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.
objective ‘value-imparting characteristics’. The second
ecocentric perspective bypasses value theory. It argues that what is
required is not so much ethics as a psychological change in
‘ecologicalsensibility’. The real issue is therefore psychology
and ontology, not ethics. Ecological ethics derives from a mature and
developed psychology. 7
Overall, for radicals, political theory can never be the same discipline
for new generations of art historians to revisit familiar art historical contexts in ways that bring ecologicalsensibilities to light – and there is no context off limits, whether it be art of the Ice Age, in European Baroque painting, ceremonial Buddhist floor paintings, or the pages of twenty-first century Manga comics.
Whilst all of the artists included in ecologically themed exhibitions will, in their own right, have something more or less engaging to communicate through their artwork, in Kester’s Groundworks one artist in particular, Ann Rosenthal
particularly as manifest in the contemporary social movement against
man-made climate change, can be conceived as a Gothic politics
invoking the malevolent spectre of a cataclysmic eco-apocalypse,
which can only be averted through drastic societal transformation
and the development of a new ecologicalsensibility. The sublime
threat posed by a significant rise in
into the demands and workings of politics. That is, we should accept that human dreams will be human dreams, and leverage what ecologicalsensibilities exist at the heart of these dreams towards more sustainable outcomes. On the one hand, scholars are advocating a post-humanism and on the other, a more explicit form of humanism. In this chapter, I advocate a more pragmatic response whereby action in the face of crisis reflects the particular state of affairs (or what Dewey would call ‘the situation’ (see Bridge, this volume)).
As far as ecology is concerned, the
productive extension of many of the gains of (eco)feminist theory in the literature commonly known as ‘queer theory’ without directly addressing the intertheoretical tensions, aporias and diversity that make (eco)feminist and queer theory different from each other. This latter point is better addressed by others and I leave it to one side for the simple reason that (eco)feminist and queer theory both offer dynamic models that bolster nonhierarchical thinking and overlap generously with each other’s concerns and aspirations. This in turn supports, in my view, an ecological
systems … Anarchism, then, was always present, buried under the weight of the state, as [Ward] put it, and it was the job of anarchists to encourage these anarchist practices to emerge so that they might, eventually, replace the state.’ 65 I think it is clear that ecologicalsensibilities in aesthetics and politics may, in the immediate term at least, be one, desirable, part of a wider spectrum of ‘actants’ in humanities’ disciplinary method.
What remains, I suggest, is an intention to prefigure art historical methods in how we conduct work in our discipline
Higgins ironizes a common metaphor, one that coalesces easily with
fantasies of easy and inevitable enrichment. The ‘fields’ repeated in the
stanza localize the promises of the disembodied prophet of wealth and,
also, localize the ecological crisis, which is central to the entire Corrib
dispute. This ecologicalsensibility is developed still further as we move
from the landscape to include non-human species: ‘When we looked
down on you, which was often, / we decided that you were the chosen
ones / We saw a few geese, a whale or two, an old dolphin on
, ecologicalsensibility of direct relevance to the discipline of art history. This is not liberal inclusivity at all; rather it is a recognition that art history needs to widen the objects of its obsessions, beyond visual culture and media, outwards towards the human and other-than-human vectors that animate the planet and its ecosystems. This can be seen as a response to a double pressure. One is internal, from art that over the last century or more has shown that there is no subject, however material or immaterial, that is beyond the legitimate attention of artists. The
, but rather ‘a continuous process of nurturing anarchist subjectivities’. 20 The fractal character of anarchism supports art history’s account of human creativity, value and relation, nurturing this ecologicalsensibility based on principles of nonhierarchical aesthetic and political subjectivities. This can be seen as part of a larger political project to ‘decolonize or revitalize the lifeworld’ as a form of resistance and ‘redirecting the system’ in whatever ways are available to us. 21
I have used ‘social ecology’ as a near synonym for anarchy, for