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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.

An anatomy of Alan Moore’s doubling strategies
Jochen Ecke

Prometheas, and that culminates in a return to traumatic origins with the schism between the eastern and western versions of the goddess. These are but a few examples of doubles in Moore’s oeuvre. As a matter of fact, once one opens the pages of any one of the writer’s works, it is difficult not to find instances where a doubling strategy is at work. Moore’s doppelgängers largely

in Alan Moore and the Gothic Tradition
Hope, fear and time in Troilus and Cressida
Kai Wiegandt

thus manages to pursue an aesthetic double strategy of movere (in the rhetorical sense) and of initiating a conscious discourse on historicity. Self-consciously performing its own literariness and thereby defending the aesthetic against the usurpations of history, it rises above being a mere mirror of contemporary discourses informing its rewriting of the classic story

in Love, history and emotion in Chaucer and Shakespeare
Abstract only
Speght’s Chaucer and Speght’s Spenser
Elisabeth Chaghafi

and his continued relevance. For this purpose, I begin by describing the paratextual and supplementary materials of the 1598 and 1602 editions. This is followed by a discussion of how these materials create a framework for early modern readers to regard Chaucer as an author firmly situated in the past but nevertheless still worth reading. The final section analyses how this double strategy of Speght’s is exemplified in the way in which his editions frame the relationship between Chaucer and Spenser as an imaginary

in Rereading Chaucer and Spenser
Open Access (free)
From idealism to pragmatism (1984–2002)
Bruno Villalba and Sylvie Vieillard-Coffre

autonomy for the regional federations in the electoral procedure. Fifty-four full gauche plurielle lists and five partial ones were entered. The 37 other lists presented by the Greens were the so-called ‘Green and open lists’. In all, they won 5.6 per cent (Boy and Villalba, 1999). The map of the ecologists’ results reflect this double strategy. The results of the Green lists are less good than those of the ecologists in 1992 (Greens plus GE plus other ecology lists) but only just below that of the 1992 Green lists on their own (Figures 4.3 and 4.4). In terms of

in The French party system
Marcel H. Van Herpen

, Heinz-Christian Strache, became vice-chancellor. In the coalition deal both parties had agreed to share power almost equally. 8 It was not politics but a scandal which brought this government down on 18 May 2019. 9 The Austrian example shows that a strategy of accepting far-right populist parties as coalition partners, rather than “taming the dragon,” can backfire. When the parties are in government they can temporarily moderate their radical stances but – back in opposition – they quickly re-radicalize. Populist parties in government normally also use a double

in The end of populism
The Spanish Civil War in Ken Loach’s Land and Freedom
Alan Munton

strong case against communism, on the limited grounds they have chosen they cannot find the narrative means to make their criticism stick. Consequently they pursue a double strategy. There is the political story of an American communist, Gene Lawrence, who belongs at first to POUM but improbably moves over to be an officer in the People’s Army, and there is the gendered story of Blanca and Maite. Both

in Gender and warfare in the twentieth century
Neil Cornwell

claimed to have read Radcliffe’s novels while still a child, opened his career with a strong Gothic flourish, offering such works as The Double and The Landlady (1847). 19 It has been claimed that the narrative logic of The Double itself pursues a double strategy, provoking indecision asto ‘whether the “substance“ of the story is a fantastic reality or a narrated phantasm’ (Lachmann 1997 : 305). However, Dostoevsky’s own

in European Gothic
Being right, knowing better
Tim Markham

thought Bonanza was live, so there is a sort of duty to try to get it right. (Interviewee 5) In some cases public ignorance was defended as necessary, though this can still be regarded as strategic in that it places the speaker as able to process appalling horrors in a way that most cannot. In one case (Interviewee 2) it went further, effectively infantilising the audience by claiming that the bowdlerised conflict reporting that Western audiences see allows them to ‘feel better about themselves’. In any case, this double strategy is difficult to negotiate, requiring as

in The politics of war reporting
W. G. Sebald’s Die Ausgewanderten
Dora Osborne

spots marking each figure, underlining that each representation is precisely a mediated image in composite form. Using visual elements, Sebald develops a double strategy of deflecting or displacing the gaze whilst inviting scrutiny. This is given emblematic form in the Rembrandt image mentioned by his narrator in ‘Max Ferber’. In Man with a Magnifying Glass, the optical prosthesis can be found in the right-hand corner, but is ultimately somewhat obscure. Thus, in searching for the adjunct object promised by the title, the viewer looks away from the sitter. Moreover

in A literature of restitution