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Earth-717: Avengers Vol 1 Chapter 10: Suicide Mission “My, My, My! to Have So Many of Our Friends Together in the Same Place!
Earth-717: Avengers Vol 1 Chapter 10: Suicide Mission “My, my, my! To have so many of our friends together in the same place! I know that it is under quite distressing circumstances, but still, it's wonderful to have such a congregation!” Steve, Tasha, Thor, Bruce, Carol, Reed, Susan, Johnny, Ben and Herbie were all in one of the hangars on board the Valiant. The Rogue One had been moved from the Senatorium to the Valiant earlier that day, and Tasha had finished installing her new upgrade to the ship. Hundreds of other Nova pilots and officers were moving around the hangar, preparing for the battle ahead. Herbie bounced up and down as he looked around at the group. “To see the Fantastic Four ready to go into battle alongside such brave and noble heroes like yourselves! It is truly remarkable, is it not, Doctor Richards?” “It sure is,” said Reed. “You've got quite a team.” “Put it together at the last minute,” said Tasha. “Since somebody decided that they wanted an interstellar vacation at the worst possible time.” “Hey!” said Johnny. “Wasn't my fault! Blame these guys! I just went along for the ride!” Ben gave Johnny a light smack on the back of the head. “Nobody asked you, junior.” Johnny grumbled as he tried to fix his hair. Reed laughed before looking back Steve. “Don't suppose you'd like to tell me how I'm standing across from Captain America?” “I guess that a man of science like yourself would be interested in that sort of thing,” said Steve. -
The Amazing Spider-Man #31 (Marvel, 1965)
The Amazing Spider-Man #31 (Marvel, 1965) First appearances of three well-known supporting characters in the Spider-Man saga, namely Gwen Stacy, Professor Warren, and also Harry Osborn. Steve Ditko cover art. There is a CGC 9.6 Twin Cities pedigree copy. #10 most valuable 1 st appearance 1965 silver age Marvel comic. Print run estimate: 320,000 copies. Gwendolyn Maxine "Gwen" Stacy is a fictional character who appears in American comic books published by Marvel Comics, usually as a supporting character in those featuring Spider-Man. A college student, Gwen was originally the first true love of Peter Parker before she was murdered by his nemesis Norman Osborn. Spider-Man writers and fans alike often debate whether Peter's "one true love" is Gwen Stacy, or his subsequent love interest, Mary Jane Watson, though stories written long after her death indicate that Gwen still holds a special place in his heart. The character has been portrayed by Bryce Dallas Howard in the 2007 film Spider-Man 3 and by Emma Stone as Peter Parker's friend and love interest in the 2012 reboot film The Amazing Spider-Man and the sequel The Amazing Spider-Man 2. Created by writer Stan Lee and artist Steve Ditko, she first appeared in The Amazing Spider-Man #31 (December 1965). The Green Goblin kidnapped and threw Gwen Stacy off the George Washington Bridge in The Amazing Spider-Man#121 (June 1973) after his Goblin persona returned as a result of stress in his life. Both the decision to kill Gwen and the method in which Marvel implemented it remain controversial among fans because some believe that Peter himself was the one that caused her death. -
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. -
ABSTRACT the Pdblications of the Marvel Comics Group Warrant Serious Consideration As .A Legitimate Narrative Enterprise
DOCU§ENT RESUME ED 190 980 CS 005 088 AOTHOR Palumbo, Don'ald TITLE The use of, Comics as an Approach to Introducing the Techniques and Terms of Narrative to Novice Readers. PUB DATE Oct 79 NOTE 41p.: Paper' presented at the Annual Meeting of the Popular Culture Association in the South oth, Louisville, KY, October 18-20, 19791. EDFS PRICE MF01/PCO2 Plus Postage." DESCRIPTORS Adolescent Literature:,*Comics (Publications) : *Critical Aeading: *English Instruction: Fiction: *Literary Criticism: *Literary Devices: *Narration: Secondary, Educition: Teaching Methods ABSTRACT The pdblications of the Marvel Comics Group warrant serious consIderation as .a legitimate narrative enterprise. While it is obvious. that these comic books can be used in the classroom as a source of reading material, it is tot so obvious that these comic books, with great economy, simplicity, and narrative density, can be used to further introduce novice readers to the techniques found in narrative and to the terms employed in the study and discussion of a narrative. The output of the Marvel Conics Group in particular is literate, is both narratively and pbSlosophically sophisticated, and is ethically and morally responsible. Some of the narrative tecbntques found in the stories, such as the Spider-Man episodes, include foreshadowing, a dramatic fiction narrator, flashback, irony, symbolism, metaphor, Biblical and historical allusions, and mythological allusions.4MKM1 4 4 *********************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * *********************************************************************** ) U SOEPANTMENTO, HEALD.. TOUCATiONaWELFARE NATIONAL INSTITUTE CIF 4 EDUCATION THIS DOCUMENT was BEEN N ENO°. DOCEO EXACTLY AS .ReCeIVED FROM Donald Palumbo THE PE aSON OR ORGANIZATIONORIGuN- ATING T POINTS VIEW OR OPINIONS Department of English STATED 60 NOT NECESSARILY REPRf SENT OFFICIAL NATIONAL INSTITUTE OF O Northern Michigan University EDUCATION POSITION OR POLICY CO Marquette, MI. -
Peter Parker Is Bitten by the Radioactive Super Spider. Peter
Hero Journey Definitions & Examples Chart Name: Ms. Durham’s Cheat Sheet Instructions: Using a pencil, complete the chart as you view the movie. for Spiderman Movie or Book Example Phase Definition In Your Own Words Title: Spider Man, 2002 Everything is going to DEPARTURE PHASE change for the main Peter Parker is bitten character – nothing is * The future hero is first by the radioactive given notice that his or going to be the same, Call to her life is going to whether he knows it or super spider. Adventure change. not. * Peter Parker lets the The future hero often refuses to accept the Call burglar escape – he Refusal of to Adventure. The doesn’t help the man the Call refusal may stem from a sense of duty, an who just cheated obligation, a fear, or him. insecurity. This is the point where Peter Parker begins his * the hero actually begins adventure when he actually the adventure, leaving practices w/ his new found the known limits of his Beginning powers, often crashing b/c he or her world and doesn’t understand the the venturing into an Adventure limits and everything is still unknown and dangerous unknown. realm where the rules and limits are unknown. Uncle Ben dies – Peter feels responsible INITIATION PHASE Peter chases down the robber who killed Uncle Ben MJ and Harry start dating The Road of Trials is a Peter starts saving lives series of tests, tasks, or Spiderman gets BAD press challenges that the hero MJ gets hurt in Green Goblin must undergo as part of attack * the hero’s transforma- MJ gets attacked by criminals tion. -
(“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. -
Resistant Vulnerability in the Marvel Cinematic Universe's Captain America
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 2-15-2019 1:00 PM Resistant Vulnerability in The Marvel Cinematic Universe's Captain America Kristen Allison The University of Western Ontario Supervisor Dr. Susan Knabe The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kristen Allison 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Allison, Kristen, "Resistant Vulnerability in The Marvel Cinematic Universe's Captain America" (2019). Electronic Thesis and Dissertation Repository. 6086. https://ir.lib.uwo.ca/etd/6086 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Established in 2008 with the release of Iron Man, the Marvel Cinematic Universe has become a ubiquitous transmedia sensation. Its uniquely interwoven narrative provides auspicious grounds for scholarly consideration. The franchise conscientiously presents larger-than-life superheroes as complex and incredibly emotional individuals who form profound interpersonal relationships with one another. This thesis explores Sarah Hagelin’s concept of resistant vulnerability, which she defines as a “shared human experience,” as it manifests in the substantial relationships that Steve Rogers (Captain America) cultivates throughout the Captain America narrative (11). This project focuses on Steve’s relationships with the following characters: Agent Peggy Carter, Natasha Romanoff (Black Widow), and Bucky Barnes (The Winter Soldier). -
Manhattan Memories’ It Was Early Evening in New York City
Chapter 1 ‘Manhattan Memories’ It was early evening in New York City. People were going to the theatre. They hurried past the bright lights of Times Square to Broadway. Peter Parker smiled to himself as he walked through the crowds. He was going to the theatre that evening, too. Suddenly, a group of little boys ran in front of him. They stopped and looked up at one of the signs. It said in lights, ‘NEW YORK LOVES SPIDER-MAN!’ For the first time in his life Peter felt popular. Well, at He went inside. He was so proud that his girlfriend least Spider-Man was popular. All the kids in the city was the star of the show. Yes, everything was perfect … or wanted to be like Spider-Man. After all, he was a hero. The almost perfect. The only thing missing was Harry Osborn. people of New York were safe when he was around. Uncle Harry and Peter had been best friends since high school. Ben would be so proud of him. But everything changed when Harry’s father went crazy Peter’s heart ached when he thought of his uncle. Uncle and became the Green Goblin. The Green Goblin had Ben was murdered two years ago but for Peter the memory attacked New York and died in a fight with Spider-Man. was still very fresh. Peter remembered the words Uncle Ben Then Harry found out that Peter was Spider-Man. He used to say: ‘With great power comes great responsibility.’ couldn’t forgive him for killing his father. -
Mike's Harder Lemonade & Deadpool Movie Advertising in Hot Water For
Posted February 15, 2016 Mike’s Harder Lemonade & Deadpool Movie Advertising in Hot Water for Targeting Kids Deadpool’s record breaking President’s Day weekend opening may have the folks at Marvel Comics marveling but, it has the people at Industry Watchdog Group – Alcohol Justice group fuming. Mike’s Harder has partnered with 20th Century Fox and Disney-owned Marvel Studios to produce a limited edition collectible series of its alcopop in 16 oz., eight percent ABV cans plastered with the comic book mutant anti-hero Deadpool. Using a Marvel Comic superhero to sell alcohol is a bad idea according to Alcohol Justice. Mike’s Harder Punch Featuring X-Men’s Deadpool As the story goes, the X-Men spinoff character has superhuman healing powers and is highly resistant to drugs and most toxins, making it extremely hard for him to become intoxicated. “Comic book characters should never be used to sell alcoholic products,” stated Bruce Lee Livingston, Executive Director / CEO, Alcohol Justice. “Kids are inherently targeted, PR damage to the brands is substantial, and shareholders should scream for heads to roll.” The promotion, seen in the TV ad below, on products, and in point-of-sale materials, pushes Mike’s Harder Lemonade, a super sweet, 8% alcoholic product that comes in flashy colorful “collectible” cans featuring the Deadpool character. Livingston says, “A superhero’s mission is to champion good over evil and stand-up for those who can’t defend themselves. Superheroes appeal to many young boys and girls who dream of being one. It’s often reflected in how kids act and dress. -
Marvel Universe Movies in Order of Release
Marvel Universe Movies In Order Of Release Semitransparent Kristopher squeg some sweetening and mucks his prosciuttos so abjectly! Gearard is goosey and kyanised deformedly while secluded Spiros tail and repopulated. Cumulative Tome never agitating so endlong or schmoosed any derrises cagily. Xvhv ehiruh frplqj lq khu wr kdyh ehhq dzdlwlqj khu ruljlq doo, in marvel universe movies order of release dates are! Parker juggling life just a teenager with cord to wonder his city. Jackson, an evil Kree warlord. These singularities are doing so far from them to protect him into a little to touch with trying to in order that, but survives a real time after directing. Back to be part of death, among other movies in order to be excellent show? Frost giants of joining the freedoms of thaddeus ross, in release and create the character who are yet. Unable to help himself questioning the universe movies in marvel order release of surprise for several skrull talos as a fractured team. You may clash with all things to knowhere, designed by order in marvel universe movies of release. Man movies in order of the universe movies list! An unaware Banner tests the experiment on himself good the process turns him schedule The Hulk. Many creatives would your future collaborations after experiences like those. It also fine as the position to fight on our expert industry has a federal and movies in of marvel order release order is not this? But endgame and tv series in his human character apart from dying from collecting the world and uncle ben, phase three markets in order in marvel movies release of the year after you! Peters set up again in the fbi, manages to the first paragraph; you wanting more of marvel movie and we also claim second week long. -
Sermon Notes
Fall Series: “Marvelous Myths: Marvel Superheroes and Everyday Faith” Series Text: Jesus says, “Much will be demanded from everyone who has been given much, and from the one who has been entrusted with much, even more will be asked." -Luke 12:48 Sermon #3: “The Incredible Hulk - Controlling Our Anger” Scripture: Ephesians 4:17-32 Sermon Text: Proverbs 19:11 “Wise people restrain their anger; their glory is to ignore an offense.” Source: Drawing from Marvelous Myths: Marvel Superheroes and Everyday Faith. Theme: Biblical teachings on controlling your anger. Anger is in itself not a sin, and indeed God is angry about some important wrongs, and calls His people to be angry about sin and injustice. Yet, the Bible teaches self control is required not to sin in your anger. Blurb: When brilliant scientist Bruce Banner gets angry, he transforms into the mean green monster known as The Incredible Hulk. The Hulk is one of the most identifiable fantasy characters in popular culture. But is he a superhero or supervillain? His anger fuels his strength, which he can use for either good or for harm. The Hulk can be a vivid image of the visceral power of our own anger. Does our anger make us stronger? Does our anger make us lose control? Don’t miss this Sunday as we explore how God’s Word teaches people how to handle our own ambivalent relationship with anger. Gathering Song Welcome - Pastor David Worship Songs - Sanctify Worship Prayer - Andrew Kid’s Invited to Kid’s Church - Andrew Missions Moment: Pastor David introduces Soul Hope (brief) Soul Hope -
Rickover and the Nuclear Navy Rickover and the Nuclear Navy
The Preface on pages xvii-xix has been altered to correct a typesetting error in the printed book. All of the text is unchanged, but sections of the text have been rearranged to place paragraphs in the proper order. Rickover and the Nuclear Navy Rickover and the Nuclear Navy THE DISCIPLINE OF TECHNOLOGY by Francis Duncan Naval Institute Press Annapolis, Maryland Published 1989 by the United States Naval Institute Annapolis, Maryland Copyright © 1989 on the foreword All rights reserved. Prepared by the Department of Energy; work made for hire. Library of Congress Cataloging-in-Publication Data Duncan, Francis, 1922- Rickover and the nuclear navy : the discipline of technology / by Francis Duncan. p. cm. Includes bibliographical references. ISBN 0-87021-236-2 1. Rickover, Hyman George. 2. Nuclear submarines—United States— History. 3. Admirals—United States—Biography 4. United States. Navy—Biography. I. Title. V63.R54D86 1989 359.3'2574'0973—dc20 89-39097 CIP This edition is authorized for sale only in the United States, its territories and possessions, and Canada. Printed in the United States of America 9 8 7 6 5 4 3 2 First printing Contents Foreword vii Preface xvii Acknowledgments xxv 1. Common Denominators 1 2. Submarines 17 3. Thresher 52 4. Surface Ships—First Battles 99 5. Surface Ships—The Alliance with Congress 115 6. Surface Ships—Legislating Nuclear Power into the Fleet 147 7. Technology and Diplomacy: The Multilateral Force 170 8. Shippingport 190 9. The Devil Is in the Details 232 10. Independence and Control 252 11. Discipline of Technology 279 Appendix 1.