Strong Female Protagonist: Book One Free
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Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough 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 August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
Queer Here: Poetry to Comic Emma Lennen Katie Jan
Queer Here: Poetry to Comic Emma Lennen Katie Jan Pull Quote: “For the new audience of queer teenagers, the difference between the public and the superhero resonates with them because they feel different from the rest of society.” Consider this: a superhero webcomic. Now consider this: a queer superhero webcomic. If you are anything like me, you were infinitely more elated at the second choice, despite how much you enjoy the first. I love reading queer webcomics because by being online, they bypass publishers who may shoot them down for their queerness. As a result, they manage to elude the systematic repression of the LGBTQA+ community. In the 1950s, when repression of the community was even more prevalent, Frank O’Hara wrote the poem “Homosexuality” to express his journey of acceptance as well as to give advice to future gay people. The changes I made in my translation of the poem “Homosexuality” into a modern webcomic demonstrate the different time periods’ expectations of queer content, while still telling the same story with the same purpose, just in a different genre. Despite the difference between the genres, the first two lines and the copious amount of imagery present in the poem allowed for some near-direct translation. The poem begins with “So we are taking off our masks, are we, and keeping / our mouths shut? As if we’d been pierced by a glance!” (O’Hara 1-2). While usually masks symbolize hiding your true self and therefore have a negative connotation, the poem instead considers it one’s pride. Similarly, for many superheroes, the mask does not represent shame, it represents power and responsibility. -
GRAPHIC NOVELS in ADVANCED ENGLISH/LANGUAGE ARTS CLASSROOMS: a PHENOMENOLOGICAL CASE STUDY Cary Gillenwater a Dissertation Submi
GRAPHIC NOVELS IN ADVANCED ENGLISH/LANGUAGE ARTS CLASSROOMS: A PHENOMENOLOGICAL CASE STUDY Cary Gillenwater A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Education. Chapel Hill 2012 Approved by: Madeleine Grumet James Trier Jeff Greene Lucila Vargas Renee Hobbs © 2012 Cary Gillenwater ALL RIGHTS RESERVED ii ABSTRACT CARY GILLENWATER: Graphic novels in advanced English/language arts classrooms: A phenomenological case study (Under the direction of Madeleine Grumet) This dissertation is a phenomenological case study of two 12th grade English/language arts (ELA) classrooms where teachers used graphic novels with their advanced students. The primary purpose of this case study was to gain insight into the phenomenon of using graphic novels with these students—a research area that is currently limited. Literature from a variety of disciplines was compared and contrasted with observations, interviews, questionnaires, and structured think-aloud activities for this purpose. The following questions guided the study: (1) What are the prevailing attitudes/opinions held by the ELA teachers who use graphic novels and their students about this medium? (2) What interests do the students have that connect to the phenomenon of comic book/graphic novel reading? (3) How do the teachers and the students make meaning from graphic novels? The findings generally affirmed previous scholarship that the medium of comic books/graphic novels can play a beneficial role in ELA classrooms, encouraging student involvement and ownership of texts and their visual literacy development. The findings also confirmed, however, that teachers must first conceive of literacy as more than just reading and writing phonetic texts if the use of the medium is to be more than just secondary to traditional literacy. -
An Examination of Superhero Tropes in My Hero Academia
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Spring 5-29-2020 The World’s Greatest Hero: An Examination of Superhero Tropes in My Hero Academia Jerry Waller [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the Comparative Literature Commons, Japanese Studies Commons, Modern Literature Commons, and the Visual Studies Commons Recommended Citation Waller, Jerry, "The World’s Greatest Hero: An Examination of Superhero Tropes in My Hero Academia" (2020). Master's Projects and Capstones. 1006. https://repository.usfca.edu/capstone/1006 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. The World’s Greatest Hero: An Examination of Superhero Tropes in My Hero Academia Jerry Waller APS 650: MAPS Capstone Seminar May 17, 2020 1 Abstract In this paper the author explores the cross-cultural transmission of genre archetypes in illustrated media. Specifically, the representation of the archetype of American superheroes as represented in the Japanese manga and anime series, My Hero Academia. Through examination of the extant corpus of manga chapters and anime episodes for the franchise, the author draws comparison between characters and situations in the manga series with examples from American comic books by Marvel Comics and DC Comics. -
Comics and Webcomics: Super-Heroes, Over-Heroes and Poser-Heroes
H-ermes. Journal of Communication H-ermes, J. Comm. 19 (2021), 249-262 ISSN 2284-0753, DOI 10.1285/i22840753n19p249 http://siba-ese.unisalento.it Comics and webcomics: super-heroes, over-heroes and poser-heroes Heraldo Aparecido Silva Comics and webcomics: super-heroes, over-heroes and poser-heroes. This article aims to analyse the superhero subgenre in comic books and webcomics. First, the study focuses on the characteristics of hero, superhero and antihero categories. Then we briefly describe some contemporary aspect of the history of the stories in superhero comics to propose the inclusion of two new sub-categories: the over-hero and the poser-hero. The theoretical foundation is based on authors such as: Moya (1977; 1994; 2003), Eco (1993), Mix (1993), Beirce (1993), Bloom (2002; 2003), McLauglin (2005), Knowles (2008), Irwin (2009), Mazur; Danner (2014), among others. The literature specializing in comic books and philosophical perspectives functions as analytical and theoretical support for the interpretation of themes taken from the superhero universe.With the advent of computer graphics and the internet, comic books have conquered new formats, new technologies and new audiences from a democratized distribution. In addition, two factors are important to understand the relevance of webcomics to the history of comics. First, as comics in print are scanned, the comics/webcomics distinction is not exclusive. In this text, we discuss about heroes and superheroes that can be found and read in both printed and digital formats. Second, webcomics have enabled many artists to achieve more visibility for their work through social media. From this perspective, we argue that the notion of webcomics evolve from the notion of comics. -
Heroes and Superheroes: from Myth to the American Comic Book
Heroes and superheroes: from myth to the American comic book Hougaard Winterbach Faculty of Arts, Tshwane University of Technology, Pretoria. E-mail: [email protected] This article demonstrates that the mythological hero who appears in myth, legend and folklore has resurfaced in the twentieth century as the American comic book superhero. First, the differences between the hero and the superhero are explained. Then the characteristics of the archaic hero are discussed to show its parallels with the modern superhero. The argument is based on Joseph Campbell’s formulation of the complex pattern in the stages of the adventure of the hero. An analysis of a superhero comic book, Daredevil: Born Again, serves to show how these different stages, as distinguished by Campbell, form the basis for both the archaic and the American comic book superhero. Helde en superhelde: van mite tot die Amerikaanse strokiesprent Hierdie artikel demonstreer dat die mitologiese held wat in mites, legendes en volksverhale verskyn, sy herverskyning maak in die twintigste eeu in die vorm van die Amerikaanse strokiesprent superheld. Die verskille tussen die held en die superheld word eerstens bespreek. Vervolgens word die eienskappe van die argaïese held bespreek om die ooreenkomste met die moderne superheld aan te toon. Die argument is gebaseer op Joseph Campbell se formulering van die komplekse patroon in die fases van die held se avontuur. 'n Analise van 'n superheld strokiesprent (Daredevil: Born Again) toon hoe hierdie verskillende fases, soos deur Campbell onderskei, die basis vir sowel die argaïese held as vir die Amerikaanse strokiesprent vorm. he superhero1 has been a key character in the comic book, published largely in the United States of America, since 1938. -
Comic Book Club Handbook
COMIC BOOK CLUB HANDBOOK Starting and making the most of book clubs for comics and graphic novels! STAFF COMIC BOOK LEGAL Charles Brownstein, Executive Director Alex Cox, Deputy Director DEFENSE FUND Samantha Johns, Development Manager Kate Jones, Office Manager Comic Book Legal Defense Fund is a non-profit organization Betsy Gomez, Editorial Director protecting the freedom to read comics! Our work protects Maren Williams, Contributing Editor readers, creators, librarians, retailers, publishers, and educa- Caitlin McCabe, Contributing Editor tors who face the threat of censorship. We monitor legislation Robert Corn-Revere, Legal Counsel and challenge laws that would limit the First Amendment. BOARD OF DIRECTORS We create resources that promote understanding of com- Larry Marder, President ics and the rights our community is guaranteed. Every day, Milton Griepp, Vice President Jeff Abraham, Treasurer we publish news and information about censorship events Dale Cendali, Secretary as they happen. We are partners in the Kids’ Right to Read Jennifer L. Holm Project and Banned Books Week. Our expert legal team is Reginald Hudlin Katherine Keller available at a moment’s notice to respond to First Amend- Paul Levitz ment emergencies. CBLDF is a lean organization that works Andrew McIntire hard to protect the rights that our community depends on. For Christina Merkler Chris Powell more information, visit www.cbldf.org Jeff Smith ADVISORY BOARD Neil Gaiman & Denis Kitchen, Co-Chairs CBLDF’s important Susan Alston work is made possible Matt Groening by our members! Chip Kidd Jim Lee Frenchy Lunning Join the fight today! Frank Miller Louise Nemschoff http://cbldf.myshopify Mike Richardson .com/collections William Schanes José Villarrubia /memberships Bob Wayne Peter Welch CREDITS CBLDF thanks our Guardian Members: Betsy Gomez, Designer and Editor James Wood Bailey, Grant Geissman, Philip Harvey, Joseph Cover and interior art by Rick Geary. -
Put on the Mask
Alternate Scripts - Superheroes PUT ON THE MASK An Alternate Script for The Play's The Thing By Brian Engard For more information about The Play's The Thing and Magpie Games, visit us at www.magpiegames.com/theplay Alternate Scripts - Superheroes Biff! Bam! Pow! We all know what superheroes are. They can do things no normal person can, stand against forces the rest of us can't hope to combat, represent the ideals of our society -- even if they're ideals we've forgotten ourselves -- and they act as a beacon and an example for the rest of us. Superheroes also get into great, exciting fights and wear colorful Spandex uniforms. For all the dizzying number of superheroes (and villains!) out there, they're each subtly different from one another, each driven by his or her own motivations and background. Oh sure, eye lasers and the ability to fly are flashy and exciting and cool, but it's the human drama, the relationships and mortal struggles of these sometimes godlike beings that grounds them, makes them relatable, and makes us keep watching them. Sometimes superhero drama comes from the hero's need to see justice -- or vengeance -- done. Sometimes it's a need to protect that which the hero holds dear. Sometimes it's the struggle that comes with suddenly being thrust into a mantle of great power, and the enormous responsibility that comes with it. The only difference between a superhero and a supervillain is how the individual character reacts to these motives, how far she or he is willing to go to see justice -- or vengeance -- done, what lengths the character is willing to go to to protect something, or how the hero -- or villain -- handles that mantle of power and responsibility. -
Invaders Sample.Pdf
Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] These excerpts are intended as “writing samples” for the author of the articles presented. They are not intended for reuse or re-publication without the consent of the publisher or the copyright holder. ©2009 Robert G. Weiner. All rights reserved McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] The Invaders and the All-Star Squadron Roy Thomas Revisits the Golden Age Mark R. McDermott Introduction By the mid-1970’s, many fans of the “Golden Age” of comic books had grown up to become writers and ultimately editors for the comics publishers, sometimes setting the nar- rative histories for their favorite childhood characters themselves. Many of these fans-turned- pro produced comics series that attempted to recapture the Golden Age’s excitement, patriotic fervor and whiz-bang attitude. The most successful of these titles were produced by Roy Thomas, who fashioned a coherent history of costumed heroes during World War II, and rec- onciled the wildly inconsistent stories of the 1940’s with tightly patrolled continuity initiated with the “Silver Age” of the 1960’s. With The Invaders (1975-1979), Thomas focused on the hitherto unrevealed wartime exploits of Marvel Comics’ early mainstays Captain America, the Human Torch, and Prince Namor, the Sub-Mariner. In 1980, he moved to DC Comics and launched All-Star Squadron, which juggled the histories of the Justice Society of Amer- ica and nearly a hundred secondary characters. -
Create Your Own Superhero Or Super Villain
Create Your Own Superhero or Super Villain Here’s What To Do 1. Answer the following questions and create your own Superhero/Villain. 2. Based on your answers come up with a Costume Design and a Monologue. 3. You will be presenting your character when we return. Questions: 1. The Basics: Human Name, Age, Job (or school grade), favorite food, least favorite food, pet peeve, greatest strength, greatest weakness, and a secret (other than his/her concealed Superhero/Villain identity.) 2. The Background: Does your character come from a single parent household? Are they an only child? Orphan? Write FIVE sentences on your character’s family background. Who is your character’s closest friend? Do they know your character is a superhero/villain? 3. Origin Story: When/how/why did your character become a superhero/villain? How did they get their powers? 4. Superhero/Villain basics: a. Name. Why this name? b. Power. What can your character do? c. Flaw. Even Superman was allergic to kryptonite. Give your Superhero/Villain a flaw. NOTE: “No Flaw” is not acceptable, flaws are interesting! d. Costume. Why this costume? What does the costume do? e. Prop. Is it car? A ring? A staff? 5. Personal feeling: How does your character feel about his/her powers? Like? Dislike? Lucky? Cursed? If your character could go back to being normal, would they? Why or why not? 6. Outside Feelings: How does the city feel about your character? Trust? Or Distrust? NOW…. 7. In Action: Write a monologue about this character. It could be an average day in the life of this character and all the trouble he or she gets into. -
1St Mansfield Powell Rangers
TrainingOppsCateri ng1.pdf st 1 Mansfield Powell Rangers Welcome to our Comic Book Superheroes Challenge! We have created this badge to help raise money towards two events this year that our members are taking part in. We hope that with your support in taking part in our challenge that we will be able to support them in the cost of their adventure. Any additional money raised will go into the Rangers funds that we can afford to help them in other activities and trips in the future. Page 2 Comic book Superhero Badge 2015 There are 5 sections to the badge, They are: Look out for the purple boxes with red writing these contain 1. The Superheroes Specific challengers or Adapted 2. The Powers challengers to help rainbow leaders 3. The Costumes 4. The Side-kicks 5. The Supervillains Ending the badge with a superhero themed party – superhero themed quizzes are at the back of the pack for you to have a go at, at your superhero party. To complete the challenge you must complete For Rainbows 1 from each section plus the party For Brownies 1 from each section plus 3 more and the party From Guides and Senior section 2 from each section plus the party Resources for party ideas – www.great-kids-birthday-parties.com/superhero-printables.html www.queen-of-theme-party-games.com/superhero-party-games.html Resources to help with your challenges – www.marvel.com www.dccomics.com Loom band Videos – Captain America – www.youtube.com/watch?v=0tOcDQC7kFA Thor – www.youtube.com/watch?v=LmTPkoOwJVc Batman – www.youtube.com/watch?v=yN5ZKsGPVGI Ironman – www.youtube.com/watch?v=6pTMLwBQXiE -
Superhero Comics: Artifacts of the U.S. Experience Dr
Superhero Comics: Artifacts of the U.S. Experience Dr. Julian C. Chambliss Sequential SmArt: A Conference on Teaching with Comics, May 19, 2012 Julian Chambliss is Associate Professor of History at Rollins College. n the last two decades, comic books and comic book heroes have experienced increased scholarly I interest. This attention has approached comic books and characters as myth, sought context of the superhero archetype, and used comic books as cultural markers for postwar America. What all of these efforts share is an acknowledgement that comic books and superheroes offer a distinct means to understand U. S. culture.1 The place of comic books in contemporary discussion of the American experience has been seen as space linked to popular culture. The comic book genre, especially its most popular aspect, the superhero, uses visual cues to reduce individual characters into representations of cultural ideas. This process has allowed characters to become powerful representations of nationalism (Superman), or the search for societal stability (Batman), or struggles over femininity (Wonder Woman). Scholars have established the importance of heroic characterization as a means to inform societal members about collective expectations and behavioral ideas.2 In many ways, the use of comics in the classroom has become standardized over the last few years as teachers have discovered the medium’s ability to engage students. Indeed, academic conferences like this one have grown in number as scholars have rediscovered what we all know: kids who read comics tend to go on and read other material.3 Perhaps the most visible and lauded use of comics is in the History classroom, following the pattern established with the successful integration of comics focused on war and politics, found notably in Maus by Art Spiegelman and, more recently, in Alan’s War: The Memories of G.I.