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 Volume 17/1, includes forum "Narrative Selves"
 January 2019

 Volume 16/2, includes forum on Monika Fludernik's Towards a 'Natural' Narratology
 June 2018

 Volume 16/1 includes forum "Modernity and Mobility: Victorian Women Traveling"
 January 2018

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 June 2017

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 January 2017

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 January 2016

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 June 2015

 Volume 13/1: includes forum "TheGhetto as a Victorian Text"
 January 2015

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 June 2014

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 January 2014

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 June 2013

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 January 2013

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 June 2012

 Volume 10/1: includes forum "Fernando Pessoa and the Issue of Heteronymy
 January 2012

 Volume 9/2: Dickens: Uneasy Pleasures
 June 2011

 Volume 9/1
 January 2011

 Volume 8/2: British Women Writers
 June 2010

 Volume 8/1 includes forum "The Ethics of Temporality"
 January 2010

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 June 2009

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 January 2009

 Volume 6/2: Narrative Knowing, Living, Telling
 June 2008

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 Quick Article Search

   Newest Articles

 Response Essay
 Monika Fludernik

 Experience, Affect, and Literary Lists
 Eva von Contzen

 Posthuman Narration as a Test Bed for Experientiality
 Marco Caracciolo

 The Curse of Realism
 Karin Kukkonen

 More than Minds
 Jonas Grethlein

 Toward the Non-Natural
 Maria Mäkelä

 Two Conceptions of Experientiality and Narrativity
 Dan Shen

 Against Nature
 Brian McHale

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Updated Up To 26/06/2018
Volume 13, Issue 2 (June 2015) : 267-286
"Give the devil his due"
Freedom, Damnation, and John Milton’s Paradise Lost in Neil Gaiman’s The Sandman: Season of Mists
Joakim Jahlmar
Rubric A: Literature and the Visual Arts
Rubric B: Then and Now

Abstract

 

In their collection Milton in Popular Culture (2006), Laura Lungers Knoppers and Gregory M. Colón Semenza have established the importance of Miltonic intertextuality in popular culture, while recognizing the importance of William Blake to the field. Blake’s definition of Milton as “a true Poet and of the Devils party without knowing it” in The Marriage of Heaven and Hell (1793) lies at the centre of a main concern of Milton criticism since the poem’s original publication. The debate between Satanists and anti-Satanists goes back even further than Blake and the Romantics, and this central ambivalence is representative of the “discontinuities” and “irresolvable complexities” which Peter C. Herman and Elizabeth Sauer (2012) argue are the focus of interest of the New Milton Criticism.

Following this strand of critical thought, this article proposes to show how the introduction of Miltonic intertext into Neil Gaiman’s The Sandman, in issues 21–28, serves to structure the series’ theme of change and death — which involve questions of freedom and teleology, free will and damnation — through a critical dialogue with, and creative rewriting of Miltonic theodicy in the epic poem. Gaiman draws upon the ambivalent theological dimensions of Paradise Lost not to present his own concept of good and evil but rather to discuss the freedom to change and the damnation inherent in the inability to change as part of the human condition.

 


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