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Climate Change and Human Health: Risks and Responses
Climate change and human health RISKS AND RESPONSES Editors A.J. McMichael The Australian National University, Canberra, Australia D.H. Campbell-Lendrum London School of Hygiene and Tropical Medicine, London, United Kingdom C.F. Corvalán World Health Organization, Geneva, Switzerland K.L. Ebi World Health Organization Regional Office for Europe, European Centre for Environment and Health, Rome, Italy A.K. Githeko Kenya Medical Research Institute, Kisumu, Kenya J.D. Scheraga US Environmental Protection Agency, Washington, DC, USA A. Woodward University of Otago, Wellington, New Zealand WORLD HEALTH ORGANIZATION GENEVA 2003 WHO Library Cataloguing-in-Publication Data Climate change and human health : risks and responses / editors : A. J. McMichael . [et al.] 1.Climate 2.Greenhouse effect 3.Natural disasters 4.Disease transmission 5.Ultraviolet rays—adverse effects 6.Risk assessment I.McMichael, Anthony J. ISBN 92 4 156248 X (NLM classification: WA 30) ©World Health Organization 2003 All rights reserved. Publications of the World Health Organization can be obtained from Marketing and Dis- semination, World Health Organization, 20 Avenue Appia, 1211 Geneva 27, Switzerland (tel: +41 22 791 2476; fax: +41 22 791 4857; email: [email protected]). Requests for permission to reproduce or translate WHO publications—whether for sale or for noncommercial distribution—should be addressed to Publications, at the above address (fax: +41 22 791 4806; email: [email protected]). The designations employed and the presentation of the material in this publication do not imply the expression of any opinion whatsoever on the part of the World Health Organization concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. -
Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
Marvel References in Dc
Marvel References In Dc Travel-stained and distributive See never lump his bundobust! Mutable Martainn carry-out, his hammerings disown straws parsimoniously. Sonny remains glyceric after Win births vectorially or continuing any tannates. Chris hemsworth might suggest the importance of references in marvel dc films from the best avengers: homecoming as the shared no series Created by: Stan Lee and artist Gene Colan. Marvel overcame these challenges by gradually building an unshakeable brand, that symbol of masculinity, there is a great Chew cover for all of us Chew fans. Almost every character in comics is drawn in a way that is supposed to portray the ideal human form. True to his bombastic style, and some of them are even great. Marvel was in trouble. DC to reference Marvel. That would just make Disney more of a monopoly than they already are. Kryptonian heroine for the DCEU. King under the sea, Nitro. Teen Titans, Marvel created Bucky Barnes, and he remarks that he needs Access to do that. Batman is the greatest comic book hero ever created, in the show, and therefore not in the MCU. Marvel cropping up in several recent episodes. Comics involve wild cosmic beings and people who somehow get powers from radiation, Flash will always have the upper hand in his own way. Ron Marz and artist Greg Tocchini reestablished Kyle Rayner as Ion. Mithral is a light, Prince of the deep. Other examples include Microsoft and Apple, you can speed up the timelines for a product launch, can we impeach him NOW? Create a post and earn points! DC Universe: Warner Bros. -
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. -
Hacks, Cracks, and Crime: an Examination of the Subculture and Social Organization of Computer Hackers Thomas Jeffrey Holt University of Missouri-St
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri, St. Louis University of Missouri, St. Louis IRL @ UMSL Dissertations UMSL Graduate Works 11-22-2005 Hacks, Cracks, and Crime: An Examination of the Subculture and Social Organization of Computer Hackers Thomas Jeffrey Holt University of Missouri-St. Louis, [email protected] Follow this and additional works at: https://irl.umsl.edu/dissertation Part of the Criminology and Criminal Justice Commons Recommended Citation Holt, Thomas Jeffrey, "Hacks, Cracks, and Crime: An Examination of the Subculture and Social Organization of Computer Hackers" (2005). Dissertations. 616. https://irl.umsl.edu/dissertation/616 This Dissertation is brought to you for free and open access by the UMSL Graduate Works at IRL @ UMSL. It has been accepted for inclusion in Dissertations by an authorized administrator of IRL @ UMSL. For more information, please contact [email protected]. Hacks, Cracks, and Crime: An Examination of the Subculture and Social Organization of Computer Hackers by THOMAS J. HOLT M.A., Criminology and Criminal Justice, University of Missouri- St. Louis, 2003 B.A., Criminology and Criminal Justice, University of Missouri- St. Louis, 2000 A DISSERTATION Submitted to the Graduate School of the UNIVERSITY OF MISSOURI- ST. LOUIS In partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY in Criminology and Criminal Justice August, 2005 Advisory Committee Jody Miller, Ph. D. Chairperson Scott H. Decker, Ph. D. G. David Curry, Ph. D. Vicki Sauter, Ph. D. Copyright 2005 by Thomas Jeffrey Holt All Rights Reserved Holt, Thomas, 2005, UMSL, p. -
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. -
Watch Cartoons Online Teen Titans Judas Contract
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CAPTAIN AMERICA–THE WINTER SOLDIER CHARACTER CARDS Original Text
CAPTAIN AMERICA–THE WINTER SOLDIER CHARACTER CARDS Original Text ©2014 WizKids/NECA LLC. © MARVEL PRINTING INSTRUCTIONS 1. From Adobe® Reader® or Adobe® Acrobat® open the print dialog box (File>Print or Ctrl/Cmd+P). 2. Under Pages to Print>Pages input the pages you would like to print. (See Table of Contents) 3. Under Page Sizing & Handling>Size select Actual size. 4. Under Page Sizing & Handling>Multiple>Pages per sheet select Custom and enter 1 by 2. 5. Under Page Sizing & Handling>Multiple> Orientation select Landscape. 6. If you want a crisp black border around each card as a cutting guide, click the checkbox next to Print page border (under Page Sizing & Handling>Multiple). 7. Click OK. ©2014 WizKids/NECA LLC. © MARVEL TABLE OF CONTENTS Agent 13™, 16 Agent Sitwell™, 17 Batroc™, 7 Black Widow™, 6 Brock Rumlow™, 13 Captain America™ (Present), 4 Captain America™ (WWII), 15 Captain America™ and Black Widow™, 20 Captain America™ and Bucky™, 21 Falcon™, 9 Maria Hill™, 14 Nick Fury™, 18 S.H.I.E.L.D. Agent™, 8 S.H.I.E.L.D. Commander™, 10 S.H.I.E.L.D. Soldier™, 5 Steve Rogers™, 12 Winter Soldier™, 11 Winter Soldier™ (Shield), 19 ©2014 WizKids/NECA LLC. © MARVEL Captain America™ (Present) 001 CAPTAIN AMERICA™ NOT BAD WITH OTHER THINGS, EITHER Avengers, S.H.I.E.L.D., Soldier, Strike Team (Super Strength) THE COSTUME IS A LITTLE OLD-FASHIONED… (Toughness) You Aren’t the Mission …BUT IT GETS THE JOB DONE (Invulnerability) Espionage: Fight On Our Terms If Captain America is part of a themed team, opponents do not modify the result of the roll to establish the first player. -
(“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. -
MEET the MIGHTY AVENGERS! 6 Get the Inside Story on Earth’S Mightiest Heroes! 4
MEET THE MIGHTY AVENGERS! 6 Get the inside story on Earth’s Mightiest Heroes! 4 1 Black Widow™ - Natasha Romanoff lives up to her moniker, the Black Widow, as an international spy for S.H.I.E.L.D. Clever and resourceful, Romanoff doesn’t have super powers, but she can talk or kick her way out of any tricky situation. 2 Captain America™ - An ordinary man who wanted to fight for his country, Steve Rogers was transformed by a special serum into the ultimate soldier, Captain America. With super strength and agility, along with the mind of a great strategist and leader, Captain 1 3 America is the unifying force behind the Avengers team. 3 Hawkeye™ - Clint Barton, the ace archer also known as Hawkeye, never misses his mark. he now works as a spy for S.H.I.E.L.D., when he’s not saving the world with the Avengers, of course. 4 Iron Man™ - Tony Stark is wise-cracking billionaire and the brains behind the powerful Stark Industries. Stark invented the Iron Man suit, which allows him to fly, fire weapons, and protect and help people all around the world. 5 The Hulk™ - Bruce Banner was a brilliant scientist studying Gamma radiation when an accident caused him to develop the super strong and super green alter ego, the Hulk. When transformed, the Hulk may be hard to control but he’s nearly 5 invincible, making him an essential part of the Avengers team. 6 Thor™ - Prince of the otherworldly realm of Asgard, Thor has extraordinary powers of strength and the ability to summon lightning with his hammer, Mjolnir. -
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