Heroic Helping: The Effects of Priming Superhero Images on Prosociality

Two experiments examined how exposure to superhero images influences both prosociality and meaning in life. In Experiment 1 (N = 246) exposed individuals to scenes with superhero images or neutral images. Individuals primed with superhero images reported greater helping intentions relative to the control group, which, in turn, were associated with increased meaning in life (indirect effect only; no direct effect). In Experiment 2 (N = 123), individuals exposed to a superhero poster helped an experimenter in a tedious task more than those exposed to a bicycle poster, though no differences were found for meaning in life. These results suggest that subtle activation of superhero stimuli increases prosocial intentions and behavior

“Here I Come to Save the Day!” Does Parental Mediation Moderate Associations between Superhero Exposure and Behavior in Young Boys?

Studies have shown that superheroes are very popular among preschool boys, but research on the effect of exposure to superhero media and toys is limited. Superheroes frequently use aggression to defend others, and certain characteristics of superheroes encourage wishful identification among boys. However, it is unknown whether superhero exposure and identification is associated with aggression, prosocial behaviors, or behaviors with the purpose of defending others. Parental active mediation of media (i.e discussions of media content) can reduce the negative effects of aggressive content by modifying children’s perceptions of aggression. This study aimed to examine the associations between superhero exposure/identification and aggressive, prosocial, and defending behavior in preschool boys and to examine whether parental active mediation of television content moderates these associations. Sixty-four parents of preschool boys (mean age = 60.6 months) completed measures of their child’s superhero identification/exposure, their own active mediation, and their child’s aggressive and prosocial behaviors. Results revealed that superhero exposure and identification was associated with decreased prosocial behavior and increased verbal aggression. These associations were not moderated by active parental mediation. Additionally, low levels of parental mediation, combined with high levels of superhero identification/exposure were positively correlated with aggressive defending behaviors. Future research should examine gender and age differences in the associations between superhero exposure and behavior. Additionally, questions remain about the differential effects of discussing media content with preschoolers, as this form of mediation may be less effective for certain types of programs during the preschool years. Additional keywords: early childhoo

ICCan I call you Mommy? 1D Myths of the feminine and superheroic in Neil Gaiman and Dave McKean 19s Black Orchid

This article uses Claude Lévi-Strauss's linguistic theories to examine the intersection of superheroic and feminine myths in Neil Gaiman and Dave McKean's Black Orchid. It reveals how this text substitutes traditionally feminine tropes (such as mothering, passivity and purity) and taboos for the more usual elements underlying the superhero myth, and explores the effects of this replacement. It is the contention of this article that, to date, the superheroine myth has followed a similar structure to the superhero myth. Figures such as Wonder Woman fight and lead alongside their male counterparts, using masculine notions of leadership and camaraderie. Elements such as idealised physiques apply equally to both genders and the majority of superpowers seem gender-neutral. Of course the number of male superheroes certainly outweighs the female, and gender stereotypes have been used (the cover of Adventure Comics #401 shows Supergirl 'absolutely terrified of a mouse!'), but overall the same (masculine) notions underpin both male and female superheroes. It often seems that the feminised superheroic has yet to be fully constructed and explored. This article will initially summarise Lévi-Strauss's linguistic model of myth, before applying the same to the traditional superhero myth in order to reveal its underlying binaries and gender bias. It then applies this model to Black Orchid. Areas addressed will include the superhero and violence (via an exploration of feminine passivity and the motif of the climactic battle), the superhero and power (considering myths such as Mother Nature and the motherland), and the superhero and identity (using a case study of the May Queen). It concludes that Black Orchid's subversion of the superhero is achieved by its employment of feminine myths, and that in so doing it is able to resolve the power conundrum and identity fracture that underlie this genre

Can I call you Mommy? Myths of the feminine and superheroic in Neil Gaiman and Dave McKean's Black Orchid

This article uses Claude Lévi-Strauss's linguistic theories to examine the intersection of superheroic and feminine myths in Neil Gaiman and Dave McKean's Black Orchid. It reveals how this text substitutes traditionally feminine tropes (such as mothering, passivity and purity) and taboos for the more usual elements underlying the superhero myth, and explores the effects of this replacement. It is the contention of this article that, to date, the superheroine myth has followed a similar structure to the superhero myth. Figures such as Wonder Woman fight and lead alongside their male counterparts, using masculine notions of leadership and camaraderie. Elements such as idealised physiques apply equally to both genders and the majority of superpowers seem gender-neutral. Of course the number of male superheroes certainly outweighs the female, and gender stereotypes have been used (the cover of Adventure Comics #401 shows Supergirl 'absolutely terrified of a mouse!'), but overall the same (masculine) notions underpin both male and female superheroes. It often seems that the feminised superheroic has yet to be fully constructed and explored. This article will initially summarise Lévi-Strauss's linguistic model of myth, before applying the same to the traditional superhero myth in order to reveal its underlying binaries and gender bias. It then applies this model to Black Orchid. Areas addressed will include the superhero and violence (via an exploration of feminine passivity and the motif of the climactic battle), the superhero and power (considering myths such as Mother Nature and the motherland), and the superhero and identity (using a case study of the May Queen). It concludes that Black Orchid's subversion of the superhero is achieved by its employment of feminine myths, and that in so doing it is able to resolve the power conundrum and identity fracture that underlie this genre

Packaging Inspiration: Al Qaeda’s Digital Magazine \u3cem\u3eInspire\u3c/em\u3e in the Self-Radicalization Process

Al Qaeda is today a fragmented organization, and its strategic communication efforts now focus largely on recruiting individuals in the West to carry out “individual jihad” in their home countries. One Al Qaeda–affiliated publication, Inspire, represents an unusual use of the digital magazine format and content for recruitment. This study examines the content and design of Inspire to determine how the magazine may advance the self-radicalization that it seeks to induce in its readers. This analysis finds that the magazine weaves together jihadist ideology, a narrow interpretation of Islam, and appropriations of Western popular culture to maximize the publication’s potential for motivating readers toward violence

An American Golem: Comic Books, Creation, and the Virtue of Escape in Michael Chabon’s The Amazing Adventures of Kavalier & Clay

This thesis examines Michael Chabon’s defense of escapist stories as manifested in his Pulitzer Prize winning novel, The Amazing Adventures of Kavalier & Clay (2000). Through this work, Chabon traces the history of escapist stories and superheroes in Judaism through the anthropomorphic figure of Jewish folklore, the golem. Chabon explores the ways in which the creation of a golem overlaps with the creation of a comic book. Additionally, Chabon shows the ability of escapist stories—those that allow the reader to leave reality and enter into fantasy—to facilitate healing from deep emotional wounds. This healing is demonstrated through the journey of the protagonist, Josef Kavalier, as he relies on fantastical stories—both written by others and himself—to reacclimate to the world after trauma. In response to those who claim that escapist literature is only a turning away from reality and history, Kavalier & Clay demonstrates the value of escapist stories in facilitating recovery from trauma

Review: Postmodern Art Education in Practice. Gude, O. (Ed.). (n.d.). Spiral Art Education

Book review of Spiral Art Education, Olivia Gude (Editor), University of Illinois, Chicago, 2003

Library Cartoons: A Literature Review of Library-themed Cartoons, Caricatures, and Comics

To understand differing views of past events, historians, political science scholars, and sociologists have analyzed political and editorial cartoons with themes ranging from elections to fiscal policy to human rights. Yet scant research has been dedicated to cartoons with library themes. The author of this paper examines peer-reviewed literature on the subject of library cartoons, including historical background, analysis of recent themes, and arguments for promoting library-themed cartoons, caricatures, and comics. The author finds a significant gap in the literature on this topic and concludes that information professionals would benefit from a comprehensive content analysis of library-themed cartoons to enhance understanding of the significance of libraries during historic events, assess public perception of libraries, and identify trends over time

Cryptomimetic tropes in Yoshitomo Nakura’s Batman: Death Mask

This article discusses the gothic and science fiction influences apparent in Yoshinori Natsume’s Batman: Death Mask with reference to the Derridean notion of the crypt and Jodey Castricano’s linguistic/structural model of cryptomimesis. It begins at the widest level, noting the gothic nature of the superhero in general (whose fragmented identity and use of tropes such as the mask reference this mode. It notes a similar presence of science fiction motifs in the industry’s archetypes, making reference to notions such as pseudo-science and alternate worlds. It then relates these observations specifically to Batman, arguing that this character encapsulates many of these tropes. In terms of the gothic, it discusses the psychogeographic setting of Gotham City, the mask motif, and the tropes of night-time and the vampire bat. It proceeds to consider science fiction tropes in similar terms, making reference to elements such as Batman’s lack of powers and extensive use of gadgetry. It introduces the Derridean notion of the crypt (as something both hidden and external to itself) and, more particularly, to Jodey Castricano’s theories of cryptomimesis (as reliant upon notion of absence, reversal and the other within). It relates these observations to the comics medium in terms of its non-linear nature and hierarchical construction of story arcs. It argues that the cryptomimetic model is particularly applicable to the Batman mythos, which revolves around the notion of memories locked inside and the reversals of ‘secret identity’ and ‘alter ego’. It then narrows this argument still further to consider the presence of gothic and science fiction tropes in Natsume’s Batman: Death Mask. It notes the style and structure of this comic and argues that the juxtaposition of manga stylistics with American comics tropes produces an inherently alien and futuristic effect, despite the historical nature of the story in question, which draws on Japanese tradition. It analyses the comic’s content in similar terms, paying particular attention to the addition of an extra identity to the ‘Batman’ and ‘Bruce Wayne’ facets of this character, and the reversal of the mask motif (as a threat rather than a shield). It concludes by demonstrating that the presentation of these elements is cryptomimetic: reliant on absence, reversal and the notion of the other within