculf dialogues. Although the subject matter of Solomon and Saturn II ranges widely from bizarre monsters to proverbial wisdom, Menner's 1941 edition influenced the modern reception of the work by presenting the poem in a predominantly ‘oriental’ context. Menner's learned introduction to both the Solomon and Saturn verse dialogues focused on the mass of exotic legends associated with Solomon. In his opinion, both Solomon and Saturn poems were ‘dependent on lost Solomonic Christian dialogues in Latin’.

Electronic media has a powerful impact on everyone’s life today, particularly younger generation of students. They are addicted to electronic media especially the ‘monster’, Internet, mainly through mobile phones. They are totally immersed in the mobile phones being unaware of what is happening around them at that particular moment. Recently, we came across students who played deadly online games like ‘The Blue Whale Challenge’ and ‘Momo’ which ended in taking the life of students. This could have been avoided if the students had avoided the use of internet and if their parents were “media literate”. This was the background of this proposal. The students should spend more time on studies so that they can score good marks, improve their knowledge and understand about the society. The students should be aware of what is happening in and around the society they live in. This can be done by reading daily newspapers and most importantly electronic media like Television, Radio and internet connected mobile phones in a purposeful way. The social problems like honor killings, gender inequality, sanitation and cleanliness, pollution etc and their happenings are easily and quickly available to them. The students should use this opportunity and update themselves and analyze the good and bad effects of each. This proposal studies the impact of electronic media in relation to social awareness among high school students in Coimbatore District.

THE BODY OF A WAR CRIMINAL: VISUAL REPRESENTATIONS OF ARTHUR GREISER’S TRIAL AND EXECUTIONThe essay depicts the representations of the public image of Arthur Greiser, the Governor of Reichsgau Wartheland and a war criminal, tried and sentenced to death in post-war Poland in 1946. The author analyzes visual sources, such as photographs and films. The post-war images of Arthur Greiser suggest a different figure of the Nazi leader who tried to create his own, well-considered public image as a beginner member of the Nazi party, and later — as the leader of an occupied territory. The Polish discourse, as the anti-war and anti-Nazi one, broke the majestic and proud figure of Greiser, presented him as a ruthless war criminal responsible for persecutions and genocide, an unhuman being without compassion and a monster with specific physiological features. Simulta-neously, the official mass media rhetoric and visual narratives strived to take over the body of Greiser, deprived him the right to dispose of it. The author describes and interprets the pictures of the trial and execution where Greiser is considered as the accused and a dead body/corpse. The visual representations uncover the practice of subjugating the perpetrator’s body in public discourse, as well as the social behaviour and attitudes in the liberated communist country.

In this article, I explore the interconnection between Putin’s politics of re-Stalinization, historical memory, and a specific version of the post-Soviet neo-medievalism. I show that re-Stalinization is a mass movement that is grounded in the unprocessed memory of Soviet crimes and atrocities. The popular myth of the “Great Patriotic War” and the myth of Stalinism as the Golden Age exploited by Putin’s memory politics became a gold mine for Putin’s kleptocracy. I argue that re-Stalinization and the Kremlin-sponsored ideology of Eurasianism represents two interrelated trends of a complex ideological process. Eurasianism combines Soviet denial of individuality with the idea of a state-dependent patriarchal society and Russian historical messianism. It glorifies the reign of Ivan the Terrible and Stalin. The ‘medievalist’ discourse of Eurasian ideologists, which advocates a return to the medieval society of orders, on the one hand, and the Gothic monsters populating post- Soviet film and fiction, on the other, creates a political language that expresses new attitudes to people in post-Soviet Russia. They depict a new social contract that reconsiders the modern concept of citizenship, and creates a social basis for the criminalization and militarization of Russian society.

AbstractThe largely unfettered realm of hardware and software code offers limitless possibilities in expanding the use and influence of information and communication technologies. As transcendent technologies they are unrestrained by the divergent equivalence of human categories of difference such as gender, race and class, or conceptual binary oppositions such as good/evil, happy/sad, freedom/oppression. Whilst a material grounding in earlier forms of embodied social experience remains an essential precondition of interaction with virtual systems, it is suggested that the virtual world is in the process of transforming the real world or, at least, subordinating it as slave to the machine world. This shift has fostered an imbalance of power between human and the posthuman, and consequently the epoch of the machine is often alleged to be both modern miracle and monster. Just as at a human level, rational thought processes restrain ideas which are unruly and require control, ICT advancements have proliferated to the point where these technologies also need to be classified, constrained where necessary, and diluted into the real world in real time. In this current climate of endless technological transformation, along with the growth of mass surveillance technologies together with the expansion of regulatory state powers, it is clear that any further innovations cannot be left to market forces without first considering the groundwork for the development of an appropriate monitoring mechanism. Before an appropriate set of regulatory mechanisms can be explicated, it is first necessary to consider the nature of the evolving transgressive human–machine relationship and the possible implications for humanity in the modern hypermediated world.

Context. Observed abundances of extremely metal-poor stars in the Galactic halo hold clues for understanding the ancient universe. Interpreting these clues requires theoretical stellar models in a wide range of masses in the low-metallicity regime. The existing literature is relatively rich with extremely metal-poor massive and low-mass stellar models. However, relatively little information is available on the evolution of intermediate-mass stars of Z ≲ 10−5, and the impact of the uncertain input physics on the evolution and nucleosynthesis has not yet been systematically analysed. Aims. We aim to provide the nucleosynthetic yields of intermediate-mass Z = 10−5 stars between 3 and 7.5 M⊙, and quantify the effects of the uncertain wind rates. We expect these yields could eventually be used to assess the contribution to the chemical inventory of the early universe, and to help interpret abundances of selected C-enhanced extremely metal-poor (CEMP) stars. Methods. We compute and analyse the evolution of surface abundances and nucleosynthetic yields of Z = 10−5 intermediate-mass stars from their main sequence up to the late stages of their thermally pulsing (Super) AGB phase, with different prescriptions for stellar winds. We use the postprocessing code MONSOON to compute the nucleosynthesis based on the evolution structure obtained with the Monash-Mount Stromlo stellar evolution code MONSTAR. By comparing our models and others from the literature, we explore evolutionary and nucleosynthetic trends with wind prescriptions and with initial metallicity (in the very low-Z regime). We also compare our nucleosynthetic yields to observations of CEMP-s stars belonging to the Galactic halo. Results. The yields of intermediate-mass extremely metal-poor stars reflect the effects of very deep or corrosive second dredge-up (for the most massive models), superimposed with the combined signatures of hot-bottom burning and third dredge-up. Specifically, we confirm the reported trend that models with initial metallicity Zini ≲ 10−3 give positive yields of 12C, 15N, 16O, and 26Mg. The 20Ne, 21Ne, and 24Mg yields, which were reported to be negative at Zini ≳ 10−4, become positive for Z = 10−5. The results using two different prescriptions for mass-loss rates differ widely in terms of the duration of the thermally pulsing (Super) AGB phase, overall efficiency of the third dredge-up episode, and nucleosynthetic yields. We find that the most efficient of the standard wind rates frequently used in the literature seems to favour agreement between our yield results and observational data. Regardless of the wind prescription, all our models become N-enhanced EMP stars.

What are we to make of the state? According to Hegel, it was the ‘Divine Idea on Earth’. For Hobbes it was an ‘Artificiall Man’. Nietzsche declared it the ‘coldest of all cold monsters’. And for Alexander Wendt it is a ‘person’. Wendt is absolutely serious about this; it is not that the state ‘is like’ a person; it literally is a person; ‘states are people too’. Wendt's literalist take on the state marks a watershed within that broad category of scholars committed to a scientific International Relations. Previous generations of scientifically orientated IR scholars, many of a positivist persuasion, have been happy to personify the state only insofar as this is understood as an instrumental device aimed at facilitating explanation. Talk of a state acting was admissible only as long as it was understood that this implied no ontological commitment to the state possessing any of the properties assigned to it. It may seem ‘as if’ the state acted; it may even seem ‘as if’ states existed. But as David Easton knew only too well, the state was only a ‘ghost in the machine’. A necessary ghost, of course, but a spectral apparition nonetheless. Wendt, whatever one thinks of his treatment of the state, has at least reopened the question of state ontology and state agency.

The article analyzes the mythologization of epic images of heroes and enemies, visual space, plots and motives in the domestic cinema of the Stalinist period. The author notes that due to the availability of plots, sometimes naive, but very expressive imagery, and the vastness of the means of artistic expression, the film language has become one of the most popular metalanguages of Soviet mass culture. The Russian cinema of the 1930s and 1950s is conventionally designated, by analogy with the content of the material embodied, «the heroic epic of Soviet culture», not only at the level of content, but also of form. The transformation of existing images and the introduction of new images into the cultural code of the epic can be interpreted as mythologization, that is, the deformation of meaning, according to R. Barth, in which the appearance of these characters is perceived by the viewer as familiar and organic. In the course of analyzing the films, C. The author comes to the conclusion that many epic concepts of the heroic, folk epic formed the basis of the Soviet mythosystem almost unchanged (images of the cultural hero, monster, enemy). The image of the ruler undergoes transformation, while in the folk epic the ruler can act as an antagonist of the hero, in the Soviet cinema of the Stalinist time the image of the ruler is clearly idealized, often through the introduction of the image of the traitor and the transfer of guilt for the cruelty and mistakes of the ruler to it. Thus, the cultural code of the Russian epics includes an idealized image of the ruler, a characteristic image of an internal enemy, a traitor, relevant to the ideology and internal politics of that time.

Abstract Objectives This study assessed energy drink consumption and high-risk behaviors, including alcohol and drug use, cross-sectionally among participants in three cohort studies—the Nurses’ Health Study 3 (NHS 3), the Growing Up Today Study (GUTS) and GUTS2. Methods Questionnaires, including validated food-frequency questionnaires (FFQs), collected participant demographics, risky behavior, and energy drink consumption data. [The specific question used for energy drink intake read as follows: “Do you drink energy drinks, e.g., Red Bull, Rock Star, Monster (8 oz. can)?” for NHS3, 2010–2019; GUTS, 2011; and GUTS2, 2011.] Following descriptive analysis, multivariable-adjusted logistic regression estimated associations between energy drink consumption and odds of risky behaviors, including pooled odds-ratios (pORs) across all cohorts. Results Of the 46,390 participants this study assessed, ∼13% reported energy drink consumption at least monthly. Risky behaviors associated with energy drink consumption included smoking [pOR: 1.88 (95% CI 1.55–2.29)], having higher body mass index [pORs: 1.31 (95% CI 1.11–1.53) for overweight (25–30 kg/m2) and 1.67 (95% CI 1.34–2.08) for obesity (≥30 kg/m2) compared to <25 kg/m2, respectively], insufficient sleep [pOR: 1.29 (95% CI 1.11–1.50) for <7 hours compared to 7–9 hours], tanning bed use [pOR: 2.31 (95% CI 1.96–2.72)], binge drinking [pOR: 2.53 (95% CI 2.09–3.07)], marijuana use [pOR: 1.49 (95% CI 1.28–1.73)], and use of any illegal drugs (other than marijuana) [pOR: 1.45 (95% CI 1.16–1.81)]. Demographic factors associated with consumption of energy drinks included higher education, which was associated with lower odds of energy drink consumption [pORs: 0.71 (95% CI 0.56–0.91) for bachelor's degree and 0.55 (95% CI 0.40–0.74) for master's degree, compared to no bachelor's degree, respectively], and race/ethnicity [pOR: 4.43 (95% CI: 2.41–8.15) comparing African Americans to non-Hispanic white]. Conclusions Both within and across the cohorts, risky behaviors were associated with higher odds of energy drink consumption. Funding Sources This study was funded via FDA contracts and NIH grants.

The idea of cold, reflected in the folklore picture of the world of the Yakuts is discussed in the article. The relevance of the work is due to the increased interest in the northern (Arctic) topic, in particular, to the issue of perception of cold by indigenous peoples, which has its own characteristics, ancient and late strata. The novelty of the study lies in the fact that for the first time folklore material is more widely covered, a comparison is made with the features of the perception of cold by other peoples; modern transformations are revealed. The author of the article uses texts of different folklore genres as a material for study: epics, legends, mythological stories, folk songs, tales, proverbs and sayings. The semantics of the word tymny (cold), which has figurative meanings with a negative connotation, is described. It was revealed that in the folklore picture of the world of the Yakuts, the cold is represented in the images of Winter and North, the mythological Bull of Winter, the Lower World inhabited by the abaasy monsters, the Aam-Daan cold, astral objects (constellations, planets). It is reported that folklore reflects not only the negative attitude of the Yakuts to cold, but also the ways of their adaptation to harsh climatic conditions. It is established that at present the idea of cold has undergone a transformation, in particular, it has begun to be perceived positively, which is largely due to the influence of modern mass culture, universal literacy, and improvement of living conditions.

The Baird’s tapir (Tapirus bairdii) is an endangered neotropical species which has little field research to guide its conservation efforts. For this reason, the diet and foraging activity of a free ranging female was observed for 286 hrs. from June 1995 to April 1996 in Corcovado National Park, Costa Rica. She consumed 126 plant species (percents: 35.2 vines, 34.1 trees, 15.9shrubs, 14.8 herbs). Three plant genera accounted for 40% of her diet for the entire study: Monstera sp. (Areaceae), Persea sp. (Lauraceae), and Psychotria sp. (Rubiaceae). Her food consisted of 67.0% leaf matter, 18.6% fruit, 11.7% stem, 2.1% bark and 0,1% flower. More fruit and bark were consumed in the wet season and more stem in the dry season. Average time spent feeding was 29.7%, standing chewing 33.4%, moving chewing 7.6%, standing not chewing 5.7%, moving not chewing 20.1% and in social encounters 2.1%. In the wet season more time was spent feeding and chewing while moving and less time moving without chewing. Means for number of paces and bites in ten minute periods were 42,9 and 49,7 respectively. More paces and bites were recorded in the wet season. Average biomass consumed per bite (dry wt.) over a three month period was 3.32 g, for a yearly estimate of 4,307 Kg of dry mass. For an estimate of 200 tapirs in the park, total biomass consumed would be about 861,400 Kg yearly. The tapir is an important mammal in the dynamics of neotropical forests for its roles as keystone browser and potential seed disperser.

Solar space weather events like Coronal Mass Ejections and solar flares are usually accompanied by solar radio bursts, which can be used for a low-cost real-time space weather monitoring. In order to make a standard system, a CALLISTO (Compound Astronomical Low-costLow-frequency Instrument for Spectroscopy in Transportable Observatory) spectrometers, designed and built by electronics engineer Christian Monstein of the Institute for Astronomy of the Swiss Federal Institute of Technology Zurich (ETH Zurich) have been already developed all over the worldsince 2005 to monitor the solar activities such as solar flare and Coronal Mass Ejections (CMEs). Upto date, there are 25 sites that used the same system in order to monitor the Sun within 24 hours. Thisoutstanding project also is a part of the United Nations together with NASA initiated the InternationalHeliophysical Year IHY2007 to support developing countries participating in ‘Western Science’. Beginning February 2012, Malaysia has also participated in this project. The goals of this work is to highlight how does the signal processing of solar radio burst data transfer from a site of National Space Centre Banting Selangor directly to the Institute of Astrophysics Switzerland. Solar activities inthe low region, focusing from 150 MHz to 400 MHz is observed daily beginning from 00.30UT 12.30UT. Here, we highlighted how does the signal processing work in order to make sure that the operation is in the best condition. Although the solar activities have experienced rapid growth recently,high-level management of CALLISTO system has remained successfully manage the storage of data.It is also not easy to maintain the future data seems the number of sites are also growing from time totime. In this work, we highlighted the potential role of Malaysia as one of the candidate site that possible gives a good data and focusing on a few aspects such as optimization, and performance evaluation data and visualization.

The impact of solar activities indirectly affected the conditions of earth's climate and space weather in general. In this work, we will highlight a low cost project, however, potentially gives a high impact through a dedicated long-term and one of the most successful space weather project. This research is a part of an initiative of the United Nations together with NASA in order to support developing countries participating in ‘Western Science’ research. At the beginning of 2007, the objective to monitor the solar activities (solar flares and Coronal Mass Ejections) within 24 hours all over the world has positively turned to reality. Realize how important for us to keep doing a research about the solar bursts, by using the new radio spectrometer, CALLISTO. This research is not only hoping to give a knowledge to the people about how the solar bursts are produced, the characteristics of every type of solar burst at the wide range (45 MHz to 870 MHz) but also the effect of the solar burst toward the Earth. By using the same CALLISTO spectrometer within the 45-870 MHz, designing and leading by Christian Monstein from ETH Zurich, Switzerland, this research project is the one of successful project under ISWI program. Malaysia becomes the 19th countries that involve this research. One of the advantages to start the solar monitoring in Malaysia is because our strategic location as equator country that makes possible to observing a Sun for 12 hours daily throughout a year. We strongly believe that Malaysia as one of contributor of solar activity data through E-CALLISTO network. This is a very good start for developing a radio astronomy in Malaysia.

Words like palimpsest or heterotopia do not belong to the working vocabulary of materials or engineering sciences: they are used in Social Sciences and Humanities (SSH). A palimpsest is a manuscript written on an older document, the text of which has been erased. Heterotopia is a young word forged by Michel Foucault in 1967 to describe a closed space, the boundaries of which mark a discontinuity in terms of behavior: a jail or a monastery are thus a heterotopia. The Circular Economy (CE) is an essential concept in the framework of the ecological transition, pulled by a series of converging economic, ecological and political drivers. It is usually described as the adoption of a circular model of production to replace the “linear model”, but also as the new buzzword to describe material efficiency, the 3-R rule, the zero-waste ideal, the concepts of lean or frugal design or their reformulation by the Ellen Macarthur Foundation, as a societal challenge and an ethical necessity. Materials producers claim that they have been practicing the Circular Economy since long before the expression was ever invented, thus à la Monsieur Jourdain, etc. The point of this paper is to describe the Circular Economy as a palimpsest and as a heterotopia and to use the metaphors, if indeed they are only metaphors, to highlight some of the less obvious features of the CE. A palimpsest is a parchment or a papyrus, which is used several times to support a series of consecutive texts. Secondary raw materials are like a palimpsest, because there are retrieved from a previous life and used again in a second life: a new artefact made from that material is like a new text written on/with this material – a metaphor also used, mutatis mutandis, in expressions like 3-D printing or laser scribing. Some interesting features of the CE pointed out by the metaphor: a the palimpsest can be used several times, like a material can be recycled several times; the concept of the palimpsest posits that the parchment is somehow more important than the text that is written on it, therefore a material is more important than the goods that are made of it; the palimpsest was used before the invention of paper and, similarly, the Circular Economy was the standard model before mass production of cheap consumer goods imposed the so-called “linear model”; a palimpsest keeps a fragmented memory of the past, in the same way as recycled material maintains a link to its past lives, through its composition in tramp elements. Examples of heterotopia are a prison or a cemetery. The Circular Economy defines a space where a particular material/element exists in its various avatars, impersonations and reincarnations and this may tentatively be worked out as a heterotopia. This is a more complex endeavor than discussing the palimpsest metaphor, but a potentially more fruitful one. Foucault has provided criteria defining heterotopia which can help us explore the analogy: particularly the point that such a space is either a space of illusion or a space of perfection. This analysis is original because it hybridizes materials and SSH concepts and thus fits with the exploration of the frontier between materials and society that SAM conferences are concerned about.

Lucha Libre has played an important role in Mexican culture since the late 1950s. The sport became famous mainly due to its masked wrestlers, who incorporated their own family traditions, beliefs and fears into the design of their masks, transforming an ordinary person into a fearless character. After the introduction of the Monsters Cinema in the 1930s, Mexican audiences welcomed and adopted characters like Dracula, Nosferatu, Frankenstein and The Werewolf. The success of Monster Cinema in Mexican culture was based on the integration of national legends and beliefs, placing them in local and identifiable concepts in the Mexican popular imagination. Later, Lucha Libre Cinema mixed with Monster Cinema resulting in the birth of new heroes and myths. These emergent paladins of the Mexican metropolis set the cultural and moral standards of that time and how Mexicans wanted to be perceived. Through an anthropological and historical analysis of Mexican Cinema and Lucha Libre, this paper investigates the main social interaction of male wrestlers who perform as heroes inside the celluloid world and outside of it. We explore how masculinity and the male figure evolves in Lucha Libre Cinema, and the processes that wrestlers have to undergo in order to be able to portray themselves as superheroes of an evolving and fast growing Mexico.

Image 1: Hasbro/Tiger Electronics 1998 Furby. (Photo credit: Author) Introduction Since the mid-1990s robotic and digital creatures designed to offer social interaction and companionship have been developed for commercial and research interests. Integral to encouraging positive experiences with these creatures has been the use of cute aesthetics that aim to endear companions to their human users. During this time there has also been a growth in online communities that engage in cultural production through fan fiction responses to existing cultural artefacts, including the widely recognised electronic companion, Hasbro’s Furby (image 1). These user stories and Furby’s online representation in general, demonstrate that contrary to the intentions of their designers and marketers, Furbys are not necessarily received as cute, or the embodiment of the helpless and harmless demeanour that goes along with it. Furbys’ large, lash-framed eyes, small, or non-existent limbs, and baby voice are typical markers of cuteness but can also evoke another side of cuteness—monstrosity, especially when the creature appears physically capable instead of helpless (Brzozowska-Brywczynska 217). Furbys are a particularly interesting manifestation of the cute aesthetic because it is used as tool for encouraging attachment to a socially interactive electronic object, and therefore intersects with existing ideas about technology and nonhuman companions, both of which often embody a sense of otherness. This paper will explore how cuteness intersects withand transitions into monstrosity through online representations of Furbys, troubling their existing design and marketing narrative by connecting and likening them to other creatures, myths, and anecdotes. Analysis of narrative in particular highlights the instability of cuteness, and cultural understandings of existing cute characters, such as the gremlins from the film Gremlins (Dante) reinforce the idea that cuteness should be treated with suspicion as it potentially masks a troubling undertone. Ultimately, this paper aims to interrogate the cultural complexities of designing electronic creatures through the stories that people tell about them online. Fan Production Authors of fan fiction are known to creatively express their responses to a variety of media by appropriating the characters, settings, and themes of an original work and sharing their cultural activity with others (Jenkins 88). On a personal level, Jenkins (103) argues that “[i]n embracing popular texts, the fans claim those works as their own, remaking them in their own image, forcing them to respond to their needs and to gratify their desires.” Fan fiction authors are motivated to write not for financial or professional gains but for personal enjoyment and fan recognition, however, their production does not necessarily come from favourable opinions of an existing text. The antifan is an individual who actively hates a text or cultural artefact and is mobilised in their dislike to contribute to a community of others who share their views (Gray 841). Gray suggests that both fan and antifan activity contribute to our understanding of the kinds of stories audiences want: Although fans may wish to bring a text into everyday life due to what they believe it represents, antifans fear or do not want what they believe it represents and so, as with fans, antifan practice is as important an indicator of interactions between the textual and public spheres. (855) Gray reminds that fans, nonfans, and antifans employ different interpretive strategies when interacting with a text. In particular, while fans intimate knowledge of a text reflects their overall appreciation, antifans more often focus on the “dimensions of the moral, the rational-realistic, [or] the aesthetic” (856) that they find most disagreeable. Additionally, antifans may not experience a text directly, but dislike what knowledge they do have of it from afar. As later examples will show, the treatment of Furbys in fan fiction arguably reflects an antifan perspective through a sense of distrust and aversion, and analysing it can provide insight into why interactions with, or indirect knowledge of, Furbys might inspire these reactions. Derecho argues that in part because of the potential copyright violation that is faced by most fandoms, “even the most socially conventional fan fiction is an act of defiance of corporate control…” (72). Additionally, because of the creative freedom it affords, “fan fiction and archontic literature open up possibilities – not just for opposition to institutions and social systems, but also for a different perspective on the institutional and the social” (76). Because of this criticality, and its subversive nature, fan fiction provides an interesting consumer perspective on objects that are designed and marketed to be received in particular ways. Further, because much of fan fiction draws on fictional content, stories about objects like Furby are not necessarily bound to reality and incorporate fantastical, speculative, and folkloric readings, providing diverse viewpoints of the object. Finally, if, as robotics commentators (cf. Levy; Breazeal) suggest, companionable robots and technologies are going to become increasingly present in everyday life, it is crucial to understand not only how they are received, but also where they fit within a wider cultural sphere. Furbys can be seen as a widespread, if technologically simple, example of these technologies and are often treated as a sign of things to come (Wilks 12). The Design of Electronic Companions To compete with the burgeoning market of digital and electronic pets, in 1998 Tiger Electronics released the Furby, a fur-covered, robotic creature that required the user to carry out certain nurturance duties. Furbys expected feeding and entertaining and could become sick and scared if neglected. Through a program that advanced slowly over time regardless of external stimulus, Furbys appeared to evolve from speaking entirely Furbish, their mother tongue, to speaking English. To the user, it appeared as though their interactions with the object were directly affecting its progress and maturation because their care duties of feeding and entertaining were happening parallel to the Furbish to English transition (Turkle, Breazeal, Daste, & Scassellati 314). The design of electronic companions like Furby is carefully considered to encourage positive emotional responses. For example, Breazeal (2002 230) argues that a robot will be treated like a baby, and nurtured, if it has a large head, big eyes, and pursed lips. Kinsella’s (1995) also emphasises cute things need for care as they are “soft, infantile, mammalian, round, without bodily appendages (e.g. arms), without bodily orifices (e.g. mouths), non-sexual, mute, insecure, helpless or bewildered” (226). From this perspective, Furbys’ physical design plays a role in encouraging nurturance. Such design decisions are reinforced by marketing strategies that encourage Furbys to be viewed in a particular way. As a marketing tool, Harris (1992) argues that: cuteness has become essential in the marketplace in that advertisers have learned that consumers will “adopt” products that create, often in their packaging alone, an aura of motherlessness, ostracism, and melancholy, the silent desperation of the lost puppy dog clamoring to be befriended - namely, to be bought. (179) Positioning Furbys as friendly was also important to encouraging a positive bond with a caregiver. The history, or back story, that Furbys were given in the instruction manual was designed to convey their kind, non-threatening nature. Although alive and unpredictable, it was crucial that Furbys were not frightening. As imaginary living creatures, the origin of Furbys required explaining: “some had suggested positioning Furby as an alien, but that seemed too foreign and frightening for little girls. By May, the thinking was that Furbies live in the clouds – more angelic, less threatening” (Kirsner). In creating this story, Furby’s producers both endeared the object to consumers by making it seem friendly and inquisitive, and avoided associations to its mass-produced, factory origins. Monstrous and Cute Furbys Across fan fiction, academic texts, and media coverage there is a tendency to describe what Furbys look like by stringing together several animals and objects. Furbys have been referred to as a “mechanized ball of synthetic hair that is part penguin, part owl and part kitten” (Steinberg), a “cross between a hamster and a bird…” (Lawson & Chesney 34), and “ “owl-like in appearance, with large bat-like ears and two large white eyes with small, reddish-pink pupils” (ChaosInsanity), to highlight only a few. The ambiguous appearance of electronic companions is often a strategic decision made by the designer to avoid biases towards specific animals or forms, making the companion easier to accept as “real” or “alive” (Shibata 1753). Furbys are arguably evidence of this strategy and appear to be deliberately unfamiliar. However, the assemblage, and exaggeration, of parts that describes Furbys also conjures much older associations: the world of monsters in gothic literature. Notice the similarities between the above attempts to describe what Furbys looks like, and a historical description of monsters: early monsters are frequently constructed out of ill-assorted parts, like the griffin, with the head and wings of an eagle combined with the body and paws of a lion. Alternatively, they are incomplete, lacking essential parts, or, like the mythological hydra with its many heads, grotesquely excessive. (Punter & Byron 263) Cohen (6) argues that, metaphorically, because of their strange visual assembly, monsters are displaced beings “whose externally incoherent bodies resist attempts to include them in any systematic structuration. And so the monster is dangerous, a form suspended between forms that threatens to smash distinctions.” Therefore, to call something a monster is also to call it confusing and unfamiliar. Notice in the following fan fiction example how comparing Furby to an owl makes it strange, and there seems to be uncertainty around what Furbys are, and where they fit in the natural order: The first thing Heero noticed was that a 'Furby' appeared to be a childes toy, shaped to resemble a mutated owl. With fur instead of feathers, no wings, two large ears and comical cat paws set at the bottom of its pudding like form. Its face was devoid of fuzz with a yellow plastic beak and too large eyes that gave it the appearance of it being addicted to speed [sic]. (Kontradiction) Here is a character unfamiliar with Furbys, describing its appearance by relating it to animal parts. Whether Furbys are cute or monstrous is contentious, particularly in fan fictions where they have been given additional capabilities like working limbs and extra appendages that make them less helpless. Furbys’ lack, or diminution of parts, and exaggeration of others, fits the description of cuteness, as well as their sole reliance on caregivers to be fed, entertained, and transported. If viewed as animals, Furbys appear physically limited. Kinsella (1995) finds that a sense of disability is important to the cute aesthetic: stubby arms, no fingers, no mouths, huge heads, massive eyes – which can hide no private thoughts from the viewer – nothing between their legs, pot bellies, swollen legs or pigeon feet – if they have feet at all. Cute things can’t walk, can’t talk, can’t in fact do anything at all for themselves because they are physically handicapped. (236) Exploring the line between cute and monstrous, Brzozowska-Brywczynska argues that it is this sense of physical disability that distinguishes the two similar aesthetics. “It is the disempowering feeling of pity and sympathy […] that deprives a monster of his monstrosity” (218). The descriptions of Furbys in fan fiction suggest that they transition between the two, contingent on how they are received by certain characters, and the abilities they are given by the author. In some cases it is the overwhelming threat the Furby poses that extinguishes feelings of care. In the following two excerpts that the revealing of threatening behaviour shifts the perception of Furby from cute to monstrous in ‘When Furbies Attack’ (Kellyofthemidnightdawn): “These guys are so cute,” she moved the Furby so that it was within inches of Elliot's face and positioned it so that what were apparently the Furby's lips came into contact with his cheek “See,” she smiled widely “He likes you.” […] Olivia's breath caught in her throat as she found herself backing up towards the door. She kept her eyes on the little yellow monster in front of her as her hand slowly reached for the door knob. This was just too freaky, she wanted away from this thing. The Furby that was originally called cute becomes a monster when it violently threatens the protagonist, Olivia. The shifting of Furbys between cute and monstrous is a topic of argument in ‘InuYasha vs the Demon Furbie’ (Lioness of Dreams). The character Kagome attempts to explain a Furby to Inuyasha, who views the object as a demon: That is a toy called a Furbie. It's a thing we humans call “CUTE”. See, it talks and says cute things and we give it hugs! (Lioness of Dreams) A recurrent theme in the Inuyasha (Takahashi) anime is the generational divide between Kagome and Inuyasha. Set in feudal-era Japan, Kagome is transported there from modern-day Tokyo after falling into a well. The above line of dialogue reinforces the relative newness, and cultural specificity, of cute aesthetics, which according to Kinsella (1995 220) became increasingly popular throughout the 1980s and 90s. In Inuyasha’s world, where demons and monsters are a fixture of everyday life, the Furby appearance shifts from cute to monstrous. Furbys as GremlinsDuring the height of the original 1998 Furby’s public exposure and popularity, several news articles referred to Furby as “the five-inch gremlin” (Steinberg) and “a furry, gremlin-looking creature” (Del Vecchio 88). More recently, in a review of the 2012 Furby release, one commenter exclaimed: “These things actually look scary! Like blue gremlins!” (KillaRizzay). Following the release of the original Furbys, Hasbro collaborated with the film’s merchandising team to release Interactive ‘Gizmo’ Furbys (image 2). Image 2: Hasbro 1999 Interactive Gizmo (photo credit: Author) Furbys’ likeness to gremlins offers another perspective on the tension between cute and monstrous aesthetics that is contingent on the creature’s behaviour. The connection between Furbys and gremlins embodies a sense of mistrust, because the film Gremlins focuses on the monsters that dwell within the seemingly harmless and endearing mogwai/gremlin creatures. Catastrophic events unfold after they are cared for improperly. Gremlins, and by association Furbys, may appear cute or harmless, but this story tells that there is something darker beneath the surface. The creatures in Gremlins are introduced as mogwai, and in Chinese folklore the mogwai or mogui is a demon (Zhang, 1999). The pop culture gremlin embodied in the film, then, is cute and demonic, depending on how it is treated. Like a gremlin, a Furby’s personality is supposed to be a reflection of the care it receives. Transformation is a common theme of Gremlins and also Furby, where it is central to the sense of “aliveness” the product works to create. Furbys become “wiser” as time goes on, transitioning through “life stages” as they “learn” about their surroundings. As we learn from their origin story, Furbys jumped from their home in the clouds in order to see and explore the world firsthand (Tiger Electronics 2). Because Furbys are susceptible to their environment, they come with rules on how they must be cared for, and the consequences if this is ignored. Without attention and “food”, a Furby will become unresponsive and even ill: “If you allow me to get sick, soon I will not want to play and will not respond to anything but feeding” (Tiger Electronics 6). In Gremlins, improper care manifests in an abrupt transition from cute to monstrous: Gizmo’s strokeable fur is transformed into a wet, scaly integument, while the vacant portholes of its eyes (the most important facial feature of the cute thing, giving us free access to its soul and ensuring its total structability, its incapacity to hold back anything in reserve) become diabolical slits hiding a lurking intelligence, just as its dainty paws metamorphose into talons and its pretty puckered lips into enormous Cheshire grimaces with full sets of sharp incisors. (Harris 185–186) In the Naruto (Kishimoto) fan fiction ‘Orochimaru's World Famous New Year's Eve Party’ (dead drifter), while there is no explicit mention of Gremlins, the Furby undergoes the physical transformation that appears in the films. The Furby, named Sasuke, presumably after the Naruto antagonist Sasuke, and hinting at its untrustworthy nature, undergoes a transformation that mimics that of Gremlins: when water is poured on the Furby, boils appear and fall from its back, each growing into another Furby. Also, after feeding the Furby, it lays eggs: Apparently, it's not a good idea to feed Furbies chips. Why? Because they make weird cocoon eggs and transform into… something. (ch. 5) This sequence of events follows the Gremlins movie structure, in which cute and furry Gizmo, after being exposed to water and fed after midnight, “begins to reproduce, laying eggs that enter a larval stage in repulsive cocoons covered in viscous membranes” (Harris 185). Harris also reminds that the appearance of gremlins comes with understandings of how they should be treated: Whereas cute things have clean, sensuous surfaces that remain intact and unpenetrated […] the anti-cute Gremlins are constantly being squished and disembowelled, their entrails spilling out into the open, as they explode in microwaves and run through paper shredders and blenders. (Harris 186) The Furbys in ‘Orochimaru's World Famous New Year's Eve Party’ meet a similar end: Kuro Furby whined as his brain was smashed in. One of its eyes popped out and rolled across the floor. (dead drifter ch. 6) A horde of mischievous Furbys are violently dispatched, including the original Furby that was lovingly cared for. Conclusion This paper has explored examples from online culture in which different cultural references clash and merge to explore artefacts such as Furby, and the complexities of design, such as the use of ambiguously mammalian, and cute, aesthetics in an effort to encourage positive attachment. Fan fiction, as a subversive practice, offers valuable critiques of Furby that are imaginative and speculative, providing creative responses to experiences with Furbys, but also opening up potential for what electronic companions could become. In particular, the use of narrative demonstrates that cuteness is an unstable aesthetic that is culturally contingent and very much tied to behaviour. As above examples demonstrate, Furbys can move between cute, friendly, helpless, threatening, monstrous, and strange in one story. 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The article explores the manufacturing of monsters in video games, using the case of the influential 2007 first-person shooter BioShock, and ‘splicers’—its most numerous, zombie-like enemies. I combine two methodological perspectives on the ‘manufacturing’ of splicers by analyzing [a] the title’s developer commentary and other official paratexts to trace the design of splicers, and [b] the game’s embedded narrative to reconstruct the diegetic backstory of splicers. I argue that video game enemies, including splicers, are ‘computational others’, who may appear human on the level of representation, but whose behavior is machinic, and driven by computational algorithms. To justify the paradoxical relationship between their human-like representation and machinic behavior, BioShock includes an elaborate narrative that explains how the citizens of the underwater city of Rapture were dehumanized and transformed into hostile splicers. The narrative of dehumanization, explored following Haslam’s dehumanization theory (2006), includes [a] transforming splicers into atomized creatures by depriving them of political power and social bonds, [b] creating fungible and interchangeable enemies through splicers’ masks and bodily disintegration, [c] justifying splicers’ blindness to context and their simplistic behavior by portraying them as mentally unstable addicts. The article concludes that all video game enemies are inherently monstrous, and that critique of video game representation should focus on how games fail to make monsters human, rather than how games render humans monstrous or dehumanized.