Abstract: INTRODUCTION Contemporary Religious Violence Defining Religious Terrorism & Ritualistic Crimes. Categories of Religious Groups. Cult versus Occult. Religious Concepts. Religious Freedom. Ritual. Sacrifice. Crimes Typically Associated with Religious Terrorism and Ritual Violence. Current Trends in Terrorist Weapons. Bioterrorism. Cyberterrorism. Radiological Weapons. Suicide Bombers. Suicide Shooters. TERRORIST RELIGIONS Millennial Religions & Terrorism Millennialism and Related Concepts. Millennial Religious Groups and Law Enforcement. Millennial Classification System. Consulting Religious Scholars. Aum Shinrikyo: A Case Study in Religious Terrorism. Domestic Terrorist Religions Modern Terrorism. Categories of Domestic Terrorism. Domestic Terrorist Religions. Christian Identity. Church of Jesus Christ Christian. World Church of the Creator. Odinism. Lone Wolves and The Phineas Priesthood. Army of God. Recent Trends in Domestic Terrorist Groups. International Terrorist Religions Categories of International Terrorism. Islam and Islamic Beliefs. Islamic Religious Sects. Islamic Fundamental Sects. Wahhabism: The Religion of Osama bin Laden. Islamic Fundamentalist Extremist Groups and Beliefs. Acts of Terrorism against America 1982-2002. Violence against Women. Religious Justifications for Violence. Jihad/Holy War. Istishhad/Martyrdom. OCCULT RELIGIONS Satanism Modern Satanism. Defining Satanism. Categories of Satanism. Religious Satanists. Traditional Satanists. Self-styled Satanists. Youth Subculture Satanists. Anti Satanism. Modern Religious Satanic Groups. Ordo Templi Orientis. Church of Satan. Temple of Set. Satanic Violence. Violent Scripture. Vengeance. Satanic Responses to September 11th. Sacrifice (Ritual Homicide). Satanism on the Internet. Similarities in Satanic and Terrorist Religions. Vampirism Modern Vampires. Vampire Culture. Real Vampires. Vampire Role Players. The Goth Movement. Blood Rituals. Vampire Crimes. The Fetish Scene. Contemporary Vampire Religions. The Sanguinarium. The Temple of the Vampire. The Vampire Church and other Vampire Religious Groups. Vampire Cults. Syncretic Religions Syncretic Belief Systems. Santeria. Santeria Religious Beliefs. Santeria Rituals and Magical Practices. Initiation. Divination. Spirit Possession. Sacrifice. Voodoo. Brujeria. Palo Mayombe. Human Sacrifice. INVESTIGATING RELIGIOUS VIOLENCE Ritualistic Crime Scenes Crime Scene Clues. Symbols. Magical Alphabets. Sacred Texts. Candle Magic. Calendars. Investigatory Strategies. Compiling a Search Warrant. Conducting an Occult Related Investigation. Strategy for Ritualistic Child Abuse Investigation. Crime Scenes. Intelligence Strategies Advantages of Understanding Religious Violence. Law Enforcement Issues. Magical Thinking. Recruitment Techniques. Indoctrination Techniques. Satanic Ritual Abuse. Negotiation Techniques. Prevention. Symbolic Analysis: Ritual Homicide Typology Types of Criminal Profiling. Washington, D.C. Serial Sniper Case Study. Crime Classification. Perpetrators' Motives and Methods. Symbolic Analysis: Ritual Homicide. Typology Categories: Sacrifice, Ritual Murder, Millennial Murder, Holy War, Iconoclasm, VICAP Forms. Glossary of terms Index

Abstract: Drawing on several feminist and anti-racist theorists, 1 use the trope of the vampire to unravel how whiteness, maleness, and heterosexuality feed on the same set of disavowals—of the body, of the Other, of fluidity, of dependency itself. I then turn tojewelle Gomez's The Gilda Stories (1991) for a counternarrative that, along with Donna Harauiay's reading of vampires (1997), retools concepts of kinship and self that undergird racism, sexism, and heterosexism in contemporary U.S. culture.

Abstract: This article presents a phenomenological, Sartrean analysis of sexual relationships as portrayed in the cult TV series Buffy the Vampire Slayer (BtVS). I argue that, through an examination of the differences between vampire and human characters in relationship, we gain an appreciation of the ambiguity of human sexuality as it is experienced. Through the narrative device of sexual relationships between human and vampire characters, BtVS offers a representation that potentially subverts current ideologies of love and sexuality. In addition, BtVS makes visible, although does not explicitly endorse, sadomasochistic sexual practices.

Abstract: This article examines the work of the late-Victorian writer and physician, Arabella Kenealy, whom Bram Dijkstra says is “still a bedrock of our own sense of sexual identity.” Kenealy preached the dangers of excessive exercise and education to woman's true vocation of motherhood. Although motherhood is at the core of nearly every piece – fictional or medico-social – that Kenealy wrote, she was also concerned with the figures who defined the boundaries of motherhood – the pubescent teenager, the “neuter,” and the menopausal woman. In her 1896 story, “A Beautiful Vampire,” published in Ludgate Magazine, Kenealy makes a rare foray into the genre of Gothic fiction in order to highlight the eugenic monstrosity of one such “other,” the ageing woman. “What are you supposed to do? Shrivel up and die?” (in Frueh, 1999) We are proud of the ability of our people, during a quarter marked by major strategic developments, to … deliver strong double digit sales and earnings per share growth. … Global sales of th...

Abstract: After a brief overview of theoretical approaches to the television series Buffy the Vampire Slayer , this article relies on postcolonial theory to analyze the portrayal of the Irish vampire Angel in Buffy , as well as his rivalry with the English vampire Spike Beginning in the twelfth century, the Anglo-Norman conquerors of Ireland had relied on stereotypes of the Irish in order to justify governance of them Introduced in Season 1 of Buffy , the vampire Angel embodies the major cultural stereotypes used by English colonizers to represent their Irish conquests The English vampire Spike, introduced in Season 2, also embodies various cultural stereotypes of the English The subsequent rivalry between Angel and Spike draws on aspects of the Celt/Saxon dichotomy, which was developed during the Victorian era at the height of British colonization to reinforce British claims to power

Abstract: The fourth collection of the original shooting scripts from the hottest show on television The phenomenal success of Buffy the Vampire Slayer is owing to a great extent to the quality of the writing. Robert Hanks, TV critic of The Independent, wrote in September 2000: "One of the most consistently brilliant piece of popular entertainment ever...it mixes these broad emotions with real sadness, shifting from wisecracks to loss, self-doubt and utter loneliness without missing a beat. It would be absurd to compare the show's writing to Shakespeare, but there aren't many other precedents for the way it refuses to observer the conventional divisions between comedy and tragedy." The Observer acknowledged the same qualities: "Pulling off these shifts in tone from humour to horror to high emotion is a tribute to the strength of the writing." The Buffy scripts are as rewarding and as entertaining on the page as they are on screen. Now thanks to Pocket Books' volume-by-volume publication of the complete collected scripts from the show, fans can savour every moment of high emotion or of wisecracking quick-fire dialogue. With the added bonus of the original production notes and scenes that were cut from the final aired episodes for length, these are essential reading for all students of TV scriptwriting and a must for Buffy's devoted legion of fans. SEASON 2 VOLUME 2 contains the following six scripts: Lie To Me: The Dark Age: What's My Line Part 1: What's My Line Part 2: Ted: and Bad Eggs.

Abstract: [1] Two themes stated for season seven of Buffy the Vampire Slayer by series creator and executive producer Joss Whedon were “Back to the beginning” (“Watch”) and “coming to terms with power and sharing it and enjoying it” (Whedon, “Ending”). It is worth noting that these themes were announced in Spring and Summer of 2002, before or just as filming for season seven began: The “back to the beginning” quote comes from an April news story, and at Mutant Enemy’s “Buffy Behind the Scenes” event in June 2002, which was intended to show off the musical episode “Once More with Feeling” (6007) to potential Emmy voters, a fan who attended the event reported that Whedon announced “it was time to get back to what he said was the real theme of the series: the joy of female empowerment and the sharing of that power” (Tague). In an interview with the New York Times just before the final episode of season seven aired, Whedon stated:

Abstract: The tenth part of the Saga of Darren Shan - one boy's terrifying journey from human to half-vampire to Vampire Prince. "If you step through after Harkat, you might never come back. Is your friend worth such an enormous risk?" A terrifying new world, a deadly new challenge for Darren Shan, the Vampire Prince. Darren and Harkat face monstrous obstacles on their desperate quest to the Lake of Souls. Will they survive their savage journey? And what awaits them in the murky waters of the dead? Be careful what you fish for...

Abstract: Ohjaus: Jean Rollin (Ranska, 1982). Arvostelu: Jari Mustonen. Elokuvallaan The Rape of the Vampire (1967) uransa kaynnistanyt Jean...

Abstract: 1 So said a pugnacious president, forty-third in the lengthening history of the United States. Literally this was George W. Bush talking just the other day about retrograde Iraqis, who are not acquiescing in American rule but assassinating American soldiers instead. Mythically this might sound like Dirty Harry from Clint Eastwood movies, growling at a punk to “Make my day!” But because the President comes from Texas, self-consciously mimics horse operas more than other movies, and sometimes appears to treat foreign affairs as a streamlined imperialism of cowboys over Indians, the press and the populace tend to view his administration as a resurrection of the western matinee. This is not exactly wrong, but we can do better.

Abstract: EXCEPT FOR CERTAIN SCIENCE FICTION WORKS, there is perhaps no other genre or author with as many prequels, sequels, and continuations as Jane Austen. The "fan fiction" of the Star Trek franchise, of Xena, or of Buffy the Vampire Slayer is voluminous and overwhelmingly amateurish. Its appeal is to the obsessed fan who can't get enough of a favorite TV show or movie, who is willing to switch from visual media to text, and who wishes to extend his or her experience in a time or place which has never (or never yet) existed. Many Janeites, of course, enjoy the same guilty pleasure. The primary impulse for many writers of Austen fanfic, however, is to illuminate an era that really existed, an era near enough to the present to be understandable but far enough in the past to be somewhat opaque. Wolfgang Muller, in his discussion of intertextual terminology, proposes "to subsume those texts which are inseparably connected with anterior texts and which could never have been written without those preexistent texts under the term derivative literature" (313). Differentiating among several forms, Muller suggests that a "rewrite" is characterized by two artistic procedures: it takes a previous text as a "structural and thematic entity which it never loses sight of," and "the model text is significantly changed, substantially made anew, so that the rewrite gains an identity of its own" (314-15). Rolf Breuer, in an essay on the intertextuality of Austen sequels, substitutes the term "counterfeit" for "rewrite," and clearly distinguishes it from the idea of "sequel." In his view, the counterfeit succeeds through "the re-writing and transforming of a text by taking it out of its historical and aesthetic context and transferring it into the respective present, creating, as it were, the contemporary counterpart of a famous older work." Clueless, a popular film and TV series, interprets Emma Woodhouse as a scheming twentieth-century high school princess named Cher. Bridget Jones's Diary, a hit both as a novel and a film, reimagines Elizabeth Bennet as a thoroughly modern Londoner looking for love and livelihood. Such counterfeits take into account the changing nature of society while never ignoring Austen's insights into human nature. They continue the debate, for example, about the extent of the heroines' liberation, while adding two hundred years of socioeconomic history; they contextualize, for a modern audience, such concepts as primogeniture; they replace unfamiliar barouches and curricles with more meaningful Jeeps and BMWs. Now that Jane Austen "has returned to popular culture" (Greenfield 31) yet another counterfeit Austen should be considered: one in which young and old, attached and unattached, have traded places. Dr. Paula Marantz Cohen has had great fun writing Jane Austen in Boca. The Distinguished Professor of Literature at Drexel University has produced what proves to be yet another remake of Pride and Prejudice. But this time, the players are a lively group of septuagenarian Jewish retirees living in and around the Boca Festa retirement community in Boca Raton, Florida. The idea came to Cohen when she was visiting her in-laws in Boca. "I was struck at the time by the similarity of their retirement community--a very sociable one inhabited by Jewish seniors --to the closed world of the Jane Austen novel. Here too, was a plethora of gossip, visiting, meals and romance (given the number of widows and widowers seeking partners). Jane's 'two of three families in a country village' could easily be translated, I believed, into 'four or five seniors in a Boca Raton club'" (Fernandez 5D). Cohen has convincingly transformed Jane and Elizabeth Bennet and their friend Charlotte Lucas into twenty-first-century seventy-something widows May Newman, Florence Kliman, and Lila Katz. By focusing on the older generation, Cohen makes the social revolution that has taken place since Austen's time immediately obvious to the reader. …

Abstract: Les rkcents rkcits de vampires se sont trouvks &re des terrains trts propices pour la critique fkministe. Duns la figure du vampire qui d@e le dieu mile, on retrouve l'importance de la Dkesse-Mhe pai'mne et du pouvoir de son sang. Ironiquement, Lestat, le vampire des rkcits d'Anne Rice, rejette le sang de la Mtre originelle et cherche la filiation dans la lignie du P2re. Cette rkpudiation du sang maternel est prksente duns plusieurs sctnes chez Anne Rice. Par exernple, l'amitik entre Marius et Lestat, bien qu'elle repose sur u n imaginaire prkodipien de la naissance, est le partage d'un sang oii se joue la souillure et la contamination du sang de la mtre.

Abstract: Strindberg's play The Virgin Bride and the television series Buffy the Vampire Slayer, belong to different genres, the distinctive spheres of high and popular culture and the opposite ends of the 20th century. Nevertheless, they tell a remarkably similar story about women and crime. The analogous experiences of their female characters, Kersti and Faith, as they journey from sexual profligacy to crime to redemption, are testament to a persistent and pervasive association between female sexuality, liberation and crime in modern culture. This is an association that is also found within the criminal justice system—as the work of feminist criminologists has amply demonstrated. As such, The Virgin Bride and Buffy demonstrate the relationship between narratives and imagery in the general consciousness and the conduct of court cases. In doing this, they provide an opportunity to explore more fully the production, meanings and functions of these associations. The location of Kersti and Faith's crimes within overar...

Abstract: Abstract With his move to Los Angeles in 1991 and the shooting of The Mambo Kings (Arnold Glimcher), a shift into English-speaking roles, and his assumption into the hyperbolic imaginary of US show business, Antonio Banderas began for a time to be the most famous of twentiethcentury Spanish actors. Simultaneously he became no longer Spanish but ‘Hispanic’. Interview with a Vampire (Neil Jordan, 1993) denationalized Banderas and translated his adventurous representations of sexuality and his prior associations with contemporary Spanish drug, crime, and youth culture, into a higher perversity.