9,587 research outputs found
Etched in the Memory.
No full textAlan Forster, Samantha Vettese-Forster and John Borland explore the cultural value of preserving historic graffiti
Arthur Safford
No full textCopy of original manuscript. Opera based on a short story by E.M. Foster [i.e. Forster]Digitized with funding from the Center for Regional Studies
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
"Fantasy" and "Prophecy" in E.M. Forster
No full textIn Aspects of the Novel, Forster discusses the function and importance of "fantasy" and "prophecy", fictional elements that play an essential role in his own works. The object of this study is to provide a definition of these two terms, and to apply them to an evaluation of Forster's two most renowned novels--Howards End and A Passage to India.Master of Arts (MA
Music / Industry / Politics: Alan Price's Roles in O Lucky Man!
No full textPrior to directing his 1973 film O Lucky Man!, Lindsay Anderson had been planning to shoot an 'on-the-road' documentary about Alan Price and his band. When this fell through he decided to use them instead in the feature, which is now a neglected critique of British society in the early 1970s. Anderson’s correspondence contains abundant material relating to Price’s work in the film. The music features heavily in these letters, mostly concerned with publicity and promotion. There were, for example, disputes over Alan Price's tour in the US and delays in the album’s release as Warner Bros and Anderson saw both (correctly as it turned out) as important publicity for the film. And indeed the album enjoyed favourable reviews, even more so in the USA where the film too was better received than in Britain. Whilst in marketing O Lucky Man! the band were working in the mainstream, their second function ran counter to dominant culture. Anderson had been influenced by Brecht’s dramatic principles and practice ever since Mother Courage had played in London in 1956. O Lucky Man! was constructed broadly in harmony with those principles and their purpose of casting a new, hard-edged light on contemporary society. So the band participate as characters in the narrative. However, they also comment as if from outside it, functioning through songs written for the production as an all-knowing chorus and providing the moral context that frames the protagonists’ self-seeking behaviour. Our paper investigates the various roles that Alan Price’s band played in O Lucky Man
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
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