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This book explores a number of Alan Moore's works in various forms, including comics, performance, short prose and the novel, and presents a scholarly study of these texts. It offers additional readings to argue for a politically charged sense of Moore's position within the Gothic tradition, investigates surreal Englishness in The Bojeffries Saga, and discusses the doppelganger in Swamp Thing and From Hell. Radical environmental activism can be conceived as a Gothic politics invoking the malevolent spectre of a cataclysmic eco-apocalypse. The book presents Christian W. Schneider's treatment of the apocalyptic in Watchmen and a reassessment of the significance of liminality from the Gothic tradition in V for Vendetta. It explores the relationship between Moore's work and broader textual traditions, placing particular emphasis on the political and cultural significance of intertextual relationships and adaptations. A historically sensitive reading of From Hell connects Moore's concern with the urban environment to his engagement with a range of historical discourses. The book elucidates Moore's treatment of the superhero in relation to key Gothic novels such as The Castle of Otranto and presents an analysis of the nexus of group politics and survival in Watchmen. The book also engages in Moore's theories of art, magic, resurrections, and spirits in its discourse A Small Killing, A Disease of Language, and the Voice of the Fire. It also explores the insight that his adaptations of H.P. Lovecraft, which are laced with heterocosms and bricolage, can yield for broader understandings of his forays into the occult.

Swamp Thing and the intertextual reader
Michael Bradshaw

At 5:32 this evening you will be impaled by a swordfish. There is nothing to be done. It is written. Selena has already decided not to buy the lawn furniture. Alan Moore, Swamp Thing 1 The practices of intertextual

in Alan Moore and the Gothic Tradition
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Alan Moore’s Swamp Thing and radical ecology
Maggie Gray

You blight the soil … and poison the rivers. You raze the vegetation till you cannot even feed … your own kind … / A … And then you boast … of man’s triumph … over nature. Alan Moore, Swamp Thing 1 Radical

in Alan Moore and the Gothic Tradition
An anatomy of Alan Moore’s doubling strategies
Jochen Ecke

Where heroes and villains differ crucially in Moore’s works, then, is in their reaction to polyphony; whereas the villains will attempt a definitive synthesis, the heroes will always refrain from this attempt. When Moore took up the reins of DC Comics’ Saga of the Swamp Thing from the previous writer Martin Pasko in 1982, he was faced with the task of revising a character

in Alan Moore and the Gothic Tradition
Matthew J. A. Green

exist independently of people, and in places quite devoid of man, there may yet be mythologies. The glaciers have their legends. The ocean bed entertains its own romances. Alan Moore, Swamp Thing 2 Alan Moore’s comics, performance and prose works abound with Gothic tropes and beings

in Alan Moore and the Gothic Tradition
Michael Goodrum and Philip Smith

panel, he descends on her as she screams. Here, then, trauma is not just the effect of war on the men returning from battle, but the effects of the effects, as it were, on the communities to which they return.52 Past violence, the veteran’s experience of PTSD, and the impact of living with someone who has suffered trauma, is, similarly, reflected in the origin of Swamp Thing, who first appeared in DC’s long-running The House of Secrets series (1956–1966, 1969–1978, and then sporadic publication after that as it was incorporated into Neil Gaiman’s Sandman universe

in Printing terror
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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

Markus Oppolzer

Thing , penned while he was still writing V for Vendetta for Warrior ; however, while the Shakespearean intertext in the latter may veer towards melodrama, it steers clear of the sort of pastiche found in the Swamp Thing’s meditation on the death of Arcane. 30 Free from irony, V’s self-conscious literary inheritance does not so much open a gap between narrative and

in Alan Moore and the Gothic Tradition
Unearthing the uncanny in Alan Moore’s A Small Killing, From Hell and A Disease of Language
Christopher Murray

Alan Moore’s early work in the 1980s, such as Captain Britain , Marvelman and Swamp Thing , earned him a reputation as a clever innovator, producing reinventions of old characters, subverting their histories, remoulding them as ‘realistic’ or adding shades of characterisation uncommon in comics. In this sense he was a ‘resurrection man

in Alan Moore and the Gothic Tradition
The Gothic imperative in The Castle of Otranto and ‘For the Man Who Has Everything’
Brad Ricca

1985, midway through his run on Swamp Thing . Though Walpole’s work does not appear by name, ‘For the Man’ employs narrative devices that clearly parallel – in both form and function – those found in Otranto , elements which Frederick S. Frank has identified as the ‘imperative features’ of the Gothic revival inaugurated by Walpole: unrewarded virtue, claustrophobic containment

in Alan Moore and the Gothic Tradition