... novels have in recent years assumed their rightful place as literary texts to be considered by critics, analyzed by scholars, and mined by filmmakers.Yet, even as the m ultiplexes feature an increasing num ber of Hollywood block­ busters based on classic comic book superheroes, scholars and critics still...

...Philip Sandifer Copyright © 2008 Regents of the University of Colorado 2008 A mazing Fa n ta sies: T r a u m a , AFFECT, AND SUPERHEROES P h il ip S a n d if e r Comics scholarship, as a whole, has focused prim arily on graphic novels selfcontained narratives with distinct beginnings...

..., and affirmation o fth e mass culture product. Alan Moore's superhero comic Watchmen provides a useful basis fo r a close reading of metaphor and m etonym y in comics storytelling, of their functions in meaning-making and creating literary com plexity.17 Moore brings m etonym y to work both as re-naming...

..., these essays w rite a substantial turn in both European and Anglo-Am erican criticism , which has, by and large, been chiefly semiotic, structural, and self-ratifying. Hatfield's essay ends w ith a discussion o f serialization, and so the next tw o essays turn to mainstream serialized superhero fiction...

... issues o f cultural capital, knowledge production, and textual form through the m ost low -brow comics genre: the serialized superhero comic book. In the follow ing, I turn to a storyline published in the Batman m onthly from December 2002 to November 2003, titled Hush, and w ritten by Jeph Loeb...

... Mainz University for her PhD project. Her first book. N ew Perspectives on Superheroes (Neue Perspektiven auf die Superhelden: Polyphonie in Alan Moore's Watchmen) has recently been published. Her main research interests are comics, rhetoric, and postmodernism. W illiam ICuskin is an associate professor...

... this condition, he has built an iron carapace, the chestplate that unifies the Iron Man suit to create him as a superhero, a bionic man fo r the digital age. Follow ing the m etaphor out, Iron Man's heart im agines the " I" as bio-tech, an intertw ining o f hum an and m achine processes th a t fig u re the in d...

..., namely by staying com m itted to the dynamics of various popular genres (whether concerned with hard-boiled cops or superheroes or samurai) rather than by attempting to transcend or redeem them. Given the dynamics of M iller's w ork as a whole, and o f the Sin City series in particular, scholars should...

... this effect is initially and most evidently a kinetic dynamism: a sense of m otion, action, and movement, o f force seized in space for the duration o f an image.This is perhaps an explanation for w hy action-oriented superhero narratives contin­ ue to dom inate comic books, despite the wealth of "adult...

... becomes the moral barometer of late nineteenth-century Britain’s ability to lower its imperialistic designs on colonies and wage labor exploitation. Kenan’s referencing of a viable European literary model recalls Horace’s bedroom walls covered in posters of superheroes from the comic universe: the Hulk...

..., to tell stories that can touch people's lives near and far. Suspended between those tw o tendencies, "H ow to Kill a . . ." is typical of the early Love and Rockets: the series in itially flirted w ith science fiction and the superhero, then quickly sidelined these genres in favor o f new themes...

... ander b u t Stars O f fire rise up nightly from the O cean & one Sun Each morning (138.25-28: E 406) The splendor is a uniform and undifferentiated splendor, the consequence of regeneration acting as homogenization. The rem aining agents finally are four superheroes. O ther person­ ages lose agency...

... as living spaces have been destroyed by oil spills both o f w hich I m yself, by the way, was forced to do at that law firm . Law schools also in tro d u c e you in a class on to rts to the "re a so n a b le man." (He Is no w called, I believe, "reasonable p e rso a ")T h ls name sounds like a superhero...