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Table of contents
- D&R - Kültür Sanat ve Eğlence Dünyası
- by Uplifting Podcast
- US cities are losing 36 million trees a year. Here's why it matters and how you can stop it
After the Danish cartoon controversy of , Al-Mutawa found his ambition even more relevant, if highly-charged: "It was something I began for my creative side but also for my 'fed-up Muslim' side. People kept bastardising Islam in order to go to war. I wanted to take the central values of my faith, which I believe are human values, and use them creatively.
I wanted to say, 'This is Islam and it's no different from your values'.
D&R - Kültür Sanat ve Eğlence Dünyası
My work has glorified Islam from the US to China for the past ten years. Thus, in one of his TED talks, he claims he chose the medium of children's cartoons in order to prevent a future of radicalised young men and women: they were created to "fight for the hearts and minds of the kids who have been taught to hate".
However, he points out that the idea's roots are not entirely original. There is a long tradition of comic-book characters whose back-stories lie in theology, he says; they just hadn't penetrated Islamic culture before. For example, Captain Marvel says, 'Shazam! Superman has a Moses link. And drawing. The first episode of The 99 begins in , with the Siege of Baghdad. It is pivotal to our history, when the Mongols invaded and destroyed the Grand Library. As for the characters, they first appear in the form of stones scattered across the world.
When they acquire their powers, they initially use themfor self-interest, but, says Al-Mutawa: "When you use your powers in this way, you get taken advantage of by people who want to exploit these powers. There is also what Al-Mutawa calls a "self-updating mechanism" within The As he explains it: "Everyone believes the Koran is for all time and all place. Some people believe that means the original interpretation from ancient history is still relevant today — which I don't believe.
There there's the group that thinks it is a living, breathing document. The 'updating mechanism' captures that. And Rughal does not want the updating to happen. Given the context, Al-Mutawa was also aware there was a risk that his depiction of heroism among bearded Eastern men and head-scarfed women would be interpreted as "jihadi" or extremist.
And that, he says, was why he made the moral behind The 99 so clear. Religion has always been prone to misappropriation, he thinks — more so now than ever in the case of Islam — but there are also Western examples of "bad" people subverting "good" books. Is this a dangerous text, or are these two deranged readings of it? Aside from the underlying messages in his stories, he admits he had a lot of fun creating his characters: his is a rainbow-nation of superheroes — from Iran, Yemen, Ghana and Hungary, among others — who come together despite racial and cultural difference.
The Iranian superhero plays with fire. Similarly, ethnoracial identities are not timeless and static and their histories are similarly marked by changes and ruptures that redefine established concepts or introduce new ones cf. Sarna; Wenger. Thus, the first step in any study should always be to clearly state which part of continuity is to be studied. The works of writers like Rabbi Simcha Weinstein, Danny Fingeroth, and Arie Kaplan are not tested for scholarly rigor or quality and, most importantly, do not aspire to academic rigor.
When these generic differences are ignored and they are cited as authoritative sources e. Malcolm n18; Royal 1n2 , parochial cultural myths can be disseminated into comics scholarship.
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- D&R - Kültür Sanat ve Eğlence Dünyası.
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With repetition, they can become naturalized, possibly muddling the historical record and making new insights into historical connections between comics and identity increasingly inaccessible. Granted, interviews and archival materials from early comics history are scarce, but the closer one gets to the present, the more one can find.
Many artists and writers have been treated in biographies and hagiographies; see the previous paragraph. Even when no archival or biographical materials are available, however, secondary literature can be used to elucidate contexts. Malcolm, again, fails to take this material into account; her essay lacks perspective on the development of Jewish American and American perceptions and conceptions of the Holocaust, leading to an ahistorical treatment of the topic from a contemporary understanding.
Ideally, a critical perspective that pays attention to history, context, and biography, and takes authorial self-representation and stated intentions seriously should be developed as scholarship on comics and identity proceeds. In an ideal world, the meaning of neither comics characters nor cultural identities should be asserted without consideration of their contingency. And no critical study should assume, for example, that simply because Jews wrote comics, they surreptitiously wrote their Jewishness into them or that, because there are Jews in some stories, it is ethnography.
Nothing should take precedence over direct engagement and quotation of the comics themselves. From the shoddiest piece of Golden Age hackwork to the most ostensibly literary graphic novel, every work of comics speaks volumes about the identity climate in which it was created; as scholars, we should try to set aside our preconceived notions and listen. Ammerman, Nancy T. Gerrie ter Haar and James J.
Attebery, Brian. Decoding Gender in Science Fiction. New York: Routledge, Baron, Lawrence. Brevoort, Tom, and Stan Lee. January 2 Brodkin, Karen. New Brunswick: Rutgers University Press, Chemers, Michael M. December 27 Claremont, Chris w , et al. Essential X-Men Vol. New York: Marvel Publishing, Inc. Claremont, Chris w , and John Bolton a. New York: Marvel Comics, Costello, Matthew J.
New York: Continuum, Darius, Julian. May 11 DiPaolo, Marc. McFarland, Dussere, Erik. Fingeroth, Danny. Flanzbaum, Hilene, ed. The Americanization of the Holocaust. Baltimore: Johns Hopkins University Press, Fredrickson, George M. Racism: A Short History. Princeton: Princeton University Press, Gaddis, John Lewis. New York: Penguin Press, Genter, Robert. Godoski, Andrew. May 18 Goldstein, Hilary. Magneto: A Philosophical Debate. December 29 Goldwater, Barry. June 22 Greenberg, Cheryl Lynn.
by Uplifting Podcast
Ilea, Ramona. Rebecca Housel and J. Jeremy Wisnewski.
Kaplan, Arie. Philadelphia: The Jewish Publication Society, Kaplan, Dana Evan. Dana Evan Kaplan. Cambridge, U.
Kavadlo, Jesse. Rebecca Housel and Jeremy Wisnewski. Hoboken: John Wiley and Sons, Inc. Kennedy, John Fitzgerald.
US cities are losing 36 million trees a year. Here's why it matters and how you can stop it
December 25 Lasch, Christopher. London: Pan books, Lee, Stan w , and Jack Kirby p , et al. Lee, Stan, and George Mair. The Amazing Life of Stan Lee. Luce, Henry R. Diplomatic History Lund, Martin. Lyubansky, Mikhail. Robin S. Rosenberg and Jennifer Canzoneri. Dallas: BenBella Books, Inc.
Malcolm, Cheryl Alexander. Samantha Baskind and Ranen Omer-Sherman. Michael, John. Minneapolis: University of Minnesota Press, Novick, Peter. The Holocaust in American Life. What was once a symbol of silly circus fun has been turned into one of the most ubiquitous images in horror. So if you're in the mood for a circus from hell, there's plenty of evil clowns to choose from.
One of the most famous frights from this messed-up classic is the clown doll.