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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.

, Moore’s syncretic imagination erects bridges and opens byways that facilitate traffic between territories as seemingly distinct as pulp fiction and fading folklore, quantum science and anarchist politics, underground comics and the literary canon. His position within the Gothic tradition stems from the ability of his writing to tap into what Fred Botting identifies as the ‘darker

in Alan Moore and the Gothic Tradition

French background who utilised English, Welsh and Irish settings in his fiction. Le Fanu has been persistently aligned with a so-called Irish gothic tradition, inaugurated by Charles Robert Maturin (another Dublin Huguenot) and rendered notorious by Bram Stoker whose Dracula successfully transferred to the twentieth century and the snuff movie. Quite enough has been written

in Dissolute characters
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Alan Moore’s Swamp Thing and radical ecology

’ opposes Swamp Thing to many of the clichéd horrors of the Gothic tradition. However, in a very canny collapse of the uncanny, revealing an intertextual awareness of Gothic criticism itself, it is made inescapably and unambiguously clear that the horrific monsters are actually metaphors for ‘the darkness […] in the heart of America’. 33 The horrifying effect of these issues is not a

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

appear in uncanny scenarios that borrow heavily from the Gothic tradition, and are themselves unsettling figures, both for the diegetic characters and for the reader. The key features of the Gothic motif of the doppelgänger are neatly illustrated in Sheridan Le Fanu’s 1872 vampire tale, ‘Carmilla’, and it is notable that the function of the double in this Victorian novella

in Alan Moore and the Gothic Tradition
Subverting the Gothic heroine?

tradition more generally. Significant connections can be drawn between adaptation, the Gothic tradition and the comics industry in terms of reception. Linda Hutcheon notes that ‘an adaptation is likely to be greeted as minor and subsidiary and certainly never as good as the “original”’ and that adaptations are often negatively described as ‘derivative’ and lacking in

in Alan Moore and the Gothic Tradition

have sometimes been regarded as marginal contributors to the Gothic tradition. Critics have even felt that the presence of a radical agenda disqualifies a work from being considered ‘Gothic’. Jerrold E. Hogle answers the charge that Frankenstein is ‘counter-Gothic’ by suggesting that this is only ‘made possible by how extremely Gothic it is […] the Godwin-Shelley circle

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

Moore’s stories the kinds of sensation and excess traditionally seen in superhero comics becomes inverted into the kind usually seen in Gothic literature. In this respect, Moore is part of a contemporary formation that draws on the older Gothic tradition in a manner suggested by Andrew Smith, William Hughes and Diane Mason in their introduction to Fictions of Unease (2002

in Alan Moore and the Gothic Tradition
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Heterocosms and bricolage in Moore’s recent reworkings of Lovecraft

when such imaginative endeavours give themselves over to cruelty and chaos. The fecundity that Moore finds in Lovecraft appears due in part to the latter’s often ambiguous and ambivalent position within both the Gothic tradition and the contemporary magic scene. Though Lovecraft’s writing has been adapted and appropriated more than perhaps any other Gothic writer from the

in Alan Moore and the Gothic Tradition

Spelling, writing and conjuring: a conclusion In selecting this critical approach to Voice , and owing to limitations of space, this chapter has necessarily had to overlook many of the text’s other significant features. The appearances of black dogs, supernatural shagfoals and a mysterious horned figure certainly seem relevant to the Gothic tradition

in Alan Moore and the Gothic Tradition