9,414 research outputs found
Alan Moore Comics as Performance, Fiction as Scalpel
No full textEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Intro -- Contents -- Preface and Acknowledgments -- Introduction -- CHAPTER 1. Formal Considerations on Alan Moore's Writing -- CHAPTER 2. Chronotopes: Outer Space, the Cityscape, and the Space of Comics -- CHAPTER 3. Moore and the Crisis of English Identity -- CHAPTER 4. Finding a Way into Lost Girls -- Conclusion -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- ZEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Dowling_etal_APR821359_Appendix_(002) – Supplemental material for Should I Cast an Ill-Informed Ballot? Examining the Contours of the Normative Obligation to Vote
No full textSupplemental material, Dowling_etal_APR821359_Appendix_(002) for Should I Cast an Ill-Informed Ballot? Examining the Contours of the Normative Obligation to Vote by David Doherty, Conor M. Dowling, Alan S. Gerber and Gregory A. Huber in American Politics Research</p
Dowling_etal_APR821359_AppendixTables_(002) – Supplemental material for Should I Cast an Ill-Informed Ballot? Examining the Contours of the Normative Obligation to Vote
No full textSupplemental material, Dowling_etal_APR821359_AppendixTables_(002) for Should I Cast an Ill-Informed Ballot? Examining the Contours of the Normative Obligation to Vote by David Doherty, Conor M. Dowling, Alan S. Gerber and Gregory A. Huber in American Politics Research</p
Dowling_etal_APR821359_Appendix – Supplemental material for Should I Cast an Ill-Informed Ballot? Examining the Contours of the Normative Obligation to Vote
No full textSupplemental material, Dowling_etal_APR821359_Appendix for Should I Cast an Ill-Informed Ballot? Examining the Contours of the Normative Obligation to Vote by David Doherty, Conor M. Dowling, Alan S. Gerber and Gregory A. Huber in American Politics Research</p
Dowling_etal_APR821359_AppendixTables – Supplemental material for Should I Cast an Ill-Informed Ballot? Examining the Contours of the Normative Obligation to Vote
No full textSupplemental material, Dowling_etal_APR821359_AppendixTables for Should I Cast an Ill-Informed Ballot? Examining the Contours of the Normative Obligation to Vote by David Doherty, Conor M. Dowling, Alan S. Gerber and Gregory A. Huber in American Politics Research</p
People vote because they’re worried others will think less of them if they don’t.
No full textFor many, the benefits of voting are not immediately obvious. So why do people turn out on Election Day? Some have suggested that people vote because they are worried that others will view them less favorably if they do not. Using experimental evidence from a national survey, David Doherty, Gregory Huber, Alan Gerber and Conor Dowling set out to test this theory. Their results suggest that people’s expectations that others will think less of them if they fail to vote are well-founded
In Alan Turing’s Name: Pardoning the Dead, Forgetting the Living
No full textThis special panel discussion brought together authorities on Alan Turing and the statutory pardon legislation intended to honour him. Leading academics, in conversation with those who have unsuccessfully petitioned to have offences disregarded, were joined by the Turing Bill’s author
Richard Sharpe 1954-2020
No full textThe extensive list of publications, tributes, published obituaries, works dedicated to the memory, tabula memorialis of Richard Sharpe, Professor of Diplomatic at the University of Oxfor
Bernard Williams
No full textAn edited multi-author volume assessing the moral philosophy of the late British philosopher Bernard Williams. Contributors: Adrian Moore, John Skorupski, Alan Thomas, Robert B Louden, Michael Stocker, A. A. Long, Edward Crai
Post-war British working-class fiction with special reference to the novels of John Braine, Alan Sillitoe, Stan Barstow, David Storey and Barry Hines
No full textThis study is about British working-class fiction in the post-war period.
It covers various authors such as Robert Tressell, George Orwell, Walter Greenwood, Lewis Grassic Gibbon and DH Lawrence from the early twentieth century; writers traditionally classified as 'Angry Young Men' like John Osborne, Arnold Wesker, Shelagh Delaney, John Wain and
Kingsley Amis; and working-class novelists like John Braine, Stan Barstow, David Storey, Alan Sillitoe and Barry Hines from the 1950s and 1960s.
Some of the main issues dealt with in the course of this study are language, form, community, self/identity/autobiography, sexuality and relationship with bourgeois art. The major argument centres on two questions: representation of working-class life, and the
relationship between working-class literary tradition and dominant ideologies.
We will be arguing that while working-class fiction succeeded in challenging and rupturing bourgeois literary tradition, on the level of language and linguistic medium of expression for example, it utterly failed to break away from dominant, bourgeois modes of literary production in relation to form, for instance.
Our argument is situated within Marxist approaches to literature, a political and aesthetic position from which we attempt an analysis and an evaluation of this working-class literary tradition. These critical approaches provide us also with the theoretical tool to define the political perspective of this tradition, and to judge whether it was confined to a descriptive mode of representation or
located in a radical, political outlook
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