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Journal articles on the topic 'Superheroine'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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1

Soliman, Mounira. "Mutations of Heroism: The Case of the Egyptian Superheroine." Studi Magrebini 18, no. 2 (2020): 265–82. http://dx.doi.org/10.1163/2590034x-12340031.

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Abstract The history of heroism in Egyptian culture has mostly been perceived as a male attribute, centering on the figure of the male hero, and generally excluding figures of female heroines. In this article, I explore the representation of one type of female heroism, the rising phenomenon of the superheroine. In contrast to popular definitions of heroism connected to the superhero genre wherein heroism is perceived as an extra-terrestrial superpower, recent depictions of superheroines in Egyptian popular culture focus on representing the mundane aspect of the lives of these characters, leadi

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Roy, Suddhabrata Deb. "The Indian Superheroine costume: Analysing Indian comics’ first superheroine." Film, Fashion & Consumption 10, no. 1 (2021): 313–24. http://dx.doi.org/10.1386/ffc_00027_7.

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Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The article analyses t

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3

Coogan, Peter. "Wonder Woman: superheroine, not superhero." Journal of Graphic Novels and Comics 9, no. 6 (2018): 566–80. http://dx.doi.org/10.1080/21504857.2018.1540137.

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Austin, Zoe. "Math Girl Solves the Pattern." Journal of Humanistic Mathematics 11, no. 2 (2021): 298–300. http://dx.doi.org/10.5642/jhummath.202102.16.

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During COVID-19 isolation, Dr. Jennifer Austin and her seven-year-old daughter Zoe co-authored the short story Math Girl Solves the Pattern. Here we meet the superheroine Math Girl and her nemesis Minus Girl. Math Girl is observant, curious, and creative.

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Rodríguez Navarrete, Laura. "Mujer, trabajadora y madre: la superheroína del siglo XXI = Woman, Worker and Mother: the Superheroine of the 21st Century." FEMERIS: Revista Multidisciplinar de Estudios de Género 4, no. 3 (2019): 219. http://dx.doi.org/10.20318/femeris.2019.4937.

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Resumen. La inserción de la mujer en el mercado laboral es un claro ejemplo de logro histórico ya que, gracias a la lucha de muchas mujeres, a día de hoy, es una realidad que la población femenina ha logrado su inserción en el mercado laboral. Sin embargo, aun queda mucho camino por recorrer, prueba de ello es que, en la actualidad aún existe un cierto rechazo a considerar que la mujer está cualificada para ser trabajadora, dando lugar a la segregación ocupacional y vertical que provoca como resultado la brecha salarial, circunstancia que refleja como sufre una discriminación salarial frente a

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Kent, Miriam. "Unveiling Marvels:Ms. Marveland the Reception of the New Muslim Superheroine." Feminist Media Studies 15, no. 3 (2015): 522–27. http://dx.doi.org/10.1080/14680777.2015.1031964.

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Moore. "Swapping Heels for Capes: The Superheroine Alternative to Racebent Love-interests." Transition, no. 129 (2020): 190. http://dx.doi.org/10.2979/transition.129.1.16.

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Castillo Planas, Melissa. "Superheroine Latinidad: The Diasporic Identities of America Chavez & La Borinqueña." Journal of Popular Culture 54, no. 5 (2021): 1012–30. http://dx.doi.org/10.1111/jpcu.13055.

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Killian, Kyle D. "How Wonder Woman is, and is Not, a Feminist Superheroine Movie." Journal of Feminist Family Therapy 31, no. 1 (2018): 59–61. http://dx.doi.org/10.1080/08952833.2018.1556487.

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10

McLain, Karline. "Holy superheroine: a comic book interpretation of the Hindu Devī Māhātmya scripture." Bulletin of the School of Oriental and African Studies 71, no. 2 (2008): 297–322. http://dx.doi.org/10.1017/s0041977x08000554.

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AbstractAmar Chitra Katha (Immortal Picture Stories) is India's leading comic book series, featuring hundreds of mythological titles about the Hindu gods. Founder Anant Pai initially eliminated all miracles, believing them to be unscientific interpolations. But while producing Tales of Durga (no. 176, 1978), he declared that the comic must be an “authentic” recreation of the Devī Māhātmya scripture, and that all miracles in the classical Sanskrit text must be faithfully rendered in the comic. This article examines the discourse of authenticity that surrounds the production of Tales of Durga in

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11

Grigsby, Mary. "Sailormoon: Manga (Comics) and Anime (Cartoon) Superheroine Meets Barbie: Global Entertainment Commodity Comes to the United States." Journal of Popular Culture 32, no. 1 (1998): 59–80. http://dx.doi.org/10.1111/j.0022-3840.1998.3201_59.x.

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12

De Wulf Helskens, Maxine, Frederik Dhaenens, and Sarah Van Leuven. "Superheroines and superstereotypes?" DiGeSt - Journal of Diversity and Gender Studies 8, no. 1 (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

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13

Bercuci, Loredana. "Pop Feminism: Televised Superheroines from the 1990s to the 2010s." Gender Studies 15, no. 1 (2016): 252–69. http://dx.doi.org/10.1515/genst-2017-0017.

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Abstract This paper analyses the construction of two superheroines, one from the 1990s (Buffy the Vampire Slayer) and one from the 2010s (Jessica Jones). I contend that popular feminism has changed between the 1990s and the present and that this is evident in the representation of televised superheroines. While in the 1990s superheroines were more conformist, today they are more transparent in their feminist intentions. I suggest that this is due to contemporary cultural trends in the United States.

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McCausland, Elisa. "Entrevista: El audiovisual superheroico." Ética y Cine Journal 9, no. 2 (2019): 73. http://dx.doi.org/10.31056/2250.5415.v9.n2.25093.

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15

Rogé, Carroll. "DELIVERING SUPERHEROIC CUSTOMER SERVICE." ACSM's Health & Fitness Journal 14, no. 4 (2010): 29–33. http://dx.doi.org/10.1249/fit.0b013e3181e43919.

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Gavrilović, Ljiljana. "Bafi ubica vampira: superheroina, ali ne u Srbiji." Issues in Ethnology and Anthropology 6, no. 2 (2011): 413–28. http://dx.doi.org/10.21301/eap.v6i2.7.

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U radu se raspravlja o TV seriji Bafi ubica vampira – njenoj ogromnoj popularnosti u Americi, zapadnoj Evropi i Australiji i potpuno nepostojećoj reakciji na nju u Srbiji. Upoređivanjem tema koje se smatraju važnim u zapadnim društvima i aktuelne situacije u Srbiji, analiza pokazuje da je Bafi ubica vampira serija koja u Srbiji i nije mogla da postane popularna, jer jezikom fantastike govori o realnosti i postavlja neprijatna pitanja, koja publika u Srbiji ne želi da čuje.

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Ha, Kyung-sim. "A Study on the Superheroines in Chinese Classical Drama." Journal of Chinese Language and Literature 116 (June 30, 2019): 313–43. http://dx.doi.org/10.25021/jcll.2019.6.116.313.

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D'Amore, Laura Mattoon. "The Accidental Supermom: Superheroines and Maternal Performativity, 1963-1980." Journal of Popular Culture 45, no. 6 (2012): 1226–48. http://dx.doi.org/10.1111/jpcu.12006.

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Żaglewski, Tomasz. "Supermoc dziewczęcej przyjaźni. Wokół wybranych komiksowych wizerunków girl power." Literatura i Kultura Popularna 25 (July 28, 2020): 407–28. http://dx.doi.org/10.19195/0867-7441.25.23.

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The main aim of the article is to confront the idea of “girl power” — as a popular culture variation of a feministic agenda — with selected comic book superheroines. For the general audi-ence mainstream superhero comics serve strictly as a graphic variation of a “male gaze” through over-sexualised depictions of super-women’s bodies and poses. However by analysing some cru-cial examples in the history of super-women-orientated titles, like “Wonder Woman”, “Superman’s Girlfriend Lois Lane” or “She-Hulk”, the author is trying to reconstruct the process of a slow ‘em-powering’ of women characters

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20

Elrod, Leslie. "Film Review: Wonder Women! The Untold Story of American Superheroines." Teaching Sociology 43, no. 2 (2015): 176–77. http://dx.doi.org/10.1177/0092055x15573508.

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Landis, Winona. "Ms Marvel, Qahera, and superheroism in the Muslim diaspora." Continuum 33, no. 2 (2019): 185–200. http://dx.doi.org/10.1080/10304312.2019.1569385.

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de la Serna, M. Paz. "Mi Superheroe/Heroina: Una Composicion Controlada En Ingles." Comunicación, Lenguaje y Educación 4, no. 14 (1992): 125–26. http://dx.doi.org/10.1080/02147033.1992.10821022.

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23

Palermo, Sara. "La recepción lésbica de la amazona: el caso Wonder Woman." Journal of Feminist, Gender and Women Studies, no. 9 (December 14, 2020): 11–22. http://dx.doi.org/10.15366/jfgws2020.9.002.

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A lo largo de los siglos, un abanico de identidades modernas se ha apropiado y ha remodelado de manera ininterrumpida varios elementos procedentes del mundo clásico grecorromano, hasta conformar una cadena de recepciones desde un arquetipo original hasta un producto contemporáneo. Así, el modelo de la guerrera amazona ha sido trasmitido hasta mediados del siglo XX, cuando sirvió como referente para el diseño de Wonder Woman, superheroína protagonista del cómic homónimo. A través del marco metodológico ofrecido por los estudios de Recepción Clásica, en este trabajo se lleva a cabo un análisis d

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24

Moonsamy. "Fish Out of Water: Black superheroines in Nnedi Okorafor's Lagoon." Transition, no. 129 (2020): 175. http://dx.doi.org/10.2979/transition.129.1.15.

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25

Noon, David Hoogland. "Barack Obama and the Myth of the Superheroic Presidency." Canadian Review of American Studies 46, no. 3 (2016): 432–54. http://dx.doi.org/10.3138/cras.2016.011.

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26

Drislane, Liam. "The pretense of prosthesis." Science Fiction Film & Television 15, no. 2 (2022): 169–91. http://dx.doi.org/10.3828/sfftv.2022.14.

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Drawing on David Mitchell and Sharon Snyder’s concept of narrative prosthesis and Kathryn Allan’s Disability in Science Fiction, this article examines the role of the prosthesis in Marvel Cinematic Universe (MCU), arguing that the cyborg limbs of prosthecized superheroes enable narratives of identity, rebirth, degeneration, and transcendence, serving as overdetermined - yet open - signifiers while also remaining stubbornly material in their techno-capitalist cycle of production, obsolescence, destruction, and endless upgrading. Specifically, the paper interprets the MCU’s use of the superheroi

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27

Cañas Pelayo, Marcos Rafael. "FEMINISMO EN TEMISCIRA: LAS FACETAS DE WONDER WOMAN." RAUDEM. Revista de Estudios de las Mujeres 5 (December 12, 2018): 69. http://dx.doi.org/10.25115/raudem.v5i0.1102.

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Resumen: A pesar de ser el personaje femenino más popular del cómic superheroico, la historia de Wonder Woman está llena de avances y retrocesos: concebida por su creador, el célebre psicólogo William Moulton Marston, como un símbolo de la mujer librepensadora, emancipada, pacifista y sufragista, también sufrió períodos de banalización y alejados de su verdadero potencial como icono feminista. La reciente película de la princesa Amazona ejemplifica las distintas dimensiones (mitológica, activista, estética, etc.) que han acompañado a este símbolo de la cultura popular, siempre en la frontera e

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Zalvide Rodríguez, Carmen. "La «nueva mestiza» en la cultura popular: el concepto de frontera y la construcción de la identidad a través de America Chavez." Anales de Historia del Arte 28 (September 25, 2018): 247–62. http://dx.doi.org/10.5209/anha.61614.

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Las fronteras funcionan como espacios de tránsito, convivencia y creación de identidades en los márgenes del sistema establecido. Este estudio pretende aplicar el concepto de «mestiza» de Gloria Anzaldúa al personaje America Chavez, la primera superheroína abiertamente queer y latinx de la historia del cómic estadounidense. A través de un análisis de la obra, se busca reformular el concepto de «mestizaje», buscando las particularidades que atraviesan la iconografía de este personaje en pos de una construcción identitaria basada en la idea de lo fronterizo como espacio de conflicto.

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Gracia Lara, Rebeca. "JESSICA JONES, SEGUNDA TEMPORADA." Filanderas, no. 3 (December 11, 2018): 123–28. http://dx.doi.org/10.26754/ojs_filanderas/fil.201833248.

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El ocho de marzo de 2018, Netflix estrenó en todo el mundo la segunda temporada de la serie Jessica Jones (Melissa Rosenberg, 2015), ahora enteramente dirigida por mujeres. Así quisieron aprovechar el regreso de la única superheroína con relato propio dentro del vasto universo que Marvel ha desarrollado a lo largo de los últimos diez años; como si, por una vez, el género femenino de uno de sus personajes fuese algo digno de reivindicar, principalmente por las posibilidades de ser monetizado en el Día Internacional de la Mujer. Pero, en realidad, no parece que haya demasiado que celebrar todaví

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Żaglewski, Tomasz. "The Universe-al Storytelling. Towards A ‘Spatial’ Narrative Model in Modern Comic Book Cinema." Panoptikum, no. 26 (October 19, 2021): 169–88. http://dx.doi.org/10.26881/pan.2021.26.08.

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The aim of the article is to analyze modern superhero films through the specifics of superhero narratives in comics. By referring to the ‘organic’ elements of graphic super-storytelling – like retcon or crossover – the author tries to explain the main shift within comic book adaptations heading towards a ‘universe-al’ mode of narration. By doing so the analysis concentrates on the most succesful recent cases of superhero films as attempts to achieve a narrative ‘remediation’ of comic books’ spatial organization that requires reconsideration of the status of an individual superheroic franchise

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Trepte, Sabine, Leonard Reinecke, and Katharina-Maria Behr. "Creating Virtual Alter Egos or Superheroines? Gamers' Strategies of Avatar Creation in Terms of Gender and Sex." International Journal of Gaming and Computer-Mediated Simulations 1, no. 2 (2009): 52–76. http://dx.doi.org/10.4018/jgcms.2009040104.

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Rushing, Robert A. "Italian transnational masculinity: Jeeg Robot, Il ragazzo invisibile and MilzaMan." Journal of Italian Cinema & Media Studies 8, no. 1 (2020): 43–60. http://dx.doi.org/10.1386/jicms_00004_1.

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Abstract This article looks at three recent examples of superheroic masculinity in Italian film and media, arguing that it is always conceptualized transnationally, triangulated between Italy, the United States and a vague 'East'. This transnational masculinity is repeatedly coupled with fantasies and anxieties about the environment ‐ the toxic, as Mel Chen suggests, is animate, weaving in and out of containers, bodies and borders, allowing it to threaten Italian bodies (toxic waste, garbage, the 'ecomafia' of the South), and allowing us to imagine that it might bestow on those same bodies the

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G. McCausland, Elisa, and Diego Salgado. "Debate en torno a las formas del audiovisual contemporáneo de superhéroes." CuCo, Cuadernos de cómic, no. 6 (June 30, 2016): 93–118. http://dx.doi.org/10.37536/cuco.2016.6.1153.

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El cine y la televisión de hoy viven un boom de lo superheroico, y registros argumentales asociados, inédito en la historia de ambos medios. Un boom que, al estar los entretenimientos populares más interconectados que nunca, ha propiciado además, en palabras de Francisco Calderón —actual director editorial de ECC, que ostenta los derechos para publicar las cabeceras de DC Comics en España y Sudamérica—, «que el cómic pase por una buena época, haya encontrado su espacio y esté en alza». Pero, este auge de los superhéroes en la pantalla, que se ha venido fraguando a lo largo del último cuarto de

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Carrión Arias, Rafael. "Los Comic Studies y la hermenéutica literaria: elementos para una genealogía críticomaterial a partir del género superheroico." Rilce. Revista de Filología Hispánica 35, no. 1 (2018): 271–94. http://dx.doi.org/10.15581/008.35.1.271-94.

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Pintor Iranzo, Ivan. "Bajo el signo de un dios salvaje: escenarios contemporáneos del superhéroe." Ética y Cine Journal 9, no. 2 (2019): 45. http://dx.doi.org/10.31056/2250.5415.v9.n2.25090.

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Más allá de su dimensión mitológica, las adaptaciones cinematográficas de los superhéroes Marvel ofrecen una completa pedagogía acerca de las concepciones contemporáneas sobre la relación entre cuerpo, tecnología y mutación. A lo largo de la historia del cómic de superhéroes, la transformación del mito ha evolucionado a través del desdoblamiento original del héroe, la necesidad de mantener doble identidad y la mutación hacia espacios narrativos vinculados, por una parte a lo onírico y por otra hacia un campo de tensión filosófica entre el transhumanismo y lo posthumano. El presente artículo re

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Milinkov, Smiljana. "Historical Continuity of Private and Public." History in flux 2, no. 2 (2020): 73–91. http://dx.doi.org/10.32728/flux.2020.2.4.

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The paper addresses the patriarchal model of understanding family relationships as an exclusively private sphere with specified and unchanging roles for men and women. In socialist Yugoslavia, despite support for women's emancipation in principle, the model of the patriarchal family and invisible work at home was not called into question and was not a focus of official policy. With the fall of socialism and the growth of nationalist ideology in the 1990s, there was a re-traditionalization and a return of women to the private sphere, and emphasis was placed on their contribution to the survival

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Miettinen, Mervi. "Men of Steel? Rorschach, Theweleit, and Watchmen's Deconstructed Masculinity." PS: Political Science & Politics 47, no. 01 (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 its

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De Torres Olson, Graciela. ""Black Hand Iron Head" de David López: Un nuevo modelo de superheroína y supervillana para la novela gráfica dirigida al público adolescente." Ondina - Ondine, no. 6 (September 7, 2021): 103–17. http://dx.doi.org/10.26754/ojs_ondina/ond.202165183.

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El dibujante David López (Las Palmas, 1975), conocido internacionalmente por su trabajo en las editoriales DC Comics y Marvel Comics —en las que ha dado vida a personajes como Catwoman, Lobezna o Capitana Marvel—, retoma su faceta primera como autor independiente y da la vuelta a los estándares del cómic de superhéroes destinado al público adolescente con una obra que se sitúa a medio camino entre la comedia y el drama familiar: Black Hand Iron Head cuenta la historia de una superheroína y una supervillana poco convencionales que descubren que son hermanas, y tienen que lidiar con esta situaci

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MARTIGNONE, HERNÁN. "Motivos griegos como método compositivo en la historieta Sereno de Luciano Vecchio." Cuadernos de Literatura, no. 16 (August 27, 2021): 188. http://dx.doi.org/10.30972/clt.0165427.

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<p>Construida en parte sobre el modelo narrativo del manga <em>Sailor Moon</em> y en parte sobre el cómic de superhéroes norteamericano, <em>Sereno </em>de Luciano Vecchio se presenta como una ficción original, de múltiples lecturas, en la que diversos elementos del mundo griego clásico encuentran su lugar. En el presente artículo me propongo analizar el funcionamiento de dichos elementos (míticos, lingüísticos, icónicos) como método compositivo de una obra con un carácter marcadamente multicultural.<strong> </strong>En la serie se suceden menciones o

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Żaglewski, Tomasz. "Infinite Narratives on Infinite Earths. The Evolution of Modern Superhero Films." Panoptikum, no. 22 (December 17, 2019): 158–72. http://dx.doi.org/10.26881/pan.2019.22.06.

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After almost 20 years of a succesful run of superhero films it seems that we are now entering into the fully-developed format of this kind of cinema. Through films like “Avengers: Infinity War”, “Logan” or “Spider-Man: Into the Spider-verse” the general audience all over the world is becoming familiar with strictly comics-based forms and ideas like retcon, crossover or the multiverse paradigm (that serves as a model for ‘infinite’ superhero narratives and limitless iterations of characters). Despite the fact that popular cinema had already introduced some of these elements before – like the cr

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Rodríguez Celi, Julián. "Mujer Maravilla y Capitana Marvel. Aproximaciones divergentes a las éticas feministas." Ética y Cine Journal 9, no. 2 (2019): 39. http://dx.doi.org/10.31056/2250.5415.v9.n2.25089.

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En este ensayo se abordan dos películas con superheroínas como protagonistas, un género relativamente reciente en el cine que ha demostrado tener una gran acogida entre los aficionados, que además tiene una novedosa y emocionante forma de contar historias de acción. La primera película es producida por DC Comics y Warner studios, Mujer Maravilla (Jenkins, 2017). La legendaria amazona, heredera de los dioses olímpicos y una de los líderes de la liga de la justicia, una heroína prototipo de las éticas femeninas del cuidado. La otra película es de Marvel comics, Capitana Marvel (Bodoen y Fleck, 2

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Koch, Daniel. "„Sie alle, Sie sind die Heldinnen und Helden in der Corona-Krise.“." Linguistik Online 106, no. 1 (2021): 67–85. http://dx.doi.org/10.13092/lo.106.7510.

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In 2020, the topic “Corona” will be omnipresent in the media. The headlines are dominated by negative reports about death rates, exit restrictions and the economic downturn. However, there are also numerous encouraging reports about “Corona heroes” who are contributing to overcoming the crisis with their self-sacrificing commitment. But it is not only journalists who draw attention to their deeds. On Twitter, Instagram and Co., politicians, companies and private individuals also thank the “heroes of everyday Corona life”. These positive exceptional figures are examined in more detail in the ar

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Cañas Pelayo, Marcos Rafael. "No es tierra para superhéroes:." Neuróptica, no. 2 (May 17, 2021): 19–34. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.202025417.

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Resumen: Los Baldíos, creados por la imaginación de Mark Millar y Steve Mcniven, se han convertido en uno de los más interesantes enclaves de los cómics Marvel. El duro escenario de este mundo apocalíptico ha penetrado en la conciencia lectora desde su primera aparición en El Viejo Logan (2008). De cualquier modo, no ha sido hasta El Viejo Ojo de Halcón (2018) que público y crítica han apreciado el amplio abanico de posibilidades que este desesperanzador futuro alternativo ofrece. Ethan Sacks y Marco Checchetto han brindado una narración más orientada al público adulto, integrando los elemento

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Menescardi, Cristina, Isaac Estevan, Israel Villarrasa-Sapiña, Adrià Marco-Ahulló, Gonzalo Monfort-Torres, and María Teresa Pellicer. "Sensibilización de los futuros egresados y egresadas de Magisterio hacia la diversidad desde la Educación Física por medio de la propuesta de buena práctica “More Than Able” (Diversity awareness in university students from Physical Education with the pro." Retos, no. 38 (May 1, 2020): 684–91. http://dx.doi.org/10.47197/retos.v38i38.74522.

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El presente estudio describe y analiza la valoración del alumnado universitario ante la propuesta “More than able”. Esta es una propuesta de buenas prácticas sobre la sensibilización hacia la diversidad funcional desde el área de Educación Física, y específicamente, mediante tareas relacionadas con las habilidades motrices básicas. El objetivo de este trabajo fue diseñar, aplicar y valorar una buena práctica que ofrezca una propuesta de sensibilización al alumnado basada en el uso de personajes de cómics como son los superhéroes y las superheroínas. Para valorar el grado de satisfacción de la

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Ostapenko, L. "The Biblical Code in the Novel «Windows on the World» by Frédéric Beigbeder." Literature and Culture of Polissya 106, no. 20f (2022): 63–75. http://dx.doi.org/10.31654/2520-6966-2022-20f-106-63-75.

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The article represents the interpretation of the novel "Windows on the World" by the modern French writer Frédéric Beigbeder from the point of view of the biblical code. The author of the article distinguishes two levels of the presence of biblical components: explicit and implicit. The author inventories the Old Testament and New Testament images and motifs marked in the work, and she determines their functionality. The author proves that it is the components of the biblical code that perform content-creating and form-creating functions in the novel. The biblical code defines the structure of

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Szymyslik, Robert. "La traducción de léxico especializado en el cine de superhéroes: estudio de Avengers: Infinity War de Marvel Studios." Hikma 18, no. 2 (2019): 129–50. http://dx.doi.org/10.21071/hikma.v18i2.11440.

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El presente trabajo representa un análisis traductológico de una obra audiovisual perteneciente al género superheroico. En él se toma como base el estudio del trasvase de diferentes muestras de léxico especializado que se utiliza en esta producción. El largometraje elegido para ello es Avengers: Infinity War (Vengadores: Infinity War en España) de Marvel Studios, una de las películas más destacadas de esta clase de los últimos años y que ha conseguido críticas positivas tanto por parte de especialistas como del público. Este estudio se ha realizado llevando a término una comparación de extract

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Wilson, James R. "Clash: Superheroic Yet Sensible Strategies For Teaching The New Literacies Despite The Status Quo. Edited by Sandra A.Vavra and Sharon L.Spencer. Charlotte, N.C.: Information Age Publishing, 2011. vii + 293 pages. ISBN 978-1-61735-517-2. $45.99." Teaching Theology & Religion 16 (July 2013): e79-e80. http://dx.doi.org/10.1111/teth.12106.

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Тихонова, Валентина Львовна, and Олег Игоревич Закутнов. "THE EVOLUTION OF A SUPERHERO IN AMERICAN CINEMATOGRAPH." Вестник Тверского государственного университета. Серия: Философия, no. 2(56) (August 17, 2021): 143–53. http://dx.doi.org/10.26456/vtphilos/2021.2.143.

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Цель статьи - показать, как трансформация образов супергероя в американском кинематографе отражает изменения исторических и культурных ценностей в сознании людей в течении относительно небольшого временного отрезка с начала XX - по начало XXI вв. Если первая половина XX века породила мифологизированных героев с четким делением на добрых и злых, соответствующих параметрам бинарности, в которых нуждалось западное общество, в связи с мировыми войнами, то во второй половине XX века, распространяющаяся на весь западный мир постмодернистская парадигма, с идеей множественности истин, множества возмож

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Kang, Dongjing. "Taming the Barbarian Empress: Post-alteric Imaginary of Gender Egalitarianism and Pan-Chinese Nationalism in the Legend of Xiao Chuo." Communication, Culture and Critique, April 8, 2022. http://dx.doi.org/10.1093/ccc/tcac004.

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Abstract Representations of ethnic minority women often symbolized China’s efforts in nation-building. This study uses insights from the post-alteric frame to analyze the images of the Khitan empress Xiao Yanyan in the 2020 TV series the Legend of Xiao Chuo (LXC). It uses a critical multimodal discourse analysis of the series and viewer comments to examine three images of Xiao as her relationships with two romantic partners unfolds: the unruly and innocent child; the self-sacrificing political victim; and the pan-Chinese superheroine. Taming the great Khitan empress has created a spectacular m

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Deb Roy, Suddhabrata. "Superheroines, their costumes and patriarchal representations:a case study of three Indian comic book ‘superheroines’." Journal of Graphic Novels and Comics, January 24, 2022, 1–21. http://dx.doi.org/10.1080/21504857.2022.2025877.

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