The purpose of this thesis is the analysis of the key works of the American author and founder of the so-called “weird” fiction Howard Philips Lovecraft in terms of their incorporation of the notion of ontological Negativity. To do this, a series of parallels found in several examples from Alan Moore’s graphic novels will be analysed, especially Swamp Thing (1984–1987), where the hero is a vegetable–human hybrid From Hell (1989–1998), where the villain acts as both mad scientist and monster in his perverse endeavour to violently reshape female desire to his will Promethea (1999–2005), where a divine emanation is perceived as a threatening devil by opposing fundamentalists and finally the horrible entities in Neonomicon (2010–2011) and Providence (2015–2017). This exploration will also show the changes in their mode of representation, contributing to understand the peculiarities of the Gothic side of Moore’s construction of Blakean vision. This will contribute to trace changes in their meanings as they pass from signifying energy to tyranny, from unfallenness to fallenness, or from conventional to visionary perception. This article will discuss Blake and Moore’s use of visual and verbal aesthetics to identify as monstrous characters like Satan, Urizen and Orc in Blake and William Gull, Asmodeus and Cthulhu in Moore to pinpoint the meanings that underlie them and how the direct or indirect Blakean influence operates in Moore’s works.
Via countercultural influence, Blakean antinomianism filtered down to Alan Moore, for whom the notion of evil depends on perspectives thus, in Moore, the socially unacceptable can appear as monstrous, but monstrosity is also a mode through which to make visible the oppressive order that defines transgression as such. The meanings of the monstrous in Blake are associated with evil in his works, where it can be understood as released or repressed energies, two types which correspond, respectively, to liberation or alienation. In contrast to eighteenth-century discourses in which moral virtue and monstrosity were polar opposites, Blake’s universe is more complex and presents an ambivalent attitude towards revolution and social transgression embodied in the monstrous. 1790–1793), and the masses of blood and flesh appearing in The Book of Urizen (1794). Alan Moore.William Blake’s illuminated books are full of depictions of the monstrous, like Orc’s or Urizen’s metamorphoses, bestial figures such as the Leviathan in The Marriage of Heaven and Hell (c.
Neonomicon - By Alan Moore and Jacen Burrows. The story of Ed Brubaker and Sean Phillips' harrowing Providence (1-12) - Comic book of Alan Moore. Moore has kept himself busy with Neonomicon, the prequel and sequel to his 2010.
Alan Moore.Ī man with powers like Superman is able to do anything.
0 kommentar(er)
