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Glory Bound. on Wonder Woman's Bracelets
Distributed by: On and Off Go to bookstore. ISBN 978-0-9864229-1-1 Glory bound. On Wonder Woman’s bracelets Suzanne Ramljak Since bursting onto the cultural before hatching this superhero. A stage in 1941, Wonder Woman staunch advocate of women’s rights Wonder has become the world’s most and female supremacy, Marston popular, and enduring, comic book declared in the late 1930s: “The next heroine. For her battles against 100 years will see the beginning of injustice and oppression, she boasts an American matriarchy, a nation of superhuman powers and customized Amazons in the psychological rather gear including the Lasso of Truth, than the physical sense.” 2 Within Invisible Plane, and Mental Radio. his comic strip cosmology, Wonder Ultimately, Wonder Woman’s most Woman, a.k.a. Princess Diana, belongs potent accessory proves to be the to a mythical Amazon tribe. Having jewelry that she wears. Her metal once been tricked into enslavement television series, 1975, Warner Bros. Television Bros. Warner series, 1975, television Bracelets of Submission, also by Hercules, who bound them with called Bands of Aphrodite or Magic chains and armbands, Marston’s Woman (Detail) publicity photo of Lynda Carter, star of star Carter, of Lynda (Detail) publicity photo Bracelets, are indestructible cuffs Amazons wear thick bracelets as that shield against violent attack, reminders of former slavery and the deflecting gunfire, missiles, and need to resist the wiles of men. other projectiles. A key feature of the fiction conceived by Wonder In addition to warning of male Woman’s creator, William Moulton subjugation, these Bracelets of Marston, these shackle-like bands Submission affirm an Amazonian ensure her survival and embody core pledge to Aphrodite’s Law, upholding values fueling her mission on Earth. -
Joye Murchison • Barbara Friedlander’S Love Affair with Dc Comics • Fca • Bill Schelly • Mr
ALTER EGO #157 Roy Thomas' Wonder-Full Comics Fanzine ONLY Three YEARS INTO HER CATACLYSMIC CAREER— GOLDEN AGE WONDER WOMAN SCRIPTER JOYE MURCHISON • BARBARA FRIEDLANDER’S LOVE AFFAIR WITH DC COMICS FCA BILL DC’S AMAZING AMAZON HAD A FEMALE $9.95 GHOST WRITER! In the USA SPOTLIGHT ON No. 157 March GOLDEN AGE WONDER WOMAN SCRIPTER 2019 JOYE MURCHISON JOYE HUMMEL (MURCHISON), 1943 SCHELLY Wonder Woman TM & © DC Comics Woman Wonder • MR. MONSTER & MORE! 3 9 5 3 0 0 8 5 6 2 8 1 BONUS! BARBARA FRIEDLANDER’S LOVE AFFAIR WITH DC COMICS! Vol. 3, No. 157 / March 2019 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck J.T. Go (Assoc. Editor) Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll Jerry G. Bails (founder) Ronn Foss, Biljo White Mike Friedrich Proofreaders Rob Smentek Contents William J. Dowlding Cover Artist Writer/Editorial: Wonder Of Wonders! ................... 2 H.G. Peter The First Amazon .................................... 3 Cover Colorist Richard Arndt interviews 1944-48 “Wonder Woman” ghost writer Joye Murchison Kelly! Unknown Barbara Friedlander’s Love Affair With DC Comics ........ 35 With Special Thanks to: Silver Age romance from Young Love to Heart Throb to Swing with Scooter. Doug Abramson Joye Murchison Heidi Amash Kelly Of Crows And The Cosmos ........................... 55 Pedro Angosto Jack Kelly Richard J. Arndt Thomas Kiefer Part VIII of Golden/Silver Age star scripter John Broome’s 1998 memoir. Bob Bailey Todd Klein Linedia Benaca Lamiek Mr. Monster’s Comic Crypt! Bruce McCorkindale’s Barbara Friedlander Comiclopedia Mighty Marvel Mashup! ............................. -
Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English Vol
AboutUs: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ ContactUs: http://www.the-criterion.com/contact/ EditorialBoard: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 12, Issue-I, February 2021 ISSN: 0976-8165 Wonder Woman: American Dc Comics Purbasa Banerjee Article History: Submitted-15/10/2020, Revised-21/02/2021, Accepted-22/02/2021, Published-28/02/2021. Abstract: Comics enlighten the fact in a light manner with a serious theme to it. Wonder Woman very much serves the purpose of the article that emphasizes on the importance of women, the value of women, the superior thought of a woman with awe-inspiring nature and characteristics that eventually demonstrate ‘Feminism’ or invaluable women around. The work is significant as the protagonist is a woman with invincible herself without any fear, facing her own world of the living and also another world where patriarchy narrates itself. There are mixed methods in the article that have been used i.e. some experiments shown in 2017 The Wonder Woman movie and some secondary data have been collected from websites and sites. The protocol used here was to proliferate the womanism as feminism and to wide open the eyes of the people about the feminine entity. And to reach the destination the theoretical angles been used giving all the information on the main character even scientifically. Ultimately, a lot of learning took place that called as results of the article. -
Lepore, Jill. the Secret History of Wonder Woman. New York: Knopf, 2014
Lepore, Jill. The Secret History of Wonder Woman. New York: Knopf, 2014. 408 pp. $29.95. As authorship studies progresses as a discipline, it is becoming increasingly evident that it should not limit itself to studies of single authors and their body of work. Jill Lepore’s The Secret History of Wonder Woman has been described as a biography of both Wonder Woman and her creator William Moulton Marston. A biography of an author can be of interest to the field of authorship studies in its own right, but it is the categorization of the text as a biography of a fictional character that is most fascinating and of interest to authorship scholars. Although Lepore, a historian, does not purport to be an authorship— or even a literary—scholar, her historical examination of the creation of Wonder Woman holds potential for authorship scholars because it functions as an exploration of the multifaceted authorship behind a single character. In keeping with the comics theme, Lepore provides a “Splash Page” in place of a traditional introduction. Here, Lepore asserts that Wonder Woman is “the missing link in a chain of events that begins with the woman suffrage campaigns of the 1910s and ends with the troubled place of feminism fully a century later” (xiii). Lepore divides her book into three parts and an epilogue. Authorship scholars will find the third section of the most interest, as Lepore discusses the tangible authorial influences on Wonder Woman’s creation and early comics, but that does not mean they should skip the previous ones. The first two sections of the book, “Veritas” and “Family Circle,” form a biographical sketch of Marston, his family, and the life influences that lead up to and influence the creation of Wonder Woman. -
Transcript of Imagining Wonder Woman
1 You’re listening to Imaginary Worlds, I show about how we create them and why we suspend our disbelief, I’m Eric Molinsky. In March, the super mega hyped Batman vs. Superman lands in movie theaters. I’m both obsessed with this movie, and very wary at the same time. It’s got my favorite superheroes, although I’m not sure I’m going to like the interpretation. But there is one thing I am really looking forward to – finally seeing Wonder Woman on film. Bringing her to the big screen has been a long, tortuous process. I won’t go into the production history but there is finally going to be a stand-alone Wonder Woman movie in 2017 starring Gal Gadot as Wonder Woman, after she makes her debut in Batman vs. Superman. One of the big reasons why Wonder Woman has had a troubled history is, well, sexism. But there’s been plenty of male writers who approached her with the best intentions but couldn’t make it work. The reasons why are much deeper and stranger than many people realize. It all goes back to her origin story. Not just the one in the comics, but the one in real life. In the early 1940s, comic books were skyrocketing in popularly. But they were also corrupting the youth – according to many concerned adults. One day, a comic book publisher named MC Gaines was reading an article in the magazine Family Circle about a journalist named Olive Byrne who went to see a psychologist, William Moulton Marston, to ask him if it’s okay to let her children read comic books. -
Representations of Women and Minorities Groups in Comics
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Fall 2019 Representations of Women and Minorities Groups in Comics Laticia Donelle Marshall San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Marshall, Laticia Donelle, "Representations of Women and Minorities Groups in Comics" (2019). Master's Theses. 5071. DOI: https://doi.org/10.31979/etd.tqqb-445h https://scholarworks.sjsu.edu/etd_theses/5071 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. REPRESENTATIONS OF WOMEN AND MINORITIES GROUPS IN COMICS A Thesis Presented to The Facility of the Department of Anthropology San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Laticia Marshall December 2019 © 2019 Laticia Marshall All Rights Reserved The Designated Thesis Committee Approves the Thesis Titled REPRESENTATION OF WOMEN AND MINORITY GROUPS IN COMICS by Laticia Marshall APPROVED FOR THE DEPARTMENT OF ANTHROPOLOGY SAN JOSÉ STATE UNIVERSITY December 2019 Roberto Gonzalez, Ph.D. Department of Anthropology Jan English-Lueck, Ph.D. Department of Anthropology Marco Meniketti, Ph.D. Department of Anthropology ABSTRACT REPRESENTATIONS OF WOMEN AND MINORITIES GROUPS IN COMICS by Laticia Marshall The focus of this research is to examine the representation of women and minority groups within comic books. Comic books are a cultural product that involves many actors when it comes to changing the representations of women and minorities. -
“Lessons from Wonder Woman” a Sermon Delivered by the Rev
“Lessons from Wonder Woman” A sermon delivered by the Rev. Dr. Stephanie May at the First Parish in Wayland, MA May 10, 2015 I was born in October 1972. This means two things. It means that with the exception of my first three months, birth control and abortion have been legal all of my life. It also means that as a little girl, I watched Wonder Woman on TV. Until recently, I did not know that these two things—birth control and Wonder Woman—were connected. Harvard historian, Jill Lepore tells the story of this connection in her new book. Published last October, The Secret History of Wonder Woman tells a rather wild and surprising story about the origins of Wonder Woman.1 Created by William Moulton Marston, Wonder Woman took her place among comic book legends Batman and Superman in the 1940’s. Superheroes were a new creation and each week thousands of issues of comic books were pouring off the presses. Superman first appeared in 1938, Batman in 1939, and Wonder Woman in 1941. The first woman to be accepted into the famed Justice League, Wonder Woman was a trailblazer as a woman. And this trailblazing was no accident. Rather, Wonder Woman was the very deliberate creation of a female superhero by a man steeped in early 20th century feminism. Before we get too far into the story of Wonder Woman, I suspect you may be wondering why in the world am I preaching about Wonder Woman . and on Mother’s Day of all days!? To be honest, I went looking for a topic for Mother’s Day that would enable me to address the holiday with integrity as a feminist, a mother, and a minister. -
Discussion Guide
DISCUSSION GUIDE Wonder Women! The Untold Story of American Superheroines PBS.ORG/INDEPENDENTLENS/WONDER-WOMEN Table of Contents 1 Using this Guide 2 From the Filmmaker 3 The Film 4 Background Information 5 Feminism — A Brief Review 6 How Are Women Doing? 6 Women, the Mass Media, and Popular Culture 7 Portrayal on the Small Screen 7 More Women Needed 8 Thinking More Deeply 9 Suggestions for Action 10-11 Resources 12 Credits national center for MEDIA ENGAGEMENT Using this Guide Community Cinema is a rare public forum: a space for people to gather who are connected by a love of stories, and a belief in their power to change the world. This discussion guide is designed as a tool to facilitate dialogue, and deepen understanding of the complex issues in the film Wonder Women! The Untold Story of American Superheroines . It is also an invitation to not only sit back and enjoy the show — but to step up and take action. This guide is not meant to be a comprehensive primer on a given topic. Rather, it provides important context, and raises thought provoking questions to encourage viewers to think more deeply. We provide suggestions for areas to explore in panel discussions, in the classroom, in communities, and online. We also provide valuable resources, and connections to organizations on the ground that are fighting to make a difference. For information about the program, visit www.communitycinema.org DISCUSSION GUIDE // WONDER WOMEN! 1 From the Filmmaker Like most women and men of my generation, I grew up with Lynda Carter’s Wonder Woman TV show. -
Wonder Woman Unbound
COMICS/LITERARY CRITICISM/POPULAR CULTURE WONDER WOMAN UNBOUND “I’ve never seen more information about Wonder Woman than in Wonder Woman Unbound. Tim Hanley tells us everything we’ve never asked about Wonder Woman because it simply never occurred to us: from her mythic Golden Age origins through her dismal Silver Age years as a lovesick romance comic character, and worse yet, when she lost her costume and powers in the late 1960s. Our favorite Amazon’s saga be- comes upbeat again with the 1970s advent of Gloria Steinem and Ms. magazine, and Lynda Carter’s unforgettable portrayal of her on television. And it’s all told with a dollop of humor!” —Trina Robbins, author of Pretty in Ink: North American Women Cartoonists, 1896–2013 ith her golden lasso and her bullet-deflecting bracelets, WWonder Woman is a beloved icon of female strength in a world of male superheroes. But this close look at her history por- trays a complicated heroine who is more than just a female Super- man. When they debuted in the 1940s, Wonder Woman comics advocated female superiority and the benefits of matriarchy; her adventures were also colored by bondage imagery and hidden les- bian leanings. In the decades that followed, Wonder Woman fell backward as American women began to step forward. Ultimate- ly, Wonder Woman became a feminist symbol in the 1970s, and the curious details of her past were quickly forgotten. Exploring this lost history adds new dimensions to the world’s most beloved female character, and Wonder Woman Unbound delves into her comic book and its spin-offs as well as the motivations of her cre- ators to showcase the peculiar journey of a twentieth-century icon. -
The Last Amazon Wonder Woman Returns
Save paper and follow @newyorker on Twitter Annals of Entertainment SEPTEMBER 22, 2014 ISSUE The Last Amazon Wonder Woman returns. BY JILL LEPORE Wonder Woman, introduced in 1941, was a creation of utopian feminism, inspired by Margaret Sanger and the ideals of free love. PHOTOGRAPH BY GRANT CORNETT he Wonder Woman Family Museum occupies a one-room bunker beneath a two-story house on a hilly street in Bethel, CTonnecticut. It contains more than four thousand objects. Their arrangement is higgledy-piggledy. There are Wonder Woman lunchboxes, face masks, coffee mugs, a Frisbee, napkins, record- players, T-shirts, bookends, a trailer-hitch cover, plates and cups, pencils, kites, and, near the floor, a pressed-aluminum cake mold, her breasts like cupcakes. A cardboard stand holds Pez dispensers, red, topped with Wonder Woman’s head. Wonder Woman backpacks hang from hooks; sleeping bags are rolled up on a shelf. On a ten- foot-wide stage whose backdrop depicts ancient Greece—the Parthenon atop the Acropolis—Hippolyte, queen of the Amazons, a life-size mannequin wearing sandals and a toga, sits on a throne. To her left stands her daughter, Princess Diana, a mannequin dressed as Wonder Woman: a golden tiara on top of a black wig; a red bustier embossed with an American eagle, its wings spread to form the letters “WW”; a blue miniskirt with white stars; bracelets that can stop bullets; a golden lasso strapped to her belt; and, on her feet, super- kinky knee-high red boots. Nearby, a Wonder Woman telephone rests on a glass shelf. The telephone is unplugged. -
The Holloway-Bryne-Marston Feminist-Scientific Critique of Freud
The Holloway-Bryne-Marston Feminist-Scientific Critique of Freud Matthew J. Brown Center for Values in Medicine, Science, and Technology The University of Texas at Dallas [email protected] @thehangedman Abstract In this talk, I explicate the critique of Freudian psychoanalysis developed by Elizabeth Holloway Marston, Olive Byrne, and William Moulton Marston, and I argue that this critique is unique for its blend- ing of feminism, science, and popular culture. I make this argument through the lens of feminist epistemology, particularly standpoint the- ory, as well as through the connections between intellectual production, science in particular, and popular culture. Background That Freud’s work and traditional Freudian psychoanalysis have a sexist strain is well-known and not particularly controversial. Their theories and practices presuppose and seek to reinforce heteropatriarchy and capitalism. There are many classic feminist critiques of Freud, from Simone de Beauvoir to Judith Butler. These critiques focus on several aspects of Freud’s thought, from his association of the libido with masculinity, his theory of penis envy, and his treatment of women patients like Dora. Many of the critiques are straightforward feminist arguments that he presupposed the androcentric values of his Victorian context as natural features of human development, not recognizing these social constructs for what they are. 1 Elizabeth Holloway Marston, Olive Byrne, and William Moulton Marston (who I will refer to collectively as “HMB”)1 collaborated on many of their works and lived together as a family, and they developed a unique and under- appreciated critique of Freud. HMB were not working in a psychoanalytic tradition, but rather were educated primarily in physiological, structuralist, and functionalist psychology. -
Lasso of Truth Audition Information
LASSO OF TRUTH AUDITION INFORMATION THE STORY LASSO OF TRUTH, written by Carson Kreitzer, is based in part on the true story of William Moulton Marston, Elizabeth Holloway and Olive Byrne – all academics in the burgeoning field of psychology in the years after The Great Depression. Their research contributed to DISC Theory and the polygraph (both still in use) but their greatest legacy is the creation of Wonder Woman, a character intended to spread Marston’s belief in the superior strength of women. They form a polyamorous household and explore consensual role-play of dominance and submission, often with elements of physical restraint. They also raise children and weather life’s ups and downs together. LASSO tells their story. LASSO also explores the evolution of Wonder Woman from cultural detritus to her current iconic, almost mythic status. In another storyline set in the 90s, The Girl is on a quest to reconnect with Wonder Woman - her childhood role model who helped her bond with her mother. On this quest she meets The Guy. Witty and lighthearted while dealing with issues of depth and substance, LASSO is about living your truth and the things that really connect us to each other. NOTES ABOUT CONTENT AND REHEARSAL PROTOCOLS PLEASE NOTE: LASSO is the work of a female playwright. It includes scenes of a sensual nature between two women. The women kiss several times, and some scenes depict physical restraint using rope. These scenes fully support the play’s larger themes, and are not exploitive or prurient. There is no nudity nor state of undress in the play.