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JACK KIRBY COLLECTOR THIRTY-NINE $9 95 IN THE US . c n I , s r e t c a r a h C l e v r a M 3 0 0 2 © & M T t l o B k c a l B FAN FAVORITES! THE NEW COPYRIGHTS: Angry Charlie, Batman, Ben Boxer, Big Barda, Darkseid, Dr. Fate, Green Lantern, RETROSPECTIVE . .68 Guardian, Joker, Justice League of America, Kalibak, Kamandi, Lightray, Losers, Manhunter, (the real Silver Surfer—Jack’s, that is) New Gods, Newsboy Legion, OMAC, Orion, Super Powers, Superman, True Divorce, Wonder Woman COLLECTOR COMMENTS . .78 TM & ©2003 DC Comics • 2001 characters, (some very artful letters on #37-38) Ardina, Blastaar, Bucky, Captain America, Dr. Doom, Fantastic Four (Mr. Fantastic, Human #39, FALL 2003 Collector PARTING SHOT . .80 Torch, Thing, Invisible Girl), Frightful Four (Medusa, Wizard, Sandman, Trapster), Galactus, (we’ve got a Thing for you) Gargoyle, hercules, Hulk, Ikaris, Inhumans (Black OPENING SHOT . .2 KIRBY OBSCURA . .21 Bolt, Crystal, Lockjaw, Gorgon, Medusa, Karnak, C Front cover inks: MIKE ALLRED (where the editor lists his favorite things) (Barry Forshaw has more rare Kirby stuff) Triton, Maximus), Iron Man, Leader, Loki, Machine Front cover colors: LAURA ALLRED Man, Nick Fury, Rawhide Kid, Rick Jones, o Sentinels, Sgt. Fury, Shalla Bal, Silver Surfer, Sub- UNDER THE COVERS . .3 GALLERY (GUEST EDITED!) . .22 Back cover inks: P. CRAIG RUSSELL Mariner, Thor, Two-Gun Kid, Tyrannus, Watcher, (Jerry Boyd asks nearly everyone what (congrats Chris Beneke!) Back cover colors: TOM ZIUKO Wyatt Wingfoot, X-Men (Angel, Cyclops, Beast, n their fave Kirby cover is) Iceman, Marvel Girl) TM & ©2003 Marvel Photocopies of Jack’s uninked pencils from Characters, Inc. -
Comicbooks As Cultural Archeology: Gender Representation in Captain America During WWII
lhs (print) issn 1742–2906 lhs (online) issn 1743–1662 Article Comicbooks as cultural archeology: Gender representation in Captain America during WWII Francisco O. D. Veloso Abstract The aim of this article is to discuss how comicbooks, as complex multimodal artifacts, discursively interpret and evaluate events during World War II. More specifically, I examine how women are represented in an archive of 69 Captain America stories published by Marvel Comics between March 1941 and March 1943, drawing on theoretical developments within the area of social semiotics (Halliday, 1978; Hodge and Kress, 1988). An important argument within social semiotics and multimodal studies is that texts are a combination of semiotic resources that are used for produc- tion and consumption of meanings, in specific contexts (Hodge and Kress, 1988). As a consequence, by examining these semiotic resources one can develop a better understanding of social meanings that circulate in society and how these meanings are structurally organized. By examining forms of discourse for social analysis we may identify ways of addressing particular issues at the level of representation. Keywords: comicbooks; gender representation; social semiotics; women 1. Comicbooks as historical documents The use of the term comicbook in this article is motivated by the transforma- tions of the medium across time. Historically, the medium, in its materiality as it circulates today, originated from the newspapers’ ‘funnies’ (Inge, 1990), what is referred to as comic strips, nowadays. A first collection of reprints of previously published funnies was bound together as a giveaway for a Proc- tor and Gamble product, and the successful campaign suggested the medium Affiliation Department of Modern Languages, LIteratures, and Cultures (LILEC), University of Bologna, Italy. -
Aliens of Marvel Universe
Index DEM's Foreword: 2 GUNA 42 RIGELLIANS 26 AJM’s Foreword: 2 HERMS 42 R'MALK'I 26 TO THE STARS: 4 HIBERS 16 ROCLITES 26 Building a Starship: 5 HORUSIANS 17 R'ZAHNIANS 27 The Milky Way Galaxy: 8 HUJAH 17 SAGITTARIANS 27 The Races of the Milky Way: 9 INTERDITES 17 SARKS 27 The Andromeda Galaxy: 35 JUDANS 17 Saurids 47 Races of the Skrull Empire: 36 KALLUSIANS 39 sidri 47 Races Opposing the Skrulls: 39 KAMADO 18 SIRIANS 27 Neutral/Noncombatant Races: 41 KAWA 42 SIRIS 28 Races from Other Galaxies 45 KLKLX 18 SIRUSITES 28 Reference points on the net 50 KODABAKS 18 SKRULLS 36 AAKON 9 Korbinites 45 SLIGS 28 A'ASKAVARII 9 KOSMOSIANS 18 S'MGGANI 28 ACHERNONIANS 9 KRONANS 19 SNEEPERS 29 A-CHILTARIANS 9 KRYLORIANS 43 SOLONS 29 ALPHA CENTAURIANS 10 KT'KN 19 SSSTH 29 ARCTURANS 10 KYMELLIANS 19 stenth 29 ASTRANS 10 LANDLAKS 20 STONIANS 30 AUTOCRONS 11 LAXIDAZIANS 20 TAURIANS 30 axi-tun 45 LEM 20 technarchy 30 BA-BANI 11 LEVIANS 20 TEKTONS 38 BADOON 11 LUMINA 21 THUVRIANS 31 BETANS 11 MAKLUANS 21 TRIBBITES 31 CENTAURIANS 12 MANDOS 43 tribunals 48 CENTURII 12 MEGANS 21 TSILN 31 CIEGRIMITES 41 MEKKANS 21 tsyrani 48 CHR’YLITES 45 mephitisoids 46 UL'LULA'NS 32 CLAVIANS 12 m'ndavians 22 VEGANS 32 CONTRAXIANS 12 MOBIANS 43 vorms 49 COURGA 13 MORANI 36 VRELLNEXIANS 32 DAKKAMITES 13 MYNDAI 22 WILAMEANIS 40 DEONISTS 13 nanda 22 WOBBS 44 DIRE WRAITHS 39 NYMENIANS 44 XANDARIANS 40 DRUFFS 41 OVOIDS 23 XANTAREANS 33 ELAN 13 PEGASUSIANS 23 XANTHA 33 ENTEMEN 14 PHANTOMS 23 Xartans 49 ERGONS 14 PHERAGOTS 44 XERONIANS 33 FLB'DBI 14 plodex 46 XIXIX 33 FOMALHAUTI 14 POPPUPIANS 24 YIRBEK 38 FONABI 15 PROCYONITES 24 YRDS 49 FORTESQUIANS 15 QUEEGA 36 ZENN-LAVIANS 34 FROMA 15 QUISTS 24 Z'NOX 38 GEGKU 39 QUONS 25 ZN'RX (Snarks) 34 GLX 16 rajaks 47 ZUNDAMITES 34 GRAMOSIANS 16 REPTOIDS 25 Races Reference Table 51 GRUNDS 16 Rhunians 25 Blank Alien Race Sheet 54 1 The Universe of Marvel: Spacecraft and Aliens for the Marvel Super Heroes Game By David Edward Martin & Andrew James McFayden With help by TY_STATES , Aunt P and the crowd from www.classicmarvel.com . -
(“Spider-Man”) Cr
PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership. -
FROM PROPAGANDA to a BLOCKBUSTER: the Role of Nationality in the Reinterpretation of Captain America for Modern, International Audiences
Running head: FROM PROPAGANDA TO A BLOCKBUSTER: The role of nationality in the reinterpretation of Captain America for modern, international audiences From propaganda to a blockbuster: The role of nationality in the reinterpretation of Captain America for modern, international audiences Master’s Thesis Eeva-Kaisa Lintala University of Jyväskylä Department of Language and Communications Studies 17.04.2017 FROM PROPAGANDA TO A BLOCKBUSTER: The role of nationality in the reinterpretation of Captain America for modern, international audiences 2 UNIVERSITY OF JYVÄSKYLÄ Faculty Department HUMANITIES Department of Language and Communications Studies Author Eeva-Kaisa Lintala Title From propaganda to a blockbuster: The role of nationality in the reinterpretation of Captain America for modern, international audiences Subject Nature of the Study Intercultural Communication Master’s thesis Date Number of pages in total 17.04.2017 63 Abstract Captain America comics were originally created in the 1940s as war propaganda. In the 2010s the story was remade as a successful movie franchise. Nowadays Hollywood is quite dependent on overseas sales, which is something they need to consider when producing their high-budget films. This thesis concentrates on how the story and the character of Captain America were reshaped to better appeal to modern and international audiences. This is done by comparing the ways America/Americans and other countries/ nationalities are addressed both in the comics and the films. The study shows that the movies include more references to other countries and nationalities, and there are considerable positive references to Germany, the main villain of the comics. America and American nationalism play a central role in both versions, but the movies take a more discreet and often comical approach to the overflowing patriotism surrounding the story. -
Volume 8, Number 1
POPULAR CULTURE STUDIES JOURNAL VOLUME 8 NUMBER 1 2020 Editor Lead Copy Editor CARRIELYNN D. REINHARD AMY DREES Dominican University Northwest State Community College Managing Editor Associate Copy Editor JULIA LARGENT AMANDA KONKLE McPherson College Georgia Southern University Associate Editor Associate Copy Editor GARRET L. CASTLEBERRY PETER CULLEN BRYAN Mid-America Christian University The Pennsylvania State University Associate Editor Reviews Editor MALYNNDA JOHNSON CHRISTOPHER J. OLSON Indiana State University University of Wisconsin-Milwaukee Associate Editor Assistant Reviews Editor KATHLEEN TURNER LEDGERWOOD SARAH PAWLAK STANLEY Lincoln University Marquette University Associate Editor Graphics Editor RUTH ANN JONES ETHAN CHITTY Michigan State University Purdue University Please visit the PCSJ at: mpcaaca.org/the-popular-culture-studies-journal. Popular Culture Studies Journal is the official journal of the Midwest Popular Culture Association and American Culture Association (MPCA/ACA), ISSN 2691-8617. Copyright © 2020 MPCA. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 EDITORIAL BOARD CORTNEY BARKO KATIE WILSON PAUL BOOTH West Virginia University University of Louisville DePaul University AMANDA PICHE CARYN NEUMANN ALLISON R. LEVIN Ryerson University Miami University Webster University ZACHARY MATUSHESKI BRADY SIMENSON CARLOS MORRISON Ohio State University Northern Illinois University Alabama State University KATHLEEN KOLLMAN RAYMOND SCHUCK ROBIN HERSHKOWITZ Bowling Green State Bowling Green State -
Punishment and Political Order Keally D
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center 2019 USF Faculty and Staff Books USF Faculty and Staff Authored Books 2007 Punishment and Political Order Keally D. McBride Follow this and additional works at: https://repository.usfca.edu/faculty_books_2019 Part of the Legal Studies Commons, and the Political Science Commons Punishment and Political Order Law, Meaning, and Violence The scope of Law, Meaning, and Violence is defined by the wide-ranging scholarly de bates signaled by each of the words in the title. Those debates have taken place among and between lawyers, anthropologists, political theorists, sociologists, and historians, as well as literary and cultural critics. This series is intended to recognize the importance of such ongoing conversations about law, meaning, and violence as well as to encourage and further them. Series Editors: Martha Minow, Harvard Law School Austin Sarat, Amherst College RECENT TITLES IN THE SERIES Strangers to the Law: Gay People on Trial, by Lisa Keen and Suzanne B. Goldberg The Polittcs of Community Policing: Rearrangmg the Power to Punish, by William Lyons Laws of the Postcolonial, edited by Eve Darian-Smith and Peter Fitzpatrick Whispered Consolations: Law and Narrative in African Amerzcan Life, by Jon-Christian Suggs Bad Boys: Public Schools in the Making of Black Masculinity, by Ann Arnett Ferguson Pain, Death, and the Law, edited by Austin Sarat The Limits to Union: Same-Sex Marriage and the Politics of Civil Rights, by Jonathan Goldberg-Hiller -
When Words Take Lives
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UC Research Repository 1 When Words Take Lives: The Role of Language in the Dehumanization and Devastation of Jews in the Holocaust A Thesis submitted in partial fulfillment of the requirements for the degree of Masters of Arts in English in the University of Canterbury by Sarah Anne Fisk University of Canterbury 2009 2 Table of Contents Abstract 3 Introduction 5 Chapter One: The Hierarchy of Race: Historical Definitions of the Human 10 Chapter Two: Theory’s Explosive Culmination: Mein Kampf and Nazism 38 Chapter Three: When Representation becomes Reality: Dehumanizing Principles put into Action 59 Chapter Four: Life on the Lowest Level: The Stories of the Subhuman and Non-human Animals 82 Conclusion 109 Works Cited 117 3 Abstract This thesis will examine the ways in which anti-Semitic and more generalized racial theories were powerfully and effectively mobilized under Hitler and his Nazi regime. In the establishment of Nazi ideology and the practice of its principles, Hitler drew upon an old, extensive and specific genre of animalizing language. Hitler’s regime skillfully employed contemporary and diverse modes of discourse to dehumanize and devastate the Jewish people. By juxtaposing traditional anti-Semitic beliefs with ideals of Aryan superiority, the Nazis were able to expand and strengthen pre-existing anti- Semitism whilst reaffirming Germany as the ultimate example of evolutionary progression. Integral to Hitler’s success was the use of animal imagery and its respective connotations, associations and evocations. Throughout Hitler’s regime, the term “animal” remained without an exact or precise definition; the ambiguous definition of “animal” allowed for multiple applications – both destructive and constructive. -
On the Status of Vermin
1 BETWEEN THE SPECIES www.cla.calpoly.edu/bts/ Issue VI August 2006 On the Status of Vermin Stephen M. Young Colorado State University December 1, 2005 Introduction In animal rights there has been a proliferation of material discussing the ethical treatment of agricultural animals and animals used in research. The topic of this paper and will contain an assessment of a different qualification of animals that has been paid little attention in most academic traditions; this is vermin. Vermin is a colloquial word employed to discern an animal that is unwanted. Vermin is an interesting topic as oppose to ‘invasive species’ or ‘maligned species’, which have been paid considerable attention, because those titles do not necessarily connote the same as ‘vermin’. There are two main objectives to this paper: the first is an epistemic concern – how do we know what is a vermin. This, of course, has a metaphysical component: do vermin have an ontological status aside from how humans categorize them? The second objective is mainly ethical – given the criteria of vermin and how we treat them, how ought we treat them? The first objective of this paper is to define what qualifies as vermin. The entails drawing distinctions between invasive species other terms and vermin, as well as Between the Species VI August 2006 www.cla.calpoly.edu/bts/ 2 mapping out the characteristics that make an animal qualify as vermin. Eventually it will be shown that the category of vermin is conventional in society, which, in itself, has implications that will be discussed in the second objective. -
Red Hulk - Marvel Universe Wiki: the Definitive Online Source for Marvel Super Hero Bios
Red Hulk - Marvel Universe Wiki: The definitive online source for Marvel super hero bios. 5/20/13 11:00 PM Red Hulk As a young man, Thaddeus Ross enlisted in the military and received his nickname from his troops because he "struck like a thunderbolt" when leading them into action. Now he has become the very thing he hated most in life. He is the Red Hulk. Military Man General Thaddeus E. Ross was born into a family with a proud tradition of military ser- vice. Both his father and his grandfather served heroically in past American wars. As a boy Thaddeus immersed himself in military history, and he learned how to fly by barn- storming at country fairs. When he came of age Ross enlisted in the military, graduating first in his class at West Point. He married Karen Lee, the daughter of his commanding officer at the time. Ross rapidly rose in rank to captain and then major while serving in his first war. Ross made a great reputation as a leader in combat, but after the war, he was stationed at the nu- clear research facility at Los Alamos, New Mexico. There he met nuclear physicist Brian Banner, the father of Robert Bruce Banner. Ross had risen to the rank of colonel by the time he was sent to his next war, during which he became a general in the U.S. Air Force (Ross never rose beyond three-star gen- eral). As he gloried in combat, he was dissatisfied with the "desk jobs" he was given be- fore and after the war. -
The Hulk Outline
The Hulk Synopsis Bruce Banner volunteers to be a test subject for a gamma-based super soldier program for General Ross. The experiment fails and the exposure to the gamma radiation turn Banner into the Hulk, who mindlessly kills everyone in his path. Banner becomes a fugitive, turning into the Hulk every time his heart rate exceeds 200 beats per minute, and Ross starts the Hulkbusters to deal with the Hulk and other gamma- powered superhumans. Over the next two years, the Hulk gradually becomes more intelligent over time and fights other gamma-powered supervillains like the Leader and Abomination. Banner gradually takes notice and sympathizes with him. One day, as Banner walks around in Las Vegas, he notices Abomination rampaging in Vegas Strip. Abomination notices him and he attacks Banner as he turns into the Hulk. They fight as Hulkbusters come and open fire on them, killing innocent people (including children) in the process. Hulk takes them down as Abomination retreats, and the rest of the people run from the Hulk. Banner encourages Hulk to prove he’s a hero to the world, but Hulk refuses, thinking he’ll never be accepted among humanity. Banner’s cousin, Jennifer Walters, comes to him and offers him to come to Reno with her after eavesdropping on his talk with Hulk. They make it there and they’re greeted by Jen’s friends, Jane Foster and Betty Ross. They have lunch at a local pizza restaurant when Absorbing Man and the Wrecking Crew cause chaos. Thor (who Jane arranged with Jen and Betty to meet) comes to stop them, but is overwhelmed when the villain activate gamma devices that increase their power. -
Marvel Film Chronology
Marvel Film Chronology 965 AD – The frost giants of Jotunheim attempt to conquer Midgard/Earth. Their invasion point in Norway becomes the site of an epic battle as Asgard’s ruler Odin leads an army to repeal the invasion and protect the planet. Odin and his force push the frost giants back to Jotunheim where the AllFather discovers an abandoned frost giant infant, whom he adopts, names Loki and raises as his own alongside his own son Thor. A truce is negotiated between Odin and the frost giant king Laufey. 400-500s AD – Odin leaves the Tesseract on Earth. 1832 – James Howlett is born. 1845 – James Howlett’s father is murdered by Thomas Logan. Howlett discovers his mutant powers and kills Logan, only to learn that Logan is his true father and Logan’s son, Victor Creed, is Howlett’s half-brother. 1861-1975 – James Howlett fights in the American Civil War, World War I, World War II, and the Vietnam War with his brother Victor Creed. 1918 July 4 – Steve Rogers is born to a young couple in the Hell’s Kitchen section of New York City. His father dies of injuries from being mustard gassed during World War One, leaving his mother to raise the boy. 1924 June – Steve Roger’s mother dies of tuberculosis. Young Steve is placed in an Eighth Avenue orphanage. 1930 Sept. – A teenage Steve Rogers meets James Buchanan “Bucky” Barnes and the pair quickly become best friends. 1934 – Howard Stark and Abram Erskine briefly meet at an engineering conference in Geneva. February – Johann Schmidt meets the newly appointed German Chancellor Adolph Hitler at the Deutsches Operhaus in Berlin where he tries to convince Hitler of his theory that the Norse myths may actually be true.