Norms and Deviations: Who's to Say?
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2019 Maverick Graphic Novel Annotated Reading List
2019 Maverick Graphic Novel Annotated Reading List Grades 6-8 Breach, J., & Holgate, D. (2018). Clem Hetherington and the Ironwood race. New York: Graphix, an imprint of Scholastic. ISBN: 9780545814461 Publisher’s Summary: “A dangerous rally race... and archaeology?! Clementine Hetherington and her robot brother, Digory, have run away from the orphanage they've been living in since their parents died. Clem and Dig want to follow in their famous archaeologist mother's footsteps, but no one will take them seriously. Their chance arrives when a man from their past saves Digory's life, and to repay the debt they enter a multi-day rally race... to recover stolen artifacts! Clem and Dig hope to win so they can give them to a museum, but their opponents want to sell them on the black market. The Ironwood Race has no rules, and Clem and Dig might be in over their heads!” Great story about orphaned girl and her robot brother. The siblings must repay a debt by competing in a race for archeological artifacts.” Commentary: Clem Hetherington and the Ironwood race is a fun adventure that will appeal to both middle grade and high school students. 2018 Maverick Graphic Novel Annotated Reading List 1 Brosgol, V. B. (2018). Be Prepared. Place of publication not identified: First Second. ISBN: 9781626724457 Publisher’s Summary: "In Be Prepared, all Vera wants to do is fit in—but that’s not easy for a Russian girl in the suburbs. Her friends live in fancy houses and their parents can afford to send them to the best summer camps. -
X-Men: the Story of the X-Men Free
FREE X-MEN: THE STORY OF THE X-MEN PDF Thomas Macri,Pat Olliffe,Hi-Fi Design | 32 pages | 11 Dec 2013 | Marvel Comics | 9781423172246 | English | New York, United States X-Men Series: X-Men All Movies and Timelines Explained | This is Barry This is a crash course on the entire X-Men Series and their plots. This is an article for anyone who wants to refresh their memories or wants to watch all X-Men movies but has no context. I present to you X-Men — all movies in order of their stories and timelines. You can find other films using the search option on top of this page. Well, when X-Men: The Story of the X-Men first decided to make an X-Men film, 20th Century Fox took licence for the Marvel characters that were core to the X-Men comic series. The films, therefore, are allowed to use only the core characters of the X-Men universe. X-Men: The Story of the X-Men, for instance, is licensed by Walt Disney Studios. Spiderman was originally licensed by Columbia Pictures. Because the two new Amazing X-Men: The Story of the X-Men movies did badly, the licence was moved to Walt Disney Studios. Mutants are a further step in the natural evolution of mankind. Some of these mutations are evident, some are dormant. Humans with evident natural mutations tend to get rejected by society for being deformed. X-Men fight for peace and equality between mankind and mutantkind. Their archrival is Magneto who believes that mutants should rule the world and not mankind. -
–Extra Level 3 This Level Is Suitable for Students Who Have Been Learning English for at Least Three Years and up to Four Years
SCHOLASTIC READERS A FREE RESOURCE FOR TEACHERS! –extra Level 3 This level is suitable for students who have been learning English for at least three years and up to four years. It corresponds with the Common European Framework level B1. Suitable for users of TEAM magazine. SYNOPSIS THE BACK STORY Warren Worthington Senior is dismayed to learn that his own son X-Men: The Last Stand (2006) is the third film in the series is a mutant. He is a very wealthy man and spends many years based on the popular X-Men Marvel comic. It was directed by in the search for a cure for the mutant ‘problem’. He builds a Brett Ratner and was preceded by X-Men and X-2 which were special laboratory on Alcatraz Island and eventually his scientists directed by Bryan Singer. discover a cure after studying a young mutant (Leech) who is Once again, X-Men: The Last Stand presents a world in which able to remove the special powers of other mutants. a significant minority of people have special powers. The rest of Magneto (a powerful mutant leader and enemy of the X-Men) the world treats these people with suspicion, and so the films believes that the government will use this cure to wipe out all can be viewed as an allegory of discrimination against others mutants. He gathers an army of mutants around him and simply because they are different. prepares for war. He enlists Jean Grey, who did not die at Alkali As the final film in the series, X-Men: The Last Stand resolves Lake as the X-Men had feared. -
Forum Articles the Legacy of 19Th Century Popular Freak Show
Forum Articles The Legacy of 19th Century Popular Freak Show Discourse in the 21st Century X-Men Films Fiona Pettit, PhD Exeter University, United Kingdom Abstract: This essay seeks to tease out the narrative similarities found in nineteenth-century freak show literature and in the X-Men films of the twenty-first century. Both of these forms of popular entertainment emphasize the precarious position of people with extraordinary bodies in their contemporary societies. Keywords: freak, X-Men, disability Introduction In terms of the narrative similarities between the nineteenth-century freak show and the X-Men films, there are two key components that this paper will explore. There exists a striking similarity in how certain freak show performers and mutated characters in the X-Men speak about their condition. Additionally, there is a degree of resonance between how ‘normal’ or non- normative bodies speak of the freak, the mutant, or the “other”. This paper addresses the narrative relationship to demonstrate the legacy of popular nineteenth-century freak show discourse. During the winter season of 1898-1899, the popular Barnum and Bailey Circus, dubbed the “greatest show on earth,” exhibited in London at the Olympia theatre. The show was a huge success and was regularly featured in numerous popular periodicals. In the middle of this season, the freak show performers, who made up a large portion of the circus, held a protest against their designation as “Freaks of Nature”, and instead adopted the title of “Prodigy.” They explained: “In the opinion of many some of us are really the development of a higher type, and are superior persons, inasmuch as some of us are gifted with extraordinary attributes not apparent in ordinary beings” (Man about town, 1899, p. -
2018 Spring-Summer New Releases
Spring/Summer Catalog 2018 1-800-890-9494 Best Picture Winner www.criterionpicusa.com Criterion pictures USa - Coming Soon/Recent Releases DeaDpool 2 2018 • Color MPAA Rating: R • 20th Century Fox Director: David Leitch Cast: Morena Baccarin, Ryan Reynolds, Josh Brolin, Brianna Hildebrand, T.J. Miller, Zazie Beetz, Karan Soni, Stefan Kapicic, Leslie Uggams After surviving a near fatal bovine attack, a disfigured cafeteria chef (Wade Wilson) struggles to fulfill his dream of becoming Mayberry's hottest bartender while also learning to cope with his lost sense of taste. Searching to regain his spice for life, as well as a flux capacitor, Wade must battle ninjas, the yakuza, and a pack of sexually aggressive canines, as he journeys around the world to discover the importance of family, friendship, and flavor - finding a new taste for adventure and earning the coveted coffee mug title of World's Best Lover. The DaRkeST MInDS 2018 • Color MPAA Rating: N/A • 20th Century Fox Director: Jennifer Yuh Nelson Cast: Mandy Moore, Gwendoline Christie, Amandla Stenberg, Harris Dickinson, Wallace Langham, Mark O'Brien, Patrick Gibson After a disease kills 98% of America's children, the surviving 2% develop superpowers and are placed in internment camps. A 16-year-old girl escapes her camp and joins a group of other teens on the run from the government. 1 Criterion pictures USa • 1050 oak Creek Drive • lombard, Illinois • 60148 Criterion pictures USa - Coming Soon/Recent Releases love, SIMon 2018 • 110 minutes • Color MPAA Rating: PG-13 • 20th Century Fox Director: Greg Berlanti Cast: Katherine Langford, Nick Robinson, Miles Heizer, Jennifer Garner, Colton Haynes, Josh Duhamel, Logan Miller, Alexandra Shipp, Tony Hale Everyone deserves a great love story. -
The Social and Literary Relevance of Comic Books
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Filip Hatala We Live in a Society: The Social and Literary Relevance of Comic Books Bachelor’s Diploma Thesis Supervisor: Christopher Adam Rance, M.A. 2020 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. Filip Hatala I would hereby like to thank my supervisor Christopher Adam Rance, M.A. for his patience, time and helpful input. I would also like to thank my family and friends who have supported me all throughout these 5 years of my bachelor’s studies. Table of contents Introduction ................................................................................................................................ 6 1 History of Superhero Comics: The Golden Age and Superman ........................................... 8 1.1 The Caped Crusader in the Night .................................................................................... 9 1.2 World War II and the Super Soldier .............................................................................. 11 1.3 Social Norms Change and a Wonder Arrives ................................................................ 13 1.4 World War II and the Great Depression Come to an End, but the Golden Age Continues. ..................................................................................................................... 15 2 The Cold War Picks up Steam, as Gold Turns to Silver .................................................... -
Professor Xavier Is a Gay Traitor! an Antiassimilationist Framework for Interpreting Ideology, Power and Statecraft
Journal of Feminist Scholarship Volume 6 Issue 6 Spring 2014 Article 3 Spring 2014 Professor Xavier is a Gay Traitor! An Antiassimilationist Framework for Interpreting Ideology, Power and Statecraft Michael Loadenthal George Mason University Follow this and additional works at: https://digitalcommons.uri.edu/jfs Part of the Feminist, Gender, and Sexuality Studies Commons, Law and Gender Commons, and the Women's History Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Loadenthal, Michael. 2018. "Professor Xavier is a Gay Traitor! An Antiassimilationist Framework for Interpreting Ideology, Power and Statecraft." Journal of Feminist Scholarship 6 (Spring): 13-46. https://digitalcommons.uri.edu/jfs/vol6/iss6/3 This Article is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Journal of Feminist Scholarship by an authorized editor of DigitalCommons@URI. For more information, please contact [email protected]. Loadenthal: Professor Xavier is a Gay Traitor! Professor Xavier is a Gay Traitor! An Antiassimilationist Framework for Interpreting Ideology, Power and Statecraft Michael Loadenthal, George Mason University Abstract: Ideology is an integral component in the reproduction of power. Integral to this central tenet of statecraft is the regulation of identity and proscribed methods of social engagement—positive portrayals of “good citizenry” and delegitimized representations of those challenging hegemony. Through an Althusserian and linguistic analysis, positioning the X-Men movie franchise as an Ideological State Apparatus (ISA), one can examine the lives of mutants portrayed in the text as indicative of preferred methods of state- legitimized sociopolitical interaction. -
American Animated Action Teams and the Token Female
THE MODELS OF EMPOWERED FEMININITY WE OFFER YOUNG BOYS: AMERICAN ANIMATED ACTION TEAMS AND THE TOKEN FEMALE Matthew Diebler A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERS OF ARTS May 2007 Committee: Jeffrey Brown, Advisor Becca Cragin ii ABSTRACT Jeffrey Brown, Advisor The very nature of a hero is to stand as a cultural ideal. The heroes we produce for our children are meant to function as their idealized cultural models, teaching them the positive value of specific embodied traits. This extends to gender: the gendered ideological statements made by these heroic characters promote a gendered cultural ideal. Traditionally, academics interested in female gender representation and children’s television have focused on shows targeting young girls. However, it is just as important to examine the representation of the heroic women in television shows aimed at young boys. Young boys grow into adult men and, in our patriarchal society, male expectations of women play largely into their expectations of themselves. Therefore, the heroines of series marketed at young boys represent the ideal cultural models of empowered femininity, influencing the expectations and criteria these boys will have for “strong” women as they grow into politically powerful men. With all this in mind, it then becomes important to examine these models of ideal empowered femininity. By examining the token females in American animated action/adventure team-based television series marketed toward young boys over the past 30 years (starting with Super Friends in the late 70s, He-Man and the Masters of the Universe, ThunderCats, and G.I. -
Constructing Magneto: the (Anti-)American Vision of the Holocaust
Dominique Oei Professor Gretchen Short Humanities Core Course 3 June 2016 Constructing Magneto: The (Anti-)American Vision of the Holocaust INTRODUCTION The Holocaust is an impossibly multifaceted subject. There are hundreds of ways to approach it and hundreds of lenses to take: impersonal or personal, historical or fictional, victor or victim. In the USA, the vision of the Holocaust is usually from a moral high ground, often through either the savior’s point of view or through the eyes of a suffering, victimized resistance figure, both of whom show their goodness contrasted with Nazi evilness. The novel Sophie’s Choice, the play adaptation of Anne Frank: The Diary of a Young Girl, and the film Schindler’s List all take these perspectives. However, as many note, this view of the Holocaust is distorted. The lens that all of these analyses of the Holocaust memory all adopt is one of purely American origin, which creates an alternative national memory to glorify American participation and morality. In the X-Men film series, an American creation, the antagonist Magneto is presented as a haunted Jewish Holocaust survivor whose experience as a Jew has 1 transferred to his paranoid identity as a mutant . Yet, his character defies the 1 A core theme in all incarnations of the X-Men is the distinction between homo sapiens, non-mutant humans like the reader and myself, and evolved humans, fictitiously called “homo sapiens superior,” such as Magneto and the X-Men. For the sake of clarity, I will refer to the former as “humans” and the later as “mutants.” The films also follow this guideline. -
Jean Grey, Immanuel Kant, and the Dark Phoenix Saga 27 Mark D
ffirs.indd vi 1/28/09 6:27:26 PM X-MEN AND PHILOSOPHY ffirs.indd i 1/28/09 6:27:24 PM The Blackwell Philosophy and Pop Culture Series Series Editor: William Irwin South Park and Philosophy Edited by Robert Arp Metallica and Philosophy Edited by William Irwin Family Guy and Philosophy Edited by J. Jeremy Wisnewski The Daily Show and Philosophy Edited by Jason Holt Lost and Philosophy Edited by Sharon Kaye 24 and Philosophy Edited by Richard Davis, Jennifer Hart Week, and Ronald Weed Battlestar Galactica and Philosophy Edited by Jason T. Eberl The Offi ce and Philosophy Edited by J. Jeremy Wisnewski Batman and Philosophy Edited by Mark D. White and Robert Arp House and Philosophy Edited by Henry Jacoby X-Men and Philosophy Edited by Rebecca Housel and J. Jeremy Wisnewski Final Fantasy and Philosophy Edited by Jason P. Blahuta and Michel S. Beaulieu Heroes and Philosophy Edited by David Kyle Johnson Watchmen and Philosophy Edited by Mark D. White ffirs.indd ii 1/28/09 6:27:25 PM X-MEN AND PHILOSOPHY ASTONISHING INSIGHT AND UNCANNY ARGUMENT IN THE MUTANT X-VERSE Edited by Rebecca Housel and J. Jeremy Wisnewski John Wiley & Sons, Inc. ffirs.indd iii 1/28/09 6:27:25 PM This book is printed on acid-free paper. Copyright © 2009 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada Illustration credits: Page 115 by Emily S. Darowski and Joseph J. Darowski; page 200 by Dominique Thomas; page 207 by Nick Forst. -
Making Gay Sense of the X-Men William Earnest
11-Brummett-45412.qxd 10/16/2007 3:01 PM Page 215 11 Making Gay Sense of the X-Men William Earnest idway through X2: X-Men United, young Bobby Drake and his fellow M mutants pay a surprise visit to his conservative, upper middle-class family. The scene depicts a rite of passage for many teenagers living in the mutant-fearing America of the film, announcing to your family that you’re one of “those” people—special, different, mutated. Because mutation is a pressing social issue in the X-Men’s world, the disclosure of one’s “mutancy” is not to be taken lightly. After all, it’s a condition that is misunderstood and feared by the general population. Mutants who go public risk everything from being rejected by family to political and social marginalization to physical violence. This scene will seem familiar to many audience members, particularly those who have been in such “guess-what?” meetings before. These moments happen all the time in our world and play out much like the Drake family’s drama. Our pressing social issue isn’t mutation, of course, but sexual difference. The rhetori- cal setting, however—the situation, the characters, and so on—is the same in the film as it is for us; it’s the rhetorical equivalent of a gay, lesbian, or bisexual teenager’s “coming out” ritual.1 Like most rhetorical genres, the coming out ritual tends to follow certain conventions, to look and to sound a certain way, and this one goes by the book (Hart 121–22). -
X-Men and Philosophy
ffirs.indd vi 1/28/09 6:27:26 PM X-MEN AND PHILOSOPHY ffirs.indd i 1/28/09 6:27:24 PM The Blackwell Philosophy and Pop Culture Series Series Editor: William Irwin South Park and Philosophy Edited by Robert Arp Metallica and Philosophy Edited by William Irwin Family Guy and Philosophy Edited by J. Jeremy Wisnewski The Daily Show and Philosophy Edited by Jason Holt Lost and Philosophy Edited by Sharon Kaye 24 and Philosophy Edited by Richard Davis, Jennifer Hart Week, and Ronald Weed Battlestar Galactica and Philosophy Edited by Jason T. Eberl The Offi ce and Philosophy Edited by J. Jeremy Wisnewski Batman and Philosophy Edited by Mark D. White and Robert Arp House and Philosophy Edited by Henry Jacoby X-Men and Philosophy Edited by Rebecca Housel and J. Jeremy Wisnewski Final Fantasy and Philosophy Edited by Jason P. Blahuta and Michel S. Beaulieu Heroes and Philosophy Edited by David Kyle Johnson Watchmen and Philosophy Edited by Mark D. White ffirs.indd ii 1/28/09 6:27:25 PM X-MEN AND PHILOSOPHY ASTONISHING INSIGHT AND UNCANNY ARGUMENT IN THE MUTANT X-VERSE Edited by Rebecca Housel and J. Jeremy Wisnewski John Wiley & Sons, Inc. ffirs.indd iii 1/28/09 6:27:25 PM This book is printed on acid-free paper. Copyright © 2009 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada Illustration credits: Page 115 by Emily S. Darowski and Joseph J. Darowski; page 200 by Dominique Thomas; page 207 by Nick Forst.