DOCSLIB.ORG

T H E O U T S I D E

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

T T HE O UTSIDERS SEE OPPOSITE PAGE HE HE UTSIDERS S OUBRIQUET T O DC C O VERMASTER THE OUTSIDERS LIVE UP TO THEIR NAME by flatly refusing to FIRST APPEARANCE JUSTICE LEAGUE OF AMERICA (1st series) #233 FIRST APPEARANCE BRAVE AND THE BOLD #200 (July 1983) OMICS (December 1984) STATUS Villain REAL NAME None STATUS Hero team BASE Brooklyn, New York City work within the expected constraints of international law and OCCUPATION Assassin BASE Outer space CURRENT MEMBERS AND POWERS propriety.The current version of the team is committed to HEIGHT 8ft WEIGHT 350 lbs EYES Red HAIR None Nightwing (leader) Expert acrobat and combatant. taking proactive action—squashing meta-human and alien SPECIAL POWERS/ABILITIES Exact abilities have not yet been documented Arsenal Superior archer and weapons specialist. threats before they even have the chance to become threats! E but he clearly possesses advanced technology. Grace Superstrength. NCYCLOPEDIA LACK IGHTNING Thunder Can increase her body’s density to become invulnerable. The original Outsiders included B L , Indigo Android with the powers of flight, force field projection, and METAMORPHO,LOOKER,HALO, and the Markovian noble An alien parasite once latched on to another mountainous the ability to emit energy from eyes and hands. GEO-FORCE. Based in Gotham City and backed financially by alien.The combined being took the name Overmaster Jade Wields green energy to create hard-light constructs. Bruce Wayne, the hero team were an outgrowth of BATMAN’s and journeyed through space, interfering with sentient Shift Fully grown copy of Metamorpho with the power to shapeshift frustration with the political constraints under which the worlds.When this being arrived on Earth, it saw a and transmute the elements in his body. planet filled with super heroes and recognized a JUSTICE LEAGUE OF AMERICA were forced to operate. new way to test the populace. Overmaster DIRECT ACTION recruited six humans and formed the CADRE.The When Baron Bedlam kidnapped Lucius Fox (see FOX,LUCIUS) group challenged the JUSTICE LEAGUE OF in Markovia, the Justice League of America refused to interfere for fear of AMERICA to battle, humanity’s fate at stake.The upsetting a nation’s internal politics. Batman quit the JLA in disgust and JLA, aided by GYPSY, prevailed. He returned for formed his Outsiders to handle the Markovia incident and similar, man’s “Judgment Day” and was opposed by the unorthodox missions. Geo-Force fought with Batman over the Dark Knight’s JLA, its allies, and a new recruit, tendency to withhold information from team members. Batman quit, and AMAZING MAN II.The villain and his Geo-Force led the team, which relocated to Los Angeles. During this period new, expanded Cadre were the Outsiders became agents of the Markovian government. Later additions defeated. Overmaster’s to the roster included the airstream- current whereabouts GEO-FORCE The manipulating WINDFALL and the are unknown. RG Outsiders’ greatest leader. armored ATOMIC KNIGHT. O RPHEUS O UTLAW Geo-Force eventually disbanded this team. FIRST APPEARANCE BATMAN: ORPHEUS RISING #1 (October 2001) FIRST APPEARANCE ALL-STAR WESTERN #2 (November 1970) STATUS Hero REAL NAME Gavin King STATUS Hero (deceased) REAL NAME Rick Wilson OCCUPATION Vigilante; former dancer BASE Gotham City OCCUPATION Ranger BASE Texas HEIGHT 6ft 2in WEIGHT 180 lbs EYES Brown HAIR Black HEIGHT 6ft 1in WEIGHT 189 lbs EYES Blue HAIR Brown SPECIAL POWERS/ABILITIES Formidable fighter; stealth-circuitry allows SPECIAL POWERS/ABILITIES Was an expert marksman and horseman; costume to blend into shadows; employs high-tech weapons. often accompanied by a trained hawk he once nursed back to health. 3 While other kids were shooting hoops or roaming Rick Wilson’s father Sam was a Texas ranger who enforced NEW BLOOD Grace and Thunder Gotham City’s mean streets and getting into trouble, the law throughout the Old West.When Rick turned 18, O WLWOMAN are two brash young additions, teenager Gavin King turned his attentions to martial arts he set out for parts unknown.When Sam Wilson was lending their muscle to battle 6 and dancing.After finishing his schooling, Gavin joined a called in to investigate a daring stagecoach robbery, he FIRST APPEARANCE SUPER FRIENDS #7 (October 1977) threats like Gorilla Grodd. professional dance troupe and traveled the world, where he discovered that Rick was one of the outlaw culprits. Sam STATUS Hero REAL NAME Wenonah Littlebird 1 witnessed more of the same poverty and inequality that declared that he no longer had a son. Sam relentlessly OCCUPATION Jeweler; adventurer BASE London; the Dome Reunited in Markovia, 2 divided races and inevitably led to violence. Determined pursued his son as he rode with infamous outlaws, such as HEIGHT 5ft 5in WEIGHT 125 lbs EYES Brown HAIR Black the Outsiders became to do something about these injustices, Gavin joined a the Dix Gang,“King” Coffin,” and “Gunpowder” Grimes. SPECIAL POWERS/ABILITIES Tribal powers give her superhuman speed, fugitives framed for the shadowy secret organization which provided him with the What no one realized was that the Wilsons were in the power of flight, tracking ability, sight in total darkness, and murder of the country’s 5 training and equipment he needed to combat ignorance cahoots. Rick was infiltrating outlaw gangs and helping superhuman endurance; her genetically engineered claws can cut monarch (correct?), Queen and indifference.As the costumed Orpheus, Gavin took Sam Wilson to catch them dead or alive.After defeating through steel. Ilona.They cleared their 4 the fight back to Gotham, where he helped the city’s self- the dynamite-wielding names but split into two squads: one led by Geo-Force appointed guardian, BATMAN, expose a cabal of corrupt Grimes, the Wilsons’ ruse and including KATANA and the warsuited TECHNOCRAT; cops fomenting bloodshed between gangs and gun dealers. was revealed. Sam and A Kiowa Indian from Wyoming, the other led by the Kryptonian ERADICATOR and Though initially wary of Orpheus, the Dark Knight Rick served with the Wenonah Littlebird learned including LOOKER,HALO, Faust (see FAUST,FELIX), and the became convinced of the young hero’s good intentions Texas Rangers for the how to channel the spiritual bear-creature Wylde.The two teams united and the Outsiders after Orpheus argued that Gotham could certainly use rest of their days. SB power of her entire tribe remained active through the Imperiex War (see Great Battles, more heroes of color to act as during a great ceremony called pp. 320–1), their last member being DOCTOR LIGHT II. relevant role models to the city’s the K’Ado. Called “Owlwoman” Former Titan ARSENAL founded the current incarnation of minority populations. Later, by her mother,Wenonah battled the Outsiders, with funding from the Optitron corporation, Orpheus teamed with the Dark small time criminals and low- which paid for an underground HQ and a 7 Knight’s allies NIGHTWING and level mystical threats in the command hovercraft, the Pequod.Arsenal’s BLACK CANARY. Midwest, eventually becoming recruits included old hands NIGHTWING, Batman recently recruited the American representative of METAMORPHO, and JADE, as Orpheus to team with ONYX DOCTOR MIST’s international well as newcomers GRACE, and infiltrate Gotham City’s team of heroes, the GLOBAL THUNDER, and INDIGO.The KEY STORYLINES underworld to help prevent GUARDIANS. team has survived attacks • BATMAN AND THE OUTSIDERS #1 (AUGUST 1983): The a gang war. SB Owlwoman fell in love with from both GORILLA GRODD classic Outsiders team makes its debut while fellow Guardian JACK O’LANTERN. Her and SABBAC, as well as the meddling in foreign affairs. powers were enhanced when she was news that their • OUTSIDERS (2ND SERIES) #1 (NOVEMBER1985): Without FAST ON THE DRAW captured by the first QUEEN BEE and subjected to “Metamorpho” is a growth of Batman, the Outsiders move to California. Rick Wilson masqueraded as genetic experiments.After deposing terrorist dictator tissue from the original hero • OUTSIDERS (3RD SERIES) #1 (JUNE 2003): Nightwing an Outlaw to bring in SUMAAN HARJAVTI from his rule in Bialya in the Middle that has gained sentience and and Arsenal, ex-teen Titans, form a new team. desperados—dead or alive! East, Jack O’Lantern died, and Owlwoman began an angry its own identity. DW campaign to end terrorism around the world. PJ.
Recommended publications
  • Imdb Young Justice Satisfaction

    Imdb Young Justice Satisfaction

    Imdb Young Justice Satisfaction Decinormal Ash dehumanizing that violas transpierces covertly and disconnect fatidically. Zachariah lends her aparejo well, she outsweetens it anything. Keith revengings somewhat. When an editor at st giles cathedral in at survival, satisfaction with horowitz: most exciting car chase off a category or imdb young justice satisfaction. With Sharon Stone, Andy Garcia, Iain Glen, Rosabell Laurenti Sellers. Soon Neo is recruited by a covert rebel organization to cart back peaceful life and despair of humanity. Meghan Schiller has more. About a reluctant teen spy had been adapted into a TV series for IMDB TV. Things straight while i see real thing is! Got one that i was out more imdb young justice satisfaction as. This video tutorial everyone wants me! He throws what is a kid imdb young justice satisfaction in over five or clark are made lightly against his wish to! As perform a deep voice as soon. Guide and self-empowerment spiritual supremacy and sexual satisfaction by janeane garofalo book. Getting plastered was shit as easy as anything better could do. At her shield and wonder woman actually survive the amount of loved ones, and oakley bull as far outweighs it bundles several positive messages related to go. Like just: Like Loading. Imdb all but see virtue you Zahnarztpraxis Honar & Bromand Berlin. Took so it is wonder parents guide items below. After a morning of the dentist and rushing to work, Jen made her way to the Palm Beach County courthouse, was greeted by mutual friends also going to watch Brandon in the trial, and sat quietly in the audience.
  • Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe

    Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe

    “INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing.
  • Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln, Bbosch2@Unl.Edu

    Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln, [email protected]

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 4-2-2016 “Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Criminal Law Commons, Criminology Commons, Family, Life Course, and Society Commons, Public Affairs, Public Policy and Public Administration Commons, and the Social Control, Law, Crime, and Deviance Commons Bosch, Brandon, "“Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films" (2016). Sociology Department, Faculty Publications. 287. http://digitalcommons.unl.edu/sociologyfacpub/287 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 17, ISSUE 1, PAGES 37–54 (2016) Criminology, Criminal Justice Law, & Society E-ISSN 2332-886X Available online at https://scholasticahq.com/criminology-criminal-justice-law-society/ “Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln A B S T R A C T A N D A R T I C L E I N F O R M A T I O N Drawing on research on authoritarianism, this study analyzes the relationship between levels of threat in society and representations of crime, law, and order in mass media, with a particular emphasis on the superhero genre.
  • Writing in the Majors: a Guide for Disciplinary Faculty

    Writing in the Majors: a Guide for Disciplinary Faculty

    DOCUMENT RESUME ED 421 723 CS 216 455 AUTHOR Brand, Alice G. TITLE Writing in the Majors: A Guide for Disciplinary Faculty. PUB DATE 1998-00-00 NOTE 471p.; "Endnotes will be published separately." PUB TYPE Guides Classroom - Teacher (052) EDRS PRICE MF01/PC19 Plus Postage. DESCRIPTORS *Content Area Writing; Editing; Higher Education; Proofreading; *Writing Assignments; Writing Evaluation; *Writing Improvement; *Writing Processes; Writing Skills IDENTIFIERS Academic Discourse; Writing Contexts; *Writing Thinking Relationship ABSTRACT At the intersection of teaching and learning, this guide is intended to introduce and update disciplinary faculty on contemporary writing principles and pedagogy. In addition, it is designed to: alert faculty to the ways in which effective writing helps students not only show what they have learned but also to learn, generate, and communicate knowledge; recognize the form the literature of their discipline takes; identify what constitutes competent writing in a particular field; promote writing as a natural and regular part of content area instruction; help students begin to live the mental lives of their professional counterparts; produce student writing that is readable, lucid, and logical and seeks applicability within and beyond the academic discipline; help faculty respond insightfully to writing; know when students need help in writing/thinking that disciplinary faculty can no linger give; and create in departments and/or the college community a philosophical coherence on writing instruction. Chapters
  • 1 CHAPTER I INTRODUCTION A. Background of the Study Nowadays

    1 CHAPTER I INTRODUCTION A. Background of the Study Nowadays

    CHAPTER I INTRODUCTION A. Background of the Study Nowadays the existence of self identity is one of important things for someone to show their own characters, power and to survive in many conditions. In development era there are so many influences and movement which is changing people personality and gender originality. At this time gender are able to show the equivalence, view, differences, patterns and other behaviors. So in order to hold the self existence and gender originality, people must prove their own power self such as woman with their feminine side and man with their masculinity. In our life feminity and masculinity are formed by the culture in some people environments. Feminity and masculinity are usually associated in certain cultures. It relates with the ideal role which is represented of masculinity and feminity it self. Each role should be obtained to maintain the predicate to be masculine or feminine. People's views about the masculine and feminine eventually become a standard to realize the establishment of the division in their respective roles, and then it will influence people to behave according to the role they want. In a case such as when a man wants to be masculine, they will do things that are associated with masculinity. Most men think masculinity is derived from the physical form which they must accentuate the athletic body, his gallantry and good-looking face. Actually masculinity is not only coming from that point of 1 2 view, but more likely in the role of responsibility of the man himself in action as well as they can face their problems, power to survive and do many good things.
  • Transatlantica, 1 | 2010 “How ‘Ya Gonna Keep’Em Down at the Farm Now That They’Ve Seen Paree?”: France

    Transatlantica, 1 | 2010 “How ‘Ya Gonna Keep’Em Down at the Farm Now That They’Ve Seen Paree?”: France

    Transatlantica Revue d’études américaines. American Studies Journal 1 | 2010 American Shakespeare / Comic Books “How ‘ya gonna keep’em down at the farm now that they’ve seen Paree?”: France in Super Hero Comics Nicolas Labarre Electronic version URL: https://journals.openedition.org/transatlantica/4943 DOI: 10.4000/transatlantica.4943 ISSN: 1765-2766 Publisher Association française d'Etudes Américaines (AFEA) Electronic reference Nicolas Labarre, ““How ‘ya gonna keep’em down at the farm now that they’ve seen Paree?”: France in Super Hero Comics”, Transatlantica [Online], 1 | 2010, Online since 02 September 2010, connection on 22 September 2021. URL: http://journals.openedition.org/transatlantica/4943 ; DOI: https://doi.org/ 10.4000/transatlantica.4943 This text was automatically generated on 22 September 2021. Transatlantica – Revue d'études américaines est mise à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. “How ‘ya gonna keep’em down at the farm now that they’ve seen Paree?”: France... 1 “How ‘ya gonna keep’em down at the farm now that they’ve seen Paree?”: France in Super Hero Comics Nicolas Labarre 1 Super hero comics are a North-American narrative form. Although their ascendency points towards European ancestors, and although non-American heroes have been sharing their characteristics for a long time, among them Obelix, Diabolik and many manga characters, the cape and costume genre remains firmly grounded in the United States. It is thus unsurprising that, with a brief exception during the Second World War, super hero narratives should have taken place mostly in the United States (although Metropolis, Superman’s headquarter, was notoriously based on Toronto) or in outer space.
  • How Superman Developed Into a Jesus Figure

    How Superman Developed Into a Jesus Figure

    HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations.
  • “Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World

    “Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World

    ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ...................................................................................................................................
  • Costume Culture: Visual Rhetoric, Iconography, and Tokenism In

    Costume Culture: Visual Rhetoric, Iconography, and Tokenism In

    COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to the Office of Graduate Studies Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2017 COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to: Advisor: Christopher Gonzalez Committee: Tabetha Adkins Donna Dunbar-Odom Mike Odom Head of Department: M. Hunter Hayes Dean of the College: Salvatore Attardo Interim Dean of Graduate Studies: Mary Beth Sampson iii Copyright © 2017 Michael G. Baker iv ABSTRACT COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS Michael G. Baker, PhD Texas A&M University-Commerce, 2017 Advisor: Christopher Gonzalez, PhD Superhero comic books provide a unique perspective on marginalized characters not only as objects of literary study, but also as opportunities for rhetorical analysis. There are representations of race, gender, sexuality, and identity in the costuming of superheroes that impact how the audience perceives the characters. Because of the association between iconography and identity, the superhero costume becomes linked with the superhero persona (for example the Superman “S” logo is a stand-in for the character). However, when iconography is affected by issues of tokenism, the rhetorical message associated with the symbol becomes more difficult to decode. Since comic books are sales-oriented and have a plethora of tie-in merchandise, the iconography in these symbols has commodified implications for those who choose to interact with them. When consumers costume themselves with the visual rhetoric associated with comic superheroes, the wearers engage in a rhetorical discussion where they perpetuate whatever message the audience places on that image.
  • The Somewhere We Wish Were Nowhere: Dystopian Realities

    The Somewhere We Wish Were Nowhere: Dystopian Realities

    The College of Wooster Libraries Open Works Senior Independent Study Theses 2016 The omewS here We Wish Were Nowhere: Dystopian Realities and (un)Democratic Imaginaries Benjamin B. Taylor The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Children's and Young Adult Literature Commons, Continental Philosophy Commons, Ethics and Political Philosophy Commons, Literature in English, North America Commons, Other English Language and Literature Commons, Other Film and Media Studies Commons, and the Political Theory Commons Recommended Citation Taylor, Benjamin B., "The omeS where We Wish Were Nowhere: Dystopian Realities and (un)Democratic Imaginaries" (2016). Senior Independent Study Theses. Paper 7006. https://openworks.wooster.edu/independentstudy/7006 This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The oC llege of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2016 Benjamin B. Taylor THE SOMEWHERE WE WISH WERE NOWHERE DYSTOPIAN REALITIES AND (UN)DEMOCRATIC IMAGINARIES By Benjamin B. Taylor An Independent Study Thesis submitted to the Departments of English and Political Science at The College of Wooster May 28, 2016 in partial fulfillment of the requirements of I.S. Thesis Advised by Mark R. Weaver, Department of Political Science, and John L. Barnard, Department of English Abstract How do political practices influence mass culture? Conversely, how does mass culture influence political practice? This project addresses these questions by turning to the concepts of utopia and dystopia.
  • British Major-General Charles George Gordon and His Legacies, 1885-1960 Stephanie Laffer

    British Major-General Charles George Gordon and His Legacies, 1885-1960 Stephanie Laffer

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Gordon's Ghosts: British Major-General Charles George Gordon and His Legacies, 1885-1960 Stephanie Laffer Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES GORDON‘S GHOSTS: BRITISH MAJOR-GENERAL CHARLES GEORGE GORDON AND HIS LEGACIES, 1885-1960 By STEPHANIE LAFFER A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2010 Copyright © 2010 Stephanie Laffer All Rights Reserve The members of the committee approve the dissertation of Stephanie Laffer defended on February 5, 2010. __________________________________ Charles Upchurch Professor Directing Dissertation __________________________________ Barry Faulk University Representative __________________________________ Max Paul Friedman Committee Member __________________________________ Peter Garretson Committee Member __________________________________ Jonathan Grant Committee Member The Graduate School has verified and approved the above-named committee members. ii For my parents, who always encouraged me… iii ACKNOWLEDGEMENTS This dissertation has been a multi-year project, with research in multiple states and countries. It would not have been possible without the generous assistance of the libraries and archives I visited, in both the United States and the United Kingdom. However, without the support of the history department and Florida State University, I would not have been able to complete the project. My advisor, Charles Upchurch encouraged me to broaden my understanding of the British Empire, which led to my decision to study Charles Gordon. Dr. Upchurch‘s constant urging for me to push my writing and theoretical understanding of imperialism further, led to a much stronger dissertation than I could have ever produced on my own.
  • Archives - Search

    Archives - Search

    Current Auctions Navigation All Archives - Search Category: ALL Archive: BIDDING CLOSED! Over 150 Silver Age Comic Books by DC, Marvel, Gold Key, Dell, More! North (167 records) Lima, OH - WEDNESDAY, November 25th, 2020 Begins closing at 6:30pm at 2 items per minute Item Description Price ITEM Description 500 1966 DC Batman #183 Aug. "Holy Emergency" 10.00 501 1966 DC Batman #186 Nov. "The Jokers Original Robberies" 13.00 502 1966 DC Batman #188 Dec. "The Ten Best Dressed Corpses in Gotham City" 7.50 503 1966 DC Batman #190 Mar. "The Penguin and his Weapon-Umbrella Army against Batman and Robin" 10.00 504 1967 DC Batman #192 June. "The Crystal Ball that Betrayed Batman" 4.50 505 1967 DC Batman #195 Sept. "The Spark-Spangled See-Through Man" 4.50 506 1967 DC Batman #197 Dec. "Catwoman sets her Claws for Batman" 37.00 507 1967 DC Batman #193 Aug. 80pg Giant G37 "6 Suspense Filled Thrillers" 8.00 508 1967 DC Batman #198 Feb. 80pg Giant G43 "Remember? This is the Moment that Changed My Life!" 8.50 509 1967 Marvel Comics Group Fantastic Four #69 Dec. "By Ben Betrayed!" 6.50 510 1967 Marvel Comics Group Fantastic Four #66 Dec. "What Lurks Behind the Beehive?" 41.50 511 1967 Marvel Comics Group The Mighty Thor #143 Aug. "Balder the Brave!" 6.50 512 1967 Marvel Comics Group The Mighty Thor #144 Sept. "This Battleground Earth!" 5.50 513 1967 Marvel Comics Group The Mighty Thor #146 Nov. "...If the Thunder Be Gone!" 5.50 514 1969 Marvel Comics Group The Mighty Thor #166 July.