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A study of the history of how Superman came to be identified with Jesus Christ. / This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. This thesis argues that the connections between Superman and Jesus were not integral to the character as he was originally created, but were imposed by later writers over time and mainly for cinematic adaptations. There is a notable difference between how Superman is portrayed in the comics and the films because the films are aimed at a broader audience and have different marketing aims. Superman turned into a Christ figure for financial reasons in many ways. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists because discussions of authorial intention are necessary for the narrative that this thesis pursues. The connection between Superman and Jesus was not inevitable and cannot be seen wholly as a byproduct of the changes in the surrounding American culture because this connection was a product of specific artistic decisions by particular creators—who were not necessarily Christians themselves. / Thesis / Master of Arts (MA) / This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists.

This thesis explores how U.S. newspapers framed the death of Captain America. Specifically, the presence of various frames and their classifications was determined via a content analysis of 139 newspaper articles. Additionally, this thesis explores relationships between frame substance and other frame classifications. Generic/recurring frames were more prevalent than issue-specific/recurring frames. Frames tended to be episodic more often than thematic. Frames were also most likely to be neutral in valence, though differences from this overall trend emerged in some individual frames. Frames tended to be ambiguous rather than substantive. No relationship emerged between frame substance and the classification of generic/issue-specific frames, nor did one emerge between frame substance and the episodic/thematic frame classification. However, frames possessing negative valence were more likely to be ambiguous than frames possessing positive valence. Implications for framing theory and the news coverage's treatment of Captain America's death as an indicator of post-9/11 American identity are also discussed. Limitations of this study and opportunities for future research are acknowledged. / Master of Arts

This study is made to determine any educational values to be derived from the use of the comics. The problem shall be to show (1) what those values are, (2) how they shall be attained, and (3) which comics are best suited to aid in the attainment of those values, as shown by the data to be assembled.

Denna artikel går igenom utveklingen av spelupplevelsen och vår konceptuella start och slut, för att gestalta upplevelser hos personer med autism och ADHD. Vigår igenom ett flertal anledningar till varför och vilket behov som finns av rekonstruktion av diagnoserna autism och ADHD inom media, särskilt i denna tid och rum. / This article goes through our development of the game experience and our conceptual beginning and end, to portrait the viewpoint of people with autism and ADHD. We go through a plethora of reasons behind the why and the need of this reconstruction of portraying autism and ADHD within media, especially now during our time and age.

My art examines visual culture using a plethora of techniques, formats, and materials. Recent works address family, pop-culture, and politics utilizing portraiture and short-form comics. Much of my art expresses humor through colorful, irreverent imagery, and many works employ satire and parody. Leveraging my experience as a professional illustrator and designer, I tailor my approach to each project, drawing upon divergent styles with an emphasis on polish and accessibility. I frequently adapt well-known images to recontextualize subjects. In my investigation of graphic narrative, I produced political comics, vintage comic book parodies, and experimental, interactive work. This body of work was produced with brushes and paint, touchscreen tablet, digital prints, LED lights, magnetic stock, and more. Though disparate in shape and content, the works are united by a joyful exploration of process and form.

[ES] La presente investigación consiste en un acercamiento analítico a los campos del cómic y la pintura: sus elementos constitutivos esenciales, su historia, sus puntos de comunión tanto como sus diferencias e incompatibilidades, se constituyen en nuestro objeto de estudio. Nuestra hipótesis se basa en la premisa de que estos lenguajes son formas artísticas y lenguajes diferentes, con similitudes y diferencias que pueden ser profundas. Postulamos que la colaboración y convivencia de ambos lenguajes dentro de una obra plástica reviste un grado de complejidad y requiere considerar un abanico de aspectos que pudiesen resultar problemáticos, para lograr una obra que finalmente se alimente y enriquezca de ambos lenguajes, en una relación armónica. Nuestro objetivo es reconocer estos aspectos que pudiesen facilitar o dificultar la interacción entre ambos lenguajes, en búsqueda de posibles vías de comunicación y colaboración. Para ello realizaremos un análisis formal e histórico de ambas disciplinas, tanto de cada una por separado, como en aquellos aspectos en los cuales se relacionan. Identificaremos cada lenguaje con un territorio diferenciado, y estableceremos un conjunto de clasificaciones que nos permitirán reconocer diversos aspectos propios de cada uno de estos campos. Nos acercaremos a nuestro objeto de estudio a través del estudio de textos académicos, entrevistas a actores relevantes, registros de prensa y documentales; nuestra investigación comprende también el diseño y elaboración de una serie de obras artísticas, insertas dentro del proceso de investigación, cuyo objetivo es servir como campo de exploración e indagación, que nos permite a su vez generar cuestionamientos y enfrentarnos a problemas específicos relacionados con la puesta en practica de las ideas. Concluiremos habiendo recorrido los territorios de la pintura y el cómic, cartografiado y estudiado los distintos aspectos en los que ambos lenguajes comulgan y los aspectos que los separan, categorizando asimismo las diversas formas en las que la pintura y el cómic han interactuado entre sí, en una clasificación que permite arrojar luz sobre algunos de los aspectos confusos en relación con este territorio expandido. / [CA] La present investigació consisteix en un acostament analític als camps del còmic i la pintura: els seus elements constitutius essencials, la seua història, els seus punts de comunió tant com les seues diferències i incompatibilitats, es constitueixen en el nostre objecte d'estudi. La nostra hipòtesi es basa en la premissa que aquests llenguatges són formes artístiques i llenguatges diferents, amb similituds i diferències que poden ser profundes. Postulem que la col·laboració i convivència de tots dos llenguatges dins d'una obra plàstica revist un grau de complexitat i requereix considerar un ventall d'aspectes que pogueren resultar problemàtics, per a aconseguir una obra que finalment s'alimente i enriquisca de tots dos llenguatges, en una relació harmònica. El nostre objectiu és reconéixer aquests aspectes que pogueren facilitar o dificultar la interacció entre tots dos llenguatges, en cerca de possibles vies de comunicació i col·laboració. Per a això realitzarem una anàlisi formal i històrica de totes dues disciplines, tant de cadascuna per separat, com en aquells aspectes en els quals es relacionen. Identificarem cada llenguatge amb un territori diferenciat, i establirem un conjunt de classificacions que ens permetran reconéixer diversos aspectes propis de cadascun d'aquests camps. Ens acostarem al nostre objecte d'estudi a través de l'estudi de textos acadèmics, entrevistes a actors rellevants, registres de premsa i documentals; la nostra investigació comprén també el disseny i elaboració d'una sèrie d'obres artístiques, inserides dins del procés d'investigació, l'objectiu de la qual és servir com a camp d'exploració i indagació, que ens permet al seu torn generar qüestionaments i enfrontar-nos a problemes específics relacionats amb la posada en practica de les idees. Conclourem havent recorregut els territoris de la pintura i el còmic, cartografiat i estudiat els diferents aspectes en els quals tots dos llenguatges combreguen i els aspectes que els separen, categoritzant així mateix les diverses formes en les quals la pintura i el còmic han interactuat entre si, en una classificació que permet llançar llum sobre alguns dels aspectes confusos en relació amb aquest territori expandit. / [EN] The present research consists of an analytical approach to the fields of comics and painting: their essential constitutive elements, their history, their points of communion as well as their differences and incompatibilities, constitute our object of study. Our hypothesis is based on the premise that these languages are different artistic forms and languages, with similarities and differences that can be profound. We postulate that the collaboration and coexistence of both languages within a plastic work has a degree of complexity and requires considering a range of aspects that could be problematic, in order to achieve a work that finally feeds and enriches both languages, in a harmonious relationship. Our objective is to recognize these aspects that could facilitate or hinder the interaction between both languages, in search of possible ways of communication and collaboration. To this end, we will carry out a formal and historical analysis of both disciplines, both of each one separately, as well as in those aspects in which they are related. We will identify each language with a differentiated territory, and we will establish a set of classifications that will allow us to recognize different aspects of each of these fields. We will approach our object of study through the study of academic texts, interviews with relevant actors, press records and documentaries; our research also includes the design and elaboration of a series of artistic works, inserted within the research process, whose objective is to serve as a field of exploration and inquiry, which in turn allows us to generate questions and confront specific problems related to the implementation of ideas. We will conclude having traversed the territories of painting and comics, mapping and studying the different aspects in which both languages converge and the aspects that separate them, also categorizing the various ways in which painting and comics have interacted with each other, in a classification that allows us to shed light on some of the confusing aspects in relation to this expanded territory. / Ocaña Salinas, LA. (2023). Hacia un territorio expandido. Convergencia y relaciones fronterizas entre la Pintura contemporánea y el Cómic actual [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202599