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.
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 doublingstrategy is at work.
Moore’s doppelgängers largely
manages to pursue an aesthetic doublestrategy 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
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
doublestrategy of Speght’s is exemplified in the way in which his editions
frame the relationship between Chaucer and Spenser as an imaginary
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
doublestrategy. 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
The Spanish Civil War in Ken Loach’s Land and Freedom
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 doublestrategy. 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.
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
doublestrategy, provoking indecision asto ‘whether the “substance“ of the story is a fantastic reality or
a narrated phantasm’ (Lachmann 1997 : 305). However, Dostoevsky’s own
1997:63 ff., 114 ff.).
To get acceptance for this doublestrategy, however, proponents
of ecological modernisation must convince industry and the
public that this is a ‘win-win’ solution dissolving the perceived
conflict between economic growth and environmental protection
Using language that harmonises sustainability with orthodox
economic imperatives, politicians preach that ‘pollution prevention pays’, bringing industry to find anticipatory development of
Sweden and ecological governance
spots marking each figure, underlining that each representation is precisely a mediated image in composite form.
Using visual elements, Sebald develops a doublestrategy 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
). The foreign ‘other’ becomes an object of consumption,
included in the price of the cinema ticket or the tour, with audiences/
tourists encouraged to confuse seeing with understanding and
knowing a country.
On a number of levels, Babel does seek to deconstruct this gaze,
partly by making it the very subject of the film in the Moroccan
section that focuses on Susan and Richard, the American tourists,
and partly by de-exoticising characters from a range of nationalities.
Nevertheless, it also employs a doublestrategy, as it relies on familiar
cinematic tropes relating