Relevant bibliographies by topics / Superheroes

Contents

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

Academic literature on the topic 'Superheroes'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Superheroes"

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Gonsalez, Marcos. "In Defense of the Effete Superhero: Theorizing the First Queer Latinx Superhero, Extraño/Gregorio de la Vega." Inks: The Journal of the Comics Studies Society 8, no. 1 (March 2024): 1–25. http://dx.doi.org/10.1353/ink.2024.a927234.

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ABSTRACT: Debuting in the 1987 eight-issue miniseries Millennium , Extraño/Gregorio de la Vega lays claim to being the first gay superhero in superhero comic history. He is also one of the first queer Latinx superheroes to be depicted in the genre. This article examines the mediations and transformations of Extraño/Gregorio de la Vega’s character across the late twentieth and early twenty-first centuries, analyzing how his disruptive queer effete superheroics runs counter to representational agendas that seek to fix or erase gender transgression and nonnormative sexualities in superhero comics. In order to do so, this article proposes a critical reading practice called superheroic minorness. By looking to one-shot issues, double-page team spreads, back covers, letters to the editors, and splash pages, this article examines how his superheroic minorness entails sleuthing across a constellation of details, minutiae, and arrangements in order to compose a comprehensive sketch of an otherwise undervalued or underexamined character who, nonetheless, helps articulate repressed, negated, and/or erased aesthetic-political possibilities. Reading for superheroic minorness is a conceptual strategy for theorizing the importance of the effete superhero and the interpretive frameworks the effete opens up for interrogating the majoritarian sphere and minoritized representation in comics, superhero aesthetics, and popular culture. Rather than situating the minorness or stereotyping of Extraño/Gregorio de la Vega as a lack or a problem for critical inquiry, this essay positions it as a means of revaluing and imagining the effete superhero, the abject, peripheral queer Latinx character who overloads straightforward notions of respectability, assimilation, and conformity.
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Saptanto, Deswandito Dwi, and Maya Kurnia Dewi. "Gundala and Gatotkaca in the concept of modern Indonesian superheroes: Comparative analysis of the Indonesian and American superheroes." EduLite: Journal of English Education, Literature and Culture 5, no. 1 (February 29, 2020): 136. http://dx.doi.org/10.30659/e.5.1.136-147.

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The superhero universe has always been an attraction in the world of film industry. The birth of superhuman ideas has made people increasingly interested in taking the storyline. This research is a literature study on the existence of a new world in Indonesian cinema that takes the theme of Indonesia's superhero universe competes against the universe of American superheroes. The purpose of this study is to compare Indonesian and American superhero films in order to understand the complete concept of depicting Indonesian superheroes in the process of switching from comics to films comparing with the same concepts in American superheroes. This study employed a descriptive qualitative method by comparing films from the Indonesian superhero universe namely Bumilangit Cinematic Universe and Jagad Satria Dewa Cinematic Universe compared to the American superhero universe namely Marvel Cinematic Universe and DC Cinematic Universe. The results obtained that there were some similarities in the process of character formation in each of the heroes that were created, this could be described with similarity in multiple personalities before and after becoming superheroes, costumes worn, storylines and special effects produced in the film. There were fundamental differences that were seen in the background of Indonesian culture that was different from the concept of American culture. Indonesian superheroes also highlighted Pencak Silat as the original identity and characteristics of Indonesia. This research concluded that a story with a superhero concept had the same story pattern such as a person with a superhero alter ego and deep with heroic storyline even though they were presented by different countries.
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De Wulf Helskens, Maxine, Frederik Dhaenens, and Sarah Van Leuven. "Superheroines and superstereotypes?" DiGeSt - Journal of Diversity and Gender Studies 8, no. 1 (May 17, 2021): 91–105. http://dx.doi.org/10.21825/digest.v8i1.17163.

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Since the new millennium, there has been a remarkable increase in audio-visual adaptations of superhero comic books (Garcia-Escriva, 2018). Whereas these adaptations used to include predominantly male superheroes, they have started to feature more female superheroes (Curtis & Cardo, 2018). An increase, however, does not imply diverse and rounded representations, since women in superhero movies tend to be depicted in stereotypical and sexualized ways (Kaplan, Miller & Rauch, 2016). Even though previous research has addressed the films and series' politics of gender representation, there is a need for research that looks at televised female superheroes from a queer postfeminist and intersectional lens. Therefore, this study conducted a textual analysis, informed by queer postfeminist and intersectional theory, to explore how leading female superheroes in the Arrowverse series Arrow and Supergirl are represented. We concluded that female superheroes who assume a central role in the series are represented in a rather empowered manner, but that there are still improvements possible with regard to the representation of race and sexuality.
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Venkatesh, Vinodh. "Argentina in Crisis: Superheroes in Zenitram (2010) and Kryptonita (2015)." Galactica Media: Journal of Media Studies 2, no. 3 (October 19, 2020): 295–309. http://dx.doi.org/10.46539/gmd.v2i3.89.

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While the study of superheroes has become a comprehensive field in itself, a focus on global superheroes has only recently begun to take shape. Vinodh Venkatesh’s Capitán Latinoamérica: Superheroes in Cinema, Television, and Web Series (2020) furthers a comprehensive examination of the superhero in Latin American moving images from the late 1950s to the present day, covering contexts from Mexico to Chile. Missing from this study, however, is an examination of Argentine superheroes. The present essay fills this gap by addressing two films, Zenitram (2010) and Kryptonita (2015), that portray and critique Argentina and its relationship with neoliberalism in the 20th and 21st centuries. Both films move beyond the parameters of genre cinema by engaging salient issues extant in the cultural horizon of the country.
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Hatchell, Rusty. "‘We prefer protégé’: The temporal function of sidekicks in Young Justice and Titans." Australasian Journal of Popular Culture 12, no. 1 (June 1, 2023): 83–97. http://dx.doi.org/10.1386/ajpc_00070_1.

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Over the past four decades, since the transition of Robin into the Nightwing superhero persona in DC’s Tales of the Teen Titans #44 (July 1984), sidekick characters have become increasingly relevant in their narrative function for DC’s overall superhero storytelling and world-building strategies. By examining the comic book and television narratives across Teen Titans and Young Justice titles, this article argues for a critical examination in how sidekicks mature into independent superheroes and how this impacts the broader storytelling paradigm for DC and their related media. The animated Young Justice and live-action Titans series highlight the progression in a sidekick’s temporal function, guiding not only their own maturation into independent superheroes but also the overall evolution of the superhero storytelling genre, allowing the passage of time, the inevitable death of the superhero and the renaissance of the sidekick-turned-superhero.
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Geraffo, Monica. "No tights, no flights: Constructing the wardrobe of television superheroes." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 233–50. http://dx.doi.org/10.1386/ffc_00022_1.

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Superheroes have always been defined by their dual lives, but analysis of the ways dress has informed characterization is often limited to just their superhero costumes, despite qualitative evidence that comic book heroes are depicted in civilian clothes at least half as often. Contemporary depictions of superheroes on television spend an even greater percentage of time dressed in civilian garments. This article combines both adaptation studies and industry studies approaches to discuss the overlooked influence of civilian clothing in conceiving the television superhero ‐ examining both comic book source materials and the process of costume design through the intrinsic constraints of industry television production. Through case studies into the DC comics Arrowverse, a series of interconnected programmes aired on the CW Network, and Marvel’s Runaways, the Hulu adaptation about teenage superheroes without costumes, as well as interviews with costume designers and actors, this article recognizes strong visual similarities across programmes between pseudo-character archetypes, and presents a de facto formula for analysing civilian superhero costume design. The resulting narrative reveals a struggle within superhero civilian costume design: finding the balance between serving semiotics or characterization, and building a sense of realism and individual choice within costuming choices from within hegemonic structures.
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Flores, Emil. "The Concept of the Superhero in Filipino Films." Plaridel 2, no. 2 (August 1, 2005): 23–38. http://dx.doi.org/10.52518/2005.2.2-02eflrs.

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This essay examines a number of Filipino superhero films (Captain Barbell, Darna and Lastikman) and how a uniquely American creation was “Filipinized,” taking into account the cultural and social aspects of the Pinoy superhero as demonstrated in the films. For the first time in Filipino film history, three superhero films were included in the 2003 Metro Manila Film Festival. While the producers were most likely following the popular trend in Hollywood, the films Fantastic Man, Captain Barbell, and Gagamboy, still reflect the Filipino longing for a hero to look up to. All films were big box-office hits. Just as 9/11 gave rise to the popularity of fantasy and superhero films in Hollywood, societal ills and the 2004 elections have fanned the flames of fantasy heroics in Filipino commercial films. While the American heroes (e.g. Captain Marvel, Superman, and Wonder Woman) have heavily influenced the Filipino superheroes, several aspects of Filipino culture and society are still evident in the films. It is also noteworthy that the comic book industry that created the superheroes is now experiencing a severe drop in popularity. Thus, film is now the medium that showcases the superheroes. The movie versions of these heroes have a history in film that is almost as long as the comic book versions, and modern audiences are more familiar with the movies than the comics.
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Miettinen, Mervi. "Men of Steel? Rorschach, Theweleit, and Watchmen's Deconstructed Masculinity." PS: Political Science & Politics 47, no. 01 (December 29, 2013): 104–7. http://dx.doi.org/10.1017/s1049096513001686.

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Watchmen(1987), written by Alan Moore and illustrated by Dave Gibbons, is a 12-part graphic novel that portrays real-life superheroes in a fictional United States of the 1980s. An alternate universe where ordinary people without superpowers were inspired by superhero comics and took on the crime-fighting in tights in the 1940s, the comic portrays an America vastly different from our reality. Since its publication more than two decades ago, the comic has been the subject of extensive study due to its breathtaking narrative structure as well as its acute deconstruction of the superhero genre itself. Indeed, one of the text's most brutal deconstructions comes from the way it addresses superheroic masculinity, from the misogynistic vigilante Rorschach to the emasculated ex-hero Nite Owl. Through its cast of male heroes,Watchmendeconstructs the superhero genre by rewriting masculine tropes such as vigilantism and patriotism and by exposing the inherent contradictions within these gender-bound tropes from the fascist undercurrents of violent patriotism to the often-hinted sexual dysfunction of the costume-fetish variety.
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Zamani, Muhammad Fathan, Abi Ihsanullah, and Badri Badri. "KARAKTER ANTI-HERO SEBAGAI COUNTER-HEGEMONI SUPERHERO DALAM FILM DEADPOOL: ANALISIS COUNTER-HEGEMONI ANTONIO GRAMSCI." Jurnal CULTURE (Culture, Language, and Literature Review) 8, no. 2 (November 1, 2021): 112–31. http://dx.doi.org/10.53873/culture.v8i2.264.

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Myth is an essential part in superhero roles. In modern superhero acts, a character may possess more than one myth. Thus, this portrayal is an ideal power to create supremacy. An author, even a director could employ the newly-created myth to overcome hegemonic power. As stated in Gramsci, there is an instrument to control, even surpass ideology. In the Deadpool 1 & 2 movie, the myth of superheroes is interpreted as the instrument of hegemony. The aims of this study are to find out what kind of superhero hegemony that will be countered in the Deadpool movie, what are the counter hegemony element in the Deadpool movie, and how are the Deadpool’s effort and his preparations doing ideological battle against the superhero existence. This research uses hegemony and counter-hegemony theory according to Antonio Gramsci. This research applies descriptive qualitative method. The findings are Deadpool’s act of violence and his merc-with-mouth assuming his role as an anti-hero. However, Deadpool finally encountered the existing myth of superheroes ideologically. Unexpectedly, Deadpool offers a solution to the existing hegemony.
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Nangimah, Musrifatun. "The cultural repertoire of recontextualized superhero in the Avengers sequels." EduLite: Journal of English Education, Literature and Culture 6, no. 2 (August 31, 2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.

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This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.
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Dissertations / Theses on the topic "Superheroes"

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Rossetti, Lavinia. "Super Air : The asthma inhaler for superheroes." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-45143.

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Nobody can live without oxygen. What happens when you have a chronic disorder that prevents the oxygen from reaching your lungs? This condition is called asthma and affects millions of people. Symptoms might be from a wheezing to a severe asthma attack with airways obstruction. It is difficult, above all for children, to accept a condition that might unexpectedly come anytime.   The Super-air inhaler is thought as a Super Hero, the worship the child has for the Hero will make the child feel strong and he will not feel ashamed of using it when having an attack. The inhaler has also been designed to make it easy for the child to take his medicine during the day and at night time too.
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Van, de Water Wesley Colin. "The Bat and the Spider: A Folkloristic Analysis of Comic Book Narratives." DigitalCommons@USU, 2016. https://digitalcommons.usu.edu/etd/4870.

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This thesis examines and argues that superhero narratives, beginning with their comic book origins in the early twentieth century, exhibit many of the qualities found in folklore. Furthermore, these narratives not only demonstrate a folkloric evolution across multi-media formats, including printed work, television, and film, but that they fit within classic hero narrative structures posited by various folklore theorists. The hero theories presented by Lord Raglan, Vladimir Propp, and Joseph Campbell, along with traditional folklore patterns of dynamism and conservatism discussed by Barre Toelken, Alan Dundes, and others, support the assertion that folklore can, and does, exist and propagate in the mass media popular culture sphere. What follows is an academic analysis of core folklore elements, as well as a presentation of how these core qualities can be found in superhero narratives, and how the discipline of folklore may benefit from a study of these narratives.
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Brown, Jeffrey A. "New heroes, gender, race, fans and comic book superheroes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27882.pdf.

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Taylor, James. "Hollywood superheroes : the aesthetics of comic book to film adaptation." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/93641/.

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This thesis develops a theoretically-informed approach with which to analyse the aesthetics of the adaptation of superhero comic books into blockbuster films. Pervasive modes of thinking present superhero blockbusters as artistically degraded products that are not worthy of aesthetic analysis. I demonstrate that exploring the ways in which superhero blockbusters adapt comic book style and form reveals aesthetic sophistication and multiplicities of meaning. Engaging with comic book and film history also enables me to identify ways in which superhero blockbusters have contributed to the development of Hollywood’s blockbuster filmmaking paradigm. My approach combines models and concepts from studies of adaptation that employ poststructuralist theory. This theoretical framework explains transformations that content may undergo as it is adapted between the different forms available to comics and film, and enables examination of dialogues occurring in the vast networks of intertexts in which superhero blockbusters are situated. After my review of literature establishes the thesis’ theoretical underpinnings, my chapters undertake close textual analysis of three distinct case studies. The selection of case studies allows me to continue to develop my approach by examining different superhero archetypes, alongside significant contexts, trends and technologies that impact Hollywood blockbusters. Chapter one looks at the first superhero blockbuster, Superman: The Movie (1978). I begin by outlining, and exploring relations between, the range of Superman texts released prior to the film. Doing so reveals the qualities of the intertextual networks that comprise a superhero franchise. I then analyse the strategies that Superman: The Movie deploys to adapt and enter the network of Superman texts, before situating the film in the context of the emerging blockbuster paradigm in 1970s Hollywood. Chapters two and three analyse films produced in the twenty-first century, as superhero blockbusters gained a central position in Hollywood production. Chapter two evaluates the aesthetics of the Spider-Man trilogy (2002, 2004 and 2007) in relation to two contexts that are often considered to have facilitated the superhero blockbuster’s twenty-first century success: the increasing use and sophistication of digital filmmaking technologies in Hollywood, and the contemporary sociopolitical climate. Looking at the representation of bodies and space elucidates the ways in which the films incorporate digital filmmaking technologies into their adaptive practices and offer a sociopolitical commentary. Chapter three examines the strategies that films produced by Marvel Studios, with particular focus on team film The Avengers (2012), deploy to adapt the model of seriality that superhero comic books use to interconnect multiple series in a shared diegesis. The analysis focuses on ways in which The Avengers uses bodies and space to compress the expansive diegetic universe into a single film, and interrogates how these strategies shape the film’s sociopolitical meanings. My case studies demonstrate that the approach developed in this thesis illuminates the complex and equivocal meanings that the adaptive practices of superhero blockbusters generate.
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Woods, Brittany Nicole. "The International Community's Response to the Hypothetical Emergence of Superheroes." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1510.

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In a golden era for comic based media, this paper uses the hypothetical emergence of superheroes to analyze the assumptions and predictions of three international relations theories: realism, liberalism, and constructivism. Comics consistently reflect the real world, paralleling events and concepts discussed in foreign affairs dialogues. The thought experiment, and the comic genre itself, provides a vehicle for thinking broadly about the political and social ramifications of successful or failed problem solving, state interaction, and scientific advances.
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Gillenwater, Chelsea R. "Enemy Mine." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4215.

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This thesis comprises the opening of a novel-in-progress, which takes place in an alternate universe where certain ordinary humans are born with superpowers. One superpowered public hero, Captain Frost, attempts to save a notorious, superpowered criminal called the Terror, in the hopes of interrogating him about a recent spate of superhero deaths—but the Terror’s sudden death casts doubt on Frost’s ability to handle the case. Meanwhile, a team of powered and non-powered criminals, among them a scientist who calls himself Dr. Fiend, scheme to fill the power vacuum left by the Terror. Dr. Fiend commits to a break-in that will allow him to examine the Terror’s body for evidence of how he was able to repeatedly defeat Frost and how his strategy and skills might be used to undermine Frost’s control of the city.
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Mims, Sarah E. "The first adventure of Raspberry and Lime : a futuristic screenplay /." View online, 2009. http://repository.eiu.edu/theses/docs/32211131559243.pdf.

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White, Daniel. "To Be a Hero - First You Must Believe That You Are a Hero." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17999.

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To make an omelette, you must break a few eggs! Some individuals would argue that, to make the world a better place, you must break a few social and legal constraints. The belief that social norms and the law are unjust and hinder social improvement is not uncommon. Most individuals at times imagine how they could make the world a better place if only they were free from the shackles of society and the law. The majority do not follow up these views with behaviour due to the costs involved. A small subset of altruists, however, pursue their prosocial desires and goals via behaviors that would be classified as antisocial. Due to the high costs involved in such behavior, these individuals are Extreme altruists. Comparatively little research has been done on the phenomenon of Extreme Altruism. This research seeks to address that. A literature review of the Dark Triad suggested that individuals high in antisocial personality traits are not incapable of acting prosocial as originally considered. Instead their reliance on cognitive empathy may direct them towards utilitarian approaches of helping others. Furthermore, a systematic review of the positive relationship between prosocial behaviour and antisocial traits suggests that narcissists and psychopaths are capable of altruism, if given the means to express this behaviour. The lack of evidence of such expression may be due to an inherent bias in the reporting of such individuals’ actions. An extreme altruist subculture, the Real Life Superhero movement (RLSH), was used to test the proposed relationship between antisocial traits and extreme altruism. Analysis suggests that components within the narcissism spectrum may be the most likely candidates to be related to extreme altruism. The findings of this thesis not only support the proposal that traits from within the antisocial personality continuum can fuel the extreme altruism but also suggest an exciting new direction for research into altruism as a whole.
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Lewis, A. David. "The superhero afterlife subgenre and its hermeneutics for selfhood through character multiplicity." Thesis, Boston University, 2012. https://hdl.handle.net/2144/32028.

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Thesis (Ph.D.)--Boston University
Comic book superheroes venture frequently into the afterlife, to the extent that the recurring conventions of such tales constitute a superhero subgenre. These generic elements help ensure that the stories can be read normatively by their audience (e.g. one's soul continues separately to function after the death of the body, existence after death is its own reality and discernible from illusion). The new subgenre, however, can also be regarded as masking an alternate understanding of narrative character and suggesting an alternative model of selfhood to readers. Beginning with the genre theory work of Paul Ricoeur, Tzvetan Todorov, and Peter Coogan, this project applies their perceived linkage between generic character and audience models for selfhood to the concerns of Helene Tallon Russell, J. Hillis Miller, and Karin Kukkonen. This second set of theorists warns against narrative characters being understood as whole and unified a priori when the presumably counterfactual idea of a multiple self better matches with the goals of religious pluralism and healthful self-understanding. Through these combined sets of theoretical lenses, the project focuses on popular recent depictions of the afterlife in the word-and-image medium of top-selling comics titles such as Thor, Green Lantern, Fantastic Four, Planetary, and Promethea. The comics, with their dual sign systems and 'low-art' fringe status, provide a consideration of personal multiplicity more naturally than prose does alone. Jeffery Burton Russell and Andrew Delbanco recount modern Americans' declining investment in the afterlife, one steeped in traditionally Augustinian models of singular selfhood. As H.T. Russell champions in Irigaray and Kierkegaard: On the Construction of the Self, this model may serve more as a hindering relic than as a useful system for consideration of one's full selfhood. This superhero subgenre offers a hermeneutic for integrating multiplicity into religious practices and considerations of the afterlife.
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Hubbard, Ariel Elizabeth. "Stagnant Supers: Amplifying the Superhero Genre Through Novelistic Maturity." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6755.

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Few superhero scholars, if any, are discussing physical age or definitions of maturity. It seems Hollywood and consumers are reluctant to associate "adult" content with anything other than pornography, immature language, and excessive violence—a reluctance that should be explored by scholars and critics alike. Most superhero characters only reflect the insecurities of audiences who are currently undergoing the transition between adolescence and young adulthood. There are very few older, middle-aged, or retired superheroes depicted juggling the demands of a family along with their daring rescues. It is possible that superhero films could continue to enjoy longer, lasting success if they include more than the previously targeted immature audience. Live-action superhero films can target all ages more efficiently by avoiding the static "mature" audience narratives and presenting relatable and realistic adulthood with novelistic maturity along with adolescence and childhood.
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Books on the topic "Superheroes"

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Savery, Annabel. Superheroes. London: Franklin Watts, 2011.

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Gownley, Jimmy. Superheroes. New York: Atheneum Books for Young Readers, 2010.

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Limited, Dynamo, ed. Superheroes. New York, NY: Gareth Stevens Publishing, 2015.

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Savery, Annabel. Superheroes. London: Franklin Watts, 2013.

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Crash. Superheroes. Los Angeles, Calif: Martin Lawrence Limited Editions, 1992.

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Eaton, Maxwell. Superheroes. New York: Alfred A. Knopf, 2007.

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Ricia, Mainhardt, and Varley, John, 1947 Aug. 9-, eds. Superheroes. New York: Ace Books, 1995.

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ill, Jael, ed. Superheroes. New York, N.Y: Kidsbooks, 2002.

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Richard, Jones. Manga superheroes. New York: PowerKids Press, 2013.

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Brassett, Jamie, and Richard Reynolds. Superheroes and Excess. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780203730065.

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Book chapters on the topic "Superheroes"

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Langley, Travis. "Superheroes." In Encyclopedia of Heroism Studies, 1–6. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-17125-3_439-1.

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Novak, Ryan J. "Superheroes." In Teaching Graphic Novels in the Classroom, 25–43. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238669-4.

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Nilson, Henrietta. "The Superheroes." In Mythical Inspirations for Organizational Realities, 39–52. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583597_5.

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Kester, Lara Taylor. "Female Superheroes." In Using Superheroes and Villains in Counseling and Play Therapy, 255–63. New York, NY : Routledge, [2019]: Routledge, 2019. http://dx.doi.org/10.4324/9780429454950-22.

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Mathieson, Kay. "“Superheroes? British values?”." In Calling All Superheroes, 71–85. Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315150543-5.

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Underberg-Goode, Natalie M. "Home-Grown Superheroes." In Multiplicity and Cultural Representation in Transmedia Storytelling, 165–95. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003158905-6.

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Buckingham, Ian P. "Brand Superheroes Uncovered." In Brand Champions, 75–108. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230304659_3.

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Ranschaert, Rachel, Ajay Sharma, and Ruth Harman. "Teachers as Superheroes." In Progressive Neoliberalism in Education, 78–92. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003224013-8.

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Grimmer, Tamsin. "“I can fly like Superman!”." In Calling All Superheroes, 1–17. Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315150543-1.

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Grimmer, Tamsin. "“To infinity and beyond!”." In Calling All Superheroes, 154–68. Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315150543-10.

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Conference papers on the topic "Superheroes"

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Delix, Taz Tron, Pablo Gostanian, and Agustin Valcarenghi. "Stormzy - Superheroes." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3446562.3458443.

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Lawson, Aubrey, and Eileen T. Kraemer. "Sidekicks and superheroes." In ICSE '20: 42nd International Conference on Software Engineering. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3377814.3381706.

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Campana, Mylène, Pierre Fernbach, Steve Tonneau, Michel Taïx, and Jean-Paul Laumond. "Ballistic motion planning for jumping superheroes." In MiG '16: Motion In Games. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2994258.2994279.

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Sriharan, Abi, Savithiri Ratnapalan, Doina Lupea, and Andrea Tricco. "179 Healthcare superheroes need rescue during pandemics." In Leaders in Healthcare Conference, 17–20 November 2020. BMJ Publishing Group Ltd, 2020. http://dx.doi.org/10.1136/leader-2020-fmlm.179.

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Buzas-Stephens, Pamela, Martin A. Buzas, Jonathan D. Price, and Chandra Henry Courtney. "BENTHIC SUPERHEROES: ESTUARINE FORAMINIFERA FACE ENVIRONMENTAL ELEMENTS." In GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-281062.

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Cone, Lee. "PALEONTOLOGICAL SUPERHEROES: COLLECTION MANAGERS COME TO THE RESCUE." In GSA Connects 2022 meeting in Denver, Colorado. Geological Society of America, 2022. http://dx.doi.org/10.1130/abs/2022am-377245.

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Seeboruth, N., and D. Wilson. "G282(P) Superheroes: improving patient experience in the children’s emergency department." In Royal College of Paediatrics and Child Health, Abstracts of the Annual Conference, 24–26 May 2017, ICC, Birmingham. BMJ Publishing Group Ltd and Royal College of Paediatrics and Child Health, 2017. http://dx.doi.org/10.1136/archdischild-2017-313087.276.

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Mahboob Kanafi, Matin, Netta Iivari, and Marianne Kinnula. "Brave and Kind Superheroes – Children's Reflections on the Design Protagonist Role." In PDC 2022: Participatory Design Conference 2022. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3536169.3537783.

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Keller-Boudreaux, Mary. "Teacher Turnover, Teacher Absenteeism, and Ineffective Teachers: Creating Superheroes in School Leaders." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1446781.

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Rees, C., C. Fraser, and R. Follett. "43 Superheroes and sepsis 6 – quality improvement and leadership to improve patient care." In Great Ormond Street Hospital Conference. BMJ Publishing Group Ltd and Royal College of Paediatrics and Child Health, 2017. http://dx.doi.org/10.1136/archdischild-2017-084620.53.

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Reports on the topic "Superheroes"

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Justin Lancaster, Justin Lancaster. kwiKBio: Empowering citizen scientist superheroes to cure disease. Experiment, January 2015. http://dx.doi.org/10.18258/4432.

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D'Alfonso, Kenneth. Projecting Benevolent Power: Transforming America's Image from Superpower to Superhero. Fort Belvoir, VA: Defense Technical Information Center, March 2010. http://dx.doi.org/10.21236/ada519889.

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Depner, Nevada, Vongai Munatsi, and Elaine Byrne. Superhero-Based Mental Health Interventions for Young People: A Systematic Review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, July 2024. http://dx.doi.org/10.37766/inplasy2024.7.0089.

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Бережна, Маргарита Василівна. The Destroyer Psycholinguistic Archetype. Baltija Publishing, 2021. http://dx.doi.org/10.31812/123456789/6036.

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The aim of the research is to identify the elements of the psycholinguistic image of the main antagonist Hela in the superhero film Thor: Ragnarok based on the Marvel Comics and directed by Taika Waititi (2017). The task consists of two stages, at the first of which I identify the psychological characteristics of the character to determine to which of the archetypes Hela belongs. As the basis, I take the classification of film archetypes by V. Schmidt. At the second stage, I distinguish the speech peculiarities of the character that reflect her psychological image.
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Бережна, Маргарита Василівна. The Traitor Psycholinguistic Archetype. Premier Publishing, 2022. http://dx.doi.org/10.31812/123456789/6051.

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Film studies have recently begun to employ Jung’s concept of archetypes prototypical characters which play the role of blueprint in constructing clear-cut characters. New typologies of archetype characters appear to reflect the changes in the constantly developing world of literature, theater, film, comics and other forms of entertainment. Among those, there is the classification of forty-five master characters by V. Schmidt , which is the basis for defining the character’s archetype in the present article. The aim of the research is to identify the elements of the psycholinguistic image of Justin Hammer in the superhero film Iron Man 2 based on the Marvel Comics and directed by Jon Favreau (2010). The task consists of three stages, namely identification of the psychological characteristics of the character, subsequent determination of Hammer’s archetype and definition of speech elements that reveal the character’s psychological image. This paper explores 92 Hammer’s turns of dialogues in the film. According to V. Schmidt’s classification, Hammer belongs to the Traitor archetype, which is a villainous representation of the Businessman archetype.
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