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This book addresses how our revisionary practices account for
relations between texts and how they are read. It offers an
overarching philosophy of revision concerning works of fiction,
fact, and faith, revealing unexpected insights about the philosophy
of language, the metaphysics of fact and fiction, and the history
and philosophy of science and religion. Using the novels of J.R.R.
Tolkien as exemplars, the authors introduce a fundamental
distinction between the purely physical and the linguistic aspects
of texts. They then demonstrate how two competing theories of
reference-descriptivism and referentialism-are instead constitutive
of a single semantic account needed to explain all kinds of
revision. The authors also propose their own metaphysical
foundations of fiction and fact. The next part of the book brings
the authors' philosophy of revision into dialogue with Thomas
Kuhn's famous analysis of factual, and specifically scientific,
change. It also discusses a complex episode in the history of
paleontology, demonstrating how scientific and popular texts can
diverge over time. Finally, the authors expand their philosophy of
revision to religious texts, arguing that, rather than being
distinct, such texts are always read as other kinds, that faith
tends to be more important as evidence for religious texts than for
others, and that the latter explains why religious communities tend
to have remarkable historical longevity. Revising Fiction, Fact,
and Faith offers a unique and comprehensive account of the
philosophy of revision. It will be of interest to a wide range of
scholars and advanced students working in philosophy of language,
metaphysics, philosophy of literature, literary theory and
criticism, and history and philosophy of science and religion.
This book addresses how our revisionary practices account for
relations between texts and how they are read. It offers an
overarching philosophy of revision concerning works of fiction,
fact, and faith, revealing unexpected insights about the philosophy
of language, the metaphysics of fact and fiction, and the history
and philosophy of science and religion. Using the novels of J.R.R.
Tolkien as exemplars, the authors introduce a fundamental
distinction between the purely physical and the linguistic aspects
of texts. They then demonstrate how two competing theories of
reference-descriptivism and referentialism-are instead constitutive
of a single semantic account needed to explain all kinds of
revision. The authors also propose their own metaphysical
foundations of fiction and fact. The next part of the book brings
the authors' philosophy of revision into dialogue with Thomas
Kuhn's famous analysis of factual, and specifically scientific,
change. It also discusses a complex episode in the history of
paleontology, demonstrating how scientific and popular texts can
diverge over time. Finally, the authors expand their philosophy of
revision to religious texts, arguing that, rather than being
distinct, such texts are always read as other kinds, that faith
tends to be more important as evidence for religious texts than for
others, and that the latter explains why religious communities tend
to have remarkable historical longevity. Revising Fiction, Fact,
and Faith offers a unique and comprehensive account of the
philosophy of revision. It will be of interest to a wide range of
scholars and advanced students working in philosophy of language,
metaphysics, philosophy of literature, literary theory and
criticism, and history and philosophy of science and religion.
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Mixed-Race Superheroes (Paperback)
Sika A. Dagbovie-Mullins, Eric L Berlatsky; Contributions by Eric L Berlatsky, Gregory T. Carter, Chris Gavaler, …
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R1,114
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Discovery Miles 10 000
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American culture has long represented mixed-race identity in
paradoxical terms. On the one hand, it has been associated with
weakness, abnormality, impurity, transgression, shame, and various
pathologies; however, it can also connote genetic superiority,
exceptional beauty, and special potentiality. This ambivalence has
found its way into superhero media, which runs the gamut
from Ant-Man and the Wasp’s tragic mulatta villain Ghost to
the cinematic depiction of Aquaman as a heroic
“half-breed.” The essays in this collection
contend with the multitude of ways that racial mixedness has been
presented in superhero comics, films, television, and literature.
They explore how superhero media positions mixed-race characters
within a genre that has historically privileged racial purity and
propagated images of white supremacy. The book considers such
iconic heroes as Superman, Spider-Man, and The Hulk, alongside such
lesser-studied characters as Valkyrie, Dr. Fate, and Steven
Universe. Examining both literal and symbolic representations of
racial mixing, this study interrogates how we might challenge and
rewrite stereotypical narratives about mixed-race identity, both in
superhero media and beyond.
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Mixed-Race Superheroes (Hardcover)
Sika A. Dagbovie-Mullins, Eric L Berlatsky; Contributions by Eric L Berlatsky, Gregory T. Carter, Chris Gavaler, …
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R1,942
Discovery Miles 19 420
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Ships in 12 - 17 working days
|
American culture has long represented mixed-race identity in
paradoxical terms. On the one hand, it has been associated with
weakness, abnormality, impurity, transgression, shame, and various
pathologies; however, it can also connote genetic superiority,
exceptional beauty, and special potentiality. This ambivalence has
found its way into superhero media, which runs the gamut
from Ant-Man and the Wasp’s tragic mulatta villain Ghost to
the cinematic depiction of Aquaman as a heroic
“half-breed.” The essays in this collection
contend with the multitude of ways that racial mixedness has been
presented in superhero comics, films, television, and literature.
They explore how superhero media positions mixed-race characters
within a genre that has historically privileged racial purity and
propagated images of white supremacy. The book considers such
iconic heroes as Superman, Spider-Man, and The Hulk, alongside such
lesser-studied characters as Valkyrie, Dr. Fate, and Steven
Universe. Examining both literal and symbolic representations of
racial mixing, this study interrogates how we might challenge and
rewrite stereotypical narratives about mixed-race identity, both in
superhero media and beyond.
Some comics fans view the industry’s Golden Age (1930s-1950s) as
a challenging time when it comes to representations of race, an era
when the few Black characters appeared as brutal savages, devious
witch doctors, or unintelligible minstrels. Yet the true portrait
is more complex and reveals that even as caricatures predominated,
some Golden Age comics creators offered more progressive and
nuanced depictions of Black people. Desegregating
Comics assembles a team of leading scholars to explore how
debates about the representation of Blackness shaped both the
production and reception of Golden Age comics. Some essays showcase
rare titles like Negro Romance and consider the formal
innovations introduced by Black comics creators like Matt Baker and
Alvin Hollingsworth, while others examine the treatment of race in
the work of such canonical cartoonists as George Herriman and Will
Eisner. The collection also investigates how Black fans read and
loved comics, but implored publishers to stop including hurtful
stereotypes. As this book shows, Golden Age comics artists,
writers, editors, distributors, and readers engaged in heated
negotiations over how Blackness should be portrayed, and the
outcomes of those debates continue to shape popular culture today.
Answering foundational questions like "what is a comic" and "how do
comics work" in original and imaginative ways, this book adapts
established, formalist approaches to explaining the experience of
reading comics. Taking stock of a multitude of case studies and
examples, The Comics Form demonstrates that any object can be read
as a comic so long as it displays a set of relevant formal
features. Drawing from the worlds of art criticism and literary
studies to put forward innovative new ways of thinking and talking
about comics, this book challenges certain terminology and such
theorizing terms as 'narrate' which have historically been employed
somewhat loosely. In unpacking the way in which sequenced images
work, The Comics Form introduces tools of analysis such as
discourse and diegesis; details further qualities of visual
representation such as resemblance, custom norms, style,
simplification, exaggeration, style modes, transparency and
specification, perspective and framing, focalization and
ocularization; and applies formal art analysis to comics images.
This book also examines the conclusions readers draw from the way
certain images are presented and what they trigger, and offers
clear definitions of the roles and features of text-narrators,
image-narrators, and image-text narrators in both non-linguistic
images and word-images.
Examining the deep philosophical topics addressed in superhero
comics, authors Gavaler and Goldberg read plot lines for the
complex thought experiments they contain and analyze their
implications as if the comic authors were philosophers. Reading
superhero comic books through a philosophical lens reveals how they
experiment with complex issues of morality, metaphysics, meaning,
and medium. Given comics' ubiquity and influence directly on
(especially young) readers-and indirectly on consumers of superhero
movies and video games-understanding these deeper meanings is in
many ways essential to understanding contemporary popular culture.
The result is an entertaining and enlightening look at superhero
dilemmas.
For creative writers and artists, comics provide unique
opportunities for expression – but unique challenges, too.
Creating Comics brings together in one volume an authoritative
guide to the creative process, with practical drawing exercises
throughout and an anthology of comics demonstrating the eclectic
possibilities of the form. Creating Comic covers: · Using images
to conceive and develop characters and stories · The complete
range of possible relationships between two images · The
step-by-step structure of visual narratives · How to approach each
page like a unique canvas · Combining words and images to create
new meanings Fully integrated with the main guide, the anthology
section includes work by creators including: Lynda Barry, Alison
Bechdel, Jaime Hernandez, Marjane Satrapi, Adrian Tomine, and many
others.
Answering foundational questions like "what is a comic" and "how do
comics work" in original and imaginative ways, this book adapts
established, formalist approaches to explaining the experience of
reading comics. Taking stock of a multitude of case studies and
examples, The Comics Form demonstrates that any object can be read
as a comic so long as it displays a set of relevant formal
features. Drawing from the worlds of art criticism and literary
studies to put forward innovative new ways of thinking and talking
about comics, this book challenges certain terminology and such
theorizing terms as 'narrate' which have historically been employed
somewhat loosely. In unpacking the way in which sequenced images
work, The Comics Form introduces tools of analysis such as
discourse and diegesis; details further qualities of visual
representation such as resemblance, custom norms, style,
simplification, exaggeration, style modes, transparency and
specification, perspective and framing, focalization and
ocularization; and applies formal art analysis to comics images.
This book also examines the conclusions readers draw from the way
certain images are presented and what they trigger, and offers
clear definitions of the roles and features of text-narrators,
image-narrators, and image-text narrators in both non-linguistic
images and word-images.
A complete guide to the history, form and contexts of the genre,
Superhero Comics helps readers explore the most successful and
familiar of comic book genres. In an accessible and
easy-to-navigate format, the book reveals: *The history of
superhero comics-from mythic influences to 21st century evolutions
*Cultural contexts-from the formative politics of colonialism,
eugenics, KKK vigilantism, and WWII fascism to the Cold War's
transformative threat of mutually assured destruction to the
on-going revolutions in African American and sexual representation
*Key texts-from the earliest pre-Comics-Code Superman and Batman to
the latest post-Code Ms. Marvel and Black Panther *Approaches to
visual analysis-from layout norms to narrative structure to styles
of abstraction
A complete guide to the history, form and contexts of the genre,
Superhero Comics helps readers explore the most successful and
familiar of comic book genres. In an accessible and
easy-to-navigate format, the book reveals: *The history of
superhero comics-from mythic influences to 21st century evolutions
*Cultural contexts-from the formative politics of colonialism,
eugenics, KKK vigilantism, and WWII fascism to the Cold War's
transformative threat of mutually assured destruction to the
on-going revolutions in African American and sexual representation
*Key texts-from the earliest pre-Comics-Code Superman and Batman to
the latest post-Code Ms. Marvel and Black Panther *Approaches to
visual analysis-from layout norms to narrative structure to styles
of abstraction
Most readers think that superheroes began with Superman's
appearance in Action Comics No. 1, but that Kryptonian rocket
didn't just drop out of the sky. By the time Superman's creators
were born, the superhero's most defining elements-secret
identities, aliases, disguises, signature symbols, traumatic origin
stories, extraordinary powers, selfsacrificing altruism-were
already wellrehearsed standards. Superheroes have a sprawling,
action packed history that predates the Man of Steel by decades and
even centuries. On the Origin of Superheroes is a quirky, personal
tour of the mythology, literature, philosophy, history, and grand
swirl of ideas that have permeated western culture in the centuries
leading up to the first appearance of superheroes (as we know them
today) in 1938. From the creation of the universe, through
mythological heroes and gods, to folklore, ancient philosophy,
revolutionary manifestos, discarded scientific theories, and gothic
monsters, the sweep and scale of the superhero's origin story is
truly epic. We will travel from Jane Austen's Bath to Edgar Rice
Burroughs's Mars to Owen Wister's Wyoming, with some surprising
stops along the way. We'll meet mad scientists, Napoleonic
dictators, costumed murderers, diabolical madmen, blackmailers,
pirates, Wild West out laws, eugenicists, the KKK, Victorian
dogooders, detectives, aliens, vampires, and pulp vigilantes (to
name just a few). Chris Gavaleris your tour guide through this
fascinating, sometimes dark, often funny, but always surprising
prehistory of the most popular figure in pop culture today. In a
way, superheroes have always been with us: they are a fossil record
of our greatest aspirations and our worst fears and failings.
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