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The Gay Bat Of Gotham: Depictions Of Common Queer Stereotypes And Tropes In The Dc Comics Character Batwoman, Tim Lenz
Online Midwinter Seminar (OMS)
Expansive superhero comic book universes can be thought of as collective, accretional works of Mythopoeia, generating modern mythologies of fantastical characters while also drawing inspiration from ancient myths of the primary world. The DC Comics’ character Batwoman was initially introduced in 1956 as a love interest of Batman/Bruce Wayne, in part to combat scandalous allegations of Batman’s homosexual tendencies towards his young male sidekick Robin. In 2006, writers Greg Rucka, Grant Morrison, Geoff Johns, and Mark Waid reinvented the Batwoman character for modern audiences as the alter ego of ‘Kate Kane,’ Bruce Wayne’s cousin, who was a lesbian of Jewish …
Political Demons: Society As Hell In Hellblazer And Sandman, Andrew Burt
Political Demons: Society As Hell In Hellblazer And Sandman, Andrew Burt
Online Midwinter Seminar (OMS)
In the Hellblazer and Sandman comic book universes, hell depends on the writer’s worldview and often on the decade in which they are writing, appearing as a twisted version of a dreary regular world. Thus, this hell is often related to the contemporary Western political and cultural landscape as seen through Judeo-Christian conceptions of hell, demonology, and fears of everlasting torment and damnation, just like Dante’s Inferno and many other representations for centuries. In creating a hell that mirrors the modern world and accounts for contemporary folklore about the supernatural, the creators humanize the character’s quests and reify the fruitlessness …
Hell As An Exploration Of Sin: A Comparison Of Alan Moore’S Providence To Dante’S Inferno, Zachary Rutledge
Hell As An Exploration Of Sin: A Comparison Of Alan Moore’S Providence To Dante’S Inferno, Zachary Rutledge
Online Midwinter Seminar (OMS)
In Alan Moore’s graphic novel Providence, Robert Black travels Lovecraftian New England and suffers a series of horrifying encounters—each an allusion to a Lovecraft story. These encounters contain direct references to various sins and taboos, thereby making explicit much of the sublimated sexuality in Lovecraft’s works. Therefore, Black’s journey constitutes not only a trip through Lovecraft’s mythology but also reads as a cataloguing of sins reminiscent of Dante’s passage through the levels of sin in Inferno. This paper identifies and explores the similarities between Dante and Black as examples of those who descend to the underworld along with a …
"Nor Am I Out Of It": The Modern Bureaucratic Hell On Page And Screen, Janet Brennan Croft
"Nor Am I Out Of It": The Modern Bureaucratic Hell On Page And Screen, Janet Brennan Croft
Online Midwinter Seminar (OMS)
SESSION VI
5:30 PM—6:20 Eastern
4:30 PM—5:20 Central
3:30 PM—4:20Mountain
2:30 PM—3:20 Pacific
9:30 PM—10:20 GMT
Thinking Makes It So? Hell As A (Fixable) State Of Mind In The Good Place And Lucifer, Erin Giannini
Thinking Makes It So? Hell As A (Fixable) State Of Mind In The Good Place And Lucifer, Erin Giannini
Online Midwinter Seminar (OMS)
While different in genre, sitcom The Good Place and drama Lucifer share a certain irreverent tone and a somewhat unique approach to the afterlife. In The Good Place, there is no mention of gods or devils, only demons, a Good Place committee, and a judge. Lucifer, loosely based on Neil Gaiman’s graphic novels, however, features angels, demons, God, and the Devil, providing its own spin on established cosmology with embodied versions of prominent figures such as the archangel Michael and biblical brothers Cain and Abel. Yet what ties The Good Place and Lucifer together is a focus on …
Those Queer Devils: Queercoding Villains, Devils, And Demons In Mythopoeic Film And Media, Grace Moone
Those Queer Devils: Queercoding Villains, Devils, And Demons In Mythopoeic Film And Media, Grace Moone
Online Midwinter Seminar (OMS)
In the early years of Hollywood’s Golden Age, The Hays Code functioned as a rigid morality code designed to shape the norms of Western culture. Its far-reaching impacts remain visible even decades after its enforcement was no longer required. In this talk, we will explore one of the most pervasive elements of the code’s legacy: the prohibition against showing LGBTQ characters in a positive light, and the resulting phenomenon of “queer-coding” characters. The practice of portraying LGBT+ characters through a lens of villainy and stereotype to adhere to the Hays Code requirement that queerness be punished and depicted as undesirable …
From Hell (Or Not): Representations Of Merlin And His Origins In The Comics, Michael A. Torregrossa
From Hell (Or Not): Representations Of Merlin And His Origins In The Comics, Michael A. Torregrossa
Online Midwinter Seminar (OMS)
The Arthurian figure of Merlin has a long literary history, but he never seems able to shake off the effects of his parentage. In medieval tradition, Merlin is sired by inhuman powers: first a seemingly benign dæmon and then a decidedly wicked demon. This preternatural aspect to his conception grants Merlin the skills and powers he uses to support the realm, yet it also taints him as someone potentially dangerous. Although Merlin’s background cannot be changed, creative artists often choose to ignore or alter his origins, especially when retelling his story for mass audiences. In contrast, other creators, usually those …
Who’S His Daddy? Approaches To Merlin’S Father In Children’S And Ya Media, Michael Torregosa
Who’S His Daddy? Approaches To Merlin’S Father In Children’S And Ya Media, Michael Torregosa
Online Midwinter Seminar (OMS)
In the 1130s, Geoffrey of Monmouth originated the character of Merlin, setting him upon the world stage as a wonder-working youth fathered (in the tradition of Greek and Latin authors of the past) by a daemon. However, later writers of the Middle Ages, beginning with Robert de Boron, reconceived Merlin within a more Christianized world, altering his heritage and transforming his sire into a demon from Hell. This shift from benign daemon to malevolent demon has impacted the representation of the wizard of Camelot for centuries. Contemporary fiction for the page as well as for the screen has adopted and …