Thesis (Ph.D.)--University of Delaware, 2006. / Principal faculty advisor: Thomas M. Leitch, Dept. of English. Includes bibliographical references.

Thesis (M.A.)--Texas State University-San Marcos, 2006. / Vita. Includes bibliographical references (leaves 102-107).

This qualitative and quantitative research inquiry presents a study of the dialogues in seven comic books in French. Its primary aim is to discover discursive elements and speech acts that can be found in the conversations of their characters. Its secondary aim is to analyse various question forms and pronouns that are used in speech acts. These findings are then compared with other research on dialogues of native speakers. This study reveals that the language used in comic books does not fully reflect authentic speech of native speakers. This study also aims for the acceptance of comic books by teachers in L2 classrooms. The findings of this study shed light on the linguistic content of comic books and their use as a pedagogical tool.

Thesis (M.A.)--Oregon State University, 2010. / Printout. Includes bibliographical references (leaves 81-88). Also available on the World Wide Web.

Thesis (Ph.D.)--New York University, 1996. / Chairperson: Carl P. Schmidt. Includes bibliographical references.

Thesis (M.A.)--Villanova University, 2009. / English Dept. Includes bibliographical references.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 125-127). Also available on the Internet.

Thesis (M.S.)--University of Wisconsin--Madison, 1982. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 75-78).

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 125-127). Also available on the Internet.

The discourse regarding contemporary comic book studies has become increasingly concerned with the apocalyptic potential of the power of comic book superbeings. While many consider Superman to be a morally upright and hopeful figure worth emulating, the idea of a creature as powerful and uncannily similar to human beings as Superman is produces a type of paranoia, distrust, and unease. This type of disruptivity is a result of the combination of two foundational aspects of the character's being namely, its power, and its uncanny Otherness. Recent trends in the discourse concerning the cinematic depictions of the unavoidably destructive aspects of Superman's power indicate that the disruptive aspects of the character's being cannot be ameliorated by conventional appeals to dialectical arrangements of moral categories including good and evil. This also applies to nostalgic interpretations of the character that seek to dissolve the inextricable connection between the utopian and dystopian potential inherent in its power and Otherness in an idealized history. Situating itself between the aesthetic and historical comic book theory of Thomas Inge, Peter Coogan, Danny Fingeroth, Christopher Knowles, Clive Bloom, and Greg McCue and the philosophies/xenologies and critical approaches of Robert Freitas Jr., Michel Foucault, and Fredric Jameson, this project uses the concepts of the character's power, body, and Otherness to examine the existential and socio-political consequences of Superman's disruptivity on a diegetic earth.