Search results

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.

Open Access (free)
Andrew Vincent

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 ‘ecological sensibility’. 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

in Political concepts
Abstract only
Alan Moore’s Swamp Thing and radical ecology
Maggie Gray

environmental activism, 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 ecological sensibility. The sublime threat posed by a significant rise in

in Alan Moore and the Gothic Tradition
Techniques, materials, land, energy, environments
Andrew Patrizio

for new generations of art historians to revisit familiar art historical contexts in ways that bring ecological sensibilities 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

in The ecological eye
Abstract only
The Celtic Tiger and poetry as social critique
Eóin Flannery

prosperity. Equally, 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 ecological sensibility 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

in From prosperity to austerity
Andrew Patrizio

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

in The ecological eye
Andrew Patrizio

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 ecological sensibilities 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

in The ecological eye
Meg Holden

into the demands and workings of politics. That is, we should accept that human dreams will be human dreams, and leverage what ecological sensibilities 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

in The power of pragmatism
Abstract only
Andrew Patrizio

, ecological sensibility 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

in The ecological eye
Abstract only
Postcolonialism and ecology in the work of Tim Robinson
Eóin Flannery

poetic acts as by the flowers of the fields. I always record local opinions of the meanings and origins of placenames, even though some professionals would regard this as naïve credulity.43 Place names, then, are rich and legible access points into the intimacies of local histories for Robinson, and they are vital bulwarks against cultural homogeneity and neglect, as well as against political complacency. Such resources are foundational to Robinson’s ecological sensibility, a point emphasised again in a recent essay, ‘A Land without Shortcuts’, where he insists on the

in Unfolding Irish landscapes