Littérature scientifique sur le sujet « Post-heroic Age »
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Articles de revues sur le sujet "Post-heroic Age"
Samet, Elizabeth D. « Teaching Poetry to Soldiers in a Post-Heroic Age ». Armed Forces & ; Society 29, no 1 (octobre 2002) : 109–27. http://dx.doi.org/10.1177/0095327x0202900106.
Texte intégralJenkins, Eva L., Jasmina Ilicic, Annika Molenaar, Shinyi Chin et Tracy A. McCaffrey. « Strategies to Improve Health Communication : Can Health Professionals Be Heroes ? » Nutrients 12, no 6 (22 juin 2020) : 1861. http://dx.doi.org/10.3390/nu12061861.
Texte intégralMehring, Reinhard. « „Neue Normalität“ ». Politisches Denken. Jahrbuch 30, no 1 (1 janvier 2020) : 141–59. http://dx.doi.org/10.3790/jpd.30.1.141.
Texte intégralDavis, Bruce W. « Focussing an Antarctic research programme : the Australian experience ». Polar Record 28, no 164 (janvier 1992) : 51–56. http://dx.doi.org/10.1017/s0032247400020271.
Texte intégralHammer, Yvonne. « A Parable for our Times : Activism and Terrorism in Anne Fine's Survival Quest, The Road of Bones ». International Research in Children's Literature 4, no 2 (décembre 2011) : 208–22. http://dx.doi.org/10.3366/ircl.2011.0027.
Texte intégralBarbara, Diamond Goldin. « Midrash in Jewish Children's Literature ». Judaica Librarianship 9, no 1 (31 décembre 1995) : 110–12. http://dx.doi.org/10.14263/2330-2976.1190.
Texte intégralYenen, Alp. « The Talat-Tehlirian Complex : Contentious Narratives of Martyrdom and Revenge in Post-Conflict Societies ». Comparative Studies in Society and History 64, no 2 (28 février 2022) : 394–421. http://dx.doi.org/10.1017/s0010417522000019.
Texte intégralPradini, Indira, Dudung Angkasa, Idrus Jusat, Lintang Purwara Dewanti et Yulia Wahyuni. « Pemberian Buku Cerita Bergambar Bertema "Superhero" dapat Meningkatkan Pengetahuan Sayur dan Buah Siswa Sekolah Dasar ». Jurnal Gizi 10, no 1 (3 juin 2021) : 23. http://dx.doi.org/10.26714/jg.10.1.2021.23-30.
Texte intégralLadegaard, Jakob. « Tilbage til kosmos. Den sovjetiske rumfartsmytologi i litteratur, film og kunst efter kommunismens fald ». K&K - Kultur og Klasse 40, no 114 (20 décembre 2012) : 93–108. http://dx.doi.org/10.7146/kok.v40i114.15705.
Texte intégralLukhovitskiy, Lev V. « Imaginary World of Post-Byzantine Chronicle-Writing (The Case of the Ekthesis Chronica from the First Half of the Sixteenth Century) ». Античная древность и средние века 48 (2020) : 172–88. http://dx.doi.org/10.15826/adsv.2020.48.011.
Texte intégralThèses sur le sujet "Post-heroic Age"
Haddelsey, Stephen. « The 'heroic' and 'post-heroic' ages of British Antarctic exploration : a consideration of differences and continuity ». Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53412/.
Texte intégralMarco, Favaro. « La Maschera dell’Antieroe. Evoluzione della Mitologia e della Filosofia del Supereroe in Fumetti e Graphic Novel, dalla Dark Age a Oggi ». Doctoral thesis, 2021. http://hdl.handle.net/11562/1043823.
Texte intégralThe project “The Mask of the Antihero. Evolution of the Mythology and Philosophy of the Superhero in Comics and Graphic Novels, from the Dark Age to the Present” aims to analyse and explore philosophical aspects inside the superheroes’ narrative, by considering comics and graphic novels, without neglecting the most recent manifestations of the phenomena like film and series. The objective is to define the structures of the superhero’s genre and the implicit philosophical concepts. The method is not to consider a specific author to analyse the superhero figure, but rather to start from comics and graphic novels themselves and gradually reveal their philosophy. Thus, as it is evident from the bibliography, it was necessary to consider various authors. In this work, the superhero’s narrative is considered a Stendhalian “mirror” of the western world and society. The genre starts with Superman, who appears for the first time on Action Comics #1 in 1938. The “superhero” did not remain unchanged since the so-called Golden Age, but he evolved together with the society in which he was born. The first two Ages of superheroes’ history (Golden and Silver Age) are taken into account, but the exam starts with the Dark Age (early 1980s). The Dark Age’s transformation is today still considered the biggest (sometimes even the last) revolution of the genre, which defines the superhero as he is today. The Dark Age’s revolution is directly linked with a profound crisis of US-society during the 1960s and 1970s. This crisis affected the superhero’s world and forced a deconstruction of the superhero figure. The “Good” the superhero embodied is questioned, and new antiheroes arise and dominate these years. Graphic novels like Alan Moore’s Watchmen and Frank Miller’s The Dark Knight Returns are emblematic milestones of this Age. It is observed that Dark Age’s characteristic aspects have reappeared, mutatis mutandis, today: after a transitional period in the 1990s, the figure of the superhero and the hero is again controversial and sometimes ambiguous, while antiheroes are increasingly successful. For these and other reasons, the contemporary Age is designated with the term Post-heroic Age. The thesis is divided into four main sections. The first concerns the superhero, and it considers the basic structures and concepts of superhero’s narrative. The key to understanding the superhero’s figure is its dualism and its relationship with the mask. The mask is intended as an idol and double identity; it is the genre’s clearest marker. Superheroes do not just “hide” behind a mask: they assume a whole new identity linked to a symbol and a different Weltanschauung. The double identity defines superhero’s relation with society and thanks to it the character can remain in a liminal state, in a balance between the human world, the society he protects, and the “super”, inhuman one, the world of the mask. The relation with the mask shows the contradictions and the aporias, which the superhero figure implies, especially in connection with law and morality. The superhero fights to defend the status quo, Justice and “Good”, but his mission requires that he acts outside the law. He is – and must be – a criminal. Only thanks to his liminal state he can operate despite this critical contradiction. If the superhero loses this state, he could become an antihero or even a villain. The works of Friedrich Nietzsche and Jean-Paul Sartre are fundamental to define the concept of “mask”. Another significant element examined is the superhero’s relationship with violence, analysed mainly through René Girard’s work. What are the methods used by the hero, and what do they involve? How far can the superhero go to defend the “Good”? Furthermore, what exactly is this “Good”? These questions guide this point of the analysis. The second section is regarding the villain. The relation between hero and villain is crucial, and the two figures prove to be less different as they seem at the beginning. There are different villain types: this distinction is methodologically useful for examining aspects revealed by a particular villain category. For example, the Doppelgänger and the Archenemy studies help define the relationship between superhero and supervillain. The other villain types are the Monster, the Enemy Commander, the Common Super-Criminal, and the Heroic Villain. The Monster (also in a moral sense) is the basis of the analysis regarding the villain. The Monster is also a crucial figure to study the inhuman dimension connected to the mask and, consequently, to the superhero. The third section is the “heart” of this work, and it is focused on the antihero. This figure proved to be central to comprehend and define the superhero today. The following questions do not have an easy answer: “Why do we define a character an antihero? Why a villain or a superhero?” Key elements to define an antihero are his mask, the relationship with his society, and the moral conflict he usually causes. The antiheroic figures defined as “Rebels” and “Revolutionaries” are fundamental for understanding what an antihero is: they are characters such as V (V for Vendetta), Rorschach (Watchmen) or The Punisher (Marvel universe). From a philosophical point of view, Albert Camus’ The Myth of Sisyphus and The Rebel and the Nietzschean Übermensch are crucial at this point of the analysis. Other types of antiheroes taken into consideration are the “Parodies” (such as Deadpool or the Italian Rat-Man), the “Non-heroes”, (characters who reject the role of hero and the mask, like many mutants of the Marvel universe or Jessica Jones) and finally the antiheroines. The chapter about the antiheroines opens the last section, which considers the superheroine and the superwoman in general. It is necessary to consider superwomen separately because they present important peculiarity compared to supermen, and they had a different evolution. The superheroes’ universe was, and in part still is, male-dominated and sometimes even sexist. The issues concerning the sexism present in superhero fiction and the stereotypes related to women often forced to assume the stereotypical roles of the victim, girlfriend, or femme fatale, are described and deepened. A fundamental aspect revealed is the link that female figures have with antiheroes, as characters of rupture and criticism of a predominantly male universe. Superwoman’s analysis also provides an opportunity to retrace the ages of superhero comics and the issues addressed in the course of the work to show the similarities and differences in heroines and villainesses’ specific case. In particular, the body’s theme is studied, concerning both superwomen and superheroes. This theme closes the work by reconnecting directly with that of the mask.
marco, favaro. « La Maschera dell'Antieroe. Evoluzione della Mitologia e della Filosofia del Supereroe in Fumetti e Graphic Novel, dalla Dark Age a Oggi ». Doctoral thesis, 2021. http://hdl.handle.net/11562/1043825.
Texte intégralThe project “The Mask of the Antihero. Evolution of the Mythology and Philosophy of the Superhero in Comics and Graphic Novels, from the Dark Age to the Present” aims to analyse and explore philosophical aspects inside the superheroes’ narrative, by considering comics and graphic novels, without neglecting the most recent manifestations of the phenomena like film and series. The objective is to define the structures of the superhero’s genre and the implicit philosophical concepts. The method is not to consider a specific author to analyse the superhero figure, but rather to start from comics and graphic novels themselves and gradually reveal their philosophy. Thus, as it is evident from the bibliography, it was necessary to consider various authors. In this work, the superhero’s narrative is considered a Stendhalian “mirror” of the western world and society. The genre starts with Superman, who appears for the first time on Action Comics #1 in 1938. The “superhero” did not remain unchanged since the so-called Golden Age, but he evolved together with the society in which he was born. The first two Ages of superheroes’ history (Golden and Silver Age) are taken into account, but the exam starts with the Dark Age (early 1980s). The Dark Age’s transformation is today still considered the biggest (sometimes even the last) revolution of the genre, which defines the superhero as he is today. The Dark Age’s revolution is directly linked with a profound crisis of US-society during the 1960s and 1970s. This crisis affected the superhero’s world and forced a deconstruction of the superhero figure. The “Good” the superhero embodied is questioned, and new antiheroes arise and dominate these years. Graphic novels like Alan Moore’s Watchmen and Frank Miller’s The Dark Knight Returns are emblematic milestones of this Age. It is observed that Dark Age’s characteristic aspects have reappeared, mutatis mutandis, today: after a transitional period in the 1990s, the figure of the superhero and the hero is again controversial and sometimes ambiguous, while antiheroes are increasingly successful. For these and other reasons, the contemporary Age is designated with the term Post-heroic Age. The thesis is divided into four main sections. The first concerns the superhero, and it considers the basic structures and concepts of superhero’s narrative. The key to understanding the superhero’s figure is its dualism and its relationship with the mask. The mask is intended as an idol and double identity; it is the genre’s clearest marker. Superheroes do not just “hide” behind a mask: they assume a whole new identity linked to a symbol and a different Weltanschauung. The double identity defines superhero’s relation with society and thanks to it the character can remain in a liminal state, in a balance between the human world, the society he protects, and the “super”, inhuman one, the world of the mask. The second section is regarding the villain. The relation between hero and villain is crucial, and the two figures prove to be less different as they seem at the beginning. There are different villain types: this distinction is methodologically useful for examining aspects revealed by a particular villain category. For example, the Doppelgänger and the Archenemy studies help define the relationship between superhero and supervillain. The other villain types are the Monster, the Enemy Commander, the Common Super-Criminal, and the Heroic Villain. The third section is the “heart” of this work, and it is focused on the antihero. This figure proved to be central to comprehend and define the superhero today. The following questions do not have an easy answer: “Why do we define a character an antihero? Why a villain or a superhero?” Key elements to define an antihero are his mask, the relationship with his society, and the moral conflict he usually causes. The antiheroic figures defined as “Rebels” and “Revolutionaries” are fundamental for understanding what an antihero is: they are characters such as V (V for Vendetta), Rorschach (Watchmen) or The Punisher (Marvel universe). From a philosophical point of view, Albert Camus’ The Myth of Sisyphus and The Rebel and the Nietzschean Übermensch are crucial at this point of the analysis. The chapter about the antiheroines opens the last section, which considers the superheroine and the superwoman in general. It is necessary to consider superwomen separately because they present important peculiarity compared to supermen, and they had a different evolution.
Livres sur le sujet "Post-heroic Age"
Hasian, Marouf. Drone Warfare and Lawfare in a Post-Heroic Age. University Alabama Press, 2016.
Trouver le texte intégralHasian, Marouf. Drone Warfare and Lawfare in a Post-Heroic Age. University of Alabama Press, 2016.
Trouver le texte intégralPost-Heroic Presidency : Leveraged Leadership in an Age of Limits, 2nd Edition. ABC-CLIO, LLC, 2016.
Trouver le texte intégralEnemark, Christian. Armed Drones and the Ethics of War : Military Virtue in a Post-Heroic Age. Taylor & Francis Group, 2013.
Trouver le texte intégralEnemark, Christian. Armed Drones and the Ethics of War : Military Virtue in a Post-Heroic Age. Routledge, 2015.
Trouver le texte intégralEnemark, Christian. Armed Drones and the Ethics of War : Military Virtue in a Post-Heroic Age. Taylor & Francis Group, 2013.
Trouver le texte intégralEnemark, Christian. Armed Drones and the Ethics of War : Military Virtue in a Post-Heroic Age. Taylor & Francis Group, 2013.
Trouver le texte intégralArmed Drones and the Ethics of War : Military Virtue in a Post-Heroic Age. Routledge, 2013.
Trouver le texte intégralEnemark, Christian. Armed Drones and the Ethics of War : Military Virtue in a Post-Heroic Age. Taylor & Francis Group, 2013.
Trouver le texte intégralGenovese, Michael A., et Todd L. Belt. Post-Heroic Presidency : Leveraged Leadership in an Age of Limits, 2nd Edition : Leveraged Leadership in an Age of Limits. ABC-CLIO, LLC, 2016.
Trouver le texte intégralChapitres de livres sur le sujet "Post-heroic Age"
Nagy, Gregory. « A ritualised rethinking of what it meant to be “European” post-heroic age for ancient Greeks of the post-heroic age ». Dans Thinking the Greeks, 173–87. Abingdon, Oxon : Routledge, 2018. | Series : Routledge monographs in classical studies : Routledge, 2018. http://dx.doi.org/10.4324/9781315616711-13.
Texte intégralBozzo, Luciano. « La guerra pensata : narrazioni, teoria, prassi ». Dans Studi e saggi, 69–79. Florence : Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-595-0.06.
Texte intégral« Chapter Six. Antiheroes in a Post-heroic Age : Sergei Dovlatov, Vladimir Makanin, and Cold War Malaise ». Dans Chapaev and his Comrades, 174–204. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618116932-008.
Texte intégralPeriyan, Natasha. « Pacifism, Fascism and the Crisis of Civilization ». Dans British Women's Writing, 1930 to 1960, 37–52. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621822.003.0003.
Texte intégralKorte, Barbara. « Naval heroism in the mid-Victorian family magazine ». Dans A new naval history, 175–92. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526113801.003.0009.
Texte intégralMortimer, Claire. « ‘It ain’t natural her not having a husband’ : Spinsters and the Post-war Settlement ». Dans Spinsters, Widows and Chars, 53–77. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474452823.003.0003.
Texte intégralRedfield, Marc. « “S(ch)ibboleth” ». Dans Shibboleth, 69–85. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289066.003.0006.
Texte intégralKaminer, Jenny. « The Ghost of Adolescence Past ». Dans Haunted Dreams, 26–46. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501762192.003.0002.
Texte intégralMoore, Helen. « The Homer of Romancy-Writers ». Dans Amadis in English, 177–212. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0005.
Texte intégralJasper, James M., Michael P. Young et Elke Zuern. « Beyond Characters ? » Dans Public Characters, 232–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190050047.003.0011.
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