The Flag Burning Issue: a Legal Analysis and Comment
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The P.A.C.E. Times Est
The P.A.C.E. Times Est. 1966 A Glimpse into the Woodbridge Township School District Extended School Year Program “What We Learn, Becomes a Part of Who We Are” P.A.C.E. Newsletter 2014 Program for the Advancement of Children’s Education Week 1– American Pride Week The students at P.A.C.E had a fun filled first week. The first themed week the students did ac- tivities around American Pride and you can see their work hanging outside of the classrooms at Mathew Jago School. The students in each of the groups did something special and different. Some of the A groups made flags with handprints, used finger paints using red, white and blue and make firecrackers with construction paper! A few of the B groups made tissue paper Flags and used their hands and made the American Flag! The upper B groups have been using their gardening skills and have used those skills outside and it looks great! The C groups made flags with dots, and enjoyed making chocolate covered pretzels with red, white and blue sprinkles. The D groups loved making acoustic poems and enjoyed their First Day of D’s Diner! For D’s diner they served the American Diner favorites, milkshakes and hamburgers! All of the students showed their American Pride during the first week of P.A.C.E through the various activities. Each of the groups enjoyed the first program called the Prismatic American Pride laser show, where they got to watch lasers and sing along to some of their favorite songs. -
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. -
Heritage Kids Club (Ages 6-12) ISSUE: 3
EDITION: 3 ISSUE: 3 Heritage Kids Club (ages 6-12) Important Week 3 Events: Superhero Week! Dates: Monday: Wednesday: Calling all Superheroes! Heritage Kids camp is under attack and we need Tuesdays - Last Villain Standing - Doctor Evil Dodgeball your super powers to save it! We’re playing super games like Last Villain Bring a - Make your own - Obstacle Course Standing, Escape Kryptonite, and going down the Aquaman Water Slide bathing suit on Tuesday! We will get crafty too by making our own masks and shields. and towel for Masks - Comic Strip Superhero Don’t forget your swimsuits and towels on Tuesday and Friday! water day - Super Skittles - Catman and Batman Fridays - Silent Ball Swimming at ATTENTION PARENTS! the Rec Center For discipline, we will be using a color code system of Blue, Green, Yellow, Orange, and Red. Each day, campers will start on Green, but Tuesday: Thursday: as the day continues they are subject to be moved to a different color based on their behavior. Yellow is based on minor camp violations with Reminders: - Superhero Dodgeball - Flash Relay Races rules and policies. Orange will be warranted on multiple verbal - Make your own Shields - Superhero vs. Villain Please don’t warnings, repeat offenses while on Yellow, and/or inappropriate actions -Hulk Tug o War Capture the Flag or behaviors. Red is the most severe color, and will be based on very forget to - Aquaman Water Slide - Superhero Trivia inappropriate actions or behaviors, clear intent to hurt/harm, and/or, send your continuous behavior issues while on Orange. If your child is on Red, camper with - Batman in a Cave he/she will be subject to suspension, based on the decision of the Camp Director. -
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. -
Marvel September to December 2021
MARVEL Marvel's Black Widow: The Art of the Movie Marvel Comics Summary After seven appearances, spanning a decade in the Marvel Cinematic Universe, Natasha Romanoff , a.k.a. the Black Widow, takes the lead in an adventure unlike any other she's known before. Continuing their popular ART OF series of movie tie-in books, Marvel presents another blockbuster achievement! Featuring exclusive concept artwork and in-depth interviews with the creative team, this deluxe volume provides insider details about the making of the highly anticipated film. Marvel 9781302923587 On Sale Date: 11/23/21 $50.00 USD/$63.00 CAD Hardcover 288 Pages Carton Qty: 16 Ages 0 And Up, Grades P to 17 Comics & Graphic Novels / Superheroes CGN004080 27.6 cm H | 18.4 cm W The Marvels Vol. 1 Kurt Busiek, Yildiray Cinar Summary Kurt Busiek (MARVELS) is back, with the biggest, wildest, most sprawling series you’ve ever seen — telling stories that span decades and range from cosmic adventure to intense human drama, from street-level to the far reaches of space, starring literally anyone from Marvel’s very first heroes to the superstars of tomorrow! Featuring Captain America, Spider-Man, the Punisher, the Human Torch, Storm, the Black Cat, the Golden Age Vision, Melinda May, Aero, Iron Man, Thor and many more — and introducing two brand-new characters destined to be fan-favorites — a thriller begins that will take readers across the Marvel Universe…and beyond! Get to know Kevin Schumer, an ordinary guy with some big secrets — and the mysterious Threadneedle as well! But who (or what) is KSHOOM? It all starts here. -
Superheroes & Stereotypes: a Critical Analysis of Race, Gender, And
SUPERHEROES & STEREOTYPES: A CRITICAL ANALYSIS OF RACE, GENDER, AND SOCIAL ISSUES WITHIN COMIC BOOK MATERIAL Gabriel Arnoldo Cruz A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2018 Committee: Alberto González, Advisor Eric Worch Graduate Faculty Representative Joshua Atkinson Frederick Busselle Christina Knopf © 2018 Gabriel Arnoldo Cruz All Rights Reserved iii ABSTRACT Alberto González, Advisor The popularity of modern comic books has fluctuated since their creation and mass production in the early 20th century, experiencing periods of growth as well as decline. While commercial success is not always consistent from one decade to the next it is clear that the medium has been and will continue to be a cultural staple in the society of the United States. I have selected this type of popular culture for analysis precisely because of the longevity of the medium and the recent commercial success of film and television adaptations of comic book material. In this project I apply a Critical lens to selected comic book materials and apply Critical theories related to race, class, and gender in order to understand how the materials function as vehicles for ideological messages. For the project I selected five Marvel comic book characters and examined materials featuring those characters in the form of comic books, film, and television adaptations. The selected characters are Steve Rogers/Captain America, Luke Cage, Miles Morales/Spider-Man, Jean Grey, and Raven Darkholme/Mystique. Methodologically I interrogated the selected texts through the application of visual and narrative rhetorical criticism. -
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera NMAH.AC.1211 Franklin A. Robinson, Jr. 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Stage Musicals and Vaudeville, 1866-2007, undated............................... 4 Series 2: Motion Pictures, 1912-2007, undated................................................... 327 Series 3: Television, 1933-2003, undated............................................................ 783 Series 4: Big Bands and Radio, 1925-1998, -
Will the Real Captain America Please Stand-Up: Redefining the Patriotic Hero Post-9/11 Michelle Anne Lloyd Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 5-2016 Will The Real Captain America Please Stand-Up: Redefining the Patriotic Hero Post-9/11 Michelle Anne Lloyd Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Lloyd, Michelle Anne, "Will The Real Captain America Please Stand-Up: Redefining the Patriotic Hero Post-9/11" (2016). All Theses. 2363. https://tigerprints.clemson.edu/all_theses/2363 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. WILL THE REAL CAPTAIN AMERICA PLEASE STAND-UP: REDEFINING THE PATRIOTIC HERO POST-9/11 A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Michelle Anne Lloyd May 2016 Accepted by: Dr. Jan Holmevik, Committee Chair Dr. Lindsay Thomas, Keith Morris ABSTRACT Art, in all of its forms, has always reflected the moods and mores of the society that create it. This is true with the creating of comic books as well. Just as hardboiled novels reflected the bitterness and harshness of The Great Depression, a post-9/11 superhero had to become darker. Steve Rogers was plagued with PTSD following his revival in the 1960s and has abandoned the stars and stripes in the past, but he was not -- is not -- equipped to be Captain America in the 21st Century. The trend in comic books, and Science Fiction, following 9/11 favored the anti-hero and the hero who did not shy away from actions that would outrage the classical hero types, of which Steve Rogers’s Captain America is as near a perfect example as you are likely to find in modern literature. -
American Superhero Comics: Fractal Narrative and the New Deal a Dissertation Presented to the Faculty of the College of Arts
American Superhero Comics: Fractal Narrative and The New Deal A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Lawrence W. Beemer June 2011 © 2011 Lawrence W. Beemer. All Rights Reserved. 2 This dissertation titled American Superhero Comics: Fractal Narrative and The New Deal by LAWRENCE W. BEEMER has been approved for the English Department of Ohio University and the College of Arts and Sciences by ______________________________ Robert Miklitsch Professor of English ______________________________ Benjamin M. Ogles Dean, College of Arts and Sciences 3 ABSTRACT BEEMER, LAWRENCE W., Ph.D., June 2011, English American Superhero Comics: Fractal Narrative and The New Deal (204 pp.) Director of Dissertation: Robert Miklitsch Coining the term "fractal narrative," this dissertation examines the complex storytelling structure that is particular to contemporary American superhero comics. Whereas other mediums most often require narrative to function as self-contained and linear, individual superhero comics exist within a vast and intricate continuity that is composed of an indeterminate number of intersecting threads. Identical to fractals, the complex geometry of the narrative structure found in superhero comics when taken as a whole is constructed by the perpetual iteration of a single motif that was established at the genre's point of origin in Action Comics #1. The first appearance of Superman institutes all of the features and rhetorical elements that define the genre, but it also encodes it with the specific ideology of The New Deal era. In order to examine this fractal narrative structure, this dissertation traces historical developments over the last seven decades and offers a close reading Marvel Comics' 2006 cross-over event, Civil War. -
The 45Th Infantry Division OKLAHOMA HISTORY CENTER EDUCATION DEPARTMENT
The 45th Infantry Division OKLAHOMA HISTORY CENTER EDUCATION DEPARTMENT The National Guard The Army National Guard is older than the United States of America. The first National Guard units were the colonial militias used to defend the original thirteen colonies. For most of US history militia units served as the largest part of the US Army in times of war. The states, rather than the federal government, trained and armed these militia units. This meant that many of the units had inferior weapons or lacked proper training. At the start of World War I, the US government created the National Guard from the state militias of the United States. Since then, the US Army has funded and trained the National Guard and used National Guard Units in times of war or emergency. The 45th Infantry Division was a National Guard Unit. Men from the state militias of Arizona, Colorado, New Mexico and Oklahoma made up the division. In September of 1940, the War Department called the 45th Infantry to federal service and began training for a possible war with Germany and Japan. During World War II, the 45th served in Italy, France, and Germany. The symbol for the 45th Infantry is an American Indian "Thunderbird," so people call the 45th the Thunderbird Division as well. This is a painting of the Massachusetts Militia’s first muster in 1636. A muster is when troops gather to train and prepare for combat. The 101st Engineer Battalion, 101st Field Artillery Regiment, and the 181st and 182nd Infantry Regiments are This icon was on the left arm shoulder patch of every descendants of the militia units first mustered in 1636, making soldier’s uniform in the 45th Infantry Division. -
Cover Story a Collection of Articles from the Wondercon Anaheim Program Books 2012–2019
COVER STORY A COLLECTION OF ARTICLES FROM THE WONDERCON ANAHEIM PROGRAM BOOKS 2012–2019 All art & characters TM & © DC ® ® COVER STORY: RYAN SOOK WonderCon special guest Ryan Sook is known for his dynamic cover designs, so he was a natural to design this year’s Program Book cover and official T-shirt. Utilizing DC’s New 52 costume designs for its “Big Three” heroes, Ryan came up with a stunning illustration that captures the power of all three color the background ele- After considering what heroes and their respective ments with secondary colors was needed, the sketch worlds. We asked Ryan for his and allow the main imagery came pretty naturally, take on how the cover came to really pop! and the color scheme to be. was formulated at that In the case of this time. For the multiple What’s your initial thought cover, what led you to uses of the art, each fi gure process on designing a piece include the various needed to be usable as a like this, especially since “environments” for each separate and distinct you’re dealing with three such hero? entity. So I penciled iconic characters? each fi gure on a separate Superman is not Superman piece of paper, keeping a ABOVE: Ryan’s original cover sketch. RIGHT: Two of Ryan’s without Krypton as much as close eye on the sketch Initially my thought was to try recent DC New 52 covers, DC Universe Presents #8 (top) and Diana is not a princess un- for size and placement. and capture what has been Justice League Dark #3 (bottom). -
Raven: a Journal of Vexillology, Volume 26 (2019)
The Minute Man Flag and Army-Navy “E” Flag 45 The Minute Man Flag and the Army-Navy “E” Flag: Unifying Symbols for the American Home Front in World War II Steven A. Knowlton n the summer of 1942, American magazines of all descriptions carried in Itheir pages an advertisement—“A War Message from the United States Treasury Department”—offered free of charge by the publishers. Over a bus- tling skyline of factories and water towers waved a dark flag bearing a circle of white stars and the silhouette of the famous Minute Man statue of Concord, Massachusetts (Figure 1). The headline read: “Next to the Stars and Stripes… AS PROUD A FLAG AS INDUSTRY CAN FLY”, and the copy continued, It doesn’t go into the smoke of battle, but wherever you see this flag you know that it spells Victory for our boys on the fighting fronts. To everyone, it means that the firm which flies it has attained 90 per- cent or more employee participation in the Pay-Roll Savings plan… that their employees are turning a part of their earnings into tanks and planes and guns regularly, every pay day, through the systematic purchase of U.S. War Bonds…. Now is the time to increase your efforts…. “Token” allotments will not win this war any more than “token” resistance will keep our enemies from our shores, our homes.1 That a branch of the federal government would declare publicly as its proud- est honor a decoration granted to civilians, in a time of war, is a telling moment in the history of total war.