DOCSLIB.ORG

In-Between Identities and Ms

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In-Between Identities and Ms Middle East Centre IN-BETWEEN IDENTITIES AND MS. MARVEL AND THE REPRESENTATION OF CULTURES YOUNG MUSLIM WOMEN Jennifer Jackson-Preece and Manmit Bhambra LSE Middle East Centre Paper Series | 50 | May 2021 About the Middle East Centre The Middle East Centre builds on LSE’s long engagement with the Middle East and provides a central hub for the wide range of research on the region carried out at LSE. The Middle East Centre aims to enhance un- derstanding and develop rigorous research on the societies, economies, polities and interna- tional relations of the region. The Centre pro- motes both specialised knowledge and public understanding of this crucial area and has out- standing strengths in interdisciplinary research and in regional expertise. As one of the world’s leading social science institutions, LSE com- prises departments covering all branches of the social sciences. The Middle East Centre harnesses this expertise to promote innovative research and training on the region. Middle East Centre In-Between Identities and Cultures: Ms. Marvel and the Representation of Young Muslim Women Jennifer Jackson-Preece and Manmit Bhambra LSE Middle East Centre Paper Series | 50 May 2021 About the Authors Abstract Jennifer Jackson-Preece is an Associate Can superheroes tell us something Professor at the European Institute and important about changing public Department of International Relations, attitudes towards young Muslim women? LSE. Since the 1990s, she has had a sus- To answer this question, we compare tained engagement with problems and how young people react to the portrayal practices of minorities and migrants. of the superhero Ms. Marvel as a young Muslim woman in different locations in Manmit Bhambra is the Research Officer the Middle East and beyond. Our find- of the Religion and Global Society ings suggest that a superhero like Ms. research unit at LSE. Her research inter- Marvel can create a global discourse on ests are centred around identity politics gender and Islam that transcends specific and formation, national identities as well cultural contexts. as the broader themes of inclusion and minority rights. She works actively with youth organisations and is interested in issues facing young people today. Acknowledgments We would like to thank Dr Dima Issa, University of Balamand, and Maryam Abdelsamie and Iman Al Ali, American University of Sharjah, for their invaluable contributions to the project. The research for this paper was conducted as part of a collaboration project entitled ‘Challeng- ing Stereotypes: The Muslim Woman as Superhe- ro’ funded by the LSE Collaboration with Arab Universities Programme, which is supported by the Emirates Foundation. The research partner was Professor Badreya Al-Jenaibi of United Arab Emirates University. 6 In-Between Identities and Cultures: Ms. Marvel and the Representation of Young Muslim Women Introduction This project explores the in-betweenness of gender, Islam and culture as it is mediated through the Ms. Marvel graphic novel No Normal.1 In this endeavour, we are inspired by Homi Bhabha’s work on culture and identity: What is theoretically innovative, and politically crucial, is the need to think beyond narratives of originary and initial subjectivities and to focus on those moments or processes that are produced in the articulation of cultural differences.2 Our decision to explore identity constellations via a graphic novel is in keeping with the cultural turn in the social sciences.3 Popular culture is now widely recognised as an important medium through which individual and collective identities are renegotiated.4 Ms. Marvel is a particularly relevant starting point for our investigation precisely because this series purposefully reimagines a well-known superhero from the Marvel comics pan- theon as a second generation Pakistani American Muslim immigrant. The original Ms. Marvel launched in 1968 as the quintessential blonde-haired, blue-eyed all-American girl, a character otherwise known as Carol Danvers.5 When Carol Danvers was promoted to Captain Marvel, the first female rendering of that character, Marvel Comics cast a very different persona for the new Ms. Marvel. As of 2013, Ms. Marvel became Kamala Khan, a 16-year-old Pakistani-American girl living in New Jersey.6 Kamala’s parents are from Karachi and emigrated to the United States before their daughter was born. Kamala and her family are devout Muslims. Her brother is a Salafi Muslim, her best friend wears a hijab, several scenes take place in a mosque and the Qur’an is cited as a source of inspira- tion. Thus, the contrast between the Carol Danvers representation of Ms. Marvel and the Kamala Khan representation of Ms. Marvel is striking. The Kamala Khan Ms. Marvel character is part of a larger effort to diversify popular culture. For more than 75 years, Marvel comics have been the home of superheroes Spider-Man, Iron-Man, Daredevil and Captain Marvel; all white men. In the last decade, global comic brands like Marvel and DC have begun to integrate and prominently feature both more women and more black, minority and ethnic characters in their plots.7 Recasting Captain 1 G. Willow Wilson, Ms. Marvel Volume 1: No Normal (New York: Marvel Worldwide, Inc., 2014). 2 Homi K. Bhabha, The Location of Culture (Abingdon: Routledge, 2004), p. 2. 3 Iver B. Neumann and Daniel H. Nexon, ‘Introduction’, in Iver B. Neumann and Daniel H. Nexon (eds), Harry Potter and International Relations (Oxford: Rowman & Littlefield, 2006), p. 5. 4 See among others: Alanoud Alsharekh and Robert Springborg (eds), Popular Culture and Political Iden- tity in the Arab Gulf States (London: Saqi Books & SOAS, 2012); Jason Dittmer and Daniel Bos, Popular Culture, Geopolitics and Identity (New York: Rowman & Littlefield, 2019); Tim Edensor, National Identity, Popular Culture and Everyday Life (Abingdon: Routledge, 2020). 5 Tracy Brown, ‘“Captain Marvel”: A Brief History of Carol Danvers’, Los Angeles Times, 28 February 2019. Available at https://www.latimes.com/entertainment/herocomplex/la-et-mn-captain-marvel-history- 20190228-story.html (accessed 15 September 2020). 6 Miriam Kent, ‘Unveiling Marvels: Ms. Marvel and the Reception of the New Muslim Superheroine’, Feminist Media Studies 15/3 (2015), p. 523. 7 See, for example, ‘15 Muslim Characters in Comics You Should Know’, CBR, 3 February 2017. Available at Jennifer Jackson-Preece and Manmit Bhambra 7 Marvel as Carol Danvers, a woman and the first Ms. Marvel, is part of this trend. Black superheroes such as Black Panther (Marvel) and Black Lightning (DC) now feature in blockbuster movies and television series. Muslim and Arab superheroes are also gaining prominence and it is not simply due to Ms. Marvel. For example, one of Marvel Comic’s X-Men superheroes is Sooraya Qadir (Dust), an Afghan Muslim woman. Similarly, DC’s Green Lantern superhero appears as Lebanese American Muslim Simon Baz. This effort by the comic industry to portray a more diverse range of superheroes has gar- nered considerable attention, both in the media and increasingly also in academia. The representation of Kamala Khan as Ms. Marvel is particularly important because it seem- ingly challenges the ‘oppressed Muslim woman’ stereotype that has long been a feature of Orientalist narratives underpinning western hegemony.8 Historically this stereotype was used to justify continued European rule over the ‘Orient.’9 In more recent decades, the ‘oppressed Muslim woman’ stereotype has been used to validate the ‘War on Terror’, the backlash against multiculturalism and the rise of populism in the West.10 In stark contrast to this stereotype, Ms. Marvel has been hailed as ‘a real world emblem of protest against Islamophobia’,11 and ‘a young, female Muslim superhero for our times’.12 The lives of Muslim women are both a source of interest and scrutiny in the new Ms. Marvel series. Sana Amanat, the creator of the Kamala Khan Ms. Marvel character, stated that ‘the big idea behind Ms. Marvel was very much about finding your authentic self’.13 When re-imagining Ms. Marvel as a Muslim teenager, Amanat drew on her own expe- riences as a child of Pakistani immigrants in the New Jersey suburbs: ‘Kamala Khan’s struggles to fit in, her relationship with her parents – they’re related to a lot of the feelings I had in high school about being a minority in a country where the racial norm is being white.’14 Through the introduction of Ms. Marvel, Amanat has been able to reflect on her own experiences of the intersecting identities of race, gender and religion,15 as well as the wider challenges facing Muslim women and other minorities in Western societies. Fem- inist scholar Miriam Kent argues that Ms. Marvel has been groundbreaking as a comic in the way it represents the intersectional experience as it breaks with a ‘history of framing https://www.cbr.com/muslim-comic-book-characters-you-should-know/ (accessed 24 November 2020). 8 Edward Said, Orientalism (New York: Pantheon Books, 1978). 9 Lila Abu-Lughod, ‘Review: “Orientalism” and Middle East Feminist Studies’, Feminist Studies 27/1 (2001). 10 Tania Saeed, Islamophobia and Securitization: Religion, Ethnicity and the Female Voice (London: Springer, 2018). 11 Aja Romano, ‘Muslim American Superhero Kamala Khan has Become a Real-World Protest Icon’, Vox, 2 February 2017. Available at https://www.vox.com/culture/2017/2/2/14457384/kamala-khan-cap- tain-america-protest-icon (accessed 15 September 2020). 12 Coco Khan, ‘All Hail Ms Marvel, a Young Female Muslim Superhero For Our Times’, The Guardian, 17 May 2018. Available at https://www.theguardian.com/commentisfree/2018/may/17/ms-marvel-fe- male-muslim-superhero-kamala-khan (accessed 15 September 2020). 13 Amelia Thomson-DeVeaux, ‘A New Kind of Superhero: Sana Amanat ’04 Brings a Groundbreaking Muslim Crime Fighter to Marvel Comic Books’, Barnard Magazine, Summer 2016. Available at https:// barnard.edu/magazine/summer-2016/new-kind-superhero (accessed 15 September 2020).
Load more

Recommended publications
  • Download This PDF File
    AFRICAN JOURNAL OF GENDER AND RELIGION Publication Information Volume 24 No. 2 December 2018 ISSN: 1025-5648 Published semi-annually, in July and December, by: Department of Religion and Theology Physical Address: Faculty of Arts, Office D9 Desmond Tutu Centre Department of Religion and Theology University of the Western Cape Robert Sobukwe Road, Bellville, 7535 Cape Town, Western Cape, South Tel: +27 (0) 21 959 2383 E-mail: [email protected] / [email protected] The African Journal of Gender and Religion in is a DOHET Accredited Journal Editor Sarojini Nadar, University of the Western Cape [email protected] Co-editor Fatima Seedat, University of Cape Town [email protected] Editor Emeritus Isabel Apawo Phiri, World Council of Churches [email protected] Submissions and Managing Editor Lee-Shae Salma Scharnick-Udemans [email protected] Associate Editors Megan Robertson [email protected] Thobeka Khubisa [email protected] Journal Administrator Lloyd Chetty [email protected] Ferial Marlee [email protected] Language Editing, Layout, and Typesetting Pralini Naidoo [email protected] Willem Oliver [email protected] Editorial Peer Review Team for this issue: Dr. Muneer Abduroaf (University of the Western Cape) Mr. Asif Iftikhar (Lahore University of Management Sciences) Dr. Damaris Parsitau (Harvard Divinity School) Prof. Sylvia Tamale (Makere University) Prof. Muhammed Haron (University of Johannesburg) Dr. Juli Gittinger (Georgia College) Prof. Johannes Vorster (University of South Africa) Dr. Johnathan Jodamus (University of the Western Cape) Prof. Andrew Johnson (Metropolitan State University) Dr. Martin Glynn (Birmingham City University) Dr. Bronwyn Anderson (University of KwaZulu-Natal) Dr.
    [Show full text]
  • Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
    i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism.
    [Show full text]
  • Reading Religion, Race and Gender in Ms. Marvel (Kamala Khan)
    1-24 The African Journal of Gender and Religion Vol. 24 No 2 (December 2018) Debunking Marvel Comics’ First Pakistani-American Born Muslim Female Superhero: Reading Religion, Race and Gender in Ms. Marvel (Kamala Khan) Johannes A Smit1 and Denzil Chetty2 Abstract Over the past decade, we have witnessed a comic book renaissance. The impact of this renaissance can be described as three-fold. First, we have seen comic books emerge as a compelling component of popular culture; second, as a “hybrid” form of texts and graphics, comic books have attained a new level of literary acceptance; and third, we have seen the advent of comic studies as an academic discipline in various higher education institutions. In addition, by drawing on myth and history, fantasy and reality, comic books have reproduced society’s values, ideals, prejudices, and aspirations, thereby producing various ideological contestations. It is within this context that Marvel Comics’ latest creation Ms. Marvel (Kamala Khan), portraying a first-generation American Muslim female teenager, born of Pakistani immigrants as the legendary Ms. Marvel – an American superhero – offers a unique opportunity to unpack the socio-cultural and political nuances embedded in comic books. Hence, by drawing on Ms. Marvel (Kamala Khan) as a case study, this paper seeks to provide a critique of the intersections between religion, race and gender in contemporary comic books. To do this, we employ “social constructionism” as an interpretive and analytical theoretical approach to a selection of scenes from the Ms. Marvel corpus. Our hypothesis is that the intersections between religion, race and gender as “played” out in Ms.
    [Show full text]
  • Females and Feminism Reclaim the Mainstream: New Superheroines in Marvel Comics
    FEMALES AND FEMINISM RECLAIM THE MAINSTREAM: NEW SUPERHEROINES IN MARVEL COMICS By Sara Marie Kern A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in English Middle Tennessee State University December 2015 Thesis Committee: Dr. Martha Hixon, Chair Dr. David Lavery I dedicate this research to real-life superheroines like my great-grandmother, who risked her reputation to educate women about their bodies. ii ACKNOWLEDGEMENTS I owe an immense debt to my family for supporting me in the pursuit of this degree, which at times seemed unachievable. Their unwavering emotional support and willingness to sacrifice for my benefit was at times overwhelming, and their generosity truly made this dream possible. I am likewise indebted to Dr. Martha Hixon and Dr. David Lavery, who encouraged me to push forward after a year-long furlough; Dr. Hixon’s consistent enthusiasm for my topic—and then my second topic—sustained me when the work was daunting. Finally I would like to thank the other contributors without whom this research would not exist: the creative teams for Thor, Ms. Marvel¸ and Storm; the librarians at the James E. Walker, UC Berkeley, and Berkeley Public libraries; and David Pemberton, who brought me back to Marvel, and helped to keep me sane. Note: the images reproduced in this thesis appear under the Fair Use agreement, and all copyrights remain with DC, Marvel Comics, and Avatar Press. I owe special thanks to these publications for their cooperation. iii ABSTRACT Representations of females in visual media continue to be problematic. As media studies increasingly reveals the influence of visual representation upon our internalized ideologies, the significance of positive female representation only increases.
    [Show full text]
  • Volume 1, Issue 1 April 2019 Superheroes in Contemporary Media
    Volume 1, Issue 1 April 2019 Superheroes in Contemporary Media General Information Panic at the Discourse: An Interdisciplinary Journal is published by graduate students and early career researchers from the Cultural Studies Program at Queen’s University. All material is copyrighted. Written permission must be obtained from the editors before copying or reprinting figures or more than 500 words of text. Submissions for each volume are chosen by the journal’s Executive Editorial Collective and go through a review process before publication. Each author is responsible for any omissions or errors in their article. ISSN 2562-5411 (Print) ISSN 2562-542X (Online) Key title: Panic at the discourse (Print and Online) Panic at the Discourse: An Interdisciplinary Journal Attn: Morgan Oddie Cultural Studies Program, Queen’s University B176 Macintosh-Corry Hall Kingston, ON, CAN K7L 3N6 Please contact us at: [email protected] www.panicdiscourse.com © 2019 Panic at the Discourse. All rights reserved. Editorial Team: Panic at the Discourse Volume 1, Issue 1, April 2019 Executive Editorial Collective Brittainy R. Bonnis is a PhD student in Cultural Studies at Queen’s University. Her master’s degree is in Media Studies, and her graduate work examines the intersections of religion, media and culture. Particularly concerned with representations of belonging and otherness in plural societies, her current work examines the representation of religious minorities in media forms from editorials to situation comedies. Morgan Oddie is a PhD candidate in Cultural Studies at Queen’s University. Her dissertation examines the dynamics of gendered bodies, pain, and power in consensual sadomasochistic (BDSM) women’s communities.
    [Show full text]
  • 'Comic Book' Superhero
    Wayne State University Wayne State University Dissertations 1-1-2015 Turning The aP ge: Fandoms, Multimodality, And The rT ansformation Of The comic' Book' Superhero Matthew Alan Cicci Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the Film and Media Studies Commons, and the Other Communication Commons Recommended Citation Cicci, Matthew Alan, "Turning The aP ge: Fandoms, Multimodality, And The rT ansformation Of The c' omic Book' Superhero" (2015). Wayne State University Dissertations. Paper 1331. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. TURNING THE PAGE: FANDOMS, MULTIMODALITY, AND THE TRANSFORMATION OF THE “COMIC BOOK” SUPERHERO by MATTHEW ALAN CICCI DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2015 MAJOR: ENGLISH (Film & Media Studies) Approved By: ____________________________________________ Advisor Date ____________________________________________ ____________________________________________ ____________________________________________ ____________________________________________ DEDICATION I would like to dedicate this work to my wife, Lily, and my three children, Maya, Eli, and Samuel. Without my wife’s ceaseless support, patience, and love, I would have been unable to complete this work in a timely manner. And, without the unquantifiable joy my children bring me, I am positive the more difficult parts of writing this dissertation would have been infinitely more challenging. ii ACKNOWLEDGMENTS I would like to thank all of my committee members—Dr. Jeff Pruchnic, Dr. Steven Shaviro, and Dr.
    [Show full text]
  • The Evolution of Female Superheroes in Comics and Film
    Digital Commons @ Assumption University Honors Theses Honors Program 2020 Super or Sexist? The Evolution of Female Superheroes in Comics and Film Jordan Gablaski Assumption College Follow this and additional works at: https://digitalcommons.assumption.edu/honorstheses Part of the English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Gablaski, Jordan, "Super or Sexist? The Evolution of Female Superheroes in Comics and Film" (2020). Honors Theses. 84. https://digitalcommons.assumption.edu/honorstheses/84 This Honors Thesis is brought to you for free and open access by the Honors Program at Digital Commons @ Assumption University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Assumption University. For more information, please contact [email protected]. SUPER OR SEXIST? THE EVOLUTION OF FEMALE SUPERHEROES IN COMICS AND FILM Jordan Gablaski Faculty Supervisor: Becky DiBiasio Ph.D. English Department A Thesis Submitted to Fulfill the Requirements of the Honors Program at Assumption College Spring 2020 Gablaski 1 INTRODUCTION In March of 2019 – on International Women’s Day to be exact – Captain Marvel became ​ ​ the first film in the Marvel Cinematic Universe (MCU) to feature a solo female lead. After eleven years of Marvel movies, many fans of the epic series believed this moment to be long overdue. However, despite the excitement, many fans also believed that such an honor should
    [Show full text]
  • Superhero Comics BLOOMSBURY COMICS STUDIES
    Superhero Comics BLOOMSBURY COMICS STUDIES Covering major genres, creators and themes, the Bloomsbury Comics Studies series are accessible, authoritative and comprehensive introductions to key topics in Comics Studies. Providing historical overviews, guides to key texts and important critical approaches, books in the series include annotated guides to further reading and online resources, discussion questions and glossaries of key terms to help students and fans navigate the diverse world of comic books today. Series Editor Derek Parker Royal Forthcoming Titles Children’s and Young Adult Comics, Gwen Tarbox Webcomics, Sean Kleefeld Autobiographical Comics, Andrew J. Kunka Superhero Comics Chris Gavaler Bloomsbury Academic An imprint of Bloomsbury Publishing Plc Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2018 © Chris Gavaler, 2018 Christopher Gavaler has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
    [Show full text]
  • Exploring Black Female Identities in Comics and Fandom Culture By
    The Power of a Black Superheroine: Exploring Black Female Identities in Comics and Fandom Culture by Grace Deneice Gipson A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in African American Studies and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Chiyuma Elliott, Co-Chair Professor Abigail DeKosnik, Co-Chair Professor Ula Taylor Professor Keith Feldman Summer 2019 Copyright © 2019 Abstract The Power of a Black Superheroine: Exploring Black Female Identities in Comics and Fandom Culture By Grace Deneice Gipson Doctor of Philosophy in African American Studies Designated Emphasis in New Media University of California, Berkeley Professors Chiyuma Elliott and Abigail DeKosnik, Co-Chairs 2018 begins on very promising note for comic book fans, as the long-awaited Marvel Comics Black Panther film premieres in February. While Black Panther is the first black superhero comic character to appear in American comics in July 1966, and his stories are plentiful, the adventures of America’s first black superheroine are few and disparate. The appearance of “The Butterfly,”1 America’s first black superheroine is not as well-known and documented along with many other noteworthy black female superheroines in comic books. The black female superheroine’s narrative, a diverse and complex one, is slowly building traction and worthy of scholarly attention. Her narrative is crucial and significant to the overall story of American comics. Thus, examining various Black female superheroine stories offers an opportunity to (re)explore new identities and territories in comics, reframe our understanding of certain terminology and concepts, and most notably to empower the black female voice.
    [Show full text]
  • Sanchez-Mastersreport-2016
    Copyright by Katherine Elizabeth Sanchez 2016 The report committee for Katherine Elizabeth Sanchez Certifies that this is the approved version of the following report: Heroes Wear Dupattas: Muslim Representation in American Comic Books APPROVED BY SUPERVISING COMMITTEE: Co-Supervisor: Chad Seales Co-Supervisor: John W. Traphagan Heroes Wear Dupattas: Muslim Representation in American Comic Books by Katherine Elizabeth Sanchez, B.A. Report Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2016 Abstract Heroes Wear Dupattas: Muslim Representation in American Comic Books Katherine Elizabeth Sanchez, MA The University of Texas at Austin, 2016 CO-SUPERVISORS: Chad Seales and John W. Traphagan In this report, I argue that comic books are a cultural site for the construction of Muslim religious identity in the United States. Comic book Muslim superheroes are as much markers of religious identity, as Qur’anic verses or prescriptive hadith. With the new American Muslim character, Ms. Marvel, in mind, I focus on the ways Muslims have been constructed as heroes in comic books and how that works to shape their religious identity for a popular audience. Analyzing comic books from two major comic book publishers, Marvel and DC, I identify three types of Muslim heroes: Magical Muslims, Black Muslims, and Outsider Muslims. Until Marvel Comics created the character Kamala Khan, Muslim superheroes fit one of these three types. These were the representational limits of good Islam in popular culture. But Kamala Khan was made to challenge these limits, even as she was intended to continue the lineage of Ms.
    [Show full text]