Relevant bibliographies by topics / Marvel's X-Men

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Marvel's X-Men'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Marvel's X-Men"

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Deman, J. Andrew. "Busting Loose: Ms. Marvel and post-rape trauma in X-Men comics." Journal of Graphic Novels and Comics 11, no. 4 (May 3, 2020): 412–24. http://dx.doi.org/10.1080/21504857.2020.1757477.

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Żaglewski, Tomasz. "The doom of the Fantastic Four: Marvel’s First Family disappearance and what it says about the transmedia perspective of popular comics." Prace Kulturoznawcze 23, no. 4 (December 18, 2019): 63–73. http://dx.doi.org/10.19195/0860-6668.23.4.5.

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Zagłada „Fantastycznej Czwórki”. O zniknięciu Pierwszej Rodziny Marvela i jego znaczeniu dla postrzegania komiksu popularnego w perspektywie transmedialnej Historia medialnych migracji marki o tytule „Fantastyczna Czwórka” może wydać się nawet bardziej emocjonująca niż same przygody tej rodziny superbohaterów stworzonych przez legen­darny duet Stana Lee i Jacka Kirby’ego. Będąc pierwotnie fundamentem, na którym oparto całe uniwersum komiksów wydawnictwa Marvel, czwórka herosów przeszła daleką drogę, trafiając do seriali telewizyjnych, kreskówek, gier wideo i wreszcie kinowych produkcji. W przeciwieństwie jednak do swoich „towarzyszy” pokroju Spider-Mana czy grupy X-Men Fantastycznej Czwórce nie wiodło się zbyt dobrze w pozakomiksowym środowisku, czego symbolicznym przykładem stały się — uważane dziś za na wskroś nieudane — projekty filmowe Rogera Cormana czy Josha Tranka. W podtekście niefortunnych poczynań Fantastycznej Czwórki znajduje się jednak ukryta narracja obrazująca silne uzależnienie komiksu amerykańskiego od zewnętrznych czynników kulturowych, ekonomicznych czy medialnych. Jeśli bowiem przyjąć, że komiks superbohaterski stanowi mocno paratekstualny oraz transmedialny fenomen, a historia tego gatunku nie pozwala sądzić inaczej, to na przykładzie serii „Fantastyczna Czwórka” doskonale widać współczesne mechanizmy zarządzania marką tego pokroju w kontekście konkurowania o prawa autorskie co obrazuje spięcie na linii koncernów Marvel–Fox, a także pozakomiksowe sposoby kształtowania percepcji tytułów komiksowych i wreszcie potencjalne straty, jakie medium komiksowe może ponieść poprzez egzystowanie w transmedialnym środowisku. W artykule zastanawiam się nad przyczyną „wygaszenia” serii komiksowej „Fantastyczna Czwórka”, a także nad wpływem takich kategorii, jak synergia, franczyza, narracja transmedialna czy konwergencja, na kształt współczesnego rynku komiksowego.
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C. Maciel Neves, Cintia, Gelson Weschenfelder, and Hildegard Susana Jung. "OS MORLOCKS NA PERSPECTIVA DE OPRIMIDOS E OS DIÁLOGOS COM A PEDAGOGIA DE PAULO FREIRE." Aprender - Caderno de Filosofia e Psicologia da Educação, no. 24 (December 14, 2020): 155–64. http://dx.doi.org/10.22481/aprender.i24.7772.

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Esse texto visa relacionar o retrato de opressão presente em Massacre de Mutantes (Marvel, 1986) com os estudos de Paulo Freire. Comparando o comportamento dos mutantes conhecidos como Morlocks, conseguimos relacioná-los aos oprimidos da obra de Freire. A análise encontrou aproximações entre as obras citadas, pois os X-Men da obra de Freire são os que, por não compartilharem da mesma cultura, ou da mesma situação econômico-educacional, acabam sendo excluídos e oprimidos. Concluímos que nos completamos,aprendemos e crescemos, na diversidade, o que podemos alcançar por meio do diálogo, da problematização e da escuta.
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Belmonte Arocha, Jorge. "Cómic, intertextualidad e intermedialidad para una crítica coeducativa: análisis de la feminidad (anti)superheróica de Jean Grey/Phoenix." EU-topías. Revista de interculturalidad, comunicación y estudios europeos 21 (June 30, 2021): 175. http://dx.doi.org/10.7203/eutopias.21.21274.

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La mitología propia del cómic estadounidense de superhéroes, con difusión transcultural globalizada, amplió su espacio original de las viñetas con la llegada de sus argumentos y personajes a la ficción de los medios audiovisuales, una expansión intermedial que prosiguió y se acentuó en el S. XXI. Además de esta apertura del cómic al espacio expresivo de otros medios de comunicación, se subrayará aquí su necesaria apertura al espacio reflexivo académico y educativo, planteando la oportunidad de analizar crítica e intertextualmente, con fines coeducativos, la feminidad (anti)superheróica del personaje de la editorial Marvel: Jean Grey, personaje procedente del longevo cómic X-Men (Stan Lee y Jack Kirby, 1963) y llevado al cine por última vez para protagonizar Dark Phoenix (Simon Kinberg, 2019).
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McMurtry, Leslie. "Dark night of the soul: Applicability of theory in comics and radio through the scripted podcast drama." Studies in Comics 10, no. 2 (November 1, 2019): 235–54. http://dx.doi.org/10.1386/stic_00004_1.

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Abstract This article responds to McCloud's theoretical framework for comics and applies this framework to audio drama, which I argue is, like comics, a mono-sensory medium (one can only be seen in static image and the other can only be heard); both require a great degree of closure from the audience to frame together sequential narratives (of visual art and sound, respectively). To do this, it uses the case study of Marvel and Stitcher's Wolverine: The Long Night (2018), a 'scripted podcast' (audio drama). While comics are escaping from decades of critical disregard due to their status as a popular or lowbrow medium, radio and by extension audio drama still suffer from critical neglect. It is, therefore, one of the aims of the article to release audio drama theory from torpor by applying theory from comics. W:TLN has been chosen as a case study due to its status as a made-for-podcast story rather than an adaptation from an existing comic book; it also responds to trends within audio drama towards a non-fiction/fiction amalgamation influenced by true crime podcast conventions. This article argues that W:TLN's understanding of audio/radio as a mono-sensory medium is overdetermined in its use of blindness, darkness and radiogenics. It also discusses the ways in which comics and audio drama use time and space. The article also examines the reasons why the podcast medium has been deemed acceptable within the wider Marvel Comics Universe and the ways in which W:TLN responds to implied continuity through a transmedia conception of character attributes (e.g., how the continuity of the X-Men films influences the story and characters in W:TLN).
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Zabihi, Fatemeh, Na Xin, Jingfu Jia, Tao Cheng, and Yaping Zhao. "Preparation of Nano-curcumin with Enhanced Dissolution Using Ultrasonic-Assisted Supercritical Anti-solvent Technique." International Journal of Food Engineering 11, no. 5 (October 1, 2015): 609–17. http://dx.doi.org/10.1515/ijfe-2015-0105.

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Abstract Curcumin is the main gradient of “Turmeric” a famous Indian spice and food additive. The marvelous nutritional and medicinal effects of curcumin made it a good alternative to some conventional drugs and food flavoring or coloring materials. However, the low solubility of curcumin is a challenging hindrance which should be seriously addressed. In this work, we prepared nano-curcumin with enhanced aqueous dispersion and dissolution rate. Ultrasonic-assisted supercritical anti-solvent (UA-SAS) technique was used to convert the commercial curcumin to uniform distributed nano-particles with the average size of 20 nm and yielding of 65%. The effect of process parameters including pressure, temperature, solution flow rate, and nature of organic solvent on the average particle size and yielding of products was investigated. The morphology, size, and crystalline pattern of processed curcumin particles were characterized by scanning electron microscopy, mean particle size analyzer, and X-ray diffraction. The champion specimen was achieved when the supercritical fluid was employed at 16 MPa and 35°C. Aqueous suspension of processed nano-curcumin can be stable for more than 2 months. In vitro dissolution experiments showed a remarkable enhancement in dissolution rate of UA-SAS-treated curcumin respecting to the commercial curcumin powder.
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Andrade, Elenise Cristina Pires de, and Renato Salgado de Melo Oliveira. "Cartas, Caminha(o), viajantes, mutantes, mares: grafias (in)visíveis (des)marcando espaços (s)em tempos." ETD - Educação Temática Digital 11, no. 2 (May 31, 2010): 124. http://dx.doi.org/10.20396/etd.v11i2.887.

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Caminha encaminha uma carta ao Rei: “Da marinhagem e das singraduras do caminho, não darei aqui conta a Vossa Majestade - porque não saberei fazer e os pilotos devem ter este cuidado - e portanto, Senhor, do que hei de falar começo e digo”. Pretendemos, pelas viagens proporcionadas nesse texto, também falar e dizer de novas terras, outras grafias, diversos tempos. Criaturas vistas nas Terras Novas, apresentadas aos velhos olhares por Afonso d'Escragnolle-Taunay, mutantes dos filmes da Marvel Comics, X-Men. Tantas vidas, tantas novidades que escapam do controle sobre o que se classificar como novo, velho; normal, anormal; liberdade, controle. Que (in)visibilidades pulsariam dessas vidas? Tempos que se multiplicam nas memórias (ou seriam nos esquecimentos?) dos mutantes Wolverine e Magneto que nos acompanham por esses mares, memórias, marcações na pele. No primeiro filme o tempo universal da liberdade, sempre ela: a liberdade em tensões quase insuportáveis. No segundo, o espaço é sinal do passado, permanência de um tempo-memória. E por último o tempo que se arrasta da prisão, tempo que não pode ser liberado pois precisa ser normalizado. Tempos e lugares que se (?) escrevem (in)visíveis com os mutantes, pelos mares, com os viajantes que, como Caminha, sempre escrevem cartas. “Beijo as mãos de Vossa Alteza. Deste porto seguro, da vossa Ilha de Vera Cruz, hoje, sexta-feira, primeiro dia de maio de 1500” que, de onde começo, não termino. Também sabendo que possa, a quem se endereça tal grafia, d’ela não ter achamento. “Isto tomávamos nós nesse sentido, por assim o desejarmos”.
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Sikora, Tomasz. "The Liberal Mind and its Mutants." Identities: Journal for Politics, Gender and Culture 10, no. 1-2 (January 1, 2013): 63–70. http://dx.doi.org/10.51151/identities.v10i1-2.281.

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The following observations have been occasioned by the 2011 Marvell comic adaptation X-Men: First Class. Rather than a comprehensive analysis of the movie, however, the essay is a collection of more general observations on the modern “liberal mind” and how it imagines and structures community, difference and the political itself. One of my central claims, drawing on the work of Roberto Esposito, is that the modern model of liberal humanism has developed largely in terms of what he calls the “immunization paradigm.” In this model, the inclusion of difference into the political may be interpreted in terms of immunization: a body politic internalizes a certain amount of what seems to constitute a danger in order to immunize itself against that very danger. Present-day liberalism differs from its earlier forms in that it recognizes the idea of difference and folds it into its own projections of a “common good.” But not all forms of difference are equally welcome, and the liberal regime maintains its hegemony by bargaining some kinds of difference against others. One of the key questions for the present, therefore, is which kinds of difference the dominant regime considers more worthy of life and legal protection, and which other kinds are implicitly considered less worthy or, indeed, deserving extinction. Author(s): Tomasz Sikora Title (English): The Liberal Mind and its Mutants Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 10, No. 1-2 (Summer-Winter 2013) Publisher: Institute of Social Sciences and Humanities – Skopje Page Range: 63-70 Page Count: 8 Citation (English): Tomasz Sikora, “The Liberal Mind and its Mutants,” Identities: Journal for Politics, Gender and Culture, Vol. 10, No. 1-2 (Summer-Winter 2013): 63-70.
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Trabucchi, Daniel, and Stefano Magistretti. "The battle of superheroes: the rise of the knowledge platform strategy in the movie industry." Journal of Knowledge Management 24, no. 8 (July 9, 2020): 1881–98. http://dx.doi.org/10.1108/jkm-04-2020-0296.

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Purpose Over the past years – because of the huge impact of companies such as Airbnb and Uber – the concept of the platform became extremely popular in the business world. Still, the concept of the platform has been evolving for a long time in the management field, from internal platforms (like the famous case of Sony Walkman) to industry-wide platforms (like the case of computers with external software developers), up to transaction and two or multi-sided platforms (such as Airbnb and all the companies with a similar business model). Platforms are often considered disruptors in several industries, from accommodations to mobility to entertainment. Still, the disruptors in the creative world usually deal with the way in which they distribute content (Netflix or Spotify), rather than with the content itself. The purpose of this paper is to understand if and how platforms trategies can also be used in the creative industries. Design/methodology/approach This paper digs into the movie industry, studying the three most successful Superheroes sagas of the past two decades as follows: the Marvel Cinematic Universe (MCU), DC Comics and X-Men using a narrative approach. The three sagas are studied through network analysis to understand their “platform approach”. Findings The results show how platform strategies are relevant also in creative industries – defining the concept of “knowledge platform strategy” – and how they have a significant impact in terms of market performance. The MCU builds on a common knowledge through the various movies that enable the chance to rely on many of the platforms’ characteristics emerging from the literature. Research limitations/implications This research extends the concept of “platforms,” relying on the three kinds of platform defined in the managerial literature and introducing the “knowledge platform strategy” for creative industries. The main contribution is related to the extension of platforms in research fields where it has not been exploited. This opens up avenues for research both from a knowledge platform and creative industries perspectives. Practical implications Managers, working not only in creative industries but also in industries where a common knowledge basis may be leveraged to develop new products over time, may use the concept of “knowledge platform strategy” to rethink the new development process or knowledge management from a customer perspective. Originality/value This study explores a mature and relevant concept – the platforms – in a new filed, the creative industries using the case of Superheroes sagas, proposing a new perspective to explain the success of MCU while proposing a new platform strategy.
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Antola, Laura. "Transnational Adaptation of a Marvel comic book event: the case of X-Men: ‘fatal attractions’ in Finland." Journal of Graphic Novels and Comics, March 23, 2021, 1–14. http://dx.doi.org/10.1080/21504857.2021.1888762.

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Dissertations / Theses on the topic "Marvel's X-Men"

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Bliss, Courtney C. "Reframing Normal:The Inclusion of Deaf Culture in the X-Men Comic Books." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149143787039966.

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Alfonso, Juan D. "Racial Constructions and Activism Within Graphic Literature. An Analysis of Hank McCoy, The Beast." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3774.

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Through a post-modern lens, I will primarily focus on comics books published by Marvel Comics to demonstrate the myriad of ways in which graphic literature is used as a subversive tool of sociopolitical discourse. I will demonstrate this by deconstructing and redefining the role of myth as a means of transferring ethical practices through societies and the ways in which graphic literature serves this function within the space of a modern and increasingly atheistic society. The thesis first demonstrates how the American Civil Rights Movement was metaphorically translated and depicted to the pages of Marvel’s X-Men comics to expose its primarily white/ male readership to the plight of discriminated Black Americans through the juxtaposition of depicting white super heroes who represented the segregated experiences of othered or unwanted communities. Secondly, the X-Man Beast is closely analyzed to demonstrate the ways in which the rhetoric and depictions of graphic literature are altered through decades of publication to adapt its messages of social tolerance and peaceful coexistence to its contemporary audiences.
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Books on the topic "Marvel's X-Men"

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Lee, Stan. Marvel masterworks presents the X-men. New York, N.Y: Marvel Comics, 1987.

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Claremont, Chris. X-Men: Crossroads (Marvel's Finest). Marvel Entertainment Group, 1998.

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Marvel's Mutants: The X-Men Comics of Chris Claremont. I.B. Tauris, 2018.

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X-Men (Marvel). Random House Children's Books, 2020.

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Marvel X-Men. Topics Entertainment, 2004.

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Books, Marvel. X-Men 1 Backpack Marvels. Tandem Library, 2000.

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Marvel X-Men Encyclopedia. Marvel Publishing, Inc, 2006.

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X-Men (Marvel Comics). Boxtree Ltd, 1995.

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Marvel X-Men Guidebook. Parachute Press, 1992.

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Redman, Rich. X-Men: Age of Apocalypse: (Marvel) (X-Men). Wizards of the Coast, 2000.

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Book chapters on the topic "Marvel's X-Men"

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"Existential X-Men: The New Mutants." In Marvel's Mutants. I.B.Tauris, 2018. http://dx.doi.org/10.5040/9781350987128.ch-004.

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Alexander, Dorian L. "Faces of Abjectivity." In Gender and the Superhero Narrative, 180–204. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496818805.003.0008.

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Raven Darkholme, also called Mystique, first appeared in Ms. Marvel #16 in 1978, beginning a long career in Marvel comics as a character of suspect alliances and shadowy glamour, a complex mixture of anti-hero and villain. Across the various X-Men lines, Mystique has maintained numerous romantic and implicitly sexual relationships with both male and female characters. The majority of these relationships are presented as heterosexual, although her homosexual relationship with Irene Adler, also called Destiny, is usually portrayed as the most longstanding and genuine. Consequently, Mystique is commonly read as bisexual, although this aspect of her character is explored to varying degrees depending on the writer and largely ignored in the X-Men film franchise. The nature of her specific mutant powers, however, require a queer reading of an entirely different sort, one that has not yet been discussed in the existing literature concerned with the X-Men comics.
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Vignold, Peter. "3 Das X-Men-Filmfranchise." In Das Marvel Cinematic Universe – Anatomie einer Hyperserie, 45–55. Schüren Verlag, 2017. http://dx.doi.org/10.5771/9783741000478-45.

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"Representations of Indigenous Australians in Marvel Comics." In Graphic Indigeneity, edited by Dennin Ellis, 75–99. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828019.003.0004.

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Dennin Ellis focuses on the distillation and reconstruction of Aboriginal characters in the Outback Era of the Uncanny X-Men series. By focusing his scholarly lens on characters like Gateway, Talisman, and the Reavers, he analyzes how Marvel missed an opportunity to wake readers to the violence of colonization and imperialism in committing acts of genocide against Indigenous Australians.
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Reynolds, Richard. "Emma Frost, the White Queen." In Toxic Masculinity, 121–41. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828934.003.0008.

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Initially a ruthless and hypersexualized operative for the Hellfire Club, Emma Frost has transformed into a core member and leader of the X-Men. Frost engages with the world on her own terms, bypassing many of the stereotypes attached to superheroines. Her challenging personality functions as a dark mirror for other characters in the saga, inscribing emotions and attitudes that implicitly question the values of the X-Men and of the genre to which they belong. Focusing chiefly on her membership of the X-Men and her part in key developments of the Marvel Universe in the 21st Century, this chapter examines Emma Frost as exemplifying Butler’s concept of gender performativity as an explicit aspect of her superpowers. It explores whether the limitations of hegemonic masculinity can offer a way out and asks whether it is possible to consciously exploit hegemonic narratives in order to affect change.
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"Franchise Histories: Marvel, X-Men, and the Negotiated Process of Expansion." In Convergence Media History, 26–35. Routledge, 2009. http://dx.doi.org/10.4324/9780203883433-9.

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Conference papers on the topic "Marvel's X-Men"

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Bukač, Zlatko. "The Marvel of the American Dream in The X-Men Graphic Novels and Comic Books." In Quarter of a Century after the Fall of the Berlin Wall. Perspectives and Directions in Croatian and Regional American Studies. Filozofski fakultet u Zagrebu, FF Press, 2016. http://dx.doi.org/10.17234/wpas.2016.8.

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