Thematische Bibliographien / The Superhero

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Auswahl der wissenschaftlichen Literatur zum Thema „The Superhero“

Autor: Grafiati

Veröffentlicht am 18. Mai 2024

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Zeitschriftenartikel zum Thema "The Superhero"

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, Nr. 1 (März 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, und 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, Nr. 1 (29.02.2020): 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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Hatchell, Rusty. „‘We prefer protégé’: The temporal function of sidekicks in Young Justice and Titans“. Australasian Journal of Popular Culture 12, Nr. 1 (01.06.2023): 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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Miettinen, Mervi. „Men of Steel? Rorschach, Theweleit, and Watchmen's Deconstructed Masculinity“. PS: Political Science & Politics 47, Nr. 01 (29.12.2013): 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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Geraffo, Monica. „No tights, no flights: Constructing the wardrobe of television superheroes“. Film, Fashion & Consumption 10, Nr. 1 (01.04.2021): 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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Zamani, Muhammad Fathan, Abi Ihsanullah und 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, Nr. 2 (01.11.2021): 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, Nr. 2 (31.08.2021): 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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Flores, Emil. „The Concept of the Superhero in Filipino Films“. Plaridel 2, Nr. 2 (01.08.2005): 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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Betzalel, Nurit, und Zipora Shechtman. „The impact of bibliotherapy superheroes on youth who experience parental absence“. School Psychology International 38, Nr. 5 (25.09.2017): 473–90. http://dx.doi.org/10.1177/0143034317719943.

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As one key element of establishing a superhero persona, many superhero myths are based on the principle of experiencing parental loss at an early age. This study examined the impact of group bibliotherapy using superhero stories with children and adolescents who have experienced parental absence. The 187 participants who resided in foster care were divided into three experimental conditions: Bibliotherapy with superhero stories, bibliotherapy without superheroes, and no treatment. Four dependent variables were tested in a pre–post–follow-up design: Anxiety, violent behavior, aggression, and future orientations. Results indicated that the strongest desired outcomes were obtained in the superhero treatment condition: There were significant positive changes on all four dependent variables, with changes sustained at follow-up. In the other treatment condition, significant changes were observed on only two variables and were not sustained at follow-up. No significant changes were observed in the non-treatment group. On the future orientations scale, only children in the superhero condition indicated change: They gained in future goals and had reduced fantasies about home. In general, results support the effectiveness of bibliotherapy with children and clearly point to the unique contribution of bibliotherapy content tailored to children's specific needs.

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Kurniawan, Rendya Adi. „KEMUNCULAN KOMIK ADIPAHLAWAN INDONESIA DAN FAKTOR YANG MEMPENGARUHINYA“. Texture:Art and Culture Journal 2, Nr. 1 (02.09.2019): 29–39. http://dx.doi.org/10.33153/texture.v2i1.2628.

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ABSTRACTComic is a visual product that is quite popular in Indonesia. The popularity of comics in Indonesia cannot be separated from the development of comics in the West. One effect felt was the emergence of comics with the superhero genre. However, superheroes in the West and adipahlwan in Indonesia are the result of a dynamism of very different creative processes. Superheroes emerged in the West as a new form of mythology for their people, while the Indonesian adpahlawan emerged precisely by exploring the values of classical mythology that had long existed in Indonesia. These traditional values are explored to be used as basic ideas for the design of a super hero character in Indonesia. This research tries to apply the visual methodology of Gillian Rose to examine how this super hero emerged as a comic genre in Indonesia and what factors influence it.Keyword : Comics, Superhero, Character Design, Mithology, Visual MethodologyABSTRAKKomik merupakan suatu bacaan yang cukup popular di Indonesia. Kepopuleran komik di Indonesia tidak bisa dilepaskan dengan perkembangan komik di Barat. Salah satu pengaruh yang dirasakan adalah munculnya komik dengan genre superhero. Namun begitu, superhero di Barat dan adipahlwan di Indonesia merupakan hasil dari suatu dinamika proses kreatif yang sangat berbeda. Superhero muncul di Barat sebagai suatu bentuk mitologi baru bagi masyarakatnya, sedangkan adipahlawan Indonesia muncul justru dengan menggali nilai-nilai mitologi klasik yang sudah lama ada di Indonesia. Nilai-nilai tradisi tersebut digali untuk dijadikan gagasan dasar perancangan desain karakter adipahlawan di Indonesia. Penelitian ini mencoba mengaplikasikan metodologi visual dari Gillian Rose untuk mengkaji bagaimana adipahlawan ini muncul menjadi genre komik di Indonesia dan faktor apa saja yang mempengaruhinya. Keyword : Komik, Superhero, Desain Karakter, Mitologi, Metodologi Visual

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Dissertationen zum Thema "The Superhero"

Kim, Jiyeon. „A to Z of Superhero Movies“. Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1934.

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This project explores the question of originality and appropriation in the creative world by using mashup video as a medium. How can old repetitive stories be deconstructed and transformed into something new? I have created alphabetically ordered montages of shots/scenes containing words/letters from superhero films. By doing so, I do not provide a concrete answer to what is really original in today’s world, but rather encourage the audience to actively participate in the viewing experience of the carefully structured ontology and see the infinite possibility of the modern-day mashup culture.

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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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Sheppard, Natalie R. „Invincible: Legacy and Propaganda in Superhero Comics“. ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1943.

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Captain America and Iron Man are both iconic American heroes, representing different American values. Captain America was created during the Golden Age of comics and represents a longing for the past, while Iron Man was created at the height of the Cold War and looks forward to a new America. This paper will first establish the historical and cultural relationship between comic books and propaganda, beginning with the first appearance of Superman. It will pay special attention to the similarities and differences of Captain America and Iron Man, focusing on their representation of American values over time, and discuss how that aspect of the characters affects their ongoing titles today.

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St, Amour Emily K. „“Superhero Women, Extraordinary Impact”: A Historical PodcastSeries“. Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors156580162543617.

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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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Mason, Lizabeth Dutilly. „American Masculinity in Crisis: Trauma and Superhero Blockbusters“. Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277140451.

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Covich, Anna-Maria Ruth. „Alter/Ego: Superhero Comic Book Readers, Gender and Identities“. Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7262.

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The academic study of comic books - especially superhero comic books - has predominantly focused on the analysis of these books as texts, as teaching and learning resources, or on children as comic book readers. Very little has been written about adult superhero comic fans and their responses to superhero comics. This thesis explores how adult comic book readers in New Zealand engage with superhero comics. Individual interviews and group conversations, both online and face-to-face, provide insights into their responses to the comics and the characters as well as the relationships among fans. Analysis of fans’ talk about superhero comics includes their reflections on how masculinities are represented in these comics and the complex ways in which they identify with superheroes, including their alter egos. The thesis examines how superhero comic book readers present themselves in their interactions with other readers. Comics ‘geekdom’, fans’ interactions with one another and their negotiation of gendered norms of masculinity are discussed. The contrast between the fan body and the superhero body is an important theme. Readers’ discursive constitution and management of superheroes’ bodies, and their engagement with representations of superheroes are related to analyses of multiplicity in individual identities and current theories of audience reception and identification.

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O'Connor, Lauren R. „Trusty Teens: Reading American Adolescence through the Superhero Sidekick“. Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555331330935278.

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Beemer, Lawrence W. „American Superhero Comics: Fractal Narrative and The New Deal“. Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1303837053.

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Kaul, David. „Issues related to the development of a digital superhero“. The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316703183.

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Bücher zum Thema "The Superhero"

Leavitt, Martine. Superhero. Rotterdam: Lemniscaat, 2004.

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Superhero. New York: Scholastic Press, 2005.

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Superhero. Dorking: Autumn, 2015.

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SuperHero ABC. New York: HarperCollins, 2006.

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SuperHero ABC. New York: HarperCollins, 2006.

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Weitzman, Jacqueline Preiss. Superhero Joe! New York: Simon & Schuster Books for Young Readers, 2010.

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SuperHero ABC. New York: Scholastic Inc., 2007.

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Bissell, Tom. Superhero stories. Charlottesville, Va: Univ. of Virginia, 2008.

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McLeod, Bob. SuperHero ABC. New York: HarperCollins, 2006.

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Seremetis, Kostas. Superhero & six. Tokyo: Little More, 2002.

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Buchteile zum Thema "The Superhero"

Zhakata, Hatitye. „Superhero Syndrome“. In Computer Fraud Casebook, 351–62. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781119197416.ch36.

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Hess, Mark. „Superhero Abilities“. In Social & Emotional Curriculum for Gifted Students Grade 4, 11–14. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238010-4.

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Hess, Mark. „Superhero Commercials“. In Social & Emotional Curriculum for Gifted Students Grade 4, 8–10. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238010-3.

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Johnson, Brad, und Hal Bowman. „Dear Superhero“. In Thank You, Teacher, 192–93. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003216988-83.

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Torres, Francisco L. „Deconstructing the Superhero“. In Engaging with Multicultural YA Literature in the Secondary Classroom, 162–70. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429053191-17.

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Knopf, Christina M. „Great Superheroic Powers and Great Presidential Responsibilities“. In Politics in the Gutters, 38–55. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834225.003.0003.

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This chapter begins with President John Kennedy’s 1963 team-up with Superman for the promotion of the President’s Council on Physical Fitness to explore the superheroic presidency as an American monomyth. With an analysis that expands from comics to also include superhero animation and live-action television series, the chapter indicates that the political spectacle with its cycle of enemies and leaders, threats and reassurances, is similar to the structure of the superhero serial, in which protagonists are locked into a pattern of saving society from a never-ending rotation of villains. But whereas superheroes are celebrated for their ability to work beyond the confines of the system, politicians who so publicly exceed their offices or break the laws are typically less ideal.

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Ross, Eric. „A Leonidas for the Golden Age of Superhero Films: The Thermopylae Tradition in 300 (2006)“. In Screening the Golden Ages of the Classical Tradition, 83–100. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474440844.003.0005.

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In the second of two chapters investigating the role of Homeric epic in fabricating golden ages, Ross proposes the current golden age of superhero movies as an effective lens for viewing the modern idealization of the Spartan king Leonidas as portrayed in 300 (2006). He cites several criteria: the superhero’s origin story; the threats posed by a tyrannical enemy and by civic bureaucracy; and the superhero’s tragic alienation from loved ones and society he protects. Leonidas’ superhero status resonates with Herodotus’ fifth-century BCE account of the Battle of Thermopylae, a “golden” moment in Western historiography, when Leonidas led his 300 Spartan warriors into Homeric “doomed combat” by standing their ground against the massive invasion of the Greek mainland by the army of Xerxes, Great King of Persia. Herodotus’ account has long been recognized as assimilating the Spartan warriors, especially Leonidas, to Homer’s depiction of mythical heroes, who were themselves the bases for twentieth-century superheroes. Ross demonstrates the political ramifications of the film’s use of storytelling to mobilize nostalgia for this golden age into contemporary re-enactment – despite director Zack Snyder’s (in)famous denials of political engagement.

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„Superhero Comics“. In Fueling Culture, 333–37. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823273935-091.

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„Superhero Comics“. In The Routledge Companion to Comics, 144–52. New York : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315851334-25.

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„Superhero AA“. In Gospel Drunk, 54. University of Alberta Press, 2021. http://dx.doi.org/10.1515/9781772125672-039.

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Konferenzberichte zum Thema "The Superhero"

Stewart, Lindsey. „Be a SAM Superhero“. In SIGUCCS '18: ACM SIGUCCS Annual Conference. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3235715.3235748.

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Wulfert, Kailey, und Irene Trujillo. „Mentoring like a Superhero!.“ In Proposed for presentation at the Association of Proposal Management Professionals Bid and Proposal Conference 2022 held May 22-25, 2022 in Dallas, Texas United States. US DOE, 2022. http://dx.doi.org/10.2172/2002999.

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Chowdhury, Aparajita, Aino Ahtinen und Kirsikka Kaipainen. „"The superhero of the university"“. In AcademicMindtrek '20: Academic Mindtrek 2020. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3377290.3377304.

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Gaskin, Jessica A., Steven D. Christe, Ronald F. Elsner, Kiranmayee Kilaru, Brian D. Ramsey, Paul Seller, Albert Y. Shih et al. „SuperHERO: the next generation hard x-ray HEROES telescope“. In SPIE Astronomical Telescopes + Instrumentation, herausgegeben von Tadayuki Takahashi, Jan-Willem A. den Herder und Mark Bautz. SPIE, 2014. http://dx.doi.org/10.1117/12.2058713.

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Carter, Benjamin. „1380 The superhero scrub project: assembling positive paediatric experiences“. In Royal College of Paediatrics and Child Health, Abstracts of the RCPCH Conference, Liverpool, 28–30 June 2022. BMJ Publishing Group Ltd and Royal College of Paediatrics and Child Health, 2022. http://dx.doi.org/10.1136/archdischild-2022-rcpch.791.

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Prayoga, Dedy, Bedjo Riyanto und Nooryan Bahari. „Visual Styles of Indonesian Superhero Gundala Putra Petir Film Posters“. In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294928.

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Gaskin, Jessica, Ronald Elsner, Brian Ramsey, Colleen Wilson-Hodge, Allyn Tennant, Steven Christe, Albert Shih et al. „SuperHERO: Design of a new hard-X-ray focusing telescope“. In 2015 IEEE Aerospace Conference. IEEE, 2015. http://dx.doi.org/10.1109/aero.2015.7119097.

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Fu, Yue, Mingrui Zhang, Lynn K. Nguyen, Yifan Lin, Rebecca Michelson, Tala June Tayebi und Alexis Hiniker. „Self-Talk with Superhero Zip: Supporting Children’s Socioemotional Learning with Conversational Agents“. In IDC '23: Interaction Design and Children. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3585088.3589376.

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Krone, Beth. „Challenging (Hetero)Normativity: Tracing Queer World-Making in Seventh Graders' Superhero Storytelling“. In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2014871.

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Wu, Tianxuan. „Superhero Meets Princess: New Commercial Opportunities Obtained by Walt Disney’s Acquisition of Marvel“. In 2021 International Conference on Public Relations and Social Sciences (ICPRSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211020.229.

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Berichte der Organisationen zum Thema "The Superhero"

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

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

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Voronov, O., G. Tompa, R. Sadangi, B. Kear, C. Wilson und P. Yan. Superhard nanophase cutter materials for rock drilling applications. Office of Scientific and Technical Information (OSTI), Juni 2000. http://dx.doi.org/10.2172/771243.

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de Boer, Maarten Pieter, und Roya Maboudian. Integrated superhard and metallic coatings for MEMS : LDRD 57300 final report. Office of Scientific and Technical Information (OSTI), Dezember 2004. http://dx.doi.org/10.2172/919192.

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Kouvetakis, John. The use of Novel Precursor Chemistry for Synthesis of Superhard Materials. Fort Belvoir, VA: Defense Technical Information Center, Januar 2001. http://dx.doi.org/10.21236/ada392127.

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Yan, C. Superharp: A wire scanner with absolute position readout for beam energy measurement at CEBAF. Office of Scientific and Technical Information (OSTI), September 1994. http://dx.doi.org/10.2172/10110924.

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N. Environmental Assessment for Authorizing the Puerto Rico Electric Power Authority (PREPA) to allow Public Access to the Boiling Nuclear Superheat (BONUS) Reactor Building, Rincon, Puerto Rico. Office of Scientific and Technical Information (OSTI), Februar 2003. http://dx.doi.org/10.2172/823492.

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