everyone loves superheroes. superheroes, of course, have incredible powers; they can leap tall buildings in a single bound, excel in combat, and have X-ray vision. But, in addition, superheroes have a kind of simplicity of motive and focus that makes them pure and comprehensible in the way in which the people we actually know rarely are. For Superman it is about Truth, Justice, and the American Way. For Batman it is all about fighting evil: defeating the Joker, (...) the Riddler, and other nefarious characters. For Spiderman it is an outsized sense of mission: “With great power comes great responsibility.” Superheroes are superhuman individuals, who have a simple philosophy of life that motivates their every action. Of.. (shrink)

How Superheroes Model Community examines superheroes as a community engaged in protecting the public sphere. Nathan Miczo highlights and explores the interpersonal and communicative practices that are necessary to being a member of such a community.

The roster of Muslim superheroes in the comic book medium has grown over the years, as has the complexity of their depictions. Muslim Superheroes tracks the initial absence, reluctant inclusion, tokenistic employment, and then nuanced scripting of Islamic protagonists in the American superhero comic book market and beyond. This scholarly anthology investigates the ways in which Muslim superhero characters fulfill, counter, or complicate Western stereotypes and navigate popular audience expectations globally, under the looming threat of Islamophobia. The contributors (...) consider assumptions buried in the very notion of a character who is both a superhero and a Muslim with an interdisciplinary and international focus characteristic of both Islamic studies and comics studies scholarship. Muslim Superheroes investigates both intranational American racial formation and international American geopolitics, juxtaposed with social developments outside U.S. borders. Providing unprecedented depth to the study of Muslim superheroes, this collection analyzes, through a series of close readings and comparative studies, how Muslim and non-Muslim comics creators and critics have produced, reproduced, and represented different conceptions of Islam and Muslimness embodied in the genre characters. (shrink)

What would happen if lightning struck a tree in a swamp and transformed it into The Swampman, or if saving billions of lives required sacrificing millions first? The first is a philosophical thought experiment devised by Donald Davidson, the second a theme from a comic written by Alan Moore. I argue that that comics can be read as containing thought experiments and that such philosophical devises should be shared with students of all ages.

By considering the movies in the Marvel Cinematic Universe as a case study, I bring Tolkien’s explication of mythopoesis in “On Fairy Stories” to bear on the current popularity of superhero films to argue that such works qualify as cinematic examples of Tolkienesque fantasy tales. After summarizing Tolkien’s criteria for the genre in Nietzschean aesthetic terms, I both demonstrate how the builders of the MCU have crafted a sub-created fictional world and defend the existence of fairy stories in visual media (...) from Tolkien’s own criticism of such a possibility. (shrink)

The world of the Hindi heroes of the 1970s, while decked in battle gear, largely belonged to the official state apparatus, either as members of vigilante self-defence squads – of which Bahadur was a pioneer – or bonafide members of the police force, like Inspector Vikram. The costumed superhero only emerged at the end of the Nehruvian period, gradually coming to defy its signature science and rationality. My article seeks to explore questions of the political economy of the superhero genre (...) and the affective valences of the supernatural in imaging/negotiating the national and transnational, through this conjunctural moment of the late 1970s and early 1980s. (shrink)

Exploring a variety of female superhero narratives, including Wonder Woman comics and television shows like The Secrets of Isis, The Bionic Woman, and Buffy the Vampire Slayer, this book argues that twentieth-century superheroine stories historically depicted education as the path to female liberation and empowerment.

The COVID-19 pandemic has been accompanied by an “infodemic” of misinformation and conspiracy theory. This article points to three explanatory factors: the challenge of forming accurate beliefs when overwhelmed with information, an implausibly individualistic conception of epistemic virtue, and an adversarial information environment that suborns epistemic dependence. Normally we cope with the problems of informational excess by relying on other people, including sociotechnical systems that mediate testimony and evidence. But when we attempt to engage in epistemic “superheroics” - withholding trust (...) from others and trying to figure it all out for ourselves – these can malfunction in ways that make us vulnerable to forming irrational beliefs. Some epistemic systems are prone to coalescing audiences around false conspiracy theories. This analysis affords a new perspective on philosophical efforts to understand conspiracy theories and other epistemic projects prone to collective irrationality. (shrink)

In the wake of two recent developments in stem cell research, it is a fitting time to reassess the claim that stem cells will radically transform the concept and function of medicine. The first is the U.S. Food and Drug Administration’s decision in January 2009 to approve Geron Corporation’s Phase I clinical trial using human embryonic stem cells for patients with spinal cord injuries. The second is the National Institutes of Health’s decision to permit federal funding of research using donated (...) IVF human embryos in their July 2009 Guidelines on Human Stem Cell Research. We are now poised to see whether stem cell research can deliver on what it promises. However, what exactly does it promise and how? Moreover, who is doing the promising? Turning to the use of metaphor can help us to answer these questions and enable us to develop a better appreciation of the unique features of promised stem cell therapies. Indeed, metaphors have exerted profound influence in medicine, and it is fitting that we seek new metaphors for new therapies where appropriate. In this case, other metaphors such as magic bullets or the Holy Grail cannot capture what is unique about stem cells. Accordingly, I propose a new metaphor: the stem cell superhero. Stem cell superheroes are characterized by the following traits: they are seemingly capable of fighting the evil of virtually all disease and they seem to be our only hope of doing so, although to summon them we must make difficult moral choices. In the course of assessing the merits of three recent yet covert references to the superhero metaphor, I conclude that this powerful new paradigm employs a problematic logic, but that the aspiration as such is a good one. (shrink)

This paper maps superheroes as signifiers of substantive justice and their relationship with the state across two Coverian nomoi, World War II and the “war on terror”. It is argued that the central concern of most superhero narratives is justice, exploring both what it means and how it can best be articulated. This “call to do justice” becomes even more important during wartime where superheroes become agitators for cultural change, appropriating the sovereign decision during states of exception even (...) as they resist co-option by the state itself. (shrink)

We all think we know who Batman and Superman are. They are polar opposites who both happen to wear their underwear over spandex pants, or at least they once did. So, for comic purists and fans of the cinematic DC Universe it may seem bold to claim that Batman is a true superhero and that Superman is not a true superhero. As a matter of a fact, we want to claim something even stronger: something we will prove independently, without only (...) comparing them and without having to worry if one comic character happens to depend on the other. We plan to demonstrate that it is not a matter of comparison between Batman and Superman when it comes to the concept: a true superhero. There is something else that is crucial for each comic character that makes one a true superhero, whereas the other is not—and we are going to reveal what this is exactly. (shrink)

With the emergence of the science of heroism there now exists both theoretical and empirical literature on the characteristics of our everyday hero. We seek to expand this inquiry and ask what could be the causes and conditions of a superhero. To address this we investigate the origins of mindfulness, Buddhist psychology and the assertion that its practitioners who have attained expertise in mindfulness practices can develop supernormal capabilities. Examining first their foundational eight “jhana” states (levels of attention) and the (...) six consequent “abhinnas” (siddhis or special abilities) that arise from such mental mastery, we then explore any evidence that mindfulness practices have unfolded the supernormal potential of its practitioners. We found a growing base of empirical literature suggesting some practitioners exhibit indicators of enhanced functioning including elevated physical health and resistance to disease, increased immunity to aging and improved cognitive processing, greater resilience and fearlessness, more self-less and pro-social behaviors, some control over normally autonomic responses, and possibly some paranormal functionality. These improvements in normal human functioning provide some evidence that there are practices that develop these abilities, and as such we might want to consider adopting them to develop this capability. There are however insufficient studies of expert meditators and more research of adepts is called for that explores the relationship between levels of attentional skill and increases in functionality. We propose in search of the superhero, that if conventional mindfulness training can already augment mental and physical capabilities, a more serious inquiry and translation of its advanced methods into mainstream psychological theory is warranted. (shrink)

Amidst contemporary culture’s obsession with superheroes as the basis of the new mythologies of our day, and numerous religious communities’ ‘sterilized’ version of Jesus, the church has to rediscover the paradoxical life and teachings of Jesus, as narrated in the Gospel of Mark. Within the honour-and-shame-based Mediterranean culture, within which Mark was written, Jesus’ atypical demeanour and his radical teachings on self-sacrifice, coupled with his shameful death, were perplexing. His opponents did not find any proof in his scandalous teachings (...) and inglorious outward appearance to confirm his messianic claims. In terms of the present obsession with superheroes, Jesus was never in a costume in public. He did not take on a temporary public persona in a staged drama en route to the cross. At all times, Jesus was the slave-like Son of God who came to serve and lay down his own life as a ransom for many (Mk 10:45). The crucified Jesus, stripped of all honour and godforsaken, is the paradoxical sign and physical embodiment of the kingdom of God. The risen Jesus is no different. He still is who he is. This largely undiscovered Jesus of Mark’s Gospel must capture the imagination of the church all over again, the kind of imagination that elicits admiration, amazement and life-change. Only when the church begins to embody the kenotic route of Jesus that it will become clear to her and others that she, in fact, possesses paradoxical ‘superpowers’ – the self-sacrificing kind. (shrink)

The plot of the first three seasons of the Amazon Prime series The Boys, adapted from the graphic novel by Garth Ennis and Darick Robertson, makes direct comparisons between its superpowered protagonists, the Nazis, and the modern MAGA movement. As such, the series seems to be an argument from analogy that the modern MAGA movement is fascist. It is the goal of this chapter to examine that argument and evaluate its conclusion. In the end, we will see that the analogy (...) is strong, and that the modern MAGA movement is not even just “fascist adjacent.” Although the historical circumstances are different, the modern MAGA movement belongs to the family of fascist political ideologies, just as much as 1930s German Nazism. (shrink)

Cette contribution se propose de caractériser le personnage de Superman au travers du prisme de la série télévisée Smallville. Prioritairement adressée aux adolescents, elle se consacre largement à représenter les rites de passages, qu’ils soient ceux du jeune garçon appelé à devenir un homme parmi les siens, ou ceux du héros en quête de ses origines, devenu une légende inscrite dans l’imaginaire collectif depuis plus de sept décennies. Notre approche s’appuie sur la possibilité d’une lecture de cette série sur deux (...) plans : celui de la biologie imaginée, cerveau imaginé compris ; et celui du cerveau imaginant. Smallville s’offre, de manière quasi immédiate, à une approche mythopoïétique du parcours super-héroïque donné au cours des dix saisons, jouant sur les thématiques de la mémoire, celle des origines comme celle de la génétique imaginée. Elle permet aussi par sa mise en images insistante des capacités spectaculaires du futur Superman, de mieux comprendre dans quel incubateur neural d’ontologies fantastiques le récit puise cette composante génératrice de son célèbre pouvoir de vol aptère, les expériences « hors-du-corps ». Nous avons pu ainsi distinguer dans les « imaginaires du cerveau », aussi clairement que possible, les apports du cerveau imaginant au cerveau imaginé chez notre super-héros. This contribution aims at unveiling—through episodes of television series Smallville —the complementarity of apparently dissociated aspects of Superman character. Primarily targeted at teenagers, rites of passage are pervasive in Smallville, whether for the young boy to become a man, or for the hero to succeed in the quest of his origins—as he became a legend in the collective imagination over more than seven decades. Our approach dwells on the potentiality to read Smallville on two levels: as so-called “naïve” or intuitive biology, including the imagined brain; as the imagining brain, with its neural correlates of imagination, i.e. biology as counter-intuitive as science may be. Smallville lends itself to a mythopoïetic reading, for the life course of our superhero, focussing on his personal memory issues, deeply concerned both with his origins and what is imagined about his own genetics. Smallville allows also, by the dramatic pageantry of Superman supernatural powers by design, to inquire about the neural incubator of such marvel ontologies, over-intuitively gifted, in Superman mainly his airworthiness for wingless flight, like in so-called oneiric out-of-body experiences. Thus in the brain imaginarium we ended with disentangling what of the over-intuitive sensori-motor experience of the imagining brain was tapped into the imagined brain of our superhero. (shrink)

AbstarctBoth the superhero and the supervillain operate outside the law. The former replaces law with a form of substantive justice while the latter seeks to invert or overturn the law in favour of a new grundnorm that best serves their vision for how society should operate. In this paper I consider what this prefix “super” really means in relation to these two classes, drawing on Nietzsche’s original definition of the ubermensch and its relationship to legal concepts such as the state (...) of exception, sovereign power and substantive justice. These relationships will be mapped across a number of examples from the Marvel Studios films—paying particular attention to the antagonists in these movies, both the state and the supervillains, arguing that it is these antagonists who are most illustrative of these concepts in play. (shrink)

We argue that the counterfactual representations of popular culture, like their religious cognates, are shaped by cognitive constraints that become visible when considered in aggregate. In particular, we argue that comic-book literature embodies core intuitions about sociality and its maintenance that are activated by the cognitive problem of living in large groups. This leads to four predictions: comic-book enforcers should be punitively prosocial, be quasi-omniscient, exhibit kin-signalling proxies and be minimally counterintuitive. We gauge these predictions against a large sample of (...) 19,877 characters that were derived from 72,611 comics using data scraping techniques. Our results corroborate the view that cognitive constraints exercise a selective effect on the transmission of popular culture. (shrink)

In this paper I concern myself with The Superman Puzzle. I argue that the descriptive content associated with proper names, besides determining the proper name's reference, function as truthconditionally relevant adjuncts which can be used to express a manner, reason, goal, time or purpose of action. In that way a sentence with a proper name NN is doing something could be understood as NN is doing something as NN. I argue that the substitution of names can fail on modified readings (...) because the different descriptive content of proper names modifies the main predicate differently. Here I present a formal representation of modified predicates which allows one to model intuitively the different truth-conditions of sentences from The Puzzle. (shrink)

Why do we admire Abraham1 so much? The standard answer is that Abraham’s faith in God is very great. Now in the context of Genesis, “faith in God” does not mean “belief in God’s existence.” Polytheism, not atheism, is the adversary in Genesis. Nor does “faith in God” mean “believing in order that we may come to understand God”2 or “believing because we cannot fully understand God”3 or “believing despite what we understand about God.”4 To minimize anachronism and controversy I (...) shall work with a minimalist reading of “faith in God,” a meaning shared by all interpretations. On every plausible conception of faith, if Abraham has faith in God, then he trusts God’s word. In Genesis “faith in God” means at least, “trusting that God will keep His promises.”5 But Abraham does not display this sort of faith. I shall argue that Abraham actually displays a lack of trust in God throughout his whole life. To show this I shall review the events of Abraham’s life, assessing his level of faith in God at each point. (shrink)

Many recently released Hollywood films feature superheroes like Superman, Ironman, the Hulk, Optimus Prime, and so on who possess amazing superpower and defeat supervillains with unassailable commitment to moral justice. Interestingly, different superheroes possess and exercise their superpower in very different fashions. What is more, this aspect of their difference is intimately related to an issue that is lately in intense debate among metaphysicians of powers and dispositions, the issue of the possibility of intrinsic interferers with dispositions. This (...) paper will argue that a strong case can be made against this possibility when we give due weight to the commonsensical understanding of superheroes and their superpower. Whilst other arguments have been raised against the possibility of intrinsic interferers with dispositions in the latest literature, this will present further difficulties for those who accept it. (shrink)

The first look at the philosophy behind the _Captain America_ comics and movies, publishing in advance of the movie release of _Captain America: The Winter Solider_ in April 2014. In _The Virtues of Captain America_, philosopher and long-time comics fan Mark D. White argues that the core principles, compassion, and judgment exhibited by the 1940’s comic book character Captain America remain relevant to the modern world. Simply put, "Cap" embodies many of the classical virtues that have been important to us (...) since the days of the ancient Greeks: honesty, courage, loyalty, perseverance, and, perhaps most importantly, honor. Full of entertaining examples from more than 50 years of comic books, White offers some serious philosophical discussions of everyone’s favorite patriot in a light-hearted and accessible way. Presents serious arguments on the virtues of Captain America while being written in a light-hearted and often humorous tone Introduces basic concepts in moral and political philosophy to the general reader Utilizes examples from 50 years of comics featuring Captain America, the Avengers, and other Marvel superheroes Affirms the value of "old-fashioned" virtues for the modern world without indulging in nostalgia for times long passed Reveals the importance of the sound principles that America was founded upon Publishing in advance of _Captain America: The Winter Soldier _out in April 2014. (shrink)

What is the content of beliefs expressed by sentences with fictional names? Millianism has notoriously struggled to give a satisfactory answer to this question. Some Millians have argued that fictional names are empty names. But such a view entails that the belief that Superman has impressive superpowers and the belief that Aquaman has impressive superpowers have the same content, contrary to our intuitions. Others have argued that fictional names refer to fictional entities. But this view has a long-standing problem, Frege’s (...) Puzzle, and many philosophers are skeptical that Millians have successfully addressed it, despite commendable efforts. In this paper, I put forward a different Millian Theory of fictional proper names that by-passes these and other objections related to belief content. The novelty of my proposal partially rests on a distinction I draw between semantic content and belief content—as opposed to a distinction between belief content and belief state or a way of grasping the content, as it is commonly found in Millian accounts—in a framework where belief contents are not part of the meaning of names. (shrink)

Development of methods to reawaken the semi‐dormant regenerative potential that lies within adult human tissues would hold promise for the restoration of diseased or damaged organs and tissues. While most of the regeneration potential is suppressed in many vertebrates, including humans, during adult life, urodele amphibians (salamanders) retain their regenerative ability throughout adulthood. Studies in newts and axolotls, two salamander models, have provided significant knowledge about adult limb regeneration. In this review, we present a comparative analysis of salamander and mammalian (...) regeneration and discuss how evolutionarily altered properties of the regenerative environment can be exploited to restore full regenerative potential in the human body. (shrink)

One of the more compelling features of Denis Dutton’s The Art Instinct is its theoretical parsimony. Utilizing what essentially amounts to one explanatory principle—that of Darwinian selection—Dutton advances a theory of aesthetics that is at once general enough to account for cross-cultural variations in artistic production and sufficiently nuanced to promote insights into individual artworks. In doing this, Dutton’s work could not offer a greater contrast to some of the more vocal trends in contemporary aesthetic theory, where ponderous theorizing and (...) rebarbative jargons have violently opposed the idea—otherwise so modest—that aesthetic activities might draw on the evolved capacities of the human imagination. On .. (shrink)

Unmarried and childless women are frequently portrayed negatively in society. Social storytelling often renders them discriminated against, or in extreme cases, outcast by their kin or clan. Twelve semi-structured interviews were conducted with never married women to explore the concept of femininity, constructions of identity in daily-life, identity changes over time, marital status, and the interaction between having not married and womanhood. Data specifically relating to self-definitions of femininity and marital status concentrate on the speakers’ constructions of themselves as both (...) the subject (powerful) and the object (powerless) of their own reflective enquiry. Four key themes emerged through the analysis: ‘Being Never Married’; ‘Society’s Perceptions’; ‘Being Feminine’; and ‘The Self and Transitions’. This study facilitates understanding of never married women’s relationship with themselves, their gender identity, and marital status; and is key to understanding how this population discusses their marginalisation in society. (shrink)

When the character of Black Panther first appeared in Fantastic Four no. 52 in July 1966, legendary creators Stan Lee and Jack Kirby didn't just write a story about another hero with extraordinary powers, they birthed the first Black superhero. For Lee, "it was a very normal thing," because "A good many of our people here in America are not white. You've got to recognize that and you've got to include them whatever you do." While it might've seemed normal to (...) Lee, Black Panther's (and Wakanda's) significance cannot be overstated. After all, the first Black superhero isn't just a Black superhero, he's the King of an African nation endowed with otherworldly powers, and Wakanda isn't just an African nation, it's the most advanced civilization the Earth has ever seen. Indeed, it shouldn't be lost on us that when Black Panther was introduced (during the Civil Rights era of the 1960s) the thought of a Black President-or an advanced, futuristic African society-would have been, well, unthinkable for too many people. (shrink)

The history of the Wonder Woman comic book character is full of events and personalities as dramatic as the tales detailed in the text. The origins and development of this iconic female superhero demonstrate how competing ideas of what womanhood meant were reflected in popular culture. In this essay, the focus is on a particular issue of the Wonder Woman comic book, with a story by writer and literary critic Samuel R. Delany in 1972. In this issue Wonder Woman takes (...) on the role of a women’s liberation activist in New York City. This chapter in Wonder Woman’s history is either unknown or dismissed as misguided by many fans past and present, but it provides an interesting insight into how American comic books responded to second-wave feminism and Gloria Steinem’s appropriation of the Wonder Woman image. (shrink)

The essay examines how American superheroes wage their mythological battle against evil as one of metaphysical salvation and redemption. They incorporate fantasies of super-human and super-technological bodied that seek to inherit, realize, and surpass all previous mythic hero figures of human civilization. America is staged as a nation of nations that has reached the end of history and is waiting for Judgement Day. The waiting time is filled by the entertainment industry.

This chapter contains sections titled: The Serial Killer as Superhero Why Do We Love Dexter? Dexter Morgan: Superhero Dexter and the Viewer Dexter vs. Dexter Dexter's Ethics Dexter's Dark World.

Untangle the complex web of philosophical dilemmas of Spidey and his world—in time for the release of The Amazing Spider-Man movie Since Stan Lee and Marvel introduced Spider-Man in Amazing Fantasy #15 in 1962, everyone’s favorite webslinger has had a long career in comics, graphic novels, cartoons, movies, and even on Broadway. In this book some of history’s most powerful philosophers help us explore the enduring questions and issues surrounding this beloved superhero: Is Peter Parker to blame for the death (...) of his uncle? Does great power really bring great responsibility? Can Spidey champion justice and be with Mary Jane at the same time? Finding your way through this web of inquiry, you’ll discover answers to these and many other thought-provoking questions. Gives you a fresh perspective and insights on Peter Parker and Spider-Man’s story lines and ideas Examines important philosophical issues and questions, such as: What is it to live a good life? Do our particular talents come with obligations? What role should friendship play in life? Is there any meaning to life? Views Spider-Man through the lens of some of history’s most influential thinkers, from Aristotle, Thomas Aquinas, and Immanuel Kant to Nietszche, William James, Ayn Rand, and Alasdair MacIntyre. (shrink)

Wonder Woman's co‐creator William Marston believed that sexual bondage was key to achieving a peaceful society. Though Marston intended Wonder Woman to provide an alternative to the masculinity of the superheroes of his day, Marston's vision remains relevant today. The behavior and attitude of Marston's Wonder Woman anticipated contemporary feminist philosophers' contributions to the ethics of care. There is also an underlying ethics of care in Wonder Woman's role as what Marston calls a "Love Leader", and that combination of (...) kink and care is itself reflected in contemporary BDSM. Marston's stated goal in his academic writing was to promote "a new code of conduct, based on love supremacy". Marston's comic‐book creation, Wonder Woman, fit his depiction of an ideal Love Leader: a sexually alluring and powerful, yet loving, mistress whose feminine charms would make women and men submit to her authority. (shrink)

_An engaging look at the philosophical underpinnings of Earth's Mightiest Heroes_ Avengers assemble! Tackling intriguing dilemmas and issues that no single great philosopher can withstand, this powerful book enlists the brainpower of an A-list team of history's most prominent thinkers to explore the themes behind the action of Marvel Comics' all-star superhero team. Arms you with new insights into the characters and themes of _The Avengers_ Deepens your appreciation both of _The Avengers_ comics and the Joss Whedon movie adaptation Answers (...) the philosophical questions you've always had about Earth's Mightiest Heroes, including: Can a reformed criminal become a superhero? Can an android love a human? If a hero beats his wife, is he still a hero? Helps you think differently about the members of the superhero team—Captain America, Iron Man, Thor, and the others This thought-provoking book will help you understand this band of superheroes better, whether you've followed the Avengers for years or are a Joss Whedon fan just getting to know them. (shrink)

Final Crisis was an event comic produced by DC Comics in 2008 and written by Grant Morrison. In the story, the villain Darkseid takes over the minds of a majority of the Earth's population, including many of its superheroes. Wonder Woman is a notable exception. When one digs into the history of Wonder Woman, though, it isn't difficult to see from where Morrison is coming. This chapter examines a term Zizek uses alongside his discussion of fetishes, the "symptom". In (...) everyday use, it is easy to confuse what Zizek calls a symptom. If Morrison finds the concept of Wonder Woman to be bogus in light of the kinky sexuality associated with her origin, one could see his portrayal of Wonder Woman in Final Crisis as an attempt to bring to light the repressed truth underneath the surface of her image as a feminist icon. (shrink)

A superhero story where the protagonist questions the purpose of being a superhero in the first place. Written as the staff writer for Philosofict.

Superheroes always do their chores...or do they? When Molly dons her clever crown and Ben ties on his courageous cape, this duo can accomplish anything. However, even superheroes must sometimes be reminded to fulfill their family responsibilities. Readers follow Molly through a daring adventure in becoming a responsible family member.

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...) our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)

Moral entrepreneurship is the fine art of recycling evil into good by taking advantage of situations given or constructed as crises. It should be seen as the ultimate generalisation of the entrepreneurial spirit, whose peculiar excesses have always sat uneasily with homo oeconomicus as the constrained utility maximiser, an image that itself has come to be universalised. A task of this essay is to reconcile the two images in terms of what by the end I call ‘superutilitarianism’, which draws on (...) the lore of both superheroes and utilitarianism. After briefly surveying the careers of three exemplars of the moral entrepreneur (Robert McNamara, George Soros and Jeffrey Sachs), I explore the motives of moral entrepreneurs in terms of their standing debt to society for having already caused unnecessary harm but which also now equips him with the skill set needed to do significant good. Such a mindset involves imagining oneself a vehicle of divine will, which would be a scary proposition had it not been long presumed by Christians touched by Calvin. In conclusion, I argue that moral entrepreneurship looks most palatable – and perhaps even attractive – if the world is ‘reversible’, in the sense that every crisis, however clumsily handled by the moral entrepreneur, causes people to distinguish more clearly the necessary from contingent features of their existence. This leads them to reconceptualise past damages as new opportunities to assert what really matters; hence, a ‘superutilitarian’ ethic that treats all suffering as less cost than investment in a greater sense of the good. (shrink)

This paper seeks to explore the attraction and the beauty of the contemporary athletic body. It will be suggested that a body shaped through muscular bulk and definition has come to be seen as aesthetically normative. This body differs from the body of athletes from the early and mid-twentieth century. It will be argued that the contemporary body is not merely the result of advances in sports science, but rather that it is expressive of certain meanings and values. The visual (...) similarity of the contemporary athletic body and that of the comic book superhero suggests that both bodies carry a similar potential for narrative story-telling, and that their attraction is bound up with this narrative potential. The superhero and athlete live meaningful lives, pursuing clear and morally unambiguous goals. The aesthetic attraction of the body lies in its capacity to facilitate the articulation of a story of a meaningful life, and to do so in the face of the growing anomie and thus meaninglessness of life as experienced in contemporary society. Athleticism offers an illusion of meaning, serving to reproduce dominant justificatory narratives and social stereotypes. Yet, as an illusion of meaning, it may be challenged and negotiated, not least with respect to its bias towards a certain form of the male body. The female athletic body disrupts the illusion, opening up new existential possibilities, new ways of living and being, and thus new, and potentially disruptive, narratives. (shrink)

Background The Covid 19 pandemic has led to and continues to pose challenges for healthcare systems globally, especially in intensive care units. This research was conducted to examine the self-transcendence of the leading fighters, intensive care nurses, during the Covid 19 pandemic. Methods The descriptive phenomenological research method was used in the study. The research was carried out between June and December 2020 with the nurses who care for Covid 19 patients in the Covid 19 intensive care service in different (...) provinces of Turkey. The research was completed with 25 participants. A semi-structured interview form prepared based on the Theory of Self-Transcendence (vulnerability, self-transcendence, and well-being) and based on the literature was used to collect data. Ethical considerations Ethical requirements were respected in every phase of the research process. Results: The nurses in the study were found to experience vulnerability due to “administrative loneliness,” “inability to give care,” “fear of being a source of infection,” and “loneliness of patients.” Conclusions It has been found that “improvement in nursing roles and skills,” “being proud for oneself and the team,” “understanding the value of life,” and “feeling like a superhero due to the responsibilities shouldered during the pandemic” support nurses’ self-transcendence, which contributes to physical and mental well-being. (shrink)

Get the science facts, not science fiction, on the cutting-edge developments that are already changing the course of our future. Every day, scientists conduct pioneering experiments with the potential to transform how we live. Yet it isn’t every day you hear from the scientists themselves! Now, award–winning author Jim Al–Khalili and his team of top-notch experts explain how today’s earthshaking discoveries will shape our world tomorrow—and beyond. Pull back the curtain on: genomics robotics AI the “Internet of Things” synthetic biology (...) transhumanism interstellar travel colonization of the solar system teleportation and much more And find insight into big–picture questions such as: Will we find a cure to all diseases? The answer to climate change? And will bionics one day turn us into superheroes? The scientists in these pages are interested only in the truth—reality-based and speculation-free. The future they conjure is by turns tantalizing and sobering: There’s plenty to look forward to, but also plenty to dread. And undoubtedly the best way to for us to face tomorrow’s greatest challenges is to learn what the future looks like—today. Praise for What the Future Looks Like “A collection of mind-boggling essays that are just the thing for firing up your brain cells.” —Saga Magazine “The predictions and impacts are global... [and] the book contains far more fascinating information than can be covered in this review.” —Choice “This book is filled with essays from experts offering their informed opinions on what the science and technology of today will look like in the future, from smart materials to artificial intelligence to genetic editing.” —Popular Science “Fun is an understatement. This is a great collection to get the summer book season started.” —Forbes.com “The focus on sincere, factual presentation of current and future possibilities by leading experts is particularly welcome in this era of fake news and anti-science rhetoric.” —Library Journal. (shrink)

Tim Burton’s films are well known for being complex and emotionally powerful. In this book, Helena Bassil-Morozow employs Jungian and post-Jungian concepts of unconscious mental processes along with film semiotics, analysis of narrative devices and cinematic history, to explore the reworking of myth and fairytale in Burton’s gothic fantasy world. The book explores the idea that Burton’s lonely, rebellious ‘monstrous’ protagonists roam the earth because they are unable to fit into the normalising tendencies of society and become part of ‘the (...) crowd’. Divided into six chapters the book considers the concept of the archetype in various settings focusing on: the child the monster the superhero the genius the maniac the monstrous society. _Tim Burton: The Monster and the Crowd _offers an entirely fresh perspective on Tim Burton’s works. The book is essential reading for students and scholars of film or Jungian psychology, as well as anyone interested in critical issues in contemporary culture. It will also be of great help to those fans of Tim Burton who have been searching for a profound academic analysis of his works. (shrink)