Surm oli päris tihti erotiseeritud, aga on veel huvitavam, et surma erotiseerimine kaasneb selle vägivallaga koos. Veelgi olulisem on see, et kuigi füüsilise armastuse ühendamine surmaga kunstis on igivana, muutub selle negatiivne mõiste XVIII sajandi lõpus positiivseks. Popkultuuris areneb jõudsalt erootilise ehk sensuaalse surma banaliseerimine ja selle tooremaks/robustsemaks muutmine. Heaks näiteks on tuntud filmid vampiiridest - F.W.Murnau "Nosferatu" 1922 1931, Bela Lugosi Dracula rollis, 1943. aasta "Son of Dracula" ja loendamatu hulk sarnaseid surma interpreteerimise versioone on haaranud inimeste südameid. Armastus-külmas-veres (külmavereline armastussest) on uus juhtmõte popkultuuris. Surma armastus on nähtav heavy-metal ja rock muusikas, näiteks kasutavad Guns n'Roses, Metallica, Slayer ja Misfits oma loomingus surma esteetiliselt, nad justkui armastaks ning hooliks sellest/temast. Mõnede muusikaliste kollektiivide esiplaanil on
Latein im Film Ist Ihnen schon einmal aufgefallen, wie viel Latein heutzutage im Fernsehen verwendet wird? Ich möchte es Ihnen anhand dreier Beispiele demonstrieren. Als erstes Beispiel habe ich den Horrorfilm "The Black Cat" von 1934 gewählt, in den Hauptrollen Boris Karloff und Bela Lugosi. Zuerst möchte ich die Handlung des Films erzählen: Die jung verheirateten Joan und Peter Alison fahren in die Flitterwochen. In ihrem Abteil im Zug treffen sie Dr. Vitus Werdegast, dessen Akzent darauf hindeutet, daß er Ungar ist. Werdegast sagt, er sei auf dem Weg zu einem alten Freund. Bei der nächsten Haltestelle steigen sie in einen Autobus um und ein seltsamer Fremder, Thamal, der nie ein Wort sagt, gesellt sich zu ihnen. Der Busfahrer
as a researcher. Drawing on my travel experiences, I blended back into backpacker culture by dressing in somewhat worn casual attire, a practical style common among backpackers in South Asia (Hottola, 2008), socialising with them and moving through daily practices in the 5 same networks of accommodation and eating facilities (see also Davidson, 2005; Sørensen, 2003). Lugosi (2006) notes that communicating one’s research identity to prospective participants is typically abrupt or incremental, lying between overt and covert. Through many conversations with other backpackers over meals or a drink, I was able to avoid approaching strangers abruptly and occasionally established I was speaking to a lifestyle traveller or was subsequently introduced to one. My research was often disclosed early in the unfolding of
one who did not know that). We use the name "Santa Claus" as though it abbreviates a description. A similar example would be that of "Dracula." It is well known that the contemporary use of that name goes back to a real Transylvanian nobleman called "Vlad" (commonly, "Vlad the Impaler," in virtue of his customary treatment of people who had annoyed him). But of course when we now say "Dracula" we mean the fictional vampire created by Bram Stoker and portrayed by Bela Lugosi in the famous movie. 56 Reference and referring Having merely raised the problem, Kripke does not try to patch his account in response, but moves on. Probably the most obvious feature to note is that "Santa Claus" and "Dracula" as we use those names are associated with very powerful stereotypes, indeed cultural icons in the United States. Their social roles are so prominent that they really have ossified into fictional descriptions, in a way that "Jonah" has not even among religious people
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