DOCSLIB.ORG

X-Men and Philosophy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. 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, scanning, or oth- erwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright .com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and the author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifi cally disclaim any implied warranties of merchantability or fi tness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies con- tained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for any loss of profi t or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. For general information about our other products and services, please contact our Customer Care Department within the United States at (800) 762-2974, outside the United States at (317) 572-3993 or fax (317) 572-4002. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. For more information about Wiley products, visit our web site at www.wiley.com. Library of Congress Cataloging-in-Publication Data: X-men and philosophy : astonishing insight and uncanny argument in the mutant X-verse / edited by Rebecca Housel and J. Jeremy Wisnewski. p. cm. — (The Blackwell philosophy and pop culture series) Includes index. ISBN 978-0-470-41340-1 (pbk:alk.paper) 1. X-Men (Fictitious characters) I. Housel, Rebecca. II. Wisnewski, Jeremy. PN6728.X2X24 2009 741.5'973—dc22 2008045526 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 ffirs.indd iv 1/28/09 6:27:26 PM To mutants everywhere ffirs.indd v 1/28/09 6:27:26 PM ffirs.indd vi 1/28/09 6:27:26 PM CONTENTS ACKNOWLEDGMENTS: Superheroic Thanks to X-tra Special Humans and Mutants Alike! xi Introduction: You Are About to Embark on an X-perience with “the Strangest Heroes of All” 1 X1: ORIGINS THE X-FACTOR IN THE EXISTENTIAL 1. The Lure of the Normal: Who Wouldn’t Want to Be a Mutant? 5 Patrick D. Hopkins 2. Amnesia, Personal Identity, and the Many Lives of Wolverine 17 Jason Southworth 3. Is Suicide Always Immoral? Jean Grey, Immanuel Kant, and The Dark Phoenix Saga 27 Mark D. White 4. X-istential X-Men: Jews, Supermen, and the Literature of Struggle 38 Jesse Kavadlo vii ftoc.indd vii 1/30/09 3:52:09 PM viii CONTENTS X2: EVOLUTION CONSCIOUSNESS, CONSCIENCE, AND CURE 5. Mad Genetics: The Sinister Side of Biological Mastery 53 Andrew Burnett 6. Layla Miller Knows Stuff: How a Butterfl y Can Shoulder the World 66 George A. Dunn 7. X-Women and X-istence 85 Rebecca Housel 8. Mutant Rights, Torture, and X-perimentation 99 Cynthia McWilliams 9. When You Know You’re Just a Comic Book Character: Deadpool 107 Joseph J. Darowski X3: UNITED HUMAN ETHICS AND MUTANT MORALITY IN THE X-VERSE 10. Magneto, Mutation, and Morality 125 Richard Davis 11. Professor X Wants You 140 Christopher Robichaud 12. Dirty Hands and Dirty Minds: The Ethics of Mind Reading and Mindwriting 153 Andrew Terjesen 13. The Mutant Cure or Social Change: Debating Disability 170 Ramona Ilea ftoc.indd viii 1/30/09 3:52:09 PM CONTENTS ix 14. Mutants and the Metaphysics of Race 183 Jeremy Pierce X4: THE LAST STAND WAR, TECHNOLOGY, DEATH, AND MUTANTKIND 15. Mutant Phenomenology 197 J. Jeremy Wisnewski 16. War and Peace, Power and Faith 209 Katherine E. Kirby 17. High-Tech Mythology in X-Men 223 George Teschner CONTRIBUTORS: And Now, We’d Like to Introduce the X-Perts: Ladies and Gentlemen, the Amazing, Astonishing, Uncanny, Ultimate Authors from Xavier’s School for Gifted Philosophers! 236 INDEX 241 ftoc.indd ix 1/30/09 3:52:10 PM ftoc.indd x 1/30/09 3:52:10 PM ACKNOWLEDGMENTS Superheroic Thanks to X - tra Special Humans and Mutants Alike! The editors wish to thank comic greats Stan Lee and the late Jack Kirby, the real X - perts! We’ d also like to thank series editor Bill Irwin for his X -vision and X - traordinary editorial instincts! Love ya, Bill! Special thanks go to our beloved contributors, whose lively intellects and creativity help make this volume a superpower - packed X - ploration into the vast space -time of the X - Verse. We also want to give our appreciation to Connie Santisteban, Eric Nelson, and the entire Wiley team for their publishing super- prowess. As for the mutants: Beast, for being both a science geek and a badass; Wolverine, for being short; Mystique for bringing blue back into fashion; Phoenix Force, for being the ultimate sentient cosmic force of life and death (c ’ mon!); and every other mutant superhero, either in the pages of a Marvel comic or in the recesses of a human mind yet to begin a great hero ’ s journey . Jeremy wishes to personally thank Meg Lonergan, now an old pro at making things happen; she did an X - cellent job helping with the copy editing and the index — keep it up, Sparky! Nico Meyering and Nick Forst read versions of the manuscript and offered some useful initial feedback. Nick gets an X- tra “ thank you ” for donating his illustrating abilities (and his imagination) to the book. (Nick is responsible for Jeremy ’ s inner superhero at the end of chapter 17 .) Jeremy is grateful to his wife, Dorothy, for putting up with his eccentricities (yet again), and his daughter, Audrey, for letting him play with her toys. xi flast.indd xi 1/28/09 6:28:44 PM xii ACKNOWLEDGMENTS Rebecca would like to send special thanks to “ Mighty ” George Dunn, Bob Housel, Aaron Fields, Connie Santisteban, Stephanie “ Shadowcat ” Collins, and Marguerite Schwartz for lending super- vision to sections of the Marvel -ous manuscript. Bill Irwin gets a Giant - Sized shout out for reading countless e - mails over four years with eighties trivia and X - Men pleas. Tom Morris also gets a nod for accepting Rebecca’ s fi rst article ever (!) on X - Men in his 2005 Superheroes volume. Rebecca ’s sincere appreciation goes to her husband, Bob, who lovingly made superhuman efforts in the domestic sphere while Rebecca typed away into the wee hours of the morning, and to her son, Gary, who has been her comic partner - in - crime for the better part of the last twenty years. flast.indd xii 1/28/09 6:28:44 PM X-MEN AND PHILOSOPHY flast.indd xiii 1/28/09 6:28:44 PM flast.indd xiv 1/28/09 6:28:44 PM INTRODUCTION You Are About to Embark on an X - perience with “ the Strangest Heroes of All ” 1 The X - Men franchise has made billions of dollars over the last forty - fi ve years from major motion pictures, animated televi- sion shows, video games, and, of course, the best -selling comic series in American history. 2 The Marvel X - Verse is a large and diverse place full of complex storylines, timelines, seemingly endless characters (can you believe the fi rst volume started with only seven?!), and — of course — philosophy .
Load more

Recommended publications
  • 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.
    [Show full text]
  • Captain America
    The Star-spangled Avenger Adapted from Wikipedia, the free encyclopedia Captain America first appeared in Captain America Comics #1 (Cover dated March 1941), from Marvel Comics' 1940s predecessor, Timely Comics, and was created by Joe Simon and Jack Kirby. For nearly all of the character's publication history, Captain America was the alter ego of Steve Rogers , a frail young man who was enhanced to the peak of human perfection by an experimental serum in order to aid the United States war effort. Captain America wears a costume that bears an American flag motif, and is armed with an indestructible shield that can be thrown as a weapon. An intentionally patriotic creation who was often depicted fighting the Axis powers. Captain America was Timely Comics' most popular character during the wartime period. After the war ended, the character's popularity waned and he disappeared by the 1950s aside from an ill-fated revival in 1953. Captain America was reintroduced during the Silver Age of comics when he was revived from suspended animation by the superhero team the Avengers in The Avengers #4 (March 1964). Since then, Captain America has often led the team, as well as starring in his own series. Captain America was the first Marvel Comics character adapted into another medium with the release of the 1944 movie serial Captain America . Since then, the character has been featured in several other films and television series, including Chris Evans in 2011’s Captain America and The Avengers in 2012. The creation of Captain America In 1940, writer Joe Simon conceived the idea for Captain America and made a sketch of the character in costume.
    [Show full text]
  • Marvel/ Dc Secret Files A.R.G.U.S / S.H.I.E.L.D
    MARVEL/ DC SECRET FILES During these sessions you will take place of one of these superheroes from both worlds to discuss the take on action, the strategy, explain the reasons to proceed from certain way and giving enough intelligence and ideas to approach conflicted countries and regions where certain heroes from an specific nationality couldn’t enter due to political motives. OVERVIEW Dangerous objects and devices have fallen into the hands of both Marvel and DC villains. It is the mission of the UN to assign rescue missions of these objects located in different parts of both universes to avoid a possible collision of worlds and being used against humanity. The General Assembly of the United Nations and the Security Council has given special powers to heroes of different countries (and universes) to take action on behalf of the governments of the world to avoid a catastrophe and to be able to fight with the opposing forces that have taken possession of these devices, threatening humanity with them and disrupting world peace forming a Special Force. Recon missions have been done by Black Widow, Catwoman, Hawkeye and Plastic Man and we have gathered information of different objects that are guarded by villains in different locations of both universes. Some in the Marvel universe and others in the DC universe. Each artifact has been enclosed in a magic bubble that prevents its use to any being that has possession of it. But this enchantment created by Doctor Strange and Doctor Fate has expiration time. Within 48 hours, it will be deactivated and anyone who has any of these devices in their possession will be able to freely use them.
    [Show full text]
  • PRICES REALIZED DETAIL - Animation Auction 52A, Auction Date: 12/1/2012
    26901 Agoura Road, Suite 150, Calabasas Hills, CA 91301 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Animation Auction 52A, Auction Date: 12/1/2012 LOT ITEM PRICE 4 X-MEN “OLD SOLDIERS”, (2) ORIGINAL PRODUCTION CELS AND BACKGROUND $275 FEATURING “CAPTAIN AMERICA” & “WOLVERINE”. 5 X-MEN “OLD SOLDIERS”, (2) ORIGINAL PRODUCTION CELS AND BACKGROUND $200 FEATURING “CAPTAIN AMERICA” & “WOLVERINE” FIGHTING BAD GUYS. 6 X-MEN “PHOENIX SAGA (PART 3) CRY OF THE BANSHEE”, ORIGINAL PRODUCTION CEL $100 AND BACKGROUND FEATURING “ERIK THE REDD”. 8 X-MEN OVERSIZED ORIGINAL PRODUCTION CEL AND BACKGROUND FEATURING $150 “GAMBIT”, “ROGUE”, “PROFESSOR X” & “JUBILEE”. 9 X-MEN “WEAPON X, LIES, AND VIDEOTAPE”, (3) ORIGINAL PRODUCTION CELS AND $225 BACKGROUND FEATURING “WOLVERINE” IN WEAPON X CHAMBER. 16 X-MEN ORIGINAL PRODUCTION CEL AND BACKGROUND FEATURING “BEAST”. $100 17 X-MEN (2) ORIGINAL PRODUCTION CELS AND BACKGROUND FEATURING “NASTY BOYS”, $100 “SLAB” & “HAIRBAG”. 21 X-MEN (3) ORIGINAL PRODUCTION CELS AND BACKGROUND FEATURING “STORM”. $100 23 X-MEN (2) ORIGINAL PRODUCTION CELS AND (2) SKETCHES FEATURING CYCLOPS’ $125 VISION OF JEAN GREY AS “PHOENIX”. 24 X-MEN (2) ORIGINAL PRODUCTION CELS AND BACKGROUND FEATURING “CAPTAIN $150 AMERICA” AND “WOLVERINE”. 25 X-MEN (9) ORIGINAL PRODUCTION CELS AND PAN BACKGROUND FEATURING “CAPTAIN $175 AMERICA” AND “WOLVERINE”. 27 X-MEN (3) ORIGINAL PRODUCTION CELS AND BACKGROUND FEATURING “STORM”, $100 “ROGUE” AND “DARKSTAR” FLYING. 31 X-MEN THE ANIMATED SERIES, (2) ORIGINAL PRODUCTION CELS AND BACKGROUND $100 FEATURING “PROFESSOR X” AND “2 SENTINELS”. 35 X-MEN (2) ORIGINAL PRODUCTION PAN CELS AND BACKGROUND FEATURING $100 “WOLVERINE”, “ROGUE” AND “NIGHTCRAWLER”.
    [Show full text]
  • X-Men: Apocalypse' Succeeds Thanks to Its Rich Characters
    http://www.ocolly.com/entertainment_desk/x-men-apocalypse-succeeds-thanks-to-its-rich- characters/article_ffbc145a-251d-11e6-9b66-f38ca28933de.html 'X-Men: Apocalypse' succeeds thanks to its rich characters Brandon Schmitz, Entertainment Reporter, @SchmitzReviews May 28, 2016 20th Century FOX It's amazing to think that Fox's "X-Men" saga has endured for more than a decade and a half with only a couple of stumbles. From the genre- revitalizing first film to the exceptionally intimate "Days of Future Past," the series has definitely made its mark on the blockbuster landscape. With "Apocalypse," director Bryan Singer returns for his fourth time at the helm. Similarly to his previous outing, this movie is loosely based on one of the superhero team's most popular comic book storylines. Ten years have passed since Charles Xavier (James McAvoy) and friends averted the rise of the Sentinels. However, altering the course of the "X- Men" continuity has merely replaced one disaster with another. The world's first mutant, Apocalypse (Oscar Isaac), was worshipped as a god around the dawn of civilization. Thanks to abilities he has taken from other mutants, he is virtually immortal. Following thousands of years of slumber, Apocalypse wakes to find a world ruled by people who he feels are weak. Namely, humans. Dissatisfied with earth's warring nations, the near-all-powerful mutant sets out to cleanse the world with his four "horsemen." In the wake of this new threat, Mystique (Jennifer Lawrence) must lead a young X-Men team comprised of familiar faces such as Cyclops (Tye Sheridan) and Jean Grey (Sophie Turner).
    [Show full text]
  • 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 .
    [Show full text]
  • Avengers and Its Applicability in the Swedish EFL-Classroom
    Master’s Thesis Avenging the Anthropocene Green philosophy of heroes and villains in the motion picture tetralogy The Avengers and its applicability in the Swedish EFL-classroom Author: Jens Vang Supervisor: Anne Holm Examiner: Anna Thyberg Date: Spring 2019 Subject: English Level: Advanced Course code: 4ENÄ2E 2 Abstract This essay investigates the ecological values present in antagonists and protagonists in the narrative revolving the Avengers of the Marvel Cinematic Universe. The analysis concludes that biocentric ideals primarily are embodied by the main antagonist of the film series, whereas the protagonists mainly represent anthropocentric perspectives. Since there is a continuum between these two ideals some variations were found within the characters themselves, but philosophical conflicts related to the environment were also found within the group of the Avengers. Excerpts from the films of the study can thus be used to discuss and highlight complex ecological issues within the EFL-classroom. Keywords Ecocriticism, anthropocentrism, biocentrism, ecology, environmentalism, film, EFL, upper secondary school, Avengers, Marvel Cinematic Universe Thanks Throughout my studies at the Linneaus University of Vaxjo I have become acquainted with an incalculable number of teachers and peers whom I sincerely wish to thank gratefully. However, there are three individuals especially vital for me finally concluding my studies: My dear mother; my highly supportive girlfriend, Jenniefer; and my beloved daughter, Evie. i Vang ii Contents 1 Introduction
    [Show full text]
  • COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II a Master's Thesis Presented to College of Arts & Sciences Departmen
    COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II A Master’s Thesis Presented To College of Arts & Sciences Department of Communications and Humanities _______________________________ In Partial Fulfillment of the Requirements for the Master of Science Degree _______________________________ SUNY Polytechnic Institute By David Dellecese May 2018 © 2018 David Dellecese Approval Page SUNY Polytechnic Institute DEPARTMENT OF COMMUNICATIONS AND HUMANITIES INFORMATION DESIGN AND TECHNOLOGY MS PROGRAM Approved and recommended for acceptance as a thesis in partial fulfillment of the requirements for the degree of Master of Science in Information Design + Technology. _________________________ DATE ________________________________________ Kathryn Stam Thesis Advisor ________________________________________ Ryan Lizardi Second Reader ________________________________________ Russell Kahn Instructor 1 ABSTRACT American comic books were a relatively, but quite popular form of media during the years of World War II. Amid a limited media landscape that otherwise consisted of radio, film, newspaper, and magazines, comics served as a useful tool in engaging readers of all ages to get behind the war effort. The aims of this research was to examine a sampling of messages put forth by comic book publishers before and after American involvement in World War II in the form of fictional comic book stories. In this research, it is found that comic book storytelling/messaging reflected a theme of American isolation prior to U.S. involvement in the war, but changed its tone to become a strong proponent for American involvement post-the bombing of Pearl Harbor. This came in numerous forms, from vilification of America’s enemies in the stories of super heroics, the use of scrap, rubber, paper, or bond drives back on the homefront to provide resources on the frontlines, to a general sense of patriotism.
    [Show full text]
  • Disney, Marvel and the Value of “Hidden Assets”
    Strategy & Leadership M&A deal-making: Disney, Marvel and the value of “hidden assets” Joseph Calandro Jr., Article information: To cite this document: Joseph Calandro Jr., (2019) "M&A deal-making: Disney, Marvel and the value of “hidden assets”", Strategy & Leadership, Vol. 47 Issue: 3, pp.34-39, https://doi.org/10.1108/SL-02-2019-0023 Permanent link to this document: https://doi.org/10.1108/SL-02-2019-0023 Downloaded on: 04 July 2019, At: 04:22 (PT) References: this document contains references to 0 other documents. To copy this document: [email protected] The fulltext of this document has been downloaded 171 times since 2019* Users who downloaded this article also downloaded: (2010),"Disney's Marvel acquisition: a strategic financial analysis", Strategy &amp; Leadership, Vol. 38 Iss 2 pp. 42-51 <a href="https://doi.org/10.1108/10878571011029055">https://doi.org/10.1108/10878571011029055</a> (2007),"From beast to beauty: The culture makeover at Walt Disney", Strategic Direction, Vol. 23 Iss 9 pp. 5-8 <a href="https://doi.org/10.1108/02580540710779681">https://doi.org/10.1108/02580540710779681</a> Access to this document was granted through an Emerald subscription provided by Token:Eprints:NwQ4NzDCSiNhuBSqG8MG: For Authors If you would like to write for this, or any other Emerald publication, then please use our Emerald for Authors service information about how to choose which publication to write for and submission guidelines are available for all. Please visit www.emeraldinsight.com/authors for more information. About Emerald www.emeraldinsight.com Emerald is a global publisher linking research and practice to the benefit of society.
    [Show full text]
  • The Women of Battlestar Galactica and Their Roles : Then and Now
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2013 The women of Battlestar Galactica and their roles : then and now. Jesseca Schlei Cox 1988- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Cox, Jesseca Schlei 1988-, "The women of Battlestar Galactica and their roles : then and now." (2013). Electronic Theses and Dissertations. Paper 284. https://doi.org/10.18297/etd/284 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE WOMEN OF BATTLESTAR GALACTICA AND THEIR ROLES: THEN AND NOW By Jesseca Schleil Cox B.A., Bellarmine University, 2010 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degre:e of Master of Arts Department of Sociology University of Louisville Louisville, Kentucky May 2013 Copyright 2013 by Jesseca Schlei Cox All Rights Reserved The Women of Battlestar Galactica and Their Roles: Then and Now By Jesseca Schlei Cox B.A., Bellarmine University, 2010 Thesis Approved on April 11, 2013 by the following Thesis Committee: Gul Aldikacti Marshall, Thesis Director Cynthia Negrey Dawn Heinecken ii DEDICATION This thesis is dedicated to my mother and grandfather Tracy Wright Fritch and Bill Wright who instilled in me a love of science fiction and a love of questioning the world around me.
    [Show full text]
  • 39635191.Pdf
    table of contents RKYV # 28 {September 2009} RKYV ONLINE LOGO - David Marshall { current } RKYV ONLINE LOGO – r. j. paré {modified} RKYV COMICS LOGO – Roy G. James {original} Virtual Cover # 28 Writer’s Column - Art by Allen Freeman - By Larissa Gula - Layout by David Marshall Poetry Interior Art - By Dexter Betantos, Anna Gehmacher, - By Jonathan Biermann, De Tourist, Roger Frances Vargas, r. j. paré Formidable, Engin Korkmaz, Lisa Marie Mueller, Dave Michaels, r. j. paré, Allen Music Freeman. - “Redhouse” - by r. j. pare Editorial Column - “At the Outset: A Few Thoughts from the Short Fiction Editor” - “Bad Beat – Part 2” - By r. j. paré - By r. j. paré In the News Pop Culture - By Tom Rossini - “An interview with Jimmy Palmiotti” - By Brad Bellmore Featured Artist Review - “Comic Book Review” – Allen Freeman - By Brad Bellmore - By r .j. paré - “Raised on Saturday Morning Cartoons” - By Pauline Paré 12 Inches – by Roger Formidable at the outset a few thoughts from the editor By r. j. paré “I suppose I should collect my books And go back to school.” --- Rod Stewart The summer ends and with it the time for idle days at the beach. For our children, moaning and groaning it is time to head on back fer some more of that fancy book learning. For ourselves it can be an opportunity to devote extra time to our never ending back-log of projects. Whether it is a leaky roof that needs fixing before winter or some creative time to express yourself… we all have stuff that piles up. Here at RKYV ONLINE we’ve, lately, devoted more energy to showcasing bigger names and talents as a means of sharing with you – our readers, contributors and developing artists – what is possible when you truly invest in your own creativity.
    [Show full text]
  • CITIZEN #162 Catalogue.Indd
    Bien le bonjour à toutes et à tous ! Je ne sais plus vraiment qui a eu la géniale idée d’inventer les vacances et autres congés, mais, sur ce coup-là, il m’a vraiment mis dans la panade.., ce n’est plus de édito retard c’est carrément pire que tout bref, je vais la faire courte ce mois afi n de transmettre le plus rapidement possible l’opus 162 du Citizen à mon imprimeur préféré : j’ai nommé François C. de chez Print Forum à Wasquehal ! Ne me reste qu’à faire un coucou à Sébastien B. de Clamart ! il se reconnaîtra... je tiens avant tout à le remercier de sa fi délité. oups c’est fait et c’est tout pour aujourd’hui! à plus et merci pour votre fi délité !!! L’équipe d’Astro (Damien, Fred & Jérôme) PS : je ne résiste pas à vous faire mon habituel petit rappel pour les titres VF ou encore VO : si vous êtes tenté par l’une ou l’autre des séries récentes mais n’osez vous lancer de peur de ne jamais récupérer les numéros et volumes précédents, n’ayez crainte et … demandez ! La plupart du temps il nous est encore possible, voire faisable, de réassortir un numéro ou plusieurs alors, lancez-vous ! news de JUIN 2015 news la cover du mois : JUSTICE LEAGUE OF AMERICA #1 par Bryan Hitch Le logo astrocity et la super-heroïne Un peu de lexique... “astrogirl” ont été créés par Blackface. Corp et sont la propriété exclusive de Damien GN pour Graphic novel : La traduction littérale de ce terme est «roman graphique» Rameaux & Frédéric Dufl ot au titre de la OS pour One shot : Histoire en un épisode, publié le plus souvent à part de la continuité régulière.
    [Show full text]