Auswahl der wissenschaftlichen Literatur zum Thema „Wonder Woman 1984“

Molur, Sanjay. „Wildlife’s Wonder Woman—Sally Raulston Walker (12 October 1944–22 August 2019)“. Journal of Threatened Taxa 11, Nr. 10 (26.08.2019): 14247–48. http://dx.doi.org/10.11609/jott.5360.11.10.14247-14248.

Ormrod, Joan. „The Secret History of Wonder Woman by Jill Lepore, and: Wonder Woman: Bondage and Feminism in the Marston/Peter Comics, 1941–1948 by Noah Berlatsky“. Cinema Journal 55, Nr. 1 (2015): 187–92. http://dx.doi.org/10.1353/cj.2015.0074.

Ormrod, Joan. „Wonder Woman 1987–1990: the Goddess, the Iron Maiden and the sacralisation of consumerism“. Journal of Graphic Novels and Comics 9, Nr. 6 (02.11.2018): 540–54. http://dx.doi.org/10.1080/21504857.2018.1540135.

Patton, Brian. „Wonder Woman: bondage and feminism in the Marston/Peter comics, 1941–1948, by Noah Berlatsky“. Journal of Graphic Novels and Comics 7, Nr. 2 (03.07.2015): 223–24. http://dx.doi.org/10.1080/21504857.2015.1060623.

Poolsawat, S. S., und C. A. Huerta. „Acetaminophen: Abortifacient and embryocidal action“. Proceedings, annual meeting, Electron Microscopy Society of America 44 (August 1986): 130–31. http://dx.doi.org/10.1017/s0424820100142293.

Graham, A. J. „The Woman at the Window: Observations on the ‘Stele from the Harbour’ of Thasos“. Journal of Hellenic Studies 118 (November 1998): 22–40. http://dx.doi.org/10.2307/632229.

Sommer, Carol. „I think I’m happy, she thought, but am I real?“ Journal of Writing in Creative Practice 13, Nr. 1 (01.01.2020): 111–16. http://dx.doi.org/10.1386/jwcp.13.1.111_3.

Krivulskaya, Suzanna. „The Itinerant Passions of Protestant Pastors: Ministerial Elopement Scandals in the Gilded Age and Progressive Era Press“. Journal of the Gilded Age and Progressive Era 19, Nr. 1 (16.12.2019): 77–95. http://dx.doi.org/10.1017/s1537781419000458.

Phillips, John. „The Repressed Feminine: Nathalie Sarraute's Elle est là“. Theatre Research International 23, Nr. 3 (1998): 275–82. http://dx.doi.org/10.1017/s0307883300020058.

Kimber, Marian Wilson. „Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England“. Nineteenth-Century Music Review 4, Nr. 1 (Juni 2007): 53–79. http://dx.doi.org/10.1017/s1479409800000069.

Budirska, Alzbeta. „"This Is a Forced Feminist Agenda" : IMDb users and their understanding of feminism negotiated in the reviews of superheroine films“. Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104302.

ill, Raymond Larry, Hrsg. Rachel Carson: The wonder of nature. Frederick, Md: Twenty-first Century Books, 1992.

West, Alexandra. Wonder Woman 1984: Meet Wonder Woman. HarperCollins Publishers Limited, 2020.

Glass, Calliope. Wonder Woman 1984: The Junior Novel. HarperCollins Publishers Limited, 2020.

Glass, Calliope. Wonder Woman 1984: The Junior Novel. HarperCollins Publishers, 2020.

Carzon, Walter, und Alexandra West. Wonder Woman 1984: Destined for Greatness. HarperCollins Publishers Limited, 2020.

West, Alexandra. Wonder Woman 1984 : Truth, Love and Wonder: Inspirational Quotes and Stories from Wonder Woman. HarperCollins Publishers, 2020.

West, Alexandra. Wonder Woman 1984 : Truth, Love and Wonder: Inspirational Quotes and Stories from Wonder Woman. HarperCollins Publishers, 2020.

Editions, Insight. DC Comics: Wonder Woman 1984 Spiral Notebook. Insight Editions, 2020.

Glass, Calliope. Wonder Woman 1984: The Deluxe Junior Novel. HarperCollins Publishers Limited, 2020.

Bailey, Eleanor. Composition Notebook: Wonder Woman 1984 Wonder Woman, Journal 6 X 9, 100 Page Blank Lined Paperback Journal/Notebook. Independently Published, 2020.

Ormrod, Joan. „Body Issues in Wonder Woman 90–100 (1994–1995): Good Girls, Bad Girls, Macho Men“. In The Woman Fantastic in Contemporary American Media Culture. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496808714.003.0010.

Bramadat, Paul A. „The Role of Women“. In The Church on the World's Turf. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195134995.003.0008.

Brown, Jeannette. „From Academia to Board Room and Science Policy“. In African American Women Chemists. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199742882.003.0010.

„conventions of feminine behaviour are felt with the intensity of some sort of trauma. In other words, there’s a memory of something you haven’t experienced directly… LT: Being a woman is a memory I haven’t had. It’s a cultural memory. It’s extremely interesting that you pick this up because I think the way in which we’re constructed as men and women is pretty violent. It’s active, it’s constant…. I remember reading about one of the early transsexuals who would say that it was very hard work being a girl, making sure that he did all of the right things… PN: The idea that a gendered identity takes work connects with some of the things Judith Butler has been writing about recently. She talks, for example, of gender as something ‘tenuously constituted in time’ through ‘a stylized repetition of acts’. LT: Absolutely. I wonder if she also read people like Garfinkel, Sacks, and Goffman. Because that was their point, that this wasn’t something simple, that doing gender was hard work. PN: Perhaps this is where we get some sort of connection between gender and being haunted by memories which come from somewhere else? I mean it’s your mother being feminine that you remember. Similarly, in The Madame Realism Complex, ‘Paige suffers mainly from reminiscences’, a phrase which refers us directly to Freud on hysteria. How did this psychoanalytic theme develop in your thinking? LT: I came to Freud because a number of people in my extended family were being analysed in the fifties. Later, when I went to college in the mid-sixties I saw a psychotherapist who was a Freudian, not an analyst but who was taught by Freudians. I think my first way in was through practice, and then I began reading some Freud and arguing with my male psychotherapist about penis envy. Reading Juliet Mitchell’s Psychoanalysis and Feminism was extremely important for me. And then there was film theory—Laura Mulvey, Peter Wollen, and others. PN: May I ask, in parenthesis, how you came upon the Madame Realism persona? Why ‘Realism’? LT: She’s not a persona. In 1983, I got a phone call from somebody asking me to contribute to a Surrealist magazine. I thought that that was idiotic, I thought people going around thinking they’re Surrealists is crazy. Then I began thinking about Meret Oppenheim whom I’d interviewed in Paris in ’73, then in New York in ’78. I thought about how she had talked about being only twenty-one when she made the Fur Tea-Cup and Saucer, and how Max Ernst was her lover and she left him because she didn’t want to be influenced by him. There was the problem of young women in the“. In Textual Practice, 54. Routledge, 2005. http://dx.doi.org/10.4324/9780203986219-20.

„large audience” (Goldstein 1983: 26); and “Here was an Australian with a wry sense of humor and gruff charm [this was post-Crocodile Dundee], equally alluring to men and women” (Brown 1987: 33). In other words, Robert Scorpio is conveniently – if not tokenistically – played by an Australian. The limits of tolerance of the non-American for the world of network soap are instanced in General Hospital’s casting criteria for an (American) actor to play Robert Scorpio’s long-lost brother, Malcolm. The actor, John J. York, is quoted in the ABC house journal, Episodes, saying: “They didn’t want a strong dialect [sic] . . . . They didn’t want a Paul Hogan type, because that accent is too strong. They were saying ‘just a hint’” (Kump 1991: 29). The Australian is more “exotic” than Peter Pinne may have wished: too exotic. Just the accent, though, if muted, can have an appealing otherness. The second index of the acceptability of the non-American, again Australian, has yet to be tested on the American market place. Called Paradise Beach, it is not a ready-made Australian soap seeking overseas sales, but a co-production between the Australian-based Village Roadshow, Australia’s Channel 9, and the American New World Entertainment, which has secured pre-sales to the CBS network at 7:30 p.m. week-nights (beginning June 14, 1993) and Britain’s Sky Channel as well as in nine other territories worldwide (Gill 1993; Chester 1993; Shohet 1993). As an Australian-based soap directed primarily at a teen audience, it recalls Neighbours and Home and Away. As a youth drama serial set in a beach tourism center, it recalls Baywatch and summer holiday editions of Beverly Hills 90210. And like Melrose Place and the Australian E Street, each episode includes what one report breathily calls “an MTV moment . . . a two-minute montage of sleek shots of beautiful bodies and plenty of sun, surf and sand set to the latest pop music hit” (Shohet 1993: 5). Set in and around Surfers Paradise on Queensland’s Gold Coast, it recalls, for Australian viewers, the 1983 film, Coolangatta Gold, which celebrates Australian beach culture (see Crofts 1990). It is noteworthy indeed that most of the performers are recuited from a model agency, not an actor’s agency. An American actor, Matt Lattanzi, plays an American photographer, and Australian actor, Tiffany Lamb, sports an American accent. There is a concern, understandable in a program sold overseas, to make Australian colloquialisms comprehensible (Gill 1993: 2). In terms of physical geography, the locations are Australian; in terms of cultural geography, Queensland’s Gold Coast is substantially indistinguishable from much of Florida and parts of California and Hawaii. The era of the co-production re-poses the question of the degree of acceptability of non-American material in the American market-place by begging the question of the distinguishability of the two. But given the unequal cultural exchange long obtaining between Australia and the US, with shows like Mission: Impossible being filmed in Australia to take advantage of cheap labor; given the tight money of Paradise Beach’s shooting schedule of 2.5 hours of soap per week; and given New World’s Head’s, James McNamara, ignorance of Australian soaps (“Paradise Beach is the first soap to be skewed at a teen audience” (quoted by Gill 1993: 2)), one might wonder which party is defining the“. In To Be Continued..., 123. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-25.