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.

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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This thesis concerns the practice of ‘psychogeography’ in London, England, and the ways in which psychogeographic writings provoke in city-dwellers an acute sense of disorientation, as though the everyday were otherworldly. My study is intended as a response to Guy Debord’s claim that ‘psychogeography’ investigates “the precise laws […] of the geographical environment” on “the emotions and behaviour of individuals” (Debord qtd. in Coverley 88): any revolutionary enterprise must point to the future, the very notion of which can only be imprecise and un-empirical – psychogeography is not necessarily an exception. I argue that for Alan Moore and Iain Sinclair, the psychogeographic imperative is rather to imagine the implosion of Londonscape as it is well known, since only spatial structures that thus unravel may offer mystical insights that are, as yet, unspoiled by neoliberal/Thatcherite politics and the accompanying ambition to re-vamp English history in a nostalgic light. This study presents psychogeography not simply as a strategy of political resistance but as a visceral and metaphysical experience; it draws upon SF theories of worlding and the philosophical notion of Dasein to address some concerns that have arisen in post-imperial Britain, such as the desire to define English identity, i.e., ‘Englishness.’ / Thesis / Doctor of Philosophy (PhD) / This dissertation studies Alan Moore’s and Iain Sinclair’s use of psychogeography to examine the city of London. Psychogeography is an implosive, fragmented writing style that estranges the meaning of the urban everyday. Subject to psychogeographic depiction, London becomes a city altogether foreign, if not to say fantastical. I argue that psychogeography is both a strategy of political resistance and a visceral experience – one that could influence common ways of reading English history and culture (i.e. ‘Englishness.’)

Alan Moore's graphic novels mark a shift in the way graphic novels are read, written, and studied. This thesis explores what makes his novels compelling and see what examples of postmodern thought occur in Moore's construction of human sexuality and modem culture. Additionally, it examines graphic structures to see how pictures and words impact every level of the text. It investigates three of his more established novels: From Hell, Lost Girls and Watchmen. Secondary sources come from a diverse background of philosophical, literary, psychological, and artistic theory. This study implements these sources to decipher Moore's work by finding similar moments in the different texts and construct a possible model for the postmodern graphic novel and argues that Moore should be considered one of the major contributors and innovators to the medium of graphic novels.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-10T19:18:59Z No. of bitstreams: 1 lucasfazolamiguel.pdf: 7948999 bytes, checksum: d1fa53335cfcae9999e759982d1faf59 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-11T15:07:54Z (GMT) No. of bitstreams: 1 lucasfazolamiguel.pdf: 7948999 bytes, checksum: d1fa53335cfcae9999e759982d1faf59 (MD5) / Made available in DSpace on 2018-04-11T15:07:54Z (GMT). No. of bitstreams: 1 lucasfazolamiguel.pdf: 7948999 bytes, checksum: d1fa53335cfcae9999e759982d1faf59 (MD5) Previous issue date: 2018-02-27 / 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.

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.

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.

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

This thesis explores Alan Moore and Dave Gibbons' 1986-87 comic book series Watchmen according to its network structure, paying particular attention to page layout and the establishment of or deviation from the nine-panel "waffle iron" grid. This reading aims to better understand the comic book form, connecting the work of comics theorist Theirry Groensteen to certain elements of actor-network theory and Ian Bogost's notion of the ontograph--a map of being that emphasizes the interobjectivity of networked nodes. This thesis explores the ontographic nature of the comic book form more generally before tracing the meta-textual ontograph in Watchmen. The thesis then examines the network within the single panel, the multi-panel page layout, and the collaborative network of artist and author. Finally, this thesis explores how Watchmen as an ontograph exploits the affordances of the comic book form in order to construct creative temporalities.