The Reception of Amazons in Wonder Woman
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The Twelve Gods of Mount Olympus
TThehe TTwelvewelve GGodsods ooff MountMount OlympusOlympus 1 Lesson Objectives Core Content Objectives Students will: Explain that the ancient Greeks worshipped many gods and goddesses Explain that the gods and goddesses of ancient Greece were believed to be immortal and to have supernatural powers, unlike humans Identify the Greek gods and goddesses in this read-aloud Identify Mount Olympus as the place believed by the ancient Greeks to be the home of the gods Identify Greek myths as a type of f ction Language Arts Objectives The following language arts objectives are addressed in this lesson. Objectives aligning with the Common Core State Standards are noted with the corresponding standard in parentheses. Refer to the Alignment Chart for additional standards addressed in all lessons in this domain. Students will: Orally compare and contrast Greek gods and humans (RL.2.9) Interpret information pertaining to Greece from a world map or globe and connect it to information learned in “The Twelve Gods of Mount Olympus” (RI.2.7) Add drawings to descriptions of the Greek god Zeus to clarify ideas, thoughts, and feelings (SL.2.5) Share writing with others Identify how Leonidas feels about going to Olympia to see the races held in honor of Zeus Greek Myths: Supplemental Guide 1 | The Twelve Gods of Mount Olympus 13 © 2013 Core Knowledge Foundation Core Vocabulary glimpse, n. A brief or quick look Example: Jan snuck into the kitchen before the party to get a glimpse of her birthday cake. Variation(s): glimpses sanctuary, n. A holy place; a safe, protected place Example: Cyrus went to the sanctuary to pray to the gods. -
JUSTICE LEAGUE (NEW 52) CHARACTER CARDS Original Text
JUSTICE LEAGUE (NEW 52) CHARACTER CARDS Original Text ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) PRINTING INSTRUCTIONS 1. From Adobe® Reader® or Adobe® Acrobat® open the print dialog box (File>Print or Ctrl/Cmd+P). 2. Click on Properties and set your Page Orientation to Landscape (11 x 8.5). 3. Under Print Range>Pages input the pages you would like to print. (See Table of Contents) 4. Under Page Handling>Page Scaling select Multiple pages per sheet. 5. Under Page Handling>Pages per sheet select Custom and enter 2 by 2. 6. If you want a crisp black border around each card as a cutting guide, click the checkbox next to Print page border. 7. Click OK. ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) TABLE OF CONTENTS Aquaman, 8 Wonder Woman, 6 Batman, 5 Zatanna, 17 Cyborg, 9 Deadman, 16 Deathstroke, 23 Enchantress, 19 Firestorm (Jason Rusch), 13 Firestorm (Ronnie Raymond), 12 The Flash, 20 Fury, 24 Green Arrow, 10 Green Lantern, 7 Hawkman, 14 John Constantine, 22 Madame Xanadu, 21 Mera, 11 Mindwarp, 18 Shade the Changing Man, 15 Superman, 4 ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) 001 DC COMICS SUPERMAN Justice League, Kryptonian, Metropolis, Reporter FROM THE PLANET KRYPTON (Impervious) EMPOWERED BY EARTH’S YELLOW SUN FASTER THAN A SPEEDING BULLET (Charge) (Invulnerability) TO FIGHT FOR TRUTH, JUSTICE AND THE ABLE TO LEAP TALL BUILDINGS (Hypersonic Speed) AMERICAN WAY (Close Combat Expert) MORE POWERFUL THAN A LOCOMOTIVE (Super Strength) Gale-Force Breath Superman can use Force Blast. When he does, he may target an adjacent character and up to two characters that are adjacent to that character. -
Icons of Survival: Metahumanism As Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture
Lioi, Anthony. "Icons of Survival: Metahumanism as Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture. London: Bloomsbury Academic, 2016. 169–196. Environmental Cultures. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781474219730.ch-007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 20:32 UTC. Copyright © Anthony Lioi 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 Icons of Survival: Metahumanism as Planetary Defense In which I argue that superhero comics, the most maligned of nerd genres, theorize the transformation of ethics and politics necessary to the project of planetary defense. The figure of the “metahuman,” the human with superpowers and purpose, embodies the transfigured nerd whose defects—intellect, swarm-behavior, abnormality, flux, and love of machines—become virtues of survival in the twenty-first century. The conflict among capitalism, fascism, and communism, which drove the Cold War and its immediate aftermath, also drove the Golden and Silver Ages of Comics. In the era of planetary emergency, these forces reconfigure themselves as different versions of world-destruction. The metahuman also signifies going “beyond” these economic and political systems into orders that preserve democracy without destroying the biosphere. Therefore, the styles of metahuman figuration represent an appeal to tradition and a technique of transformation. I call these strategies the iconic style and metamorphic style. The iconic style, more typical of DC Comics, makes the hero an icon of virtue, and metahuman powers manifest as visible signs: the “S” of Superman, the tiara and golden lasso of Wonder Woman. -
Wonder Woman & Associates
ICONS © 2010, 2014 Steve Kenson; "1 used without permission Wonder Woman & Associates Here are some canonical Wonder Woman characters in ICONS. Conversation welcome, though I don’t promise to follow your suggestions. This is the Troia version of Donna Troy; goodness knows there have been others.! Bracers are done as Damage Resistance rather than Reflection because the latter requires a roll and they rarely miss with the bracers. More obscure abilities (like talking to animals) are left as stunts.! Wonder Woman, Donna Troy, Ares, and Giganta are good candidates for Innate Resistance as outlined in ICONS A-Z.! Acknowledgements All of these characters were created using the DC Adventures books as guides and sometimes I took the complications and turned them into qualities. My thanks to you people. I do not have permission to use these characters, but I acknowledge Warner Brothers/ DC as the owners of the copyright, and do not intend to infringe. ! Artwork is used without permission. I will give attribution if possible. Email corrections to [email protected].! • Wonder Woman is from Francis Bernardo’s DeviantArt page (http://kyomusha.deviantart.com).! • Wonder Girl is from the character sheet for Young Justice, so I believe it’s owned by Warner Brothers. ! • Troia is from Return of Donna Troy #4, drawn by Phil Jimenez, so owned by Warner Brothers/DC.! • Ares is by an unknown artist, but it looks like it might have been taken from the comic.! • Cheetah is in the style of Justice League Unlimited, so it might be owned by Warner Brothers. ! • Circe is drawn by Brian Hollingsworth on DeviantArt (http://beeboynyc.deviantart.com) but coloured by Dev20W (http:// dev20w.deviantart.com)! • I got Doctor Psycho from the Villains Wikia, but I don’t know who drew it. -
The Fall of Wonder Woman Ahmed Bhuiyan, Independent Researcher, Bangladesh the Asian Conference on Arts
Diminished Power: The Fall of Wonder Woman Ahmed Bhuiyan, Independent Researcher, Bangladesh The Asian Conference on Arts & Humanities 2015 Official Conference Proceedings Abstract One of the most recognized characters that has become a part of the pantheon of pop- culture is Wonder Woman. Ever since she debuted in 1941, Wonder Woman has been established as one of the most familiar feminist icons today. However, one of the issues that this paper contends is that this her categorization as a feminist icon is incorrect. This question of her status is important when taking into account the recent position that Wonder Woman has taken in the DC Comics Universe. Ever since it had been decided to reset the status quo of the characters from DC Comics in 2011, the character has suffered the most from the changes made. No longer can Wonder Woman be seen as the same independent heroine as before, instead she has become diminished in status and stature thanks to the revamp on her character. This paper analyzes and discusses the diminishing power base of the character of Wonder Woman, shifting the dynamic of being a representative of feminism to essentially becoming a run-of-the-mill heroine. iafor The International Academic Forum www.iafor.org One of comics’ oldest and most enduring characters, Wonder Woman, celebrates her seventy fifth anniversary next year. She has been continuously published in comic book form for over seven decades, an achievement that can be shared with only a few other iconic heroes, such as Batman and Superman. Her greatest accomplishment though is becoming a part of the pop-culture collective consciousness and serving as a role model for the feminist movement. -
Why No Wonder Woman?
Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends. -
February 20, 2015 Vol. 119 No. 8
VOL. 119 - NO. 8 BOSTON, MASSACHUSETTS, FEBRUARY 20, 2015 $.35 A COPY WATCHING WHILE THE WORLD BURNS A Winter Poem by Sal Giarratani It’s winter in Massachusetts Back when Jack Kennedy and the gentle breezes blow. was a young man, he penned At seventy miles an hour a great piece of non-fiction entitled, “While England and at thirty-five below. Sleeps” in which he warned Oh how I love Massachusetts the world that to sit back and when the snow’s up to your butt. watch evil like a helpless bystander led to World War II. You take a breath of winter While Hitler and the Nazis and your nose gets frozen shut. slaughtered millions of inno- Yes, the weather here is wonderful cent people, including six so I guess I’ll hang around. million Jews, the West sat on its hands, but eventually I could never leave Massachusetts evil has a way of growing if cuz I’m frozen to the ground. left alone. I see the very same thing — Author Unknown taking place as I write this commentary. Just over the Presidents’ Day holiday weekend, 21 Coptic Chris- when it comes to his objec- puts a target on Europe and tians were rounded up by tivity on Radical Islam who especially Rome, Italy. Our ISIS and all dressed in or- are trying to create a global president may not believe ange jumpsuits had their caliphate when Jewish pa- we are in a war, but we are heads severed on video for trons at a Paris deli are ex- thanks to the other side. -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
Amazons in 17Th Century English Drama
Athens Journal of Humanities & Arts - Volume 1, Issue 2 – Pages 147-156 Women in Arms: Amazons in 17th Century English Drama By Margarete Rubik This paper investigates the portrayal of Amazons in a variety of seventeenth century English plays. Sword women combining male connoted aggression and female beauty functioned as a female dream of empowerment as well as a misogynist nightmare. Hence the image of such 'masculine' women was mutable and could assume a number of different characteristics: Amazons could be portrayed as chivalrous and cruel, glamorous or denaturalized, chaste or lecherous. Humourous pictures of martial women exist side by side with hostile ones attacking the unruliness and insubordination of women and their lust for men. The fate of Amazons in seventeenth century drama is generally either death on the battlefield or marriage and submission to patriarchal rules. There are a few rare examples of dutiful wives still combining marital and martial virtues, but more often these female warriors only lay down their arms at the end of a play, out of love. Despite their prowess, the women always lose the single combat with a worthy male antagonist – usually the very man they love. In the central, sensual moment of revelation, the woman's helmet falls off and her hair falls loose. In plays featuring women in male disguise, the relationship between the lovers is often charged with homoerotic overtones: the hero is passionately attracted to the supposed boy-soldier. Androgynous figures like the Amazons also raise the question whether femininity and masculinity are inborn qualities or the products of education. -
Dc Comics: Wonder Woman: Wisdom Through the Ages Pdf, Epub, Ebook
DC COMICS: WONDER WOMAN: WISDOM THROUGH THE AGES PDF, EPUB, EBOOK Mike Avila | 192 pages | 29 Sep 2020 | Insight Editions | 9781683834779 | English | San Rafael, United States DC Comics: Wonder Woman: Wisdom Through the Ages PDF Book Instead, she receives the ability to transform into the catlike Cheetah, gaining superhuman strength and speed; the ritual partially backfires, and her human form becomes frail and weak. Diana of Themyscira Arrowverse Batwoman. Since her creation, Diana of Themyscira has made a name for herself as one of the most powerful superheroes in comic book existence. A must-have for Wonder Woman fans everywhere! Through close collaboration with Jason Fabok, we have created the ultimate Wonder Woman statue in her dynamic pose. The two share a degree of mutual respect, occasionally fighting together against a common enemy, though ultimately Barbara still harbors jealousy. Delivery: 23rdth Jan. Published 26 November Maria Mendoza Earth Just Imagine. Wonder Girl Earth She returned to her classic look with help from feminist icon Gloria Steinem, who put Wonder Woman — dressed in her iconic red, white, and blue ensemble — on the cover of the first full-length issue of Ms. Priscilla eventually retires from her Cheetah lifestyle and dies of an unspecified illness, with her niece Deborah briefly taking over the alter ego. In fact, it was great to see some of the powers realized in live-action when the Princess of Themyscira made her big screen debut in the Patty Jenkins directed, Wonder Woman. Submit Review. Although she was raised entirely by women on the island of Themyscira , she was sent as an ambassador to the Man's World, spreading their idealistic message of strength and love. -
Why Wonder Woman Matters
Why Wonder Woman Matters When I was a kid, being a hero seemed like the easiest thing in the world to be- A Blue Beetle quote from the DC Comics publication The OMAC Project. Introduction The superhero is one of modern American culture’s most popular and pervasive myths. Though the primary medium, the comic book, is often derided as juvenile or material fit for illiterates the superhero narrative maintains a persistent presence in popular culture through films, television, posters and other mediums. There is a great power in the myth of the superhero. The question “Why does Wonder Woman matter?” could be answered simply. Wonder Woman matters because she is a member of this pantheon of modern American gods. Wonder Woman, along with her cohorts Batman and Superman represent societal ideals and provide colorful reminders of how powerful these ideals can be.1 This answer is compelling, but it ignores Wonder Woman’s often turbulent publication history. In contrast with titles starring Batman or Superman, Wonder Woman comic books have often sold poorly. Further, Wonder Woman does not have quite the presence that Batman and Superman both share in popular culture.2 Any other character under similar circumstances—poor sales, lack of direction and near constant revisions—would have been killed off or quietly faded into the background. Yet, Wonder Woman continues to persist as an important figure both within her comic universe and in our popular consciousness. “Why does Wonder Woman matter?” To answer this question an understanding of the superhero and their primary medium, the comic book, is required, Wonder Woman is a comic book character, and her existence in the popular consciousness largely depends on how she is presented within the conventions of the comic book superhero narrative. -
Wonder Woman Created by William Moulton Marston
BACKSTORIES WWonderonder woman™ AAmazonmazon wwarriorarrior ™ By Steve Korté Illustrated by Marcus To Wonder Woman created by William Moulton Marston SCHOLASTIC INC. ™ ™ 4453933_Text_v1.indd53933_Text_v1.indd 1 112/17/152/17/15 88:12:12 PPMM If you purchased this book without a cover, you should be aware that this book is stolen property. It was reported as “unsold and destroyed” to the publisher, and neither the author nor the publisher has received any payment for this “stripped book.” Copyright © 2016 DC Comics. WONDER WOMAN and all related characters and elements are trademarks of and © DC Comics. (s16) SCUS36035 All rights reserved. Published by Scholastic Inc., Publishers since 1920. SCHOLASTIC and associated logos are trademarks and/or registered trademarks of Scholastic Inc. The publisher does not have any control over and does not assume any responsibility for author or third-party websites or their content. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission of the publisher. For information regarding permission, write to Scholastic Inc., Attention: Permissions Department, 557 Broadway, New York, NY 10012. This book is a work of fi ction. Names, characters, places, and incidents are either the product of the author’s imagination or are used fi ctitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. ISBN 978-0-545-92557-0 10 9 8 7 6 5 4 3 2 1 16 17 18 19 20 Printed in the U.S.A.