Betsy Ross School's Application for the 2012 National Blue Ribbon
Total Page:16
File Type:pdf, Size:1020Kb
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. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
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). -
Bearing Witness to Female Trauma in Comics: An
BEARING WITNESS TO FEMALE TRAUMA IN COMICS: AN ANALYSIS OF WOMEN IN REFRIGERATORS By Lauren C. Watson, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in Literature May 2018 Committee Members: Rebecca Bell-Metereau, Chair Rachel Romero Kathleen McClancy COPYRIGHT by Lauren C. Watson 2018 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Lauren C. Watson, refuse permission to copy in excess of the “Fair Use” exemption without my written permission. DEDICATION For my Great Aunt Vida, an artist and teacher, who was the star of her own story in an age when women were supporting characters. She was tough and kind, stingy and giving in equal measures. Vida Esta gave herself a middle name, because she could and always wanted one. Ms. Light was my first superheroine and she didn’t need super powers. ACKNOWLEDGMENTS Three years ago, I woke up in the middle of the night with an idea for research that was daunting. This thesis is the beginning of bringing that idea to life. So many people helped me along the way. -
Dr. Janina Scarlet, Phd Superhero Therapy Licensed Clinical Psychologist PSY26231
Dr. Janina Scarlet, PhD Superhero Therapy Licensed Clinical Psychologist PSY26231 The Honorable Paul Grewal Department 616 United States District Court, Northern District Robert F. Peckham Federal Bldg, 280 S 1st Street San Jose, CA 95113 Re: U.S. v Barnes James Buchanan Barnes Case Number: 03-1941JK Dear Judge Grewal: This report reviews the case of Sgt. James Buchanan Barnes (Defendant). Sgt. Barnes was accused of multiple charges, among them multiple counts of assassination, murder attempts, acts of terrorism, and treason. In my professional opinion, I believe that Sgt. Barnes did not have the capacity to distinguish right from wrong at the time of the committed crimes. Informed Consent Sgt. Barnes provided both oral and written consent for the evaluation. Sources of Information • Interview with Sgt. James Barnes (Defendant) • Interview with Captain Steve Rogers, aka Captain America • Interviews with eye witness, Jim Hammond • Strategic Scientific Reserve Personnel Record • Incident-Based Event Report from the Metropolitan Police Department • Military psychiatric and education records • National Transportation Safety Board Aircraft/Marine Accident Brief • HYDRA Project Insight Attack After Action Report • fMRI test/medical records • Mental Status Examination • Beck Depression Inventory –II • Dissociative Disorders Interview Schedule – DSM V • Mississippi Scale for Combat related PTSD • PTSD Checklist-Military Version Forensic Psychiatric Evaluation Identifying Information The Defendant is James Buchanan Barnes, age 98 at the time of -
Designed by Stephanie Jazmines, Amy Young, Audrey Aronoff Of
designed by Stephanie Jazmines, Amy Young, Audrey Aronoff of: RECYCLE © MARVEL © Disney layout by Tatiana Cosentino AVENGERS CAMPUS Sheet Numbers: A, B, C, D, E, F, G, H, I, J, K, L, M, N, O © Disney HISTORY INSTRUCTIONS Super Heroes Assemble! Avengers Campus – an entirely new land dedicated to discovering, recruiting and training the next generations of Super Heroes – is opening June 4, 2021 at Disney California Adven- Sheet A Sheet B Sheet C Sheet D Sheet E ture® Park. At this fully immersive land, you will be invited to team up with the Avengers and their allies and live out your Super Hero dreams! Sling webs at WEB SLINGERS: A Spider-Man Adventure. Power up with tiny treats and massive meals at Pym Test Kitchen, an innovating science lab where the food and drinks tell a story. At a nearby Ancient Sanctum, Sheet F Sheet G Sheet H Sheet I Sheet J Doctor Strange will train recruits in the mystic arts while bringing the space to life with powerful spells. Make sure you stop by the WEB Suppli- ers store to stock up on the latest inventions, including interactive Spi- der-Bots! And keep a look out in the sky to witness Spider-Man swinging into action with gravity-defying acrobatic feats. Sheet K Sheet L Sheet M Sheet N Sheet O Welcome to Avengers Campus. MATERIALS GUIDE 1. Color the sheets as you like. 2. Lay out the sheets according to the guide above. This will be where you place each of the buildings on the Campus. You can tape the sheets together or leave them loose for easy storage later. -
Commonwealth V. Captain America ---Law Day 2018
Commonwealth v. Captain America ---- Law Day 2018 Charges: 1. Hindering Apprehension or prosecution (18 Pa. C.S.A. 5105) 2. Conspiracy - Flight to Avoid Apprehension (18 Pa.C.S.A. 5126) Commonwealth Witnesses: 1. Iron Man 2. Spiderman 3. Vision Defendant’s Witnesses: 1. Captain America 2. Hawkeye 3. Black Widow Plot: The Commonwealth is prosecuting Captain America for his involvement in helping the Winter Soldier avoid being arrested by the police. The Winter Soldier was wanted by the police for his alleged involvement in the murder of Iron Man’s (aka Tony Stark) parents and for the attack at the Sokovia Accords, which led to the death of Black Panther’s father, the King of Wakanda. Right before the bombing Captain America and Iron Man had disagreed on what type of, if any, restrictions should be applied to them in their roles as superheroes. Captain America did not want any oversight and felt that the public should trust them to use their judgment as to when and where they should intervene. Iron Man, however, still upset over what happened in Sokovia and even more recently Wakanda, felt that oversight was needed to protect their image to the public. After the attack occurred at the Sokovia Accords the police had information that the Winter Soldier might have been involved as there was surveillance footage that implicated him. Captain America, who was not originally meant to be attending the Accords, found out about the incident and that Winter Soldier, his former friend from World War II, was a prime suspect, and he decided to investigate the matter himself. -
Hillary L. Chute. Disaster Drawn: Visual Witness, Comics, and Documentary Form. Cambridge: Harvard UP, 2016
Studies in 20th & 21st Century Literature Volume 42 Issue 1 A Planetary Republic of Comic Book Letters: Drawing Expansive Narrative Article 33 Boundaries 9-20-2017 Hillary L. Chute. Disaster Drawn: Visual Witness, Comics, and Documentary Form. Cambridge: Harvard UP, 2016. Julia Watson The Ohio State University, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons, French and Francophone Literature Commons, German Literature Commons, Latin American Literature Commons, Modern Literature Commons, and the Spanish Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Watson, Julia (2017) "Hillary L. Chute. Disaster Drawn: Visual Witness, Comics, and Documentary Form. Cambridge: Harvard UP, 2016.," Studies in 20th & 21st Century Literature: Vol. 42: Iss. 1, Article 33. https://doi.org/10.4148/2334-4415.1964 This Review Essay is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Hillary L. Chute. Disaster Drawn: Visual Witness, Comics, and Documentary Form. Cambridge: Harvard UP, 2016. Abstract Review of Hillary L. Chute. Disaster Drawn: Visual Witness, Comics, and Documentary Form. Cambridge: Harvard UP, 2016. Keywords comics, women, gender, history, documentary, war, trauma This review essay is available in Studies in 20th & 21st Century Literature: https://newprairiepress.org/sttcl/vol42/ iss1/33 Watson: Review of Disaster Drawn Hillary L. Chute. Disaster Drawn: Visual Witness, Comics, and Documentary Form. -
“Spider-Man: Homecoming” Film Review
Josephine Parks, per.2 “Spider-man: Homecoming” Film Review We have seen the friendly neighborhood Spider-man on the big screen with three different actors now. Why see another one? Because Tom Holland in Jon Watts’s “Spider-Man: Homecoming” truly brings this character to life. Peter Parker is a fifteen year old student at the Midtown School of Science & Technology. This plays a big part in the film, and events from the school are some key factors. In the original films starring Tobey Maguire, and then Andrew Garfield, we see *spoiler alert* Peter get bitten, watch his DNA change, and witness Uncle Ben die. This is brought up, but all of that has already happened. Here Peter is relatable, and we believe he is a young student who gets bullied, rather than in “The Amazing Spider-Man” where we see a hipster skateboarder Peter, who somehow gets made fun of. Now we see a great balance between comedy and seriousness. Robert Downey Jr, who plays Tony Stark/Iron Man, provides us with light humor, while also being a mentor. He does not appear throughout the whole picture, but has his moments. Peter is trying to become an Avenger, ask out a senior at his school named Liz, and not let his classmates down for school events. Sometimes he has to bail from his friend Ned to become Spider-Man. The main villain, Vulture, is very realistic. Unlike many other Marvel films, Vulture is faced with a real problem (and no, it is not from a science experiment gone wrong). -
Phantoms in the Brain.Pdf
PHANTOMS IN THE BRAIN Probing the Mysteries of the Human Mind V.S. Ramachandran, M.D., Ph.D., and Sandra Blakeslee Copyright © 1998 ISBN 0688152473 To my mother, Meenakshi To my father, Subramanian To my brother, Ravi To Diane, Mani and Jayakrishna To all my former teachers in India and England 1 To Saraswathy, the goddess of learning, music and wisdom Foreword The great neurologists and psychiatrists of the nineteenth and early twentieth centuries were masters of description, and some of their case histories provided an almost novelistic richness of detail. Silas Weir Mitchell—who was a novelist as well as a neurologist—provided unforgettable descriptions of the phantom limbs (or "sensory ghosts," as he first called them) in soldiers who had been injured on the battlefields of the Civil War. Joseph Babinski, the great French neurologist, described an even more extraordinary syndrome—anosognosia, the inability to perceive that one side of one's own body is paralyzed and the often−bizarre attribution of the paralyzed side to another person. (Such a patient might say of his or her own left side, "It's my brother's" or "It's yours.") Dr. V.S. Ramachandran, one of the most interesting neuroscientists of our time, has done seminal work on the nature and treatment of phantom limbs—those obdurate and sometimes tormenting ghosts of arms and legs lost years or decades before but not forgotten by the brain. A phantom may at first feel like a normal limb, a part of the normal body image; but, cut off from normal sensation or action, it may assume a pathological character, becoming intrusive, "paralyzed," deformed, or excruciatingly painful—phantom fingers may dig into a phantom palm with an unspeakable, unstoppable intensity. -
Archives of Written and Graphic Testimony in the Brief Wondrous Life of Oscar Wao Lauren Jean Gantz
ariel: a review of international english literature Vol. 46 No. 4 Pages 123–153 Copyright © 2015 The Johns Hopkins University Press and the University of Calgary “Nothing ever ends”: Archives of Written and Graphic Testimony in The Brief Wondrous Life of Oscar Wao Lauren Jean Gantz Abstract: This article reads The Brief Wondrous Life of Oscar Wao (2007) as a critique of metatestimonial fiction and of the tendency to overstate literature’s power to heal cultural trau- mas. Metatestimonio bears figurative witness to historical atroci- ties and interrogates who is or is not allowed to speak of such events. Although Junot Díaz’s narrator Yunior gathers testimony from multiple survivors of the Trujillo regime, he mediates their experiences through his own authorial voice. The novel suggests that in refusing to allow testimony to speak for itself, Yunior (and by extension metatestimonio as a genre) replicates the discursive practices of the regime it denounces. Furthermore, by referencing specific comic book series, the artwork accompanying the 2007 Riverhead edition of the novel generates a counter-narrative cri- tiquing Yunior’s project. This graphic counter-narrative illustrates that ending the Trujillato’s hold on Dominicans is impossible— that certain traumas cannot be healed once and for all. Oscar Wao thus suggests that in claiming literature’s power to heal the past, we (like Yunior) privilege our own desire for resolution over the lived realities of survivors, for whom the working through of trauma is an ongoing and incomplete process. Keywords: testimony, trauma, Dominican Republic, comic books, Caribbean literature “I like human endings,” says Junot Díaz. -
Christian Batikian “Winter Soldier” (Fiction) Translated by Tamar Boyadjian
CHRISTIAN BATIKIAN “Winter Soldier” (fiction) Translated by Tamar Boyadjian Absinthe_vol23.indd 59 11/20/2017 1:19:05 PM Absinthe_vol23.indd 60 11/20/2017 1:19:05 PM There is a strange nothingness. Bucky Barnes will always remain a young lad (and no one stays dead . except Bucky).1 2014 – And years later, Leo will return to his city. And when he exits the airport he will find himself in that ring of wandering and perpetually bohemian children, who stubbornly will yell para, para, para.2 It is at this moment that Leo will realize that his de- cades of absence hadn’t changed a thing in this city. Throwing some kuruş3 at that unceasing laughter, those children holler- ing at him, he will hurry to shelter himself in the nearest taxi. Kadıköy,4 he will say to the taxi driver, with his voice cracking. Winter again, snow again. Even as a child, Leo didn’t like the winter; not even New Year’s or his birthday at the end of January. He can’t explain exactly why. Probably because he was a depressed child. But now he is nineteen years old, and he still doesn’t like New Year’s or his birthday. He still doesn’t know. He is probably still depressed and hasn’t realized it. You could say it is not an easy thing being born in winter. that year it was so damn cold in Bolis, oğlum5 we haven’t seen anything like this . Snow, snow everywhere . someone could be buried in it . the war on the other side .