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Comics as Philosophy
Through the combination of text and images, comic books offer a unique opportunity to explore deep questions about aesthetics, ethics, and epistemology in nontraditional ways. The essays in this collection focus on a wide variety of genres, from mainstream superhero comics, to graphic novels of social realism, to European adventure classics. Included among the contributions are essays on existentialism in Daniel Clowes's graphic novel "Ghost World," ecocriticism in Paul Chadwick's long-running "Concrete" series, and political philosophies in Herge's perennially popular "The Adventures of Tintin." Modern political concerns inform Terry Kading's discussion of how superhero comics have responde...
Stan Lee
Be inspired by the amazing life of Stan Lee, the comic book genius who created Spider-Man, The Hulk, and Iron Man! Little Stan grew up in New York City. As a child, he loved reading books, poems and newspaper strips. And when he didn't have his head in a book, he was writing stories of his own. After he graduated, Stan got his big break in the form of a job as an assistant at a small comic book publisher called Timely Comics. He started by helping the editors with their work, but before long, he was helping to write the comics. He contributed to a Captain America story but soon started to create his very own characters. From the Fantastic Four and Spider-Man to The Hulk, Stan's superheroes w...
Joss Whedon and Religion
This is a collection of new essays on the religious themes in, and the implications of, the works of Joss Whedon, creator of such shows as Buffy the Vampire Slayer, Angel, and Firefly, and more recently writer and director of the box-office hit Marvel's The Avengers. The book addresses such topics as ethics, racism, feminism, politics, witchcraft, spiritual transformation, identity, community, heroism, apocalypse, and other theologically significant themes of Whedon's creative enterprises. The disciplinary approaches vary as well; history, theology, philosophy of religion, phenomenology, cultural studies, and religious studies are all employed. The various essay authors differ in that some are clearly believers in God, some are clearly not, and others leave that matter aside.
Lost to the Shoah
It is important to remember not just what the Holocaust was but the individuals who were the subjects of its unrelenting Nazi brutalities. Written by a survivor about the people she knew and cared for, these eight stories fight against the depiction of Jews as victims and victims only, and individualize a tragedy that is too often abstracted into dates and statistics. Amidst the dramatic narrative, there is a brutal honesty and frankness that makes these stories far more infuriating, sad and shocking than any fictional attempt to convey what it was like to be human in such inhuman circumstances. These biographies remind readers of the consequences of hate upon the fragile beauty and complexity of human life.
The Blacker the Ink
When many think of comic books the first thing that comes to mind are caped crusaders and spandex-wearing super-heroes. Perhaps, inevitably, these images are of white men (and more rarely, women). It was not until the 1970s that African American superheroes such as Luke Cage, Blade, and others emerged. But as this exciting new collection reveals, these superhero comics are only one small component in a wealth of representations of black characters within comic strips, comic books, and graphic novels over the past century. The Blacker the Ink is the first book to explore not only the diverse range of black characters in comics, but also the multitude of ways that black artists, writers, and p...
Graphic Novels as Philosophy
Contributions by Eric Bain-Selbo, Jeremy Barris, Maria Botero, Manuel “Mandel” Cabrera Jr., David J. Leichter, Ian MacRae, Jeff McLaughlin, Alfonso Muñoz-Corcuera, Corry Shores, and Jarkko Tuusvuori In a follow-up to Comics as Philosophy, international contributors address two questions: Which philosophical insights, concepts, and tools can shed light on the graphic novel? And how can the graphic novel cast light on the concerns of philosophy? Each contributor ponders a well-known graphic novel to illuminate ways in which philosophy can untangle particular combinations of image and written word for deeper understanding. Jeff McLaughlin collects a range of essays to examine notable graph...
What Do We Mean by That?
What Do We Mean by That?: Interrogating Familiar Expressions in Education is a collection of essays that opens a space for all educational workers—teachers, teacher educators, administrators, politicians, and others—to unpack commonly used educational phrases and ideas. The idea is to carefully examine what we say to one another when we talk about schools, curriculum, students, and other educational problems or issues—when we say things like “We have to meet students where they are,” and “All children can learn,” or “What does the data say?” What Do We Mean by That? challenges and clarifies such phrases and the how, and why, that they shape educational policies and practice...
Comic Books and the Cold War, 1946-1962
Conventional wisdom holds that comic books of the post-World War II era are poorly drawn and poorly written publications, notable only for the furor they raised. Contributors to this thoughtful collection, however, demonstrate that these comics constitute complex cultural documents that create a dialogue between mainstream values and alternative beliefs that question or complicate the grand narratives of the era. Close analysis of individual titles, including EC comics, Superman, romance comics, and other, more obscure works, reveals the ways Cold War culture--from atomic anxieties and the nuclear family to communist hysteria and social inequalities--manifests itself in the comic books of the era. By illuminating the complexities of mid-century graphic novels, this study demonstrates that postwar popular culture was far from monolithic in its representation of American values and beliefs.
Satan in America
Satan in America tells the story of America's complicated relationship with the devil. "New light" evangelists of the eighteenth century, enslaved African Americans, demagogic politicians, and modern American film-makers have used the devil to damn their enemies, explain the nature of evil and injustice, mount social crusades, construct a national identity, and express anxiety about matters as diverse as the threat of war to the dangers of deviant sexuality. The idea of the monstrous and the bizarre providing cultural metaphors that interact with historical change is not new. Poole takes a new tack by examining this idea in conjunction with the concerns of American religious history. The book shows that both the range and the scope of American religiousness made theological evil an especially potent symbol. Satan appears repeatedly on the political, religious, and cultural landscape of the United States, a shadow self to the sunny image of American progress and idealism.
