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"Cover" -- "Contents" -- "Acknowledgements" -- "Notes on Contributors" -- "Introduction" -- "Part I Race" -- "1 Not Irish Enough? Masculinity and Ethnicity in The Wire and Rescue Me" -- "2 Reading and Writing Race in Ireland: Roddy Doyle and Metro Eireann" -- "3 Marching, Minstrelsy, Masquerade: Parading White Loyalist Masculinity as 'Blackness'" -- "4 'Is it for the Glamour?': Masculinity, Nationhood and Amateurism in Contemporary Projections of the Gaelic Athletic Association" -- "Part II Space" -- "5 'Our Nuns are not a Nation': Politicizing the Convent in Irish Literature and Film" -- "6 Fanfic in Ireland: No Country, No Sex, No Money, No Name" -- "7 Widening the Frame: the Politics of Mural Photography in Northern Ireland" -- "8 Tracking the Luas between the Human and the Inhuman" -- "Part III Diaspora" -- "9 Cinematic Constructions of Irish Musical Ethnicity" -- "10 St Patrick's Day Expulsions: Race and Homophobia in New York's Parade" -- "11 Fantasy, Celebrity and 'Family Values' in High-End and Special Event Tourism in Ireland" -- "12 A Mirror up to Irishness: Hollywood Hard Men and Witty Women" -- "Part IV Aporia" -- "13 'Let's Get Killed': Culture and Peace in Northern Ireland" -- "14 Boyz to Men: Irish Boy Bands and Mothering the Nation" -- "15 Quare Theory" -- "16 Camping up the Emerald Aisle: 'Queerness' in Irish Popular Culture" -- "Index" -- "A" -- "B" -- "C" -- "D" -- "E" -- "F" -- "G" -- "H" -- "I" -- "J" -- "K" -- "L" -- "M" -- "N" -- "O" -- "P" -- "Q" -- "R" -- "S" -- "T" -- "U" -- "V" -- "W

Cover -- Contents -- List of Illustrations -- Foreword -- Acknowledgements -- Notes on the Contributors -- Introduction -- Part I: Hunting and Consuming Animals -- 1 'Our sep'rate Natures are the same': Reading Blood Sports in Irish Poetry of the Long Eighteenth Century -- 2 Quick Red Foxes: Irish Women Write the Hunt -- 3 Dennis O'Driscoll's Beef with the Celtic Tiger -- 4 Porcine Pasts and Bourgeois Pigs: Consumption and the Irish Counterculture -- Part II: Gender, Sexuality, and Animals

The Great Famine had a huge impact on the development of journalism and the press, not only in Ireland but internationally. The scale and complexity of the catastrophe forced journalists to find new ways of reporting news, and develop new techniques of interrogation -- including narrating the stories of ordinary people. The work of Irish journalists attracted others from around the world, who travelled to Ireland to see for themselves how such a calamity could take place so close to the center of the world's greatest empire. The Irish Famine was the worst humanitarian disaster of the nineteenth century, and how the press reported it established many of the norms of disaster coverage to this day. --Page [4] of cover

Within popular culture, death is not the end, but instead a space where the dead can exert agency whilst entertaining the consumer. Popular culture enables the dead to be consumed by the living on a mass global scale, actively engaging them with issues of mortality. This book develops the sociological intersectionality between death, the dead and popular culture by examining the agency of the dead. Drawing upon the posthumous careers of the celebrity dead and organ transplantation mythology in popular culture the dead are shown to not be hampered by death but to benefit from the symbolic and economic value they can generate. Meanwhile the fictional dead - the Undead and the dead in crime drama - are conceptualised through morbid sensibility and morbid space to mobilise consumer consideration of mortality and even challenge the public wisdom that contemporary Western society is in death denial and that death is taboo. Death and the dead, within the parameters of popular culture, form a palatable and normative bridge between viewers and mortality, iterating the innate value and hidden depths of popular culture in the study of contemporary society. This book will be of interest to anybody who researches death, popular culture and questions of mortality.