Essa dissertação de mestrado pesquisa a presença, representação e importância da mulher, da heroína, nos quadrinhos. O foco é a Mulher-Maravilha, de sua criação em 1941 a 2002. Analisando e comparando a personagem com dois outros personagens masculinos do mesmo país de origem, época e editora, Super-Homem e Batman, tentando entender os diferentes níveis de poder entre eles e os caminhos pelos quais a heroína passou. As diferenças serão analisadas dentro e fora dos quadrinhos. Além disso, consideramos a evolução da mulher dentro do mesmo recorte temporal de análise da personagem, relacionando os dois mundos e suas múltiplas influências. A intenção é alimentar e ampliar os estudos historiográficos sobre uma história das mulheres e também de resgatar a presença da mulher na história. A análise tem um especial foco sobre o tratamento aplicado à Mulher-Maravilha pela indústria cultural no Brasil, especialmente na metade dos anos cinqüenta, quando a personagem foi lançada aqui. Igualmente importante é a discussão entre globalização e mundialização, mas, mais do que isso, os sinais, fatores e a estrutura de um novo arranjo planetário na economia, política e cultura. A globalização e o resgate da mulher na história são fatos quase contemporâneos. Este trabalho vai tentar mostrar questões para compreender ambos os fenômenos, com a análise da Mulher-Maravilha que pretendemos fazer aqui. / This MA dissertation investigates the female presence, representation and significance in action comic books as heroes. The focus will be in Wonder Woman since 1941 to 2002. Analysing and comparing her character with two others big male characters from the same origin country, time and publishing company, Superman and Batman, we try to understand, the different levels of power between them and the ways that Wonder Woman to went through. These differences will be analysed inside and outside of the comics itself. Besides, this analysis is concerned on female evolution at the same period that Wonder Woman was created to the present. Our propose is to relate both worlds, the comic books and our world, and their mutual influences as well. These aspects are connected with the intention to provide and increase the historiography studies on a female history and also to rescue the female presence in history. The analysis has a special focus about the treatment applied to Wonder Woman by the cultural industry in Brazil. Equally important to this propose is the aspect about the last forty years (or near by) we have the process of global issues. A infinite discussion between global and worldwide matters but more than this, the signs, factors and structure from a new planetary arrangement in economy, politics and cultural aspects. The global process and the rescue of a female history are events almost contemporary. And in this work we will try to show questions to help us to understand both phenomenon because they are perfectly lynked with the analysis we will try to do here. Plus we could link with another significant part of this study which is the levels of the power.

Essa dissertação de mestrado pesquisa a presença, representação e importância da mulher, da heroína, nos quadrinhos. O foco é a Mulher-Maravilha, de sua criação em 1941 a 2002. Analisando e comparando a personagem com dois outros personagens masculinos do mesmo país de origem, época e editora, Super-Homem e Batman, tentando entender os diferentes níveis de poder entre eles e os caminhos pelos quais a heroína passou. As diferenças serão analisadas dentro e fora dos quadrinhos. Além disso, consideramos a evolução da mulher dentro do mesmo recorte temporal de análise da personagem, relacionando os dois mundos e suas múltiplas influências. A intenção é alimentar e ampliar os estudos historiográficos sobre uma história das mulheres e também de resgatar a presença da mulher na história. A análise tem um especial foco sobre o tratamento aplicado à Mulher-Maravilha pela indústria cultural no Brasil, especialmente na metade dos anos cinqüenta, quando a personagem foi lançada aqui. Igualmente importante é a discussão entre globalização e mundialização, mas, mais do que isso, os sinais, fatores e a estrutura de um novo arranjo planetário na economia, política e cultura. A globalização e o resgate da mulher na história são fatos quase contemporâneos. Este trabalho vai tentar mostrar questões para compreender ambos os fenômenos, com a análise da Mulher-Maravilha que pretendemos fazer aqui. / This MA dissertation investigates the female presence, representation and significance in action comic books as heroes. The focus will be in Wonder Woman since 1941 to 2002. Analysing and comparing her character with two others big male characters from the same origin country, time and publishing company, Superman and Batman, we try to understand, the different levels of power between them and the ways that Wonder Woman to went through. These differences will be analysed inside and outside of the comics itself. Besides, this analysis is concerned on female evolution at the same period that Wonder Woman was created to the present. Our propose is to relate both worlds, the comic books and our world, and their mutual influences as well. These aspects are connected with the intention to provide and increase the historiography studies on a female history and also to rescue the female presence in history. The analysis has a special focus about the treatment applied to Wonder Woman by the cultural industry in Brazil. Equally important to this propose is the aspect about the last forty years (or near by) we have the process of global issues. A infinite discussion between global and worldwide matters but more than this, the signs, factors and structure from a new planetary arrangement in economy, politics and cultural aspects. The global process and the rescue of a female history are events almost contemporary. And in this work we will try to show questions to help us to understand both phenomenon because they are perfectly lynked with the analysis we will try to do here. Plus we could link with another significant part of this study which is the levels of the power.

Traditional readings of George Bernard Shaw's texts suggest that he is not a pure Marxist socialist because of the spiritual and nationalist aspects of his vision. This thesis attempts to confront Shaw's politics in order to demonstrate that he indeed offers a viable socialist program. Overlaying his socialism with Louis Althusser's concepts of "overdetermination," "structural causality," and "ideology" reveals that Shaw uses relatively autonomous instances of the superstructure toward socialist ends. This reevaluation of Shaw is best achieved through a combined reading of three of his major plays -- John Bull's Other Island, Man and Superman, and Major Barbara. In John Bull, Shaw incorporates the controversy of nationalism into his socialist vision by explaining it as an inevitable step in the development of an oppressed nation toward socialism. Man and Superman discusses the need for spirituality in the form of Shaw's concepts of Creative Evolution and the Life Force, which drive toward the development of a consciousness that recognizes socialism as the only sustainable internationalist program. Major Barbara combines Shaw's socialist and spiritual views by showing that both stand in reciprocal relation to each other; they are equally necessary to the Shavian world, one providing the ideal social system, the other the most enlightened human sensibility. This project demonstrates that Shaw's integration of these elements usually considered contradictory to Marxism becomes a way to understand him as practicing the Althusserian idea that any displacements of the infrastructure are economic in the last instance. / Graduation date: 1999

Nietzsche´s work criticizes the existing method of philosophizing which diverts man from his major problems. First of all it is neccessary to deal with human life and to understand what determines life and what defines world. Human life is dominated by the will to power. However it depends, wheather man recognizes the will and wheather he follows this awarness. So far, man has been controlled by emotions which are often considered to be the truth. The will to power predetermines the human evolution to the higher level - the Superman ( Der Übermensch). The Superman is able to implement the will, to become a completely free beeing, controlling everything within his reach - even humanity. The Superman is driven by his own benefits, creating a new morality in which it applies that good is what is useful for life of a Superman. Existing humanity seeks in its weakness support in the faith in God. Only Superman is able to avoid this domination, because for him God is dead. life is what constantly arises and expires in its particular actions. The way of the world is determinatd by the eternal return, which is accepted by a Superman.

Comic book superheroes have become adopted into American popular culture, and yet few have considered why these characters resonate with Americans. The first comic book superhero premiered in 1938 when Superman appeared on the cover of the first issue of Action Comics. For almost seventy years his adventures and the adventures of other costumed heroes have been continually published. Batman soon joined Superman as a popular costumed crime-fighter, and the early 1960s saw another generation of superheroes created that would be embraced in American culture. Among this new group of heroes were Spider-Man and the X-Men, who have proved as popular as Superman and Batman. The never-ending narratives of comic book characters provide a unique opportunity to analyze how superheroes have evolved across the decades to remain relevant for new generations of Americans. Superman, Batman, Spider-Man, and the X-Men are the most popular heroes, not only in comic books, but in other media adaptations. An exploration of why these specific characters have such resonance with Americans will provide insights into American mindsets, ideologies, and philosophies. Furthermore, comic books are uniquely positioned to allow a new historicist reading, as the characters' adventures have been published on a monthly schedule for decades. A consideration of the alterations made in the narratives to reflect the time periods is inherently enlightening.

<p>This study charts the real-world impact of Superman and how embedded the superhero is within American culture. Since debuting in 1938 as the first superhero, kids embraced Superman as a heroic symbol to emulate while adults mainly used him as comedic fodder to discuss race and ethnicity, gender, and sexuality. Although Superman is a fictional character, he maintains traceable documentary footprints and should be treated as a historical figure. Through sincere and satirical play, the public brought the Man of Steel and his make-believe world to life as an immersive realm and metatopography. This project studies the reception and adaptation of Superman by the populace and the geography of Comicland, a surreal realm mirroring our own modern reality that exists both within the imagination and the material world through pageant, masquerade, and multimedia. The beauty of this fictive universe is its mutability, being a permanent yet intangible place that imprinted itself in the real world. Comics fans do not have to travel to a theme park, even though it is now part of that type of entertainment, to participate in the fantasy. Comicland is, thus, a mental and physical landscape that audiences can inhabit as their own regardless of location and serves as a portal between fantasy and reality. From Superman’s inception, critics dismissed the superhero as a fad and its culture as marginal. However, multigenerational and multidecade engagement with Superman shows that the genre is mainstream and an unfading facet of Americana.</p>

Dans l’Évolution créatrice, Bergson émet l’idée d’un sur-homme, individu qui prolongerait l’effort que la vie a fixé dans l’évolution des espèces, et qui s’élèverait vers une liberté divine incessamment actualisée. L’œuvre littéraire de Kazantzaki apparait dans notre étude comme le lieu de matérialisation de ce sur-homme à l’histoire singulière. La notion bergsonienne de durée, utilisée comme méthode d’approche du texte, révèle à l’intérieur des textes de l’auteur grec une façon particulière de penser la création, dans l’œuvre et en soi. Celle-ci est présentée comme la fixation progressive d’une maturation de l’auteur, ralentie par des formes matérielles qui ne la contiennent plus : en particulier celle du langage et d’une perception trop intellectuelle, et pas assez intuitive, du monde. Inspiré par le modèle bergsonien, Kazantzaki essaie d’imprimer la mobilité ascendante de l’esprit à ses personnages en les affranchissant au fur et à mesure de leur montée, de toutes ces clôtures qui morcellent la réalité fluente et indivisible et réduisent la puissance de l’âme. A l’idée d’un personnage émergeant comme une création ex nihilo, on substitue l’idée bergsonienne d’une nouveauté apportée par un effort éprouvant la liberté de l’individu, celle de l’écrivain et celle du personnage, qui concentrerait dans le cas du sur-homme l’histoire humaine et pré-humaine. Suivant ainsi ces deux lignes d’évolution propres à Kazantzaki et à Bergson, chacun dans leur domaine, confrontés à différents obstacles, nous les voyons converger par le mouvement similaire de leur pensée et interroger finalement l’effort d’un même type d’homme, le mystique. / In Creative Evolution, Bergson has put forward the idea of a super-man, who would continue the effort that life has fixed in the evolution of species, and would rise toward a constantly actualized divine freedom. The work of Kazantzaki appears in our study as a creation where the super-man, whose story must remain singular, is materialized. The bergsonian notion of duration used as a method to approach the text, reveals within the text a particular way of thinking the creation in the work and in oneself. It is presented as the continuous fixation of a maturation, slowed by material forms, that can not contain it anymore : in particular the language and the intellectual, and not sufficiently intuitive, vision of the world. Inspired by the bergsonian philosophy, Kazantzaki tries to imprint the spirit’s ascending mobility to his characters, by liberating them from all those closures that divide up the moving reality and reduce the power of the soul. We oppose to the idea of a character emerging like a creation ex nihilo, the bergsonian idea of novelty which would result from an effort testing the writer and the character’s freedom, and which would concentrate in the case of the super-man the human and pre-human history. Following those two lines of evolution which are particular to Bergson and Kazantzaki, each one in his area and confronted to different impediments, we see them converging by the similar movement of their thought and interrogate finally one type of man’s effort : the mystic.

Submitted by Fabricia Fialho Reginato (fabriciar) on 2015-08-28T22:58:37Z No. of bitstreams: 1 CarolZANDAVALLI.pdf: 653303 bytes, checksum: 01703b6710ca7fa9d53fee01bbaaa8e3 (MD5) / Made available in DSpace on 2015-08-28T22:58:37Z (GMT). No. of bitstreams: 1 CarolZANDAVALLI.pdf: 653303 bytes, checksum: 01703b6710ca7fa9d53fee01bbaaa8e3 (MD5) Previous issue date: 2013 / Nenhuma / Nosso texto visa aprofundar a abordagem de Heidegger sobre o conceito de vontade de poder em Nietzsche e suas consequências. Para tanto, trataremos primeiramente de compreender alguns aspectos centrais do pensamento do próprio Heidegger. Esse preâmbulo inicial nos ajudará para uma melhor compreensão do contexto de onde parte a sua crítica. Em seguida, defrontarnos-emos com a interpretação heideggeriana da vontade de poder em modo mais estrito. Teremos, por fim, melhores condições de pensar a pertinência do que é apresentado por Heidegger, isto é, de sua visão sobre uma metafísica nietzschiana com bases nos conceitos de vontade de poder e eterno retorno do mesmo. / Our text aims to deepen Heidegger’s approach on the concept of will to power in Nietzsche and its consequences. To do so, we will try first to understand some central aspects of Heidegger's own thinking. This initial preamble will help us to have a better understanding of the context where his criticism comes from. Then we will face with the heideggerian interpretation of the will to power in a stricter mode. Finally, we will be more able to think about the relevance of what is presented by Heidegger, that is, of his vision on a Nietzschean metaphysics based on the concepts of will to power and eternal return of the same.

Thesis (M.A.)--Brigham Young University. Dept. of English, 2006. / Includes bibliographical references (p. 114-120).

Orientador: Álvaro Luiz Hattnher / Banca: Fábio Akcelrud Durão / Banca: Orlando Nunes de Amorim / Resumo: O presente trabalho analisa a descentralização do paladino super-heróico na narrativa Invincible (2003), de Robert Kirkman. Para tanto, toma a personagem Super-Homem como arquétipo narrativo de super-herói e modelo criador do conceito paladinesco nos comic books e, por isso, recorta algumas das variadas histórias desta personagem que é narrada desde a década de 40. O enfoque da seleção foram as recriações e re-narrações do universo diegético do Homem de Aço, que, em conjunto com o estudo comparativo da narrativa gráfica de Kirkman, forneceram elementos para observar e comprovar a descentralização do conceito do super-herói paladino. O conceito de descentralização foi retirado das teorias sociais de Zygmund Bauman (2005) e de Stuart Hall (2009), acerca da crise de identidade do sujeito pós-moderno, e compreendido aqui como o deslocamento da identidade, sua liquidez. Portanto, sua aplicação como ferramenta de análise de narrativas é desenvolvida pela evidenciação das relações intertextuais que o universo de Invencível possui com as histórias do Super-Homem, dessa forma, demonstrando por meio das referências textuais, como a mudança dentro do paladino está relacionada a crise de identidade / Abstract: The present work analyses the super-heroic paladin decentralization in Robert Kirkman's narrative, Invincible (2003). Because of this, it takes the Superman character as the narrative archetype and the creator model of the paladin concept in the comic books, so it selects some of the many stories of this character narrated since the 40s. The re-creations and the retelling of the Man of Steel's diegetic universe were the focus of the selection to, in union with the comparative study of Robert Kirkman's graphic narrative, Invincible (2003), look and prove the super-hero paladin concept's decentralization in Kirkman's narrative. The decentralization concept is taken from the social theories of Zygmund Bauman (2005) and Stuart Hall (2009) about the post modern subject crisis and its understood here as the identity's displacement, it's liquidity. Therefore it's application as a tool to narrative analyses is developed by the demonstration of the intertextetual relationship that the Invincible universe shows towards Superman stories, thus showing by textual references how the paladin changing is related to the identity crisis / Mestre