Search results

You are looking at 1 - 2 of 2 items for :

  • "Alan Moore" x
  • Literature and Theatre x
  • Manchester Literature Studies x
  • Refine by access: All content x
Clear All
Abstract only
An East End apocalypse
Brian Baker

vicissitudes that are but to us. 2 As in Suicide Bridge , time here has a cosmological dimension, and echoes the emphases on cosmic time and limited human time, attempting to paint on both canvases simultaneously through psychogeography and myth. This explains the time-jumping structure of White Chappell : to explore the continuities of consciousness and ‘force’, the novel grafts the 1970s and 1980s onto the 1880s. Both White Chappell , and Alan Moore and Eddie Campbell’s graphic narrative From Hell (1999), which is clearly indebted to Sinclair

in Iain Sinclair
The Dark Knight and Balder’s descent to Hel
Dustin Geeraert

Eco, ‘ The myth of Superman ’, trans. Nathalie Chilton, Diacritics , 2:1 (Spring 1972), 14–22 (15). See also Mircea Eliade, Myth and Reality , trans. Willard R. Trask (Long Grove: Waveland, 1963). 5 Steve Brie, ‘Spandex parables: justice, criminality and the ethics of vigilantism in Frank Miller’s Batman: The Dark Knight Returns and Alan Moore’s Batman: The Killing Joke ’, in William T. Rossiter and Steve Brie (eds), Literature and Ethics: From the Green Knight to the Dark Knight (Newcastle: Cambridge Scholars, 2010), pp. 203–15 (203). 6 Dennis O

in From Iceland to the Americas