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Pigozzi, Douglas. "Os quadrinhos como fonte de informação para o estudo da realidade social: o pensamento anarquista e o autoritarismo em V de Vingança e Watchmen." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-28012014-160508/.
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Discute o papel do poder político nas sociedades autoritárias e do pensamento libertário e anarquista, utilizando as histórias em quadrinhos V de Vingança e Watchmen, ambas do roteirista Alan Moore, em função das suas simbologias e temáticas. O foco de estudo são as relações políticas e sociais que estas graphic novels possuem, apresentando as histórias em quadrinhos como um recurso informacional que tem um papel na ampliação das possibilidades de comunicação e expressão na sociedade contemporânea, além de trabalhar a conscientização política do leitor acerca das diversas possibilidades de padrões de comportamentos individuais e coletivos no mundo atual.Discusses the role of political power in authoritarian societies and libertarian and anarchist thought, using the comics V for Vendetta and Watchmen, both from writer Alan Moore, according to their symbols and themes. The focus of the study are the political and social relations that these graphic novels exhibit, featuring the comics as an informational resource that has a role in increasing the possibilities of communication and expression in contemporary society, in addition to working the political consciousness of the reader about the various possibilities for individual and collective behavior patterns in today\'s world.
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Schumaker, Justin S. "Discovering the postmodern graphic novel in the works of Alan Moore." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1326.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
English
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Lucchine, Dana P. "Beneath the mask and spandex reviewing, revising, and re-appropriating the superhero myth in Alan Moore's Watchmen /." Click here for download, 2009. http://proquest.umi.com.ps2.villanova.edu/pqdweb?did=1943369611&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Lochhead, Hayley. "Ethics and complexity : exploring the significance and application of complexity thinking in ethical theory with special reference to the graphic novel Watchmen." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1447.
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The current era, or postmodern context, is characterized by an overwhelming amount of anxiety concerning humanity’s future, tied to a general perception of the postmodern context as one that is defined by ‘crisis.’ This anxiety-provoking sense of crisis is, I believe, the product of a much more significant destabilization of the paradigmatic base upon which the human worldview is established. The period that extends from the Newtonian era to the late Twentieth Century has been informed by what Edgar Morin calls a ‘paradigm of simplicity’ in terms of which the universe was understood as a perfectly knowable, deterministic system. Following a series of revolutionizing discoveries throughout the Twentieth Century, however, it has come to light that this deterministic paradigm is no longer suitable as a way of understanding the universe. Instead, a ‘paradigm of complexity,’ in which the universe is understood as a complex, self-organizing system that is never totally knowable, has been posited by thinkers such as Morin and Paul Cilliers. Further, both of these thinkers, among others, argue that the acknowledgment of complexity is an inherently ethical matter, since complex systems (such as human communities) present one with difficult choices to make in uncertain situations, rather than determinate sets of rules to follow. This study aims to show that a complexity view of the human lifeworld, does not cast the uncertainty of humanity’s future as a threatening cause of anxiety and dread, but offers us a valuable opportunity for growth, adaptation and the creation of new ethical values. Certainly, an inability to come to grips with this new paradigm has led to desperately reactionary measures on the part of some to secure a semblance of the stability and control that the ‘paradigm of simplicity’ made normative. As a result, the complex reality of the human lifeworld is negated in favour of the misleading belief in the certainty and security provided by a particular metanarrative. By contrast, Jacques Lacan’s fecund poststructuralist theory of subjectivity and Jacques Derrida’s poststructuralist logic offer useful heuristics for the navigation of complexity thinking that neither mistakenly negate moments of uncertainty, anomaly and paradox for the sake of certainty, nor swing to the opposite, equally unacceptable, extreme of absolute relativism. Poststructuralist logic points to the notion of a ‘complexity ethics’ which issues a challenge to the idea, stemming from the ‘paradigm of simplicity’, that it is ever possible for agents to adopt an uncompromised ethical stance. The upshot of this is to argue that it is essential for contemporary humans to learn to live with ethical uncertainty, paradox, compromise, contamination and other figures of complexity, rather than search for an impossible certainty, since this strategy leads to more realistic, moderate, and therefore less dangerous, ethical reasoning. Good popular culture texts, such as the graphic novel Watchmen, which represent the reality of a complex human lifeworld, have the power to communicate these rather difficult philosophical ideas concerning the complexity of the human lifeworld to a wide audience in a very accessible format. An analysis of the varying ethical stances taken by certain characters demonstrates, in concrete terms, just how precisely the novel confirms the poststructuralist argument concerning inescapable ethical contamination. Thus, it is with recourse to such texts that one might begin to answer more concretely the questions, ‘what does complexity imply for ethical theory?’ and ‘what might an ethics for the complex lifeworld entail?'.
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Smida, Megan Alice Moore Alan. "(Re)telling Ripper in Alan Moore's From hell : history and narrative in the graphic novel." Dayton, Ohio : University of Dayton, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272574121.
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Thesis (M.A. in English) -- University of Dayton.Title from PDF t.p. (viewed 06/23/10). Advisor: James Boehnlein. Includes bibliographical references (p. 44-46). Available online via the OhioLINK ETD Center.
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Byrén, Nils. "Moores gaze : En komparativ analys av ikoniskt och lingvistiskt framställt våld mot kvinnliga karaktärer i tre graphic novels av Alan Moore." Thesis, Uppsala universitet, Avdelningen för retorik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323781.
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Seriemediet inkorporerar lingvistiska och ikoniska tecken för att uttrycka etiska, moraliska, sociala och politiska budskap, vilka kan slätas över av en underhållande och tilltalande form. Detta gör mediet lämpligt för en retorisk analys. Ett omdiskuterat ämne inom seriemediet är dess gestaltning av kvinnor, å ena sidan i form av stereotypa könsroller och underrepresentation av verkligt intressanta kvinnliga karaktärer, å andra sidan sexualiserande porträtteringar, våld och övergrepp. Denna uppsats undersöker hur våld mot kvinnor gestaltas i mötet mellan olika typer av bilder och texter i ett och samma serieförfattarskap. Undersökningen genomförs med hjälp av Roland Barthes ”Rhétorique de l’image” (1964) och teorin om the male gaze som Laura Mulvey diskuterar i artikeln ”Visual pleasure and narrative cinema” (1975). Analysen inspireras av en komparativ metod beskriven av Lennart Hellspong i Metoder för brukstextanalys (2001). Uppsatsen granskar utdrag ur Watchmen, Batman: The Killing Joke och The League of Extraordinary Gentlemen av Alan Moore, en av vår tids mest ansedda författare inom seriemediet, också känd för att porträttera våld mot kvinnliga karaktärer. Uppsatsens påvisade en ambivalens i porträtterandet av våld mot kvinnor i utdragen ur Alan Moores graphic novels, samt behovet av att problematisera såväl Alan Moores serier som Laura Mulveys the male gaze, men också möjligheten att använda hennes och Barthes teorier inom retorikdiskursens och seriemediets ramar för att granska hur samspelet mellan bild och text kan uttrycka olika typer av budskap och attityder.
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Smida, Megan Alice. "(Re)Telling Ripper In Alan Moore's From Hell: History And Narrative In The Graphic Novel." University of Dayton / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1272574121.
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Rodrigues, Marcio dos Santos. "Representações políticas da Guerra Fria: as histórias em quadrinhos de Alan Moore na década de 1980." Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/BUOS-994G9X.
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Among several cultural events known, involved in the construction of the social imaginary, one in particular will be used here as a basis to understand the Cold War: the comics (also known by the Brazilian acronym HQs). Glancing over of some aspects of this period and more specifically about some of the comics writer Alan Moore, written in the final decade of the Cold War, the 1980s, titled, Watchmen (miniseries originally published between 1986 and 1987 by DC Comics) and V for Vendetta (published between 1982 and 1988). Until the mid-1980s, the world saw the menace of nuclear war between the two emerging superpowers after the Second World War: the United States and the Soviet Union. Because of this probability, the fear of nuclear apocalypse was wide spread, in which all forms of life on the planet could have been eradicated. This fear of a nuclear holocaust increased in the same proportion as the two Superpowers and their allies were improving their weapons of mass destruction. Inserted in this context, Moore tried through the comics, to utter his opinion about this situation. Far from being presented as mere background, the Cold War, with its various ramifications, is in the works of Moore an object of reflection. Therefore, the idea here is precisely to bring the point of Moore, for whom All comics are political (Moore apud Sabin, 1993, p. 89), to his own work as a writer with the intent to address a central question how and on what terms the Cold War appears particularly represented in his selected works. There is an attempt to identify if, by incorporating cultural repertoires of their time thus enrolling in a land dispute and a negotiation that reproduces the dilemmas and paradoxes surrounding the Cold War the writers works , justify some sort of program for political action.Dentre as várias manifestações culturais conhecidas, que participam da construção do imaginário social, uma, em particular, será tomada aqui como base para compreender a Guerra Fria: as Histórias em Quadrinhos (conhecidas também pela sigla HQs). Lançamos um olhar sobre algumas das vertentes do período e, mais especificamente, sobre algumas das HQs do roteirista britânico Alan Moore, escritas na década final da Guerra Fria, a década de 1980. A saber, Watchmen (minissérie publicada originalmente entre 1986 e 1987 pela DC Comics) e V for Vendetta (publicada entre 1982 e 1988). Até meados dos anos 1980, o mundo vislumbrou a ameaça de guerra nuclear entre as duas potências emergentes do pós-Segunda Guerra Mundial: os Estados Unidos e a União Soviética. Em virtude dessa probabilidade, difundiu-se o temor de um apocalipse nuclear, em que todas as formas de vida do planeta fossem erradicadas. Esse temor de um holocausto nuclear aumentava na mesma proporção em que as duas potências e seus aliados aprimoravam seus meios de destruição em massa. Inserido nesse contexto, Moore procurou, através dos quadrinhos, se pronunciar sobre esse estado de coisas. Longe de ser apresentada como mero pano de fundo, a Guerra Fria, com seus diversos desdobramentos, constitui nas obras de Moore um objeto de reflexão. Deste modo, a ideia aqui é precisamente a de aproximar o posicionamento de Moore, para quem All comics are political (MOORE apud Sabin, 1993, p. 89), ao seu próprio trabalho como roteirista com a intenção de abordar uma questão central: Como e em que termos a Guerra Fria aparece representada particularmente nas obras selecionadas. Busca-se identificar se as obras do roteirista, ao se apropriarem de repertórios culturais de seu tempo e se inscreverem em um terreno de disputa e negociação que reproduz os dilemas e paradoxos em torno da Guerra Fria, justificam algum programa de ação política.
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Miguel, Lucas Fazola. "Ideias à prova de balas: diálogos entre quadrinhos e literatura em V de Vingança, de Alan Moore e David Lloyd." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/6657.
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Essa pesquisa propõe o estudo da história em quadrinhos V de Vingança, de autoria dos britânicos Alan Moore e David Lloyd, a partir da análise estrutural da linguagem do meio, bem como do cenário teórico no qual a obra se insere, para identificarmos o diálogo existente entre os quadrinhos e a literatura. Lançaremos o olhar para uma investigação do meio a partir de sua composição estrutural inerentemente híbrida, tendo como apoio teórico as proposições de Thierry Groensteen (2015) e Scott McCloud (2005), bem como realizaremos um apanhado histórico das histórias em quadrinhos, com o suporte de García (2012) e Campos (2015). Pretendemos observar, a partir de Linda Hutcheon (1991), Lyotard (2009) e Compagnon (1999), os pressupostos que compõem o cenário teórico pós-moderno com o qual V de Vingança dialoga, ressaltando sua narrativa intertextual e fragmentária, de modo a destacar a aproximação entre a obra de Moore e Lloyd com o romance pós-moderno V. (1988), de Thomas Pynchon. Ao realizarmos uma leitura analítica da história em quadrinhos, verificaremos o diálogo da mesma com as distopias modernas, como 1984 (2009) de George Orwell, sob o aporte teórico de Jacoby (2007), Kopp (2011) e Hilario (2013), de modo a evidenciarmos como o contato com a literatura corroborou para o amadurecimento do meio proporcionando novas possibilidades narrativas para os quadrinhos.
This research proposes the study of the comic book V for Vendetta, written by the british Alan Moore and David Lloyd, from the structural analysis of the comic books language, as well as the analysis of the theoretical scenario in which the work is inserted, in order to identify the existence of a dialogue between comics and literature. The focus of this work is on the inherently hybrid structural creation of this language. The theoretical support are the proposals of Thierry Groensteen (2015) and Scott McCloud (2005). Furthermore we will make a historical catch of the comic books, with the support of García (2012) and Campos (2015). We intend to observe, from Linda Hutcheon (1991), Lyotard (2009) and Compagnon (1999), the assumptions that compose the postmodern theoretical scenario with which V for Vendetta dialogues, emphasizing its intertextual and fragmentary narrative, in order to highlight the approximation between the work of Moore and Lloyd with Thomas Pynchon's postmodern novel V. (1988). This analytical reading of comics will enable us to verify the dialogue of the comic books with the modern dystopias, such as 1984 (2009) by George Orwell, with the theoretical contribution of Jacoby (2007), Kopp (2011) and Hilario (2013), in order to show how the contact with a literature corroborated the ripening of the medium, providing new narrative possibilities for comics.
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Besozzi, Michael T. ""To Blaze Forever in a Blazing World": Queer Reconstruction and Cultural Memory in the Works of Alan Moore." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/communication_theses/79.
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This thesis is a queer analysis of two graphic novels by writer Alan Moore: The League of Extraordinary Gentlemen series (art by Kevin O’Neill, 1999-Present) and Lost Girls (art by Melinda Gebbie, 1992-3). These two works re-contextualize familiar characters such as Dr. Jekyll and Mr. Hyde, Mina Murray, and Alice to uncover both the liberating desires and the sexist, homophobic, and imperialistic anxieties underlining historically popular fiction. Focusing on three characters utilized in Moore’s work, this thesis argues that the ideological associations with those chosen characters and the reconstructions of queerness in their narratives offer contemporary subjects resistance to limiting cultural tendencies and create an alternative space that call attention to phobic societal constructs. Both Lost Girls and the League series redefine discursively constituted identities and offer the potential to re-write normative codes of sex and sexuality.
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Tuffreau, Clément. "Prose de parole : Enregistrement , écriture et amplification de la poésie orale occidentale de 1876 à 2006, de Guillaume Apollinaire à Alan Moore." Nantes, 2006. http://www.theses.fr/2006NANT3018.
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Prose de parole consiste en une étude de la poésie orale amplifiée et enregistrée, née avec l'invention du phonographe par Thomas Edison en 1876. Prose de parole avance et défend deux idées : la poésie orale enregistrée et amplifiée dérive de la culture écrite, et développe en cela une forme d'écriture orale - le disque devient dès lors le livre de la poésie orale. Enfin, la poésie orale regroupe différentes formes artistiques souvent rejetées par les études littéraires : la performance, la voix-off cinématographique, la pop music et le théâtre expérimental. Prose de parole ne se veut pas une histoire chronologique de la poésie orale : elle en étudie simplement l'origine (le phonographe), les discours manifestes qui encombrent son espace critique en une forme d'écosystème théorique, la technologie qui lui sert de support (le médium de l'enregistrement), et l'espace dans lequel elle se construit (le lieu de la performance, son acoustique, sa psychogéographie)Recorded Oral Poetry is a study of the recording and amplification of oral poetry, born with the invention of the Phonograph by Thomas Edison in 1876. Recorded Oral Poetry stands for two things : on one hand, proving that oral poetry as recorded and amplified is a text, that the record is the book of oral poetry and that the spoken word is bound to the word by definition. On the other hand, proving that oral poetry takes often place beyond the world of literature itself, in the art of performance, in the voice over of certain movies, in pop music or in experimental theater. Recorded Oral Poetry is not a history of amplified and recorded oral poetry : it is a study of its movements and manifests, of its tendancies and revolutions, of its origin (the phonograh), its theories (manifests and texts), the medium in its technical constitution and the space inside which oral poetry constructs itself (its acoustic, its psychogeography)
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Williams, Mark. "Radical fantasy : a study of left radical politics in the fantasy writing of Michael Moorcock, Angela Carter, Alan Moore, Grant Morrison and China Miéville." Thesis, University of East Anglia, 2010. https://ueaeprints.uea.ac.uk/19302/.
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Amorim, Naiana Mussato. "Transmutações em Do inferno: aproximações entre romance gráfico e filme." Universidade Federal de Uberlândia, 2012. https://repositorio.ufu.br/handle/123456789/11851.
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This work aims to study to homonymous works, From Hell, the graphic novel by Alan Moore and Eddie Campbell and the film adaptation directed by Albert and Allen Hughes, so as to develop a media study as well as plot and script analysis, Based on the Media Studies, focusing the theories of Cluver, Moser, Genette and Diniz, among others, we intend to approximate the distance between the corpora in the tension caused their autonomy. Therefore, the analysis seeks to understand the idiosyncrasies of each art s composition and, by the distance between each work, to apprehend their singularities given by the authors. To approach the composition, authors such as Eisner, Cagnin, Barthes and Eisenstein gave support to understand the functioning of both the film and the graphic novel. To analyze and organize the plots, the theory of Barthes guided once again the understanding of the compounding elements of the story like main and complementary events, character description and atmosphere. In addition to this there is also the symbol study, essential to From Hell study, based on Brenda Mallon s reflections. Finally, the understanding of the film and the graphic novel is done by means of two themes gender and sex , followed by Hell aiming to measure the range of each work. Therefore, when we follow the trajectory of the smaller parts up to the main event, we build the understanding of the whole corpus, comparing the synchrony of each work and their form and content.Este trabalho tem por objetivo confrontar duas obras homônimas, Do inferno, sendo uma o romance gráfico de Alan Moore e Eddie Campbell e a adaptação dos diretores Albert e Allen Hughes, feita com base na primeira obra, a fim de desenvolver um estudo de media e de enredo. Com base nos estudos de intermidialidade, arrolando as teorias de Claus Clüver, Walter Moser, Gerard Genette e Thais Flores Diniz, entre outros, pretende-se relativizar a distância que há entre as partes do corpus na tensão provocada pela autonomia contra a ligação que elas mantém. Portanto, a análise busca através das proximidades entre ambos entender as idiossincrasias da composição de cada arte e, através dos distanciamentos, apreender as singularidades das obras atribuídas pelos autores. Para abordar a composição, autores como Will Eisner, Luis Antonio Cagnin, Roland Barthes e Sergei Eisenstein deram suporte para compreender o funcionamento tanto filme quanto da história em quadrinhos. Já para adentrar e organizar os enredos, a sistematização de Roland Barthes mais uma vez guiou a compreensão dos elementos constitutivos da história, como eventos principais e complementares, caracterização dos personagens e atmosfera da ação. Somada a essa parte, há ainda o estudo da simbologia, fundamental para a leitura de Do inferno pautado nas reflexões de Brenda Mallon. Em última instância, a compreensão do filme e do romance gráfico é realizada por duas grandes temáticas Gênero e Sexo seguida por Inferno com o intuito de depreender o âmbito ou o tom de cada obra. Por conseguinte, ao percorrer a trajetória das menores partes até a esfera geral, constrói-se a compreensão minuciosa do corpus, comparando a articulação que cada obra faz entre sua forma e seu conteúdo.
Mestre em Teoria Literária
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Baurin, Camille. "Le metacomic : la réflexivité dans le comic book de super-héros contemporain." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5018/document.
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« Comic book » est un terme anglo-saxon, plus spécifiquement américain, employé pour désigner les fascicules de bande dessinée. Il a trouvé son autonomie en 1938 avec la création de « Superman » qui a amorcé l'hégémonie de la figure du « super-héros » dans la production. Au cours du vingtième siècle, éditeurs et auteurs ont eu recours à des stratégies de conquête et de fidélisation du lectorat dont le procédé de la réécriture est le plus significatif. Le super-héros fut alors soumis à l'interprétation de nombreux créateurs et devint le témoin à multiples facettes de l'Histoire des États-Unis. Il s'est dessiné à partir des années quatre-vingt une tendance réflexive qui prend cette figure comme objet critique et qui a donné naissance à ce qu'on appelle ici le « metacomic ». À partir d'un corpus représentatif, cette thèse est consacrée aux stratégies qui fondent cette réflexivité et aux discours qu'elle véhicule dans les œuvres. Elle se divise en quatre chapitres. Le premier est un descriptif de l'industrie du comic book qui explique ses particularités et l'hégémonie en son sein du genre « superhéroïque ». Le second est dédié aux processus formels qui permettent de justifier la constitution du corpus en définissant la réflexivité des œuvres. Le troisième est voué à une analyse du caractère idéologique de cette métafiction, afin de montrer en quoi la mise en crise du super-héros sert un discours sur l'Histoire et la politique américaines. Le dernier s'intéresse à la manière dont les œuvres consacrent le super-héros comme figure de l'imagination : adoptant une approche fictionnaliste, on y démontre comment transfictionnalité et univers fictionnels sont utilisés pour revisiter“Comic Book” is the Anglo-Saxon, more specifically American term employed to describe a specific material medium for comics. The epochal moment in the history of the comic book was the 1938 publication of « Superman », which marked the starting point of the hegemony of the figure of the superhero in comic production. Over the course of the twentieth century, authors and publishers have used various strategies for winning over readers and securing their loyalty. Among these, the technique of rewriting is the most significant. Thus, the superhero has been the subject of many reinterpretations, and consequently, has born witness to many facets of the United States’ history. The publications of the 1980s have seen the rise of a reflexive approach in which the superhero becomes an object of critique himself. This new genre is here referred to as Metacomic. Drawing on a representative body of works, the doctoral thesis at hand examines the strategies that constitute this reflexivity, as well as the multiple discourses that it gives rise to. The thesis is divided into four chapters. The first chapter gives an account of the comic book industry and explains its particularities, as well as the hegemonic position of the superhero genre in the industry. The second chapter attempts a definition of reflexivity in comic books, which permits to establish a body of works to be examined. The third chapter attempts an analysis of the ideological aspects of this metafiction in order to show how the crisis of the superhero reflects on a certain discourse on American history and politics. The fourth and last chapter examines how the analysed comics establish the superhero as an agent of imag
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Salisbury, Derek. "Growing up with Vertigo: British Writers, DC, and the Maturation of American Comic Books." ScholarWorks @ UVM, 2013. http://scholarworks.uvm.edu/graddis/209.
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At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. The project consulted the major works of British comic scriptwriters, Alan Moore, Jamie Delano, Grant Morrison, Peter Milligan, Neil Gaiman, Warren Ellis, and Garth Ennis. These works include Watchmen, V for Vendetta, Shade: the Changing Man, Batman: Arkham Asylum, Animal Man, Sandman, Transmetropolitan, Preacher and several other important works. Following a chronological organization, the work tracks major changes taking place in the American comic book industry in the commercial, corporate, and creative sectors to show the processes through which the medium matured in this time period. This is accomplished by combining textual analysis of the comics with industry specific records and a focus on major cultural shifts in US society and culture
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Israelson, Per. "Ecologies of the Imagination : Theorizing the participatory aesthetics of the fantastic." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-142205.
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This book is about the participatory aesthetics of the fantastic. In it, the author argues that the definition of the fantastic presented by Tzvetan Todorov in 1970 can be used, provided it is first adapted to a media-ecological framework, to theorize the role of aesthetic participation in the creation of secondary worlds. Working within a hermeneutical tradition, Todorov understands reader participation as interpretation, in which the creative ambiguities of the literary object are primarily epistemological. However, it is here argued that the aesthetic object of the fantastic is also characterized by material ambiguity. The purpose of this dissertation is then to present a conceptual framework with which to theorize the relation between the material and the epistemological ambiguity of the fantastic. It is argued that such a framework can be found in an ecological understanding of aesthetic participation. This, in turn, entails understanding human subjectivity as a process always already embodied in a material environment. To this extent, the proposed theoretical framework questions the clear and oppositional distinction between form and matter, as well as that between mind and body, nature and culture, and human and non-human, on which a modern and humanist notion of subjectivity is based. And in this sense, the basic ecological assumptions of this dissertation are posthumanist, or non-humanist. From this position, it is argued that an ecological understanding of participation offers a means to reformulate the function of a number of concepts central to studying the aesthetics of the fantastic, most notably the concepts of media, genre and text. As the fantastic focuses on the creation of other worlds, it is an aesthetics of coming into being, of ontogenesis. Accordingly, it will be argued that the participatory aesthetics of the fantastic operationalizes the ontogenesis of media, genres and texts. By mapping the ontogenesis of three distinct media ecologies – the media ecology of fantasy and J. R. R. Tolkien’s secondary world Middle-earth; the media ecology of the American comic book superhero Miracleman; and the media ecology of William Blake – this book argues that the ecological imagination generates world. Per Israelson has been a doctoral candidate in the Research School of Studies in Cultural History at the department of Culture and Aesthetics, Stockholm University. Ecologies of the Imagination is his dissertation.
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Vidal, Leonardo Poglia. "Quis evaluates ipsos Watchmen? : Watchmen and narrative theory." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/103917.
Full textAbstract:
Uma das três obras que influenciaram profundamente gerações de escritores e leitores de quadrinhos no ano de 1986, junto a O Cavaleiro das Trevas, de Frank Miller e Maus, de Art Spiegelman, Watchmen, de Alan Moore e Dave Gibbons, é o mais próximo que se pode chegar de um cânone dos quadrinhos. A obra venceu o Prêmio Hugo de Ficção Científica de 1988, na categoria Outras Formas, e é considerada um dos melhores romances de todos os tempos pela revista Time. Um dos primeiros quadrinhos a sair da esfera das publicações especializadas e receber atenção de outras mídias, Watchmen é menção obrigatória para se entender a história do meio. Ainda assim, só começou a ser estudado com profundidade recentemente. A maior parte dos trabalhos sobre o quadrinho é centrada em suas propriedades históricas, a psicologia das personagens ou de que maneira estes se relacionam com a Filosofia – diferentes aspectos de uma obra meritória, que ao longo de muitos anos atingiu um grande público. O que esses estudos têm em comum é que, ao focar sua atenção nos detalhes, esquecem da narrativa – a estória que a obra conta. Esta dissertação enfoca o quadrinho como um todo; sua história e a maneira como é construída, através da teoria narrativa, considerada apropriada para este fim. A teoria narrativa é o foco da primeira parte do trabalho, junto à introdução por razões de espaço. Os trabalhos mais significativos na área são revisados e comentados. A linguagem dos quadrinhos e suas especificidades são o tema da segunda parte, também apresentando uma leitura das principais obras sobre o assunto. A terceira parte é dedicada às poucas tentativas realizadas com o intuito de conciliar ambas as linhas teóricas. A análise de Watchmen acontece na quarta seção. Além de listar os diferentes componentes narrativos, como eventos, cenário, tempo (dividido em ordem, duração e frequência), narrativa e focalização, também há uma extensa análise do estilo e das cores do traço, apresentada como um passo necessário na compreensão do tom e visão do narrador, dividido aqui entre meganarrador, monstrador e recitador. Na última parte, dedicada às considerações finais sobre o trabalho e que fins atingiu, se apresenta também uma interpretação do quadrinho, baseada em uma leitura pessoal.One of three books that deeply influenced generations of comics writers and readers in 1986, together with Frank Miller’s The Dark Knight Returns and Art Spiegelman’s Maus, Watchmen, by Alan Moore and Dave Gibbons, is as close to a canonic work as one could get, regarding comics. It won the 1988 Hugo Award, for science fiction books, in the Other Forms category, and was mentioned as one of the hundred best novels by Time magazine. One of the first comics to break out of the sphere of specialized reviews and receive acknowledgement from other media, it is an obligatory mention whenever one attempts to understand the History of the medium. And yet, it has not been thoroughly studied until recently. Most works dealing with the comic focus on its historical properties, the psychology of its characters or how they relate to Philosophy – different aspects of a merited novel which has achieved a large public throughout the years. But what these studies have in common is that, focusing on the detail, they overlook the narrative – the story presented in the work. This work focuses on the comic as a whole, its story and the way it is construed, through narrative theory – a theory based on the understanding of narratives and their constitutive parts, and, as such, clearly appropriate for the task. Narrative theory is the focus of the first part of the work, put together with the introduction for economy reasons. The most prominent works on the subject are reviewed and commented. The language of comics and its specificities are the theme of the second part of the work, also with reviews of its most significant works. The third part is dedicated to a few attempts of conciliation between both theoretical frameworks already developed. The analysis of Watchmen takes place in the fourth chapter. Besides listing the comic’s different narrative components, such as events, setting, time (divided in order, duration and frequency), narrative and focalization; there is also an extensive analysis of style and colors, presented as a necessary step in understanding the tone and views of the narrator, here divided into meganarrator, monstrator and reciter. In the final part, dedicated to considerations about the research and what it may have achieved, an interpretation of the novel is also presented, based on a personal reading.
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Giddens, Thomas Philip. "Comics, crime, and the moral self : an interdisciplinary study of criminal identity." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3622.
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An ethical understanding of responsibility should entail a richly qualitative comprehension of the links between embodied, unique individuals and their lived realities of behaviour. Criminal responsibility theory broadly adheres to ‘rational choice’ models of the moral self which subsume individuals’ emotionally embodied dimensions under the general direction of their rational will and abstracts their behaviour from corporeal reality. Linking individuals with their behaviour based only on such understandings of ‘rational choice’ and abstract descriptions of behaviour overlooks the phenomenological dimensions of that behaviour and thus its moral significance as a lived experience. To overcome this ethical shortcoming, engagement with the aesthetic as an alternative discourse can help articulate the ‘excessive’ nature of lived reality and its relationship with ‘orthodox’ knowledge; fittingly, the comics form involves interaction of rational, non-rational, linguistic, and non-linguistic dimensions, modelling the limits of conceptual thought in relation to complex reality. Rational choice is predicated upon a split between a contextually embedded self and an abstractly autonomous self. Analysis of the graphic novel Watchmen contends that prioritisation of rational autonomy over sensual experience is symptomatic of a ‘rational surface’ that turns away from the indeterminate ‘chaos’ of complex reality (the unstructured universe), instead maintaining the power of rational and linguistic concepts to order the world. This ‘rational surface’ is maintained by masking that which threatens its stability: the chaos of the infinite difference of living individuals. These epistemological foundations are reconfigured, via Watchmen, enabling engagement beyond the ‘rational surface’ by accepting the generative potential of this living chaos and calling for models of criminal identity that are ‘restless’, acknowledging the unique, shifting nature of individuals, and not tending towards ‘complete’ or stable concepts of the self-as-responsible. As part of the aesthetic methodology of this reconfiguration, a radical extension of legal theory’s analytical canon is developed.
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Nienaber, J. E. "Distopie in die grafiese roman : V for Vendetta as voorbeeld." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/21688.
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Thesis (MPhil)--Stellenbosch University, 2008.ENGLISH ABSTRACT: This thesis examines the genre of dystopian fiction in the graphic novel, V for Vendetta in which a futuristic police state, run by a totalitarian regime is portrayed. Since V for Vendetta draws on a number of other dystopian texts, New Historicist theory is employed which begins its analysis of literary texts by attempting to look at other texts as well as the historical context in which it originated, to aid in the understanding of that text. Therefore, V for Vendetta with its thorough character development and multi-dimensional storyline that the larger format of the graphic novel allows, is studied alongside other highly regarded novels. The characteristics of the nightmarish anti-utopia is identified and analysed in V for Vendetta by looking at real examples of totalitarian regimes from history. The chapters are divided into what I identified as the main themes of the totalitarian dystopia. Chapter one explains the concept of the utopia in order to grasp the concept of dystopia, and more specifically, the Totalitarian dystopia. Chapter two looks at the social structure of V for Vendetta as well as the common Totalitarian dystopia. Chapter three discusses the issue of censorship which is a recurring theme in dystopian fiction. Chapter four examines the manner in which the totalitarian regime manipulates the populace of the dystopia through propaganda. Chapter five discusses the systems of surveillance and lack of privacy in the Totalitarian dystopia and a chapter on the protagonist in dystopia concludes this study.
AFRIKAANSE OPSOMMING: In hierdie studiestuk word die genre van distopiese fiksie in die grafiese roman, V for Vendetta behandel, wat ’n futuristiese polisiestaat teen die agtergrond van ’n totalitêre staatsbestel uitbeeld. Omdat V for Vendetta by soveel ander distopiese tekste leen, word dit vanuit die teoretiese oogpunt van New Historicism bestudeer, wat in die ontleding van ’n roman ander tekste asook die geskiedkundige konteks van daardie roman ondersoek, ten einde dit beter te begryp. Daarom word V for Vendetta, wat vanweë die grafiese roman se langer formaat wat ruimte skep vir deeglike karakterontwikkeling en ’n veelvlakkige storielyn, as volwaardige roman naas ander hoogaangeskrewe romans behandel. Aan die hand van ware voorbeelde van totalitêre regimes uit die geskiedenis word die eienskappe eie aan ’n nagmerriestaat in V for Vendetta geïdentifiseer en geanaliseer en dit is waardeur ek my laat lei het ten opsigte van die hoofstukindeling. In hoofstuk een word die begrip van utopie eers duidelik gemaak om die distopie, en meer spesifiek die Totalitêre distopie te verstaan. In hoofstuk twee word daar gekyk na die sosiale samestelling en magstruktuur binne V for Vendetta en die Totalitêre distopie in die algemeen. Hoofstuk drie bespreek die kwessie van sensuur - ’n gewilde tema in distopiese fiksie. In hoofstuk vier word ondersoek ingestel na die manier waarop die Totalitêre-distopie die burgery breinspoel deur propaganda. Hoofstuk vyf bespreek die verskynsel van bewaking en die skending van privaatheid in die totaliêre distopie en in die sesde hoofstuk word daar gefokus op die protagonis in die distopie.
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Slatter, Angela Gaye. "Sourdough & other stories : a story told in parts (a mosaic novel and exegesis)." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50910/1/Angela_Slatter_Thesis.pdf.
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The mosaic novel - with its independent 'story-tiles' linking together to form a complete narrative - has the potential to act as a reflection on the periodic resurfacing of unconscious memories in the conscious lives of fictional characters. This project is an exploration of the mosaic text as a fictional analogue of involuntary memory. These concepts are investigated as they appear in traditional fairy tales and engaged with in this thesis's creative component, Sourdough and Other Stories (approximately 80,000 words), a mosaic novel comprising sixteen interconnected 'story-tiles'. Traditional fairy tales are non-reflective and conducive to forgetting (i.e. anti-memory); fairy tale characters are frequently portrayed as psychologically two-dimensional, in that there is no examination of the mental and emotional distress caused when children are stolen/ abandoned/ lost and when adults are exiled. Sourdough and Other Stories is a creative examination of, and attempted to remedy, this lack of psychological depth. This creative work is at once something more than a short story collection, and something that is not a traditional novel, but instead a culmination of two modes of writing. It employs the fairy tale form to explore James' 'thorns in the spirit' (1898, p.199) in fiction; the anxiety caused by separation from familial and community groups.
The exegesis, A Story Told in Parts - Sourdough and Other Stories is a critical essay (approximately 20,000 words in length), a companion piece to the mosaic novel, which analyses how my research question proceeded from my creative work, and considers the theoretical underpinnings of the creative work and how it enacts the research question: 'Can a writer use the structural possibilities of the mosaic text to create a fictional work that is an analogue of an involuntary memory?' The cumulative effect of the creative and exegetical works should be that of a dialogue between the two components - each text informing the other and providing alternate but complementary lenses with which to view the research question.
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Rocha, Luana. "Fear and manipulation in George Orwells Nineteen Eighty-Four and Alan Moores V for Vendetta." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=9278.
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O objetivo desta dissertação é analisar a questão da política do medo e das várias formas de manipulação da realidade encontradas nas narrativa de 1984 (1949), de George Orwell, assim como na narrativa gráfica de V de Vingança tanto na sua versão em quadrinhos, de Alan Moore (1982-88), quanto na sua adaptação cinematográfica, escrita pelos Wachowskis (2005). Em particular, tenta demonstrar similaridades nas técnicas usadas, assim como na análise dos personagens, procurando embasar certos questionamentos com a ajuda de filósofos políticos, estudos de psicologia, culturais, e distópicos. Ao final, este trabalho tenta identificar a importância da influência dos autores estudados, assim como outros autores distópicos, na criação e desenvolvimento de uma nova geração social de mentalidade inconformistaThis dissertation aims to analize the question of the politics of fear and the many forms of manipulation of reality found in George Orwells Nineteen Eighty-Four (1949), as well as in Alan Moores graphic novel V for Vendetta (1982-88) and its film adaptation written by the Wachowskis (2005). In particular, it tries to show similarities among the used techniques, as well as in the character analysis, trying to support these findings with the help of political philosophers, as well as psychological, cultural and dystopian studies. In the end, this work tries to identify the importance of these authors, as well as other dystopian authors, and their influence on the creation and development of a new generation of nonconformists
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Dickson, Rothwell Carmel. "Andrew Allan, Nathan Cohen, and Mavor Moore: Cultural nationalism and the growth of English-Canadian drama, 1945 to 1960." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/6914.
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"Andrew Allan, Nathan Cohen, and Mavor Moore: Cultural Nationalism and the Growth of Canadian Drama 1945-1960" is concerned with the texture and substance of English-Canada's cultural life in the decade and a half following World War II. This thesis represents a case study in English-Canadian cultural nationalism by focussing on the views of three cultural nationalists who believed that the creation of a national theatre could establish a unique Canadian identity and national unity. Essentially, the thesis argues that the early enthusiasm of the period for the potential of Canadian drama, and high culture in general, was thwarted by public apathy, an inferiority complex, the failure of the government to act on the recommendations of the Massey Report, and the omnipresence of television which paved the way for the conquest of mass culture and technology. By simply articulating their concerns about Canadian culture which were validated by the Massey Commission, cultural nationalists demonstrated that a distinct Canadian culture did exist in spite of the growing influence of the United States. (Abstract shortened by UMI.)
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Kidder, Orion Ussner. "Telling stories about storytelling: the metacomics of Alan Moore, Neil Gaiman, and Warren Ellis." Phd thesis, 2010. http://hdl.handle.net/10048/1037.
Full textAbstract:
The Revisionist comics of the 1980s to present represent an effort to literally revise the existing conventions of mainstream comics. The most prominent and common device employed by the Revisionists was self-reflexivity; thus, they created metacomics. The Revisionists make a spectacle of critically interrogating the conventions of mainstream comics, but do so using those same conventions: formal, generic, stylistic, etc. At their most practical level, Revisionist metacomics denaturalise the dominant genres of the American mainstream and therefore also denaturalise the ideological underpinnings of those genres. At their most abstract level, they destabilise the concepts of "fiction," "reality," "realism," and "fantasy," and even collapse them into each other.
Chapter 1 explains my methodological approach to metacomics: formal (sequence and hybridity), self-reflexive (metafiction, metapictures, metacomics), and finally denaturalising (articulation and myth). Chapter 2 analyses two metacomic cycles in the mainstream (the Crisis and Squadron Supreme cycles) and surveys the self-reflexive elements of Underground comix (specifically with regard to gender and feminist concerns). Chapter 3 presents three motifs in Revisionist comics by which they denaturalise the superhero: the dictator-hero, postmodern historiography, and fantasy genres. Finally, Chapter 4 analyses three major Revisionist comic-book seriesTransmetropolitan, Promethea, and Sandmanall of which comment on contemporary culture and the nature of representation using the dominant genres of American comics (science fiction, superhero, and fantasy, respectively).English
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Tremblay-Gaudette, Gabriel. "Le tressage à portée interprétative comme modalité de lecture : étude du roman graphique Watchmen de Dave Gibbons et Alan Moore." Mémoire, 2010. http://www.archipel.uqam.ca/3875/1/M11571.pdf.
Full textAbstract:
Ce mémoire a pour objectif d'élaborer une modalité de lecture, le tressage à portée interprétative, qui s'applique à la lecture de bande dessinée. Pour ce faire, le premier chapitre est consacré à penser la notion d'interprétation littéraire, d'abord par une comparaison de plusieurs définitions et formulations puisées à même des dictionnaires et des essais littéraires. Par la suite, nous examinons la « cible » de l'interprétation littéraire, c'est-à-dire l'objectif à atteindre par celle-ci, soit les intentions de l'auteur, la signification atteinte par et pour le texte ou encore la compréhension subjective d'un texte par un lecteur. Nous posons que c'est en amalgamant ces trois objectifs qu'une interprétation littéraire peut être formulée. Finalement, nous souscrivons à la notion de lecture littéraire afin de définir notre position sur la question. Le deuxième chapitre est consacré à la bande dessinée que, suite à un examen des diverses définitions qui en sont avancées par plusieurs chercheurs, nous caractérisons comme une pratique littéraire se spécifiant par l'importance de la relation entre textes et image, et qui en constitue la principale richesse expressive, discursive et esthétique. Par la suite, nous nous penchons sur le concept de tressage tel qu'élaboré par Thierry Groensteen afin de nous le réapproprier pour en faire une modalité de lecture à portée interprétative, laquelle ouvre la voie à l'analyse et qui est une démarche privée et souterraine. Le troisième chapitre est consacré au roman graphique Watchmen de Dave Gibbons et Alan Moore. Dans un premier temps, nous examinons les différentes analyses formulées par une communauté interprétative autour de cette œuvre. Puis, nous procédons à trois tressages à portée interprétative distincts et connexes, à partir, successivement, du concept de l'utopie, de la forme géométrique du cercle et de la figure du livre. Ces trois analyses sont par la suite colligées de manière à émettre une observation finale quant à la portée de l'œuvre et l'enseignement qui en découle.
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MOTS-CLÉS DE L’AUTEUR : Bande dessinée, roman graphique, tressage, interprétation, Watchmen.
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Fernández, Durán Rodrigo. "A change in the language, a change in the thinking, a change in the music: a música na obra de Alan Moore adaptada ao cinema." Master's thesis, 2020. http://hdl.handle.net/10362/93824.
Full textAbstract:
Esta dissertação propõe uma aproximação à Banda Desenhada (BD) –chamada também
narrativa gráfica ou arte sequencial– a partir de uma perspetiva musicológica. Durante a
segunda metade do século XX, a BD experimentou um processo transformador, onde a
música desempenhou um papel importante. Este processo, que atingiu o seu auge na
década de 1980, consolidou o seu estatuto de disciplina artística e despertou o interesse
da investigação académica. Porém, a crítica musicológica tem-se mostrado cautelosa até
agora, apesar dos inúmeros vínculos musicais que o meio apresenta.
O reconhecimento cultural da narrativa gráfica é particularmente evidente quando
examinamos a sua simbiose atual com a sétima arte. Durante os últimos vinte anos, o
mundo da BD tem inspirado um grande número de filmes. Este fenómeno constitui uma
oportunidade para a crítica musicológica, uma vez que o cinema elimina as
condicionantes da narrativa gráfica enquanto meio silencioso. O estudo comparado de
ambas as disciplinas pode, na nossa opinião, fazer emergir estratégias musicais menos
óbvias.
A obra do escritor inglês Alan Moore é especialmente relevante para levar a cabo este
tipo de trabalho. O autor não só faz um uso copioso dos intertextos musicais como
também pratica uma escrita capaz de ser entendida esteticamente em termos sonoros.
Além disso, Moore possui cinco BD adaptadas ao grande ecrã: From Hell, The League of
Extraordinary Gentlemen, V for Vendetta, Watchmen e Batman: The Killing Joke.
Mediante um exame pormenorizado de cada obra, pretendemos aprofundar o diálogo que
cada meio estabelece com a dimensão musical, aproveitando a variedade temática para
nos focarmos em assuntos diversos. Entre eles, destacamos o impacto do discurso gráficonarrativo
na partitura do filme, o tratamento da intertextualidade e as suas repercussões
sociopolíticas, as construções literárias que integram a música como veículo expressivo
e as estratégias musicais presentes na dimensão visual da BD e do filme.This dissertation proposes an approach to Comics Books –often referred to as graphic narrative or sequential art– through the perspective of musicology. During the second half of the 20th century, comics have undergone a process of transformation in which music has played an important part. This process, reaching its peak in the decade of 1980s, reassured the role of comics as an artistic discipline while also arising interest in it through academic research. Nevertheless, musicological research has shown itself cautious until today, despite numerous proofs of the musical connections of this medium. When examining the current symbiosis of graphic narrative with cinema, its cultural relevance becomes undeniable. Throughout the past twenty years, comics have inspired the creation of a substantial number of movies. This phenomenon allows a unique opportunity for musicology, since cinema eliminates the limitations of the graphic narrative as a silent medium. A compared study of both subjects can, from our point of view, allow less obvious musical strategies to arise. The oeuvre of the British writer Alan Moore is particularly relevant when taking on this kind of research. The author, while having a writing style that is capable of being comprehended and translated into sound, also makes abundant use of musical intertextuality. Moreover, Moore has written five graphic novels that have been adapted into the big screen: From Hell, The League of Extraordinary Gentlemen, V for Vendetta, Watchmen and Batman: The Killing Joke. By conducting a comprehensive examination of each work, we intend to go in depth into the dialogue both mediums establish with its musical dimension. Within these, we highlight the impact of the graphic-narrative discourse in the movie soundtrack, the way musical intertextuality is presented and its sociopolitical repercussions, the literary constructions that assimilate music as an expressive resource and the musical strategies present in the visual dimension of comic books and movies.
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Silveiro, Luís. "9 into 7: considerations on V for vendettabook and film." Master's thesis, 2010. http://hdl.handle.net/10451/4271.
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Tese de mestrado, Estudos Ingleses e Americanos, Universidade de Lisboa, Faculdade de Letras, 2010É objectivo do trabalho actual contrastar a versão de V for Vendetta (V de Vingança) escrita por Alan Moore e David Lloyd (1981-1988) com a obra homónima feita para o cinema em 2005 com realização de James McTeigue e produção dos irmãos Wachowski. Esta dissertação encara as duas formas do mesmo enunciado, tentando analisar tanto como artefactos culturais que pertencem a momentos e sítios específicos como manifestos pseudo-políticos que formam uma pletora de acções e reacções alternativas. Enquanto a primeira obra foi escrita/desenhada na Grã-Bretanha durante os anos de poder de Margaret Thatcher, a adaptação para o cinema aparece no pós 11 de Setembro nos Estados Unidos e reclama ser um arauto duma ideologia profundamente entrincheirada no seu tempo. A obra original, enquanto ensaio que opõe Fascismo ao Anarquismo numa linha cujo eixo é difícil de definir num mundo pós-modernista desencontra-se com o filme que opõe essencialmente uma conjuntura ideológica neo-liberal a uma neo-conservadora. Estabelece-se assim uma criação que não vai ao encontro da mensagem expressa no original. Tomando o texto original como ponto de partida, o presente trabalho tenta analisar as lacunas lógicas na reinterpretação da narrativa original sublinhando sempre que possível as razões pela sua presença, bem como fazendo uso do texto de Professor James Keller, V for Vendetta as Cultural Pastiche, para formar a sua própria interpretação. Foi efectuada, ainda, uma tentativa de estabelecer elos específicos com a cultura britânica numa perspectiva de aligeirar e/ou clarificar as divergências extremas das duas versões. Tendo em conta o deserdar do autor do seu próprio trabalho é-nos também interessante olhar para as motivações latentes da forma fílmica se considerarmos certos planos e momentos chave que existem (ou não) numa ou noutra versão. O encosto narrativo e os meandros nitidamente políticos das duas peças entram em colisão tanto artística como culturalmente. Torna-se assim importante compreender a agenda ideológica que prevalece tanto no livro como no filme.
Abstract: The current work seeks to contrast the book version of Alan Moore and David Lloyd‟s V for Vendetta (1981-1988) with its cinematic counterpart produced by the Wachowski brothers and directed by James McTeigue (2005). This dissertation looks at these two forms of the same enunciation and attempts to analise them both as cultural artifacts that belong to a specific time and place and as pseudo-political manifestos which extemporize to form a plethora of alternative actions and reactions. Whilst the former was written/drawn during the Thatcher years, the film adaptation has claimed the work as a herald for an alternative viewpoint thus pitting the original intent of the book with the sociological events of post 9/11 United States. Taking the original text as a basis for contrast, I have relied also on Professor James Keller‟s work V for Vendetta as Cultural Pastiche with which to enunciate what I consider to be lacunae in the film interpretation and to understand the reasons for the alterations undertaken from the book to the screen version. An attempt has also been made to correlate Alan Moore‟s original influences into the medium of a film made with a completely different political and cultural agenda.
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Janvier-Jalbert, Francis. "Super-héros victoriens : la transfictionnalité dans The League of Extraordinary Gentlemen, suivi de Fiction Party." Thèse, 2019. http://hdl.handle.net/1866/23735.
Full textAbstract:
La transfictionnalité, concept proche de celui de transtextualité, est définie par Richard Saint-Gelais comme « le phénomène par lequel au moins deux textes, du même auteur ou non, se rapportent conjointement à une même fiction, que ce soit par reprise de personnages, prolongement d’une intrigue préalable ou partage d’univers fictionnel ». Ce mémoire de recherche-création étudie l’usage qu’Alan Moore et Kevin O’Neill font de la transfictionnalité dans leur bande dessinée The League of Extraordinary Gentlemen (1999-2019), et plus spécifiquement leur recyclage du matériel narratif du XIXe siècle britannique, marqué par la Révolution industrielle et les politiques impérialistes du règne de la reine Victoria. Il s’agit de mieux comprendre comment les personnages de la littérature de l’époque victorienne sont réappropriés par les auteurs, transformés et recontextualisés de manière à critiquer la culture et la société qui les a d’abord générés. Fiction Party est quant à lui un récit transfictif et autofictif dans lequel Francis, le personnage principal, est invité par erreur à une soirée donnée en l’honneur de la fiction au château de Dracula. Il y fait la rencontre d’innombrables personnages des littératures de tous les pays et de toutes les époques, parmi lesquels Antigone, Meursault, Emma Bovary, Don Quichotte, ou encore le shérif de Nottingham. Au cours de la fête, cependant, un meurtre est commis, et ces grandes figures littéraires doivent alors résoudre le mystère et identifier l’assassin, dans un hommage aux récits d’enquêtes d’Arthur Conan Doyle et Agatha Christie.Transfictionnality, a concept close to that of transtextuality, is defined by Richard Saint Gelais as "the phenomenon by which at least two texts, from the same author or not, relate jointly to the same fiction, whether by resumption of characters, extension of a previous plot or sharing a fictional universe". This Master’s thesis in research-creation examines Alan Moore's and Kevin O'Neill's use of transfictionnality in their graphic novel The League of Extraordinary Gentlemen (1999-2019), and more specifically their recycling of narrative material from nineteenth century Great Britain, which is marked by the Industrial Revolution and the imperialist policies of the reign of Queen Victoria. Our aim is to better understand how the characters of literature of the Victorian era are appropriated by the authors, transformed and recontextualized so as to criticize the culture and the society that first generated them. Fiction Party is a transfictive and autofictional narrative in which Francis, the main character, is mistakenly invited to a party in honor of fiction at Dracula's Castle. He meets countless literary characters from every country and every epoch, including Antigone, Meursault, Emma Bovary, Don Quixote, and the sheriff of Nottingham. During the festivities, however, a murder is committed, and these great literary characters must then solve the mystery and identify the culprit, in a tribute to the detective fiction of Arthur Conan Doyle and Agatha Christie.
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Cuthbert, Nancy Marie. "George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art." Thesis, 2012. http://hdl.handle.net/1828/4142.
Full textAbstract:
Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories.Graduate