Relevant bibliographies by topics / Wonder Woman 1984

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

Academic literature on the topic 'Wonder Woman 1984'

Author: Grafiati
Published: 24 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Wonder Woman 1984"

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Molur, Sanjay. "Wildlife’s Wonder Woman—Sally Raulston Walker (12 October 1944–22 August 2019)." Journal of Threatened Taxa 11, no. 10 (August 26, 2019): 14247–48. http://dx.doi.org/10.11609/jott.5360.11.10.14247-14248.

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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, no. 1 (2015): 187–92. http://dx.doi.org/10.1353/cj.2015.0074.

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Ormrod, Joan. "Wonder Woman 1987–1990: the Goddess, the Iron Maiden and the sacralisation of consumerism." Journal of Graphic Novels and Comics 9, no. 6 (November 2, 2018): 540–54. http://dx.doi.org/10.1080/21504857.2018.1540135.

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Patton, Brian. "Wonder Woman: bondage and feminism in the Marston/Peter comics, 1941–1948, by Noah Berlatsky." Journal of Graphic Novels and Comics 7, no. 2 (July 3, 2015): 223–24. http://dx.doi.org/10.1080/21504857.2015.1060623.

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Poolsawat, S. S., and 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.

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Introduction. Chemical toxicity in the U.S. affects approximately 40% of the nation's 80 million workers who are exposed to toxic chemicals on a full or part-time bases. In 1980, about 40% of this workforce was comprised of women of childbearing ages. Considering such figure of a large number of women exposed to chemical toxins, it is a wonder that we have not had an epidemic of birth defects and organ abnormalities. A study has pointed that about 40% to 50% of all conceptions are eliminated before week 20 of gestation by way of a safety mechanism which helps to reduce the number of birth defects Acetaminophen, considered the safest of all over-the-counter analgesics, has been reported to induce fatal liver necrosis in man and animals.
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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.

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The stele from the harbour (‘la stèle du port’) of Thasos, SEG xlii.785, has been so named because it was dredged up from the small fishing harbour on 13 June, 1984. The inscription is of the greatest importance for Thasian epigraphy and dialect as well as for its contents, and has been amply published by H. Duchêne. While the stele of Thasian marble is preserved complete, the inscribed surface has suffered much from the effects of its immersion in the sea. The lower part is well preserved, and from line 42 to the end (49) there is no problem in reading the letters on the stone. Above that, it is a very different matter; some parts seem irretrievably lost, and much of the preserved lettering consists of faint traces only. My own examination of the stone confirmed that we can have complete confidence in Duchêne's facsimile. He and those who helped him have achieved wonders of skilful decipherment on this difficult text. Unless fancy new technology may one day offer better ways of recovering the letters on the stone, it seems unlikely that the readings published by Duchêne could be improved.
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Sommer, Carol. "I think I’m happy, she thought, but am I real?" Journal of Writing in Creative Practice 13, no. 1 (January 1, 2020): 111–16. http://dx.doi.org/10.1386/jwcp.13.1.111_3.

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I am interested in the possibilities of redressing the absence of feminine subjectivity in the discourses surrounding Iris Murdoch’s philosophical and fictional writing. @cartography_for_girls is an Instagram account set up to share some of the expressions of feminine subjectivity sourced from within Murdoch’s 26 novels, originally published between 1954 and 1995. Murdoch’s incorporation of her particular metaphysical thinking into the reflections, deliberations and doubts of her fictional women characters made me wonder how these philosophically loaded impressions might fare on the affect- and information-driven social networking platform Instagram. ‘I think I’m happy, she thought, but am I real?’, for example, is an interior thought that resonates in ways more than metaphysical against the backdrop of Web 2.0, and is one of 100 posts shared daily from 21 October 2017 to 23 January 2018.
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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, no. 1 (December 16, 2019): 77–95. http://dx.doi.org/10.1017/s1537781419000458.

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AbstractBetween 1870 and 1914, at least 266 Protestant ministers abandoned their posts, left their homes and families, and eloped with women who were not their wives. As critics of religion used these elopement scandals to discredit American Protestantism, those sympathetic to religion's hold on American morality attempted to dissuade the press from indulging in the sensational. Though initially hesitant to report on Protestant pastors' immoralities in this period, the press eventually came to an almost universal acceptance of scandal as a legitimate journalistic genre. As the public wondered what the proliferation of sex scandals among the Protestant elites might mean for religion in America, the press used the genre of ministerial elopement as an entrée into larger cultural debates about religion, marriage, and romantic love in the Gilded Age and Progressive Era.
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Phillips, John. "The Repressed Feminine: Nathalie Sarraute's Elle est là." Theatre Research International 23, no. 3 (1998): 275–82. http://dx.doi.org/10.1017/s0307883300020058.

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Nathalie Sarraute has written six plays over a period of some fifteen years (1967–82). Her latest play, Pour un oui ou pour un non, was first performed in 1982. Given their relative success, however, one is forced to wonder why she has not continued to write for the theatre (though, since 1982, she has published four major works of narrative, Enfance, Tu ne t'aimes pas, Ici and Ouvrez). When I put this question to Nathalie Sarraute in October 1996, at the Institut Français in London, she replied that she had ‘found more amusing things to do’. Her failure to answer the question directly perhaps suggests an unawareness of the real answer, at least at conscious levels. The theatre, an inescapably physical medium, which requires the bodily presence of men and women as gendered beings, was, in fact, never really suited to a writer who continually takes refuge from the physical and even the sexual, hi words. It seems plausible, then, to conjecture that Sarraute gave up writing for the theatre, because her radio plays had, by reason of their success, been translated onto the stage, and the author did not know how to deal with a medium that privileged the physical as opposed to the emotional and psychological dimensions of human relationships which had been her territory since Tropismes. The frequently impersonal voices of her fiction work well on radio, but less so on a live stage, upon which the actors are physically as well as audibly present: ‘Le person-nage de théâtre’, says Alain Robbe-Grillet, ‘est en scène, c'est sa première qualité: il est là.’ In Sarraute's theatre, however, this physical presence is no more than a kind of contingency, wholly superfluous to the action. The characters find themselves together for no particular reason and they hardly ever interact physically. The very lack of stage directions, which the author justifies on the grounds of textual purity, is itself indicative of an absence of movement, the main signifier of physical presence. Textual purity depends for Sarraute on words alone.
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Kimber, Marian Wilson. "Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England." Nineteenth-Century Music Review 4, no. 1 (June 2007): 53–79. http://dx.doi.org/10.1017/s1479409800000069.

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In art, literature, theatre and music, Victorians demonstrated increased interest in the supernatural and nostalgia for a lost mythic time, a response to rapid technological change and increased urbanization. Romanticism generated a new regard for Shakespeare, also fuelled by British nationalism. The immortal bard's plays began to receive theatrical performances that more accurately presented their original texts, partially remedying the mutilations of the previous century. The so-called ‘fairy’ plays, A Midsummer Night's Dream and The Tempest, were also popular subjects for fairy paintings, stemming from the establishment of the Boydell Shakespeare Gallery in 1789. In such a context, it is no wonder that Felix Mendelssohn's incidental music for A Midsummer Night's Dream was so overwhelmingly popular in England and that his style became closely associated with the idea of fairies. This article explores how the Victorians’ understanding of fairies and how the depiction of fairies in the theatre and visual arts of the period influenced the reception of Mendelssohn's music, contributing to its construction as ‘feminine’. Victorian fairies, from the nude supernatural creatures cavorting in fairy paintings to the diaphanously gowned dancers treading lightly on the boards of the stage, were typically women. In his study of Chopin reception, Jeffrey Kallberg has interpreted fairies as androgynous, but Victorian fairies were predominantly female, so much so that Lewis Spence's 1948 study, The Fairy Tradition in Britain, includes an entire section on fairy gender intended to refute the long-standing notion that there were no male fairies. Thus, for Mendelssohn to have composed the leading musical work that depicted fairies contributed to his increasingly feminized reputation over the course of the nineteenth century.
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Dissertations / Theses on the topic "Wonder Woman 1984"

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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.

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The thesis examines how users of the Internet Movie Database (IMDb) negotiate feminism in their reviews of four superheroine films – Wonder Woman, Captain Marvel, Birds of Prey: The Fantabulous Emancipation of One Harley Quinn, and Wonder Woman 1984. By combining critical discourse analysis with methods of corpus linguists, this corpus-based study of over 18,000 reviews analyses the frequency of the topic of feminism in the reviews, words and topics associated with it and the way the reviewers reflect broader mediated discourse over the four films, and the role of IMDb as a space for these reviews. The findings show that feminism is still understood as an anti-male movement where female-led films are shielded from criticism by the mainstream media by the virtue of the lead’s gender, the superheroines are criticised for being overpowered particularly where they have no equal male supporting character and that perceived feminist messaging is usually written off as a forced political agenda or as an insincere cash grab made by corporates which effectively use feminism for promotion. It also reveals IMDb as a highly polarised platform where the users leaving 1- and 10-star reviews are generalized as representatives of different sides of the political spectrum (antifeminist vs feminist, conservative vs liberal) regardless of the actual content of the review.
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Books on the topic "Wonder Woman 1984"

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

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

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

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

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

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

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

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

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

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

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Book chapters on the topic "Wonder Woman 1984"

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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.

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Joan Ormrod begins the section with “Body Issues in Wonder Woman 90-100 (1994-1995): Good Girls, Bad Girls, Macho Men.” In an era that saw the emergence of violent, silicone-breasted, wasp-waisted bad girls, D.C.’s Wonder Woman’s sales dropped. In response, Diana/Wonder Woman was reconceptualized to fit the new mold. Study of this shift to elongated, muscular bodies in fetishized clothing and soft-core porn poses, argues Ormrod, is productively achieved through application and critique of Laura Mulvey’s concept of the male gaze. Then, positing an alternative model based on Turner’s notion of the “somatic society,” Ormrod reads the superhuman body as a metaphor for the body within wider culture, offering a historically contextualized commentary on women’s changing place in society in the 1990s.
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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.

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Whenever I describe the IVCF to non-Christian academic peers, they almost invariably express their astonishment at the fact that at virtually every IVCF event I attend, approximately 70% of the participants are women. Perhaps this level of involvement is not unusual in the world of contemporary Protestantism; after all, in many of the churches IVCF members attend every Sunday, women outnumber men. However, the proportion of women to men is not as high in evangelical churches as it is in the IVCF (Bibby 1987:102; Rawlyk 1996:143). As well, women’s roles are usually much more tightly controlled in many if not most evangelical churches than they are in the IVCF. In fact, IVCF participants who attend churches in the Fellowship Baptist, Christian Reformed, and Brethren traditions may never see a woman in the pulpit, or, if women are allowed to speak at the front of the church, they are not usually permitted to become senior pastors or interpret the Bible. At the IVCF functions I have attended, however, women are in no way restricted in their abilities to lead worship, deliver sermons, organize events, or perform any of the myriad tasks involved in maintaining the group. In fact, the chapter’s paid staff worker is a woman, and she tries to ensure that the position of president alternates between a male and a female student every other year. I began to wonder how to make sense of the high level of female participation at every McMaster IVCF event I attended, especially in light of the fact that the scholarly literature on evangelicalism in North America often depicts the tradition as inimical or opposed to the egalitarian or feminist values that are so prevalent at universities. During my research, I found that many, but not all, of the evangelical women I interviewed maintain nonegalitarian views on the role of women. In other words, the common academic depiction of the place of women in evangelicalism seems to be confirmed by my experience, even though I hope to nuance this portrayal somewhat.
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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.

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Reatha Clark King is a woman who began life in rural Georgia and rose to become a chemist, a college president, and vice president of a major corporate foundation. Reatha Belle Clark was born in Pavo, Georgia, on April 11, 1938, the second of three daughters born to Willie and Ola Watts Clark Campbell. Her mother Ola had a third grade education and her father Willie was illiterate. Her families were sharecroppers in Pavo. Her mother and grandmother raised her in Moultrie, Georgia, after her parents separated when she was young. She and her sisters worked long hours in the cotton and tobacco field during the summer to raise money. She could pick 200 pounds of cotton a day and earn $6.00, which was more than her mother’s salary as a maid. 1 In the 1940s in the rural segregated South, the only career aspirations for young black girls were to become a hairdresser, a teacher, or a nurse. Reatha started school at the age of four in the one-room schoolhouse at Mt. Zion Baptist Church. Still more than a decade before Brown v. Board of Education , Reatha’s schools were segregated. The teacher, Miss Florence Frazier, became Reatha’s first role model. Reatha said, “I never wondered if I could succeed in a subject. It was only a question of whether I wanted to study the subject.” She later attended the segregated Moutrie High School for Negro Youth. Despite missing much school to attend to fieldwork, Reatha maintained her studies. She graduated in 1954 as the valedictorian of her class. Reatha received a scholarship to enter Clark College in September 1954, originally planning to major in home economics and teach in her local high school. These plans changed after her first chemistry course with Alfred Spriggs, the chemistry professor. He encouraged her to major in chemistry and go to graduate school. She found that chemistry was the perfect major for her. She says, “Both the subject matter and methodology were interesting and challenging; the laboratory and lecture sessions were exciting; and my fellow students in chemistry were both serious students and fun to work with.”
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"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.

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"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.

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