The Problem of Evil | 59www.jrfm.eu 2017, 3/1, 59–74
Toufic El-Khoury
The Problem of Evil in
DC Universe Animated Movies, 2007–2016
DC Multiverse, an Ironic Illustration of Leibniz’s Theodicy?
ABstrACt
this article explores the question of evil and its metaphysical and moral implications
in a series of animated movie adaptations of the DC Universe produced since 2006.
the contemporary evolution of the medium, called the “iron Age of comics”, has
seen the auto-reflexive nature of comics produce problems and themes related to the
main question discussed in Christian theodicy: how can we perceive and define the
possibility of evil in a world where God’s omnipotence should have eliminated such
a possibility? Moreover, why does evil seem to spread indefinitely in spite of all the
efforts deployed by superheroes to stop evil? We will discuss the problem of evil as a
natural narrative topic in light of comics’ mythological and religious roots and with a
particular study case: DC Comics Multiverse as an illustration of Leibniz’s “best of all
possible worlds” argument.
KeyWOrDs
DC comics, animated movies, cinema, theodicy, problem of evil, Leibniz.
BiOGrAPhy
Toufic El-Khoury is a lecturer and coordinator at the Académie Libanaise des Beaux-
Arts and at the Université saint-Joseph, Beirut. he holds an MA in Philosophy (Uni-
versité saint-Joseph) and a PhD in film studies (Université Paris Diderot – Paris 7). he
is the director of the collection “Cinématographies” (Orizons, Paris) and the author
of La comédie hollywoodienne classique (1929–1945): Structure triadique et médiations
du désir (2016).
As the result of external or intra-generic influences, every movie genre organ-
izes and matures in its aesthetics, its codes, and its thematic, triggering the cu-
riosity of philosophy.1 In the field of Film Studies, philosophers have recently
1 We follow the definition of a movie genre suggested by Rick Altman and Raphaëlle Moine: the se-
mantic-syntactic-pragmatic definition. The semantic elements are the narrative and visuals codes, the
chapl
Pencil
chapl
Pencil
60 | Toufic El-Khoury www.jrfm.eu 2017, 3/1, 59–74
become interested in movies, intrigued not only by selected authors or film
aesthetics, but also by movie genres. following the interest of stanley Cavell
in hollywood comedy and melodrama, other philosophers have explored the
codes and themes of established genres: Robert Pippin with film noir and the
Western2 and, in France, Eric Dufour with horror movies and science fiction.3
Movies and TV series adapted from comics and, more specifically, from the
superhero genre are starting to attract interest beyond the circle of critics and
film historians.4 the superhero movie is still at its beginning, whereas superhero
comics have a longer and richer history, but with the release and success of
Spider-Man (sam raimi, Us 2002) and the steady production of superhero mov-
ies since 2002, the superhero genre has take.
Are the X-Men Marvel or DC An In-Depth Exploration.pdfXtreame HDTV
The world of comic books is vast and filled with iconic characters, gripping storylines, and legendary rivalries. Among the most famous groups of superheroes are the X-Men. Created in the early 1960s, the X-Men have become a cultural phenomenon, featuring in comics, animated series, and blockbuster movies. A common question among newcomers to the comic book world is: Are the X-Men Marvel or DC? This article delves into the history, creators, and significant moments of the X-Men to provide a comprehensive answer.
The document provides a history of comic books from their origins in newspaper comic strips in 1895 to the present day. It discusses the Golden, Silver, Bronze, and Iron Ages of American comics defined by major developments. It also covers the rise of manga in Japan, influenced by American comics brought by soldiers after WWII, and the growing popularity of webcomics in the late 1990s and 2000s online.
The document provides a history of comic books from their origins in newspaper comic strips in 1895 to the present day. It discusses the Golden, Silver, Bronze, and Iron Ages of American comics defined by major developments. It also covers the rise of manga in Japan, influenced by American comics brought by soldiers after WWII, and the growing popularity of webcomics in the late 1990s and 2000s online.
Horror films capture humanity's collective fears and provide communal catharsis by reflecting the ideas and fears of the society in which they were created. While the formula of horror films remains largely the same, the specific monsters and threats change over time to symbolize a culture's dominant anxieties, such as conformity during the McCarthy era as seen in Invasion of the Body Snatchers. Horror has its roots in ancient myths and provides a safe way to confront real fears through symbolic fantasy threats. The genre comments on issues like racism, war, and technology by addressing what troubles a whole society's unconscious.
This document provides background information on Alan Moore and his groundbreaking graphic novel Watchmen. It discusses how Watchmen was part of a movement in the 1980s to introduce more adult complexity to comics. It also provides context on the masked superhero comic book genre and how Watchmen subverted conventions of that genre. Finally, it discusses debates around terms like "graphic novels" and "comics" and how Watchmen helped establish comics as a legitimate artistic medium.
This document provides a history of the evolution of comics and the adventure genre. It discusses how early comics focused on humor but then the adventure genre emerged, pioneered by characters like Wash Tubbs, Captain Easy, Tarzan, and Buck Rogers in the 1920s-1930s. These characters lived exciting adventures in jungles and cities that captivated readers. By the 1930s, the adventure genre had grown to include jungle, science fiction, and police stories. However, the rise of Superman in the 1930s marked the emergence of the superhero genre as the dominant force in comics.
Graphic novels differ from comic books in that they are longer narrative works bound like books rather than monthly serialized issues. While comics were originally for entertainment, graphic novels address more serious topics for adult audiences. A key early graphic novel was 1978's 'A Contract with God' which helped establish the format as a serious literary medium, like 1986's 'Maus' which won a Pulitzer Prize.
Are the X-Men Marvel or DC An In-Depth Exploration.pdfXtreame HDTV
The world of comic books is vast and filled with iconic characters, gripping storylines, and legendary rivalries. Among the most famous groups of superheroes are the X-Men. Created in the early 1960s, the X-Men have become a cultural phenomenon, featuring in comics, animated series, and blockbuster movies. A common question among newcomers to the comic book world is: Are the X-Men Marvel or DC? This article delves into the history, creators, and significant moments of the X-Men to provide a comprehensive answer.
The document provides a history of comic books from their origins in newspaper comic strips in 1895 to the present day. It discusses the Golden, Silver, Bronze, and Iron Ages of American comics defined by major developments. It also covers the rise of manga in Japan, influenced by American comics brought by soldiers after WWII, and the growing popularity of webcomics in the late 1990s and 2000s online.
The document provides a history of comic books from their origins in newspaper comic strips in 1895 to the present day. It discusses the Golden, Silver, Bronze, and Iron Ages of American comics defined by major developments. It also covers the rise of manga in Japan, influenced by American comics brought by soldiers after WWII, and the growing popularity of webcomics in the late 1990s and 2000s online.
Horror films capture humanity's collective fears and provide communal catharsis by reflecting the ideas and fears of the society in which they were created. While the formula of horror films remains largely the same, the specific monsters and threats change over time to symbolize a culture's dominant anxieties, such as conformity during the McCarthy era as seen in Invasion of the Body Snatchers. Horror has its roots in ancient myths and provides a safe way to confront real fears through symbolic fantasy threats. The genre comments on issues like racism, war, and technology by addressing what troubles a whole society's unconscious.
This document provides background information on Alan Moore and his groundbreaking graphic novel Watchmen. It discusses how Watchmen was part of a movement in the 1980s to introduce more adult complexity to comics. It also provides context on the masked superhero comic book genre and how Watchmen subverted conventions of that genre. Finally, it discusses debates around terms like "graphic novels" and "comics" and how Watchmen helped establish comics as a legitimate artistic medium.
This document provides a history of the evolution of comics and the adventure genre. It discusses how early comics focused on humor but then the adventure genre emerged, pioneered by characters like Wash Tubbs, Captain Easy, Tarzan, and Buck Rogers in the 1920s-1930s. These characters lived exciting adventures in jungles and cities that captivated readers. By the 1930s, the adventure genre had grown to include jungle, science fiction, and police stories. However, the rise of Superman in the 1930s marked the emergence of the superhero genre as the dominant force in comics.
Graphic novels differ from comic books in that they are longer narrative works bound like books rather than monthly serialized issues. While comics were originally for entertainment, graphic novels address more serious topics for adult audiences. A key early graphic novel was 1978's 'A Contract with God' which helped establish the format as a serious literary medium, like 1986's 'Maus' which won a Pulitzer Prize.
This document analyzes how the character Mystique from the X-Men franchise has been portrayed differently over time, especially in response to 9/11 and changing American identity. In earlier X-Men films, Mystique is portrayed as a villainous sidekick to Magneto. However, in more recent prequel films, she is shown as a complex antihero undergoing a journey of self-discovery. This reflects how American society has moved from seeking clear divisions between "good" and "evil" post-9/11 to embracing more fluid concepts of identity. The document examines Mystique's changing roles and appearances in the films in the context of Marvel storytelling formulas and shifting American social values.
This document summarizes the evolution of the horror genre from its origins to modern times. It discusses how early horror films in the 1890s consisted of short spook tales, while the 1920s saw the introduction of more realistic settings. The 1930s saw the rise of Universal Studios' iconic monster films. Special effects techniques are described, such as those used in The Invisible Man. The 1940s saw a decline in quality due to formulaic plots, though mad scientist films remained popular. Halloween is credited with popularizing the slasher subgenre in the 1970s. Overall, the document traces the progression of horror film techniques and popularity of different subgenres over time.
The document summarizes the 1950s controversy around comic books in the United States. It discusses how Dr. Fredric Wertham's book claimed comics were corrupting youth and causing juvenile delinquency, leading to a crackdown. This included the creation of the Comics Code Authority to censor comics. However, the initial research was flawed and censorship stunted the creative growth of comics. Many influential creators left the industry. Ultimately, comics from this era had a positive influence and impact on future generations of creative people.
The document provides an overview of the history and evolution of comics, highlighting key comic artists from different eras. It discusses how comics progressed from early simplistic newspaper strips to more complex graphic novels. Important Golden Age artists included Will Eisner and Osamu Tezuka, while Gil Kane, Jim Lee, and Frank Miller made significant contributions during the Silver and Bronze Ages, developing new styles and pushing creative boundaries.
Genres evolve over time based on cultural and historical changes. In the 1940s-1950s, Western films featured solo heroes but then shifted to focus on groups in the 1960s-1970s to reflect workplace trends. Police/detective and spy genres replaced Westerns in the 1970s-1980s as urban crime and espionage grew in popularity. During the Great Depression, audiences sought escape from hardship through romantic comedies. Science fiction threats mirrored societal fears, like racial anxieties depicted in King Kong. By the 1990s, studios produced formulaic genre films and sequels to attract large audiences and ensure profitability given high production costs.
How do horror films reflect the fears of society AdamLepard
The document discusses how horror films have reflected the fears of society over time. It provides examples of how early 20th century horror films represented fears of war, monsters, and segregation. In the 1950s, films reflected a fear of nuclear weapons. The 1970s saw an increase in serial killer-focused films like Halloween that tapped into real crimes. More modern films like Get Out explicitly address contemporary social issues like racism to try and influence viewers. Overall, the document argues that horror films both draw from and impact societal fears and attitudes.
The document provides an overview of the horror genre throughout the decades from the 1920s to the 2000s. It discusses the evolution of horror films during each decade, from the silent films of the 1920s to the impact of sound and technology on special effects through the decades. It also touches on how the sociopolitical climate and events influenced the themes and styles of horror movies during each era. Some of the biggest and most influential horror films are highlighted for each decade.
This document provides a history of horror films from the late 1800s to the 2000s. It summarizes that early horror films were based on Gothic stories and myths and were silent. The introduction of sound in the 1930s allowed for more advanced monster stories using sound effects. Iconic films like Dracula and Frankenstein established the genre. Horror evolved to reflect social issues and new technologies with each decade, from atomic weapons to serial killers. Recent horror focuses on realistic themes providing escapism from real world tragedies.
Postmodernism challenges conventions in media by pushing boundaries and originality. It can apply to media texts in three aspects: challenging dominant ideologies, creating references to other works, and blurring reality. Genres are typically categorized rigidly for commercial purposes but can also be defined more flexibly to reach niche audiences. Postmodern theories like intertextuality encourage mixing genres and styles to engage audiences.
The document discusses the history of comic books from their origins to modern times. It covers the early development of comic strips in newspapers and the emergence of dedicated comic book magazines in the 1930s-40s. It then discusses the rise of superhero comics in the post-war era and the establishment of major publishers like DC and Marvel. The document also summarizes the alternative comics movement of the 1960s-70s, the graphic novel boom starting in the 1980s, and the expansion of comics into new genres and mediums in recent decades.
The document discusses the history of horror films from the 1890s-1950s. In the 1890s-1920s, early horror films featured mythical storylines and dreamlike imagery that does not scare modern audiences. Sound was introduced in the 1930s, making monsters' grunts and groans more terrifying. Famous films like Dracula and Frankenstein came out in this era. The 1940s saw a focus on internalized horrors and threats of the time, like werewolves reflecting fears of Hitler and World War 2. Low-budget films in the 1950s dealt with science and technology gone wrong as audiences were wary after WWII technological advances.
The document discusses postmodern film theory and provides examples from films by David Lynch and Matt Groening. It examines how postmodern films like Mulholland Drive and The Simpsons employ techniques like intertextuality, pastiche, and the blurring of reality and fiction. The document also discusses postmodernism more broadly and how it challenges notions of linear time, objective reality, and the distinction between high and low art forms.
The history of the horror genre can be divided into several periods:
- In the 1930s-1940s, Universal Pictures launched a successful series of Gothic horror films like Dracula and Frankenstein that blended horror with science fiction.
- In the 1950s-1960s, the genre shifted towards concerns of the atomic age with films about threats like alien invasions and mutations from radiation. Hammer Films also produced popular color adaptations of classic horror characters.
- The 1970s-1980s saw an increase in occult and demonic themes after censorship eased as well as slashers influenced by contemporary anxieties about technology and society.
Write a scholarly paper in which you apply the concepts of epide.docxarnoldmeredith47041
This document provides requirements for an epidemiology paper that analyzes a communicable disease. Students must choose a communicable disease, describe it thoroughly including causes, transmission, symptoms, treatment and complications. They must discuss the population most affected by the disease and the determinants of health related to it. Students must also identify the epidemiologic triad of host, agent, and environmental factors for the disease and discuss the role of public health nurses in finding, reporting, collecting, analyzing data, and following up on the disease. The paper requires a minimum of three references and 1250 words in APA format.
Write a S.M.A.R.T. goal to improve the Habit 5 Seek First to .docxarnoldmeredith47041
This document outlines a goal to improve the ability to seek first to understand others rather than be understood according to Habit 5. The author acknowledges they are able to communicate but struggles with listening skills. The goal is to practice actively listening and understanding what people are saying rather than being focused on themselves.
Write a Risk Management Plan for a School FacilityInclude th.docxarnoldmeredith47041
Write a Risk Management Plan for a School Facility
Include the following topics listed below
Write at least one page per topic, double spaced, Times Roman, Font Size 12
Provide References.
Use the APA Format
·
Personnel Management
·
Indemnification Waiver
·
General Supervisory Practices
·
Crowd Management Plan
.
Write a review that 750 - 1000 words in length about one chapter in .docxarnoldmeredith47041
Write a review that 750 - 1000 words in length about one chapter in the Niebuhr textbook. Half will be a summary and half will be the student’s personal reflection. The reflection should include points that the student agrees and disagrees with Niebuhr about and why.
Niebuhr, H. Richard. (2001).
Christ and Culture
. New York: Harper and Row.
.
write a resume using the example belowCONTACT INFOFirs.docxarnoldmeredith47041
write a resume using the example below
CONTACT INFO
First and Last Name
City, State (Optional) | Best Phone Number to Reach You | Appropriate Email Address
SUMMARY OF QUALIFICATIONS
· 3-5 sentences describing why you would be a great fit for the position.
· Describe your relevant accomplishments, strengths, knowledge, experience, skillsets, and languages.
· This is the “preview to the movie.” Highlight your best qualifications so they choose to read the rest of the resume.
· Use bullet points to distinguish each sentence if more aesthetically pleasing.
PROFESSIONAL EXPERIENCE
· List jobs you have held in the past 10 years; only list older jobs if they are directly related to desired job.
· Do NOT list a job if you worked at a place of employment for less than 3 months.
· If you have some jobs that are related to your desired position/field and others that are not, only list the related jobs in this section. Create an “Additional Work History” section at the end of the resume for the non-related jobs.
· Use bullet points to list achievements, results, recognitions, and duties for each job.
Company Name - City, State
Job Title
Start Year - End Year or Present
3-5 achievements, results, recognitions, and duties
INTERNSHIP / EXTERNSHIP / CLINICAL EXPERIENCE
· This section should take priority over others unless you have previous work history in exact field.
Company Name - City, State
Title or Role
Month Year - Month Year
2-3 Main Responsibilities/Duties
CERTIFICATIONS and LICENSURES
Name of Certification/License
Issuing Company or Organization
Certification/License Number
Expiration Month Year
EDUCATION
· Only include schools that you received a degree or relevant certifications from, or are currently attending.
· Do NOT include your high school.
School Name - City, State
Major/Area of Study
Degree Earned
Graduation Year/Estimated Graduation Month Year
CORE COMPETENCIES
· List 6-9 competencies, skills, traits, and/or areas of proficiency that directly relate to the job.
· Utilize the job description to find the types of preferred and/or required skills and traits.
· This is a great area to match keywords from the job description that may not otherwise be easily listed in your resume.
· Use bullet points and columns to make this section more aesthetically pleasing and organized.
RELEVANT COURSEWORK
· List the core courses you have already completed and are currently in.
· Use bullet points to list each course.
VOLUNTEER WORK / AFFILIATIONS
Organization
City, State
example of resume
SHARKLY BRUCE, COTA/L
Amity Island, FL | (975) 206-1120 |
[email protected]
SUMMARY OF QUALIFICATIONS
· Certified Occupational Therapy Assistant with two 8-week rotations of Level II OTA fieldwork, as well as 3 years of previous healthcare experience in a hospital setting.
· Extensive direct care experience assisting patients after treatment of traumatic wounds from local wildlife attacks.
· Proven track record o.
Write a resume and cover letter for the following positionOnline.docxarnoldmeredith47041
Write a resume and cover letter for the following position
Online Marketing Strategist
Riverside, CA 92507
Full-time, Contract
Raincross is seeking a full time marketing rockstar to manage client accounts, devise and implement strategies and craft winning content daily. Candidates must be extremely motivated, possess excellent research and writing skills and pay very close attention to detail.
Requirements
Master the art of creating content: blog articles, updates on social sites, press releases, infographics (or at least the concepts behind them for our design team to create) are all part of the ideal candidates daily tasks
Research and analyze the latest data to uncover gaps; stay up to date on the latest trends and be quick enough to jump on them before they pass
Convert through compelling CTA’s: Create copy for signage, newsletters, email campaigns, online promotions, ads, etc to help brand reach their goals
A/B test: Do you know what works and what doesn’t?
Craft brand strategies: Figure out what they’re doing right, what they’re doing wrong and create strategies to implement. Research to include competitor marketing, trends, etc. Come up with creative new ways to help clients grow and become more successful
Social advertising: Run ads on Facebook, Instagram, Twitter, LinkedIn and any other social platform that allows us to
Responsibilities
Bachelors Degree in Communications, Marketing or similar
Excellent written and verbal communication and customer service skills
Must take initiative, possess creativity, be hands on and a team player
Should be open-minded, a fast learner, enthusiastic, and adaptable
Experience in writing, copy-writing, researching trends, analyzing data, a/b testing, brand strategies and running social ads and campaigns a huge plus
.
Write a response to the peers post based on the readings. Origi.docxarnoldmeredith47041
Write a response to the peer's post based on the readings.
Original Prompt:
Compare Carroll's strategies for creating sound in
Jabberwocky
with those used by Swenson in
A Nosty
Fright.
Pay attention to connotative and denotative meanings of the words and how the poet plays with sound.
Edilzon Ramirez
Response to Prompt:
In both poems there is a common element. And that is a wordplay to make nonsense poetry. The effect of this, is that we must think more in depth to figure out the real meaning behind the works of literature. In Jabberwocky, the writer begins by setting up the mood giving us the background of the events that are about to occur. The use of exclamation marks throughout the poem afterwards, are what in my opinion, give it the sound. For example, “O frabjous day! Callooh! Callay!” suggests sort of a proud/relived cry. Which is furthered backed up by the whimsical words that have a positive connation to them due to the slaying of the jabberwocky, who terrorized the people.
While in “A Nosty Fright” another poem with nonsense words or portmanteau the mood is sad, and it only becomes gloomier. Like Miss Brill, the poet describes things together, in the first stanza “roldengod and the soneyhuckle” and jumps to a lonely chipmunk, suggesting that it has lost its companion. There is hope for it when it meets the grasshopper. Ultimately, it comes to an end “Here we part,” said the hassgropper. “Pere we hart,” mipchunk, too”. All hope is lost for the chipmunk and is waiting for the winter to come. This symbolizes death because during the months of October, November, and December many mammals including the chipmunks hibernate and its almost like it wanted to go to sleep permanently remarking things like “Will it ever be morning, Nofember virst”.
Some say, that the chipmunk is a representation of the author and her sexuality. She like the chipmunk, was alone and the typhoon that was mentioned earlier, was her losing her mind. The words and the sounds they make, further makes this evident because it is gibberish written by someone who is broken.
(Your response to your peer should add or extend the point given by your peer.)
.
Write a response to the following prompt.Analyze the characteriz.docxarnoldmeredith47041
Write a response to the following prompt.
Analyze the characterization Shakespeare employed in
Julius Caesar
, paying particular attention to the role of women. (50 pts) Remember, as you write, to use the language of characterization as we have discussed in class.
.
Write a response to a peers post that adds or extends to the discus.docxarnoldmeredith47041
Write a response to a peer's post that adds or extends to the discussion point of your peer by Friday 07/24/2020.
This week's discussion prompt:
Explain how Faith in "Young Goodman Brown," Georgiana in "The Birthmark," and Elizabeth in "The Black Minister's Veil" are use to reveal some truth about the central male characters in each story. Describe the similarities that you see among these women characters.
Peer's Post:
-Emily Seide
In each of the three short stories, the female characters play a large role in the character development of the three male protagonists (Goodman, Aylmer, and Hooper). Throughout each story, the women leave a lasting impact on their significant other’s mentality of the world and perception of others. In “Young Goodman Brown”, Brown is faced with troubling sights that make him alter his point of view on his town and the townspeople. Brown was introduced to the true form of some nasty people, including his wife, Faith. When he returns home the next morning from a place of sinister evil, his encounter with Faith and his townspeople has made him a hardcore skeptic of anyone and everyone around him. Goodman Brown never trusted a soul after that night because he was forced to believe that evil resides in everyone. In “The Birthmark”, Aylmer goes insane trying to remove his wife, Georgiana’s, birthmark. Even after hearing how beautiful and well liked she is, Georgiana agrees to get her birthmark removed. Rather than seeing this as a perfect part of her, Aylmer sees the birthmark as a flaw that gives her an imperfect complexion. Later in the story, as the birthmark fades and she wakes up, she states that he should’ve admired what he had in the first place, then dies. This made Aylmer realize that he took time for granted, and now he lives a life without Georgiana due to his impatience with her already beautiful complexion. And finally, in “The Minister’s Black Veil”, Reverend Hooper consistently wears a black veil that covers the majority of his face. Several people were afraid and intimidated by it, except for his fiancée, Elizabeth. After further questioning, she begins to fear the veil due to what it symbolizes- the sin in all human beings. Hooper’s plea for Elizabeth to stay reveals the extent of which he is willing to sacrifice, and the decision for him to continue to wear the veil reveals great sorrow; “Do not leave me in this miserable obscurity forever!” (Hawthorne, 36). In each of the short stories, each female character, always a love interest, is first skeptical of the main character’s choice of actions, then later comply. In each short story, a life lesson is learned for each male character.
Readings are attached!
.
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How do horror films reflect the fears of society AdamLepard
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The document provides an overview of the horror genre throughout the decades from the 1920s to the 2000s. It discusses the evolution of horror films during each decade, from the silent films of the 1920s to the impact of sound and technology on special effects through the decades. It also touches on how the sociopolitical climate and events influenced the themes and styles of horror movies during each era. Some of the biggest and most influential horror films are highlighted for each decade.
This document provides a history of horror films from the late 1800s to the 2000s. It summarizes that early horror films were based on Gothic stories and myths and were silent. The introduction of sound in the 1930s allowed for more advanced monster stories using sound effects. Iconic films like Dracula and Frankenstein established the genre. Horror evolved to reflect social issues and new technologies with each decade, from atomic weapons to serial killers. Recent horror focuses on realistic themes providing escapism from real world tragedies.
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The document discusses the history of horror films from the 1890s-1950s. In the 1890s-1920s, early horror films featured mythical storylines and dreamlike imagery that does not scare modern audiences. Sound was introduced in the 1930s, making monsters' grunts and groans more terrifying. Famous films like Dracula and Frankenstein came out in this era. The 1940s saw a focus on internalized horrors and threats of the time, like werewolves reflecting fears of Hitler and World War 2. Low-budget films in the 1950s dealt with science and technology gone wrong as audiences were wary after WWII technological advances.
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The history of the horror genre can be divided into several periods:
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- In the 1950s-1960s, the genre shifted towards concerns of the atomic age with films about threats like alien invasions and mutations from radiation. Hammer Films also produced popular color adaptations of classic horror characters.
- The 1970s-1980s saw an increase in occult and demonic themes after censorship eased as well as slashers influenced by contemporary anxieties about technology and society.
Similar to The Problem of Evil 59www.jrfm.eu 2017, 31, 59–74Toufic.docx (13)
Write a scholarly paper in which you apply the concepts of epide.docxarnoldmeredith47041
This document provides requirements for an epidemiology paper that analyzes a communicable disease. Students must choose a communicable disease, describe it thoroughly including causes, transmission, symptoms, treatment and complications. They must discuss the population most affected by the disease and the determinants of health related to it. Students must also identify the epidemiologic triad of host, agent, and environmental factors for the disease and discuss the role of public health nurses in finding, reporting, collecting, analyzing data, and following up on the disease. The paper requires a minimum of three references and 1250 words in APA format.
Write a S.M.A.R.T. goal to improve the Habit 5 Seek First to .docxarnoldmeredith47041
This document outlines a goal to improve the ability to seek first to understand others rather than be understood according to Habit 5. The author acknowledges they are able to communicate but struggles with listening skills. The goal is to practice actively listening and understanding what people are saying rather than being focused on themselves.
Write a Risk Management Plan for a School FacilityInclude th.docxarnoldmeredith47041
Write a Risk Management Plan for a School Facility
Include the following topics listed below
Write at least one page per topic, double spaced, Times Roman, Font Size 12
Provide References.
Use the APA Format
·
Personnel Management
·
Indemnification Waiver
·
General Supervisory Practices
·
Crowd Management Plan
.
Write a review that 750 - 1000 words in length about one chapter in .docxarnoldmeredith47041
Write a review that 750 - 1000 words in length about one chapter in the Niebuhr textbook. Half will be a summary and half will be the student’s personal reflection. The reflection should include points that the student agrees and disagrees with Niebuhr about and why.
Niebuhr, H. Richard. (2001).
Christ and Culture
. New York: Harper and Row.
.
write a resume using the example belowCONTACT INFOFirs.docxarnoldmeredith47041
write a resume using the example below
CONTACT INFO
First and Last Name
City, State (Optional) | Best Phone Number to Reach You | Appropriate Email Address
SUMMARY OF QUALIFICATIONS
· 3-5 sentences describing why you would be a great fit for the position.
· Describe your relevant accomplishments, strengths, knowledge, experience, skillsets, and languages.
· This is the “preview to the movie.” Highlight your best qualifications so they choose to read the rest of the resume.
· Use bullet points to distinguish each sentence if more aesthetically pleasing.
PROFESSIONAL EXPERIENCE
· List jobs you have held in the past 10 years; only list older jobs if they are directly related to desired job.
· Do NOT list a job if you worked at a place of employment for less than 3 months.
· If you have some jobs that are related to your desired position/field and others that are not, only list the related jobs in this section. Create an “Additional Work History” section at the end of the resume for the non-related jobs.
· Use bullet points to list achievements, results, recognitions, and duties for each job.
Company Name - City, State
Job Title
Start Year - End Year or Present
3-5 achievements, results, recognitions, and duties
INTERNSHIP / EXTERNSHIP / CLINICAL EXPERIENCE
· This section should take priority over others unless you have previous work history in exact field.
Company Name - City, State
Title or Role
Month Year - Month Year
2-3 Main Responsibilities/Duties
CERTIFICATIONS and LICENSURES
Name of Certification/License
Issuing Company or Organization
Certification/License Number
Expiration Month Year
EDUCATION
· Only include schools that you received a degree or relevant certifications from, or are currently attending.
· Do NOT include your high school.
School Name - City, State
Major/Area of Study
Degree Earned
Graduation Year/Estimated Graduation Month Year
CORE COMPETENCIES
· List 6-9 competencies, skills, traits, and/or areas of proficiency that directly relate to the job.
· Utilize the job description to find the types of preferred and/or required skills and traits.
· This is a great area to match keywords from the job description that may not otherwise be easily listed in your resume.
· Use bullet points and columns to make this section more aesthetically pleasing and organized.
RELEVANT COURSEWORK
· List the core courses you have already completed and are currently in.
· Use bullet points to list each course.
VOLUNTEER WORK / AFFILIATIONS
Organization
City, State
example of resume
SHARKLY BRUCE, COTA/L
Amity Island, FL | (975) 206-1120 |
[email protected]
SUMMARY OF QUALIFICATIONS
· Certified Occupational Therapy Assistant with two 8-week rotations of Level II OTA fieldwork, as well as 3 years of previous healthcare experience in a hospital setting.
· Extensive direct care experience assisting patients after treatment of traumatic wounds from local wildlife attacks.
· Proven track record o.
Write a resume and cover letter for the following positionOnline.docxarnoldmeredith47041
Write a resume and cover letter for the following position
Online Marketing Strategist
Riverside, CA 92507
Full-time, Contract
Raincross is seeking a full time marketing rockstar to manage client accounts, devise and implement strategies and craft winning content daily. Candidates must be extremely motivated, possess excellent research and writing skills and pay very close attention to detail.
Requirements
Master the art of creating content: blog articles, updates on social sites, press releases, infographics (or at least the concepts behind them for our design team to create) are all part of the ideal candidates daily tasks
Research and analyze the latest data to uncover gaps; stay up to date on the latest trends and be quick enough to jump on them before they pass
Convert through compelling CTA’s: Create copy for signage, newsletters, email campaigns, online promotions, ads, etc to help brand reach their goals
A/B test: Do you know what works and what doesn’t?
Craft brand strategies: Figure out what they’re doing right, what they’re doing wrong and create strategies to implement. Research to include competitor marketing, trends, etc. Come up with creative new ways to help clients grow and become more successful
Social advertising: Run ads on Facebook, Instagram, Twitter, LinkedIn and any other social platform that allows us to
Responsibilities
Bachelors Degree in Communications, Marketing or similar
Excellent written and verbal communication and customer service skills
Must take initiative, possess creativity, be hands on and a team player
Should be open-minded, a fast learner, enthusiastic, and adaptable
Experience in writing, copy-writing, researching trends, analyzing data, a/b testing, brand strategies and running social ads and campaigns a huge plus
.
Write a response to the peers post based on the readings. Origi.docxarnoldmeredith47041
Write a response to the peer's post based on the readings.
Original Prompt:
Compare Carroll's strategies for creating sound in
Jabberwocky
with those used by Swenson in
A Nosty
Fright.
Pay attention to connotative and denotative meanings of the words and how the poet plays with sound.
Edilzon Ramirez
Response to Prompt:
In both poems there is a common element. And that is a wordplay to make nonsense poetry. The effect of this, is that we must think more in depth to figure out the real meaning behind the works of literature. In Jabberwocky, the writer begins by setting up the mood giving us the background of the events that are about to occur. The use of exclamation marks throughout the poem afterwards, are what in my opinion, give it the sound. For example, “O frabjous day! Callooh! Callay!” suggests sort of a proud/relived cry. Which is furthered backed up by the whimsical words that have a positive connation to them due to the slaying of the jabberwocky, who terrorized the people.
While in “A Nosty Fright” another poem with nonsense words or portmanteau the mood is sad, and it only becomes gloomier. Like Miss Brill, the poet describes things together, in the first stanza “roldengod and the soneyhuckle” and jumps to a lonely chipmunk, suggesting that it has lost its companion. There is hope for it when it meets the grasshopper. Ultimately, it comes to an end “Here we part,” said the hassgropper. “Pere we hart,” mipchunk, too”. All hope is lost for the chipmunk and is waiting for the winter to come. This symbolizes death because during the months of October, November, and December many mammals including the chipmunks hibernate and its almost like it wanted to go to sleep permanently remarking things like “Will it ever be morning, Nofember virst”.
Some say, that the chipmunk is a representation of the author and her sexuality. She like the chipmunk, was alone and the typhoon that was mentioned earlier, was her losing her mind. The words and the sounds they make, further makes this evident because it is gibberish written by someone who is broken.
(Your response to your peer should add or extend the point given by your peer.)
.
Write a response to the following prompt.Analyze the characteriz.docxarnoldmeredith47041
Write a response to the following prompt.
Analyze the characterization Shakespeare employed in
Julius Caesar
, paying particular attention to the role of women. (50 pts) Remember, as you write, to use the language of characterization as we have discussed in class.
.
Write a response to a peers post that adds or extends to the discus.docxarnoldmeredith47041
Write a response to a peer's post that adds or extends to the discussion point of your peer by Friday 07/24/2020.
This week's discussion prompt:
Explain how Faith in "Young Goodman Brown," Georgiana in "The Birthmark," and Elizabeth in "The Black Minister's Veil" are use to reveal some truth about the central male characters in each story. Describe the similarities that you see among these women characters.
Peer's Post:
-Emily Seide
In each of the three short stories, the female characters play a large role in the character development of the three male protagonists (Goodman, Aylmer, and Hooper). Throughout each story, the women leave a lasting impact on their significant other’s mentality of the world and perception of others. In “Young Goodman Brown”, Brown is faced with troubling sights that make him alter his point of view on his town and the townspeople. Brown was introduced to the true form of some nasty people, including his wife, Faith. When he returns home the next morning from a place of sinister evil, his encounter with Faith and his townspeople has made him a hardcore skeptic of anyone and everyone around him. Goodman Brown never trusted a soul after that night because he was forced to believe that evil resides in everyone. In “The Birthmark”, Aylmer goes insane trying to remove his wife, Georgiana’s, birthmark. Even after hearing how beautiful and well liked she is, Georgiana agrees to get her birthmark removed. Rather than seeing this as a perfect part of her, Aylmer sees the birthmark as a flaw that gives her an imperfect complexion. Later in the story, as the birthmark fades and she wakes up, she states that he should’ve admired what he had in the first place, then dies. This made Aylmer realize that he took time for granted, and now he lives a life without Georgiana due to his impatience with her already beautiful complexion. And finally, in “The Minister’s Black Veil”, Reverend Hooper consistently wears a black veil that covers the majority of his face. Several people were afraid and intimidated by it, except for his fiancée, Elizabeth. After further questioning, she begins to fear the veil due to what it symbolizes- the sin in all human beings. Hooper’s plea for Elizabeth to stay reveals the extent of which he is willing to sacrifice, and the decision for him to continue to wear the veil reveals great sorrow; “Do not leave me in this miserable obscurity forever!” (Hawthorne, 36). In each of the short stories, each female character, always a love interest, is first skeptical of the main character’s choice of actions, then later comply. In each short story, a life lesson is learned for each male character.
Readings are attached!
.
Write a response mini-essay of at least 150 to 300 words on the dis.docxarnoldmeredith47041
Write a response mini-essay of at least 150 to 300 words on the discussion topic identified below. Take a position and defend it. (Specify a thesis and support it very briefly with evidence)
The response essay should provide one example from the contemporary world to support your
Position. Ideally you have a source reference for your example. You must have a source reference if you
Refer to any material which is neither common knowledge nor personal experience. essay should be typed using
APA style
feature with a title page and list of references if any are used.
Topic:
Technology changes education
Postman argues that television technology substantively changes aspects of culture such as news, politics, religion, and education in ways that suit the technology, not the human culture that uses the technology. It is a point others have made as well, though it is still contested by many other philosophers and social critics. One excellent example of technological change is on-line course delivery. While there are some who say that the new medium does not provide an education, others (such as your instructor) believe they can accomplish a better education in some subject areas. What have you noticed? What differences are there in on-line education that are due to the way it is technologically mediated? What differences do they make in the education you are receiving? Do you think this is a better or worse education? Why might your instructor think it can be better (and not just because he manages the class while in his pajamas)?
.
Write a response for each document.Instructions Your post sho.docxarnoldmeredith47041
Write a response for each document.
Instructions:
Your post should be a thoughtful response and should include outside reference material from the internet or primary literature. That reference should be referred to specifically with an in-text citation (author, year) and your post should have a bibliography with those outside sources you used cited in APA format.
.
write a resonse paper mla styleHAIRHair deeply affects people,.docxarnoldmeredith47041
write a resonse paper mla style
HAIR
Hair deeply affects people, can transfigure or repulse them. Symbolic of life, hair bolts from our head. Like the earth, it can be harvested, but it will rise again. We can change its color and texture when the mood strikes us, but in time it will return to its original form, just as Nature will in time turn our precisely laid-out cities into a weed-way. Giving one's lover a lock of hair to wear in a small locket [3] around his neck used to be a moving and tender gesture, but also a dangerous one, since to spell-casters, magicians, voodoo-ers, and necromancers of all sorts, a tuft of someone's hair could be used to cast a spell against them. In a variation on this theme, a medieval knight wore a lock of his lady's pubic hair into battle. Since one of the arch-tenets of courtly love was secrecy, choosing this tiny memento instead of a lock of hair from her head may have been more of a practical choice than a philosophical one, but it still symbolized her life-force, which he was carrying with him. Ancient male leaders wore long flowing tresses as a sign of virility (in fact,
"kaiser" and "tsar" both mean "long-haired"
). In the biblical story of Samson, the hero's loss of hair brings on his weakness and downfall, just as it did for the hero Gilgamesh before him. In Europe in more recent times, women who collaborated with the enemy in World War II were humiliated by having their hair cut short. Among some orthodox Jews, a young woman must cut off her hair when she marries, lest her husband find her too attractive and wish to have sex with her out of desire rather than for procreation. Rastafarians regard their dreadlocks as "high-tension cables to heaven." These days, to shock the bourgeoisie and establish their own identity, as every generation must, many young men and women wear their hair as freeform sculpture, with lacquered spikes, close-cropped patterns that resemble a formal garden maze, and colors borrowed from an aviary or spray-painted alley. The first time a student walked into my classroom wearing a "blue jay," it did startle me. Royal-blue slabs of hair were brushed and sprayed straight up along the sides of his head, a long jelly roll of white hair fell forward over his eyebrows, and the back was shiny black, brushed straight up and plastered close to the head. I didn't dislike it, it just seemed like a lot to fuss with each day. I'm sure my grandmother felt that way about my mother's "beehive," and I know my mother feels that way about the curly weather system which is my own mane of long thick hair. One's hairstyle can be the badge of a group, as we've always known -- look at the military's crew cut, or the hairstyles worn by some nuns and monks. In the sixties, wearing long hair, especially if you were a man, often fetched a vitriolic outburst from parents, which is why the musical Hair summed up a generation so beautifully. The police, who seemed so clean-cut and cropped then, were succee.
Write a response about the topic in the reading (see attached) and m.docxarnoldmeredith47041
Write a response about the topic in the reading (see attached) and make sure you include the following:
1. Brief summary of the reading
2. What was intersting?
3. The main points highlighted and what do you think of the reading?
( 2 page response)
.
Write a research report based on a hypothetical research study. Con.docxarnoldmeredith47041
Write a research report based on a hypothetical research study. Conducting research and writing a report is common practice for many students and practitioners in any of the behavioral sciences fields.
A research report, which is based on scientific method, is typically composed of the different sections listed below:
Introduction:
The introduction states a specific hypothesis and how that hypothesis was derived by connecting it to previous research.
Methods:
The methods section describes the details of how the hypothesis was tested and clarifies why the study was conducted in that particular way.
Results:
The results section is where the raw uninterpreted data is presented.
Discussion:
The discussion section is where an argument is presented on whether or not the data supports the hypothesis, the possible implications and limitations of the study, as well as possible future directions for this type of research.
Together, these sections should tell the reader what was done, how it was done, and what was learned through the research. You will create a research report based on a
hypothetical
problem, sample, results, and literature review. Organize your data by creating meaningful sections within your report. Make sure that you:
Apply key concepts of inferential hypothesis tests.
Interpret the research findings of the study.
Examine the assumptions and limitations of inferential tests.
Develop a practical application of the research principles covered in this course.
Focus of the Research Report
To begin, create a hypothetical research study (you do not have to carry out the study; you will just have to describe it) that is based on the three pieces of information listed below. Once you have your hypothetical study created, write a three- to four-page research report (excluding title and reference pages) that outlines the study. You are encouraged to be creative with your research study, but be sure to follow the format outlined below and adhere to APA formatting as outlined in the Ashford Writing Center.
Your hypothetical research study should be based on the following information:
Recent research has indicated that eating chocolate can improve memory. Jones and Wilson (2011) found that eating chocolate two hours before taking math tests improved scores significantly. Wong, Hideki, Anderson, and Skaarsgard (2009) found that women are better than men on memory tests after eating chocolate.
There were 50 men and 50 women who were randomly selected from a larger population.
A
t
-test was conducted to compare men and women’s performance on an assessment after eating chocolate. The results showed an independent
t
-test value of
t
.05(99) = 3.43;
p
< .05
Your research study must contain the following:
Title Page
Title of your report
Your name
The course
Instructor
Date
Introduction
Introduce the research topic, explain why it is important, and present the purpose of the paper and the resea.
Write a Research Paper with the topic Pregnancy in the adolesce.docxarnoldmeredith47041
Write a Research Paper with the topic: Pregnancy in the adolescent life.
The conditions are:
APA format
Double space
One inch margin on all sides
All paragraph in the body are indented
The title is centered on the page with your name and school institution
Paragraph 2, 3, and 4 need another inch more
All pages should be numbered and with citation
Apart of the Research paper write the topic sentence (a question or a statement) & the THESIS of the Research Paper. Write 3 citations for your Research Paper.
.
Write a Research Paper with the topic Autism a major problem. T.docxarnoldmeredith47041
Write a Research Paper with the topic: Autism a major problem.
The conditions are:
APA format
Double space
One inch margin on all sides
All paragraph in the body are indented
The title is centered on the page with your name and school institution
Paragraph 2, 3, and 4 need another inch more
All pages should be numbered and with citation
Apart of the Research paper write the topic sentence (a question or a statement) & the THESIS of the Research Paper.
Write 3 citations for your Research Paper.
.
Write a research paper that explains how Information Technology (IT).docxarnoldmeredith47041
Write a research paper that explains how Information Technology (IT) promotes getting people who are affected by policies involved in the policy-making process. Cite specific examples.
1000- 1200 words APA format and
Create a powerpoint presentation using 5 slides on the main points covered in your research paper. You may use a title slide and a reference slide.
Please find the attached text book.
.
Write a research paper outlining possible career paths in the field .docxarnoldmeredith47041
Write a research paper outlining possible career paths in the field of Human Resources Management (HRM) and based upon independent research discuss how different organizations might develop and implement a strategic HRM plan.
Research Paper Instructions:
IMPORTANT!!
Submit your work as an MS WORD ATTACHMENT in either a .doc, .docx, or .rtf format.
Please support your ideas, arguments, and opinions with independent research, include at least three (3) supporting references or sources (NOT Wikipedia, unknown, or anonymous sources), format your work in proper APA format, include a cover page, an abstract, an introduction and a labeled conclusion in accordance with the course rubric, a minimum of 3 FULL pages of written content, and a reference section. Double space all work and cite all listed references properly in text in accordance with the 6th edition of the APA manual, chapters 6 & 7.
.
Write a Research paper on the Legal issues associated with pentestin.docxarnoldmeredith47041
Write a Research paper on the Legal issues associated with pentesting.
Paper Specifics
3000 words (not counting citations)
APA format
Max team size of two
Minimum 5 academic sources
Provides clear summary and introduction to project scope; includes coherent discussion of key concepts, principles, and problem statement; develops clear context between project tasks and performing security testing in a virtual environment
Provides a thorough and concise summary of the project by listing the purpose and results of each test conducted; or research summary; clearly links the results with recommendations/research, which are supported by test data and external references
.
Write a research paper on one of the following topics .docxarnoldmeredith47041
Write a research paper on
one
of the following topics:
1. What are the effects of corruption on capitalism and foreign investment? (Unit II)
Be sure to include at least the following points in your paper:
What are the types of corruption?
What are effects of corruption on MNCs?
How can MNCs deal effectively with these problems?
2. How can MNCs effectively negotiate with local employees, local suppliers, and local governments in the Middle East? (Unit IV)
Be sure to include at least the following points in your paper:
What are some examples of negotiation cases in the Middle East?
How do MNCs use negotiation to solve problems?
What roles do different cultures have in negotiation?
3. Discuss the problems MNCs face when assigning expatriates to an Eastern European country and how they should support the expatriates. (Unit VII)
Be sure to include at least the following points in your paper:
What are problems for international assignments in Eastern Europe?
What are solutions for the problems?
What are strategies MNCs can implement to support their expatriates?
Directions:
The paper should be at least 750 words in length.
You are required to use a minimum of three scholarly sources for the paper.
All sources used must be referenced; paraphrased and quoted material must have accompanying APA citations.
.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
-------------------------------------------------------------------------------
Find out more about ISO training and certification services
Training: ISO/IEC 27001 Information Security Management System - EN | PECB
ISO/IEC 42001 Artificial Intelligence Management System - EN | PECB
General Data Protection Regulation (GDPR) - Training Courses - EN | PECB
Webinars: https://pecb.com/webinars
Article: https://pecb.com/article
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For more information about PECB:
Website: https://pecb.com/
LinkedIn: https://www.linkedin.com/company/pecb/
Facebook: https://www.facebook.com/PECBInternational/
Slideshare: http://www.slideshare.net/PECBCERTIFICATION
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
Your Skill Boost Masterclass: Strategies for Effective Upskilling
The Problem of Evil 59www.jrfm.eu 2017, 31, 59–74Toufic.docx
1. The Problem of Evil | 59www.jrfm.eu 2017, 3/1, 59–74
Toufic El-Khoury
The Problem of Evil in
DC Universe Animated Movies, 2007–2016
DC Multiverse, an Ironic Illustration of Leibniz’s Theodicy?
ABstrACt
this article explores the question of evil and its metaphysical
and moral implications
in a series of animated movie adaptations of the DC Universe
produced since 2006.
the contemporary evolution of the medium, called the “iron Age
of comics”, has
seen the auto-reflexive nature of comics produce
problems and themes related to the
main question discussed in Christian theodicy: how can
we perceive and define the
possibility of evil in a world where God’s omnipotence should
have eliminated such
a possibility? Moreover,why does evil seemto spread
indefinitely in spite of all the
efforts deployed by superheroes to stop evil? We
will discuss the problem of evil as a
natural narrative topic in light of comics’ mythological and
religious roots and with a
particular study case: DC Comics Multiverse as an illustration
of Leibniz’s “best of all
possible worlds” argument.
KeyWOrDs
2. DC comics, animated movies, cinema, theodicy, problem of
evil, Leibniz.
BiOGrAPhy
Toufic El-Khoury is a lecturer and coordinator
at the Académie Libanaise des Beaux-
Arts and at the Université saint-Joseph, Beirut. he holds an MA
in Philosophy (Uni-
versité saint-Joseph) and a PhD in film studies (Université Paris
Diderot – Paris 7). he
is the director of the collection “Cinématographies” (Orizons,
Paris) and the author
of La comédie hollywoodienne classique (1929–1945): Structure
triadique et médiations
du désir (2016).
As the result of external or intra-generic
influences, every movie genre organ-
izes and matures in its aesthetics, its codes, and its thematic,
triggering the cu-
riosity of philosophy.1 In the field of Film Studies,
philosophers have recently
1 We follow the definition of a movie genre
suggested by Rick Altman and Raphaëlle Moine:
the se-
mantic-syntactic-pragmatic definition. The semantic
elements are the narrative and visuals codes,
the
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become interested in movies, intrigued not only by
selected authors or film
aesthetics, but also by movie genres. following the interest of
stanley Cavell
in hollywood comedy and melodrama, other philosophers have
explored the
codes and themes of established genres: Robert
Pippin with film noir and the
Western2 and, in France, Eric Dufour with horror
movies and science fiction.3
Movies and TV series adapted from comics and,
more specifically, from the
superhero genre are starting to attract interest beyond the circle
of critics and
film historians.4 the superhero movie is still at its beginning,
whereas superhero
comics have a longer and richer history, but with the release
and success of
Spider-Man (sam raimi, Us 2002) and the steady production of
superhero mov-
ies since 2002, the superhero genre has taken form – before
2002, the rare hits
were scattered and limited to the most iconic figures
of the genre, Superman
and Batman.5 even though the genre still has to prove its
potential, through
a philosophical and generic approach we can identify thematic
links between
thesemovies. Those topics will consolidate and
appear more clearly when film-
makers and screenwriters free themselves of the simple fan’s
4. nostalgia for com-
ics, for then they will be able to concentrate on the genre’s
mythical potential
and its ability to address universal topics in a
specific socio-cultural context.
in terms of the contemporary syntax of the superhero movie,
one of the
most relevant topics of the genre is the problem of evil. this
focus is the most
solid link between those movies and their mythological and
religious roots. ref-
erences to Christian theodicy and to political debates underline
the authors’
efforts, sincethe 1980s, to free the genre of its
childish yoke, making possible
diverse illustrations of our world’s complex issues.
the irON AGe, the thirD AGe Of sUPerherO COMiCs:
AN AGe Of PessiMisM?
in the history of superhero comics, three “ages” are usually
delimited: the Gold-
en Age, silver Age, and iron Age, the third one being the most
discussed. Many
genre’s familiar “iconography”. the syntactic elements are the
“thematic undercurrent”, topics and
subjects linking a series of movies on a
deeper level. The pragmatic aspect (suggested
by Moine) refers
to the public reception and the genre’s acceptance
in a specific socio-cultural context. The exact
defini-
tion of a genre depends on a certain
equilibrium and on the interaction of those
5. different aspects in a
particular historical period of production. See
Altman, 1984, 6–18; Moine, 2008, 10–25.
2 see Pippin 2012; Pippin 2010.
3 See Dufour 2006; Dufour 2011.
4 We already have examples: White/irwin /Arp 2008;
Forest 2009.
5 in a book he edited in 2009, Claude forest suggested the
production of superhero movies was still too
limited for him to write about the superhero movie as a movie
genre (see forest, 2009, 12–13). in 2016
that is no longer the case, as a result of the impressive
commercial domination of those movies in U.s.
and international markets, with film series like The
Avengers (Disney), Batman (Warner), and X-Men
(fox).
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exhaustive studies already exist on the subject.6
three tendencies in the evolu-
tion of the superhero genre since the 1940s stand out: a more
realist approach
in characterization, an internalization of the hero’s
conflict, and an exacerbated
pessimism.
the heroes introduced during the Golden Age of comics (late
1930s to mid
6. 1950s) were largely perfect and infallible. Most of the modern
superheroes ar-
chetypes and prototypes were developed, but they remained
monochromatic
– the first versions of Superman, Wonder
Woman, and Batman, for example.
in the silver Age of comics (late 1950s to mid 1970s), the
superheroes were de-
picted in a realistic way: often tormented, they had to face
extraordinary chal-
lenges as well as daily and domestic problems. it was the age of
spiderman,
the superhero in the midst of a teenage crisis, or the X-Men,
who symbolically
illustrated the anxieties of stigmatized minorities within a
context of civic and
social protest.
in a book on Marvel’s universe – Marvel was DC Comics’ main
competitor –
Anthony Mills, an American theologian, talks about a “turn to
reality” in 1960s
comics:7 the characters became anchored in a concrete reality
and were more
recognizable, more “organic”. this new “turn” distanced them
from the values
of the American monomyth, a contemporary adaptation in U.s.
literature of a
concept introduced by Joseph Campbell:8 in comparison to the
more individu-
alistic, agnostic hero of the monomyth, the silver Age hero was
more dynamic,
interactive, and interdependent. Mills is able to identify
decidedly evangelical
features in this new kind of hero.
7. But this period contained in embryonic form all the next
period’s excesses:
while the Silver Age hero’s conflicts were more
internalized, creating more nu-
anced characters, the hero’s “humanization” was replaced in the
1980s by ex-
istential crisis, with the hero calling into question his
teleological ethics. from
perfect hero to realist hero (undermined by his own demons),
the superhero
was finally confronting an imperfect and fallible
world that underlined the vani-
ty of his actions. in the wake of this new reality a new
superhero appeared, with
pronounced nihilistic tendencies – in a medium still criticized,
strangely enough,
for its childish naïveté.
How does this “revisionist” turn, which defines the
Iron Age of comics, mod-
ify the genre’s syntax? the conception of the main heroes has
been completely
modified, but above all, this new tendency emphasizes
a meta-narrative dimen-
sion of the genre, allowing a meditation on the story and formal
mechanisms
of the medium and on its main syntactic elements. Like myth,
the genre raises
questions that lead to “labyrinths” (a term borrowed from
Leibniz) in which
6 see Darowski 2016, 3–16.
7 Mills 2013, 97–98.
8 see Campbell 2013, 25–45.
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reason has a tendency to go astray. Moreover, one of those
questions, both
central and universal and also intimately linked to the superhero
genre’s syntax,
is the question of evil, of its origins and its production in
today’s world.
DC COMiCs UNiVerse reVisiteD iN ANiMAteD MOVies
the movies considered in this article are animated adaptations of
DC Comics
Universe, produced since 2006, with two, sometimes three
movies per year.
they are adapted from classics of the 1980s or hits from the
2000s – both
decades belong to the iron Age of comics. those movies are
short (around 75
minutes each), were made on a limited budget,
and have a narrative fluidity
and concentration that call to mind mythic narratives. More
importantly, those
movies are very dark: faithful to the modern comics’ syntax,
they often repre-
sent the end of a civilization or the world, and they mostly
explore the shadowy
side of every hero, not only of those, like Batman, whose dark
side is the core el-
ement of their persona. Despite the format, the movie’s length
and the limited
release (they are for the most part direct-to-video releases), or
9. maybe because
of those criteria, thesemovies oftenoffer profiles of
the superheroes that are
more complex than those of the live-action blockbusters.
these animated adaptations primarily emphasize one of the main
topics of
comics’ revisionist era: the sensitive question of evil’s
existence and production.
Partly due to its mythic roots and narrative conventions, the
superhero genre
revolves around that question, confronting it, trivializing it, and
deconstructing
it. the excesses that often burden the genre, the over-
dramatization of issues
and story (maintaining a sometimes improbable balance between
narrative
obligations and spectacular imagery9), serve to stress the
question as well as
the ideological and philosophical contradictions of the
revisionist period. the
question that the superheroes henceforth ask (a question that
drives them into
doubt and despair and gives their hesitations an existential
dimension) is the
following: if we devote our lives and our superhuman powers to
the good of
humankind, how can humankind still be evil? Worse, why do
the only palpable
results of our efforts seemto be the expansion
and constant renewal of evil?
American comics are strongly influenced by
Christian theology. Though cre-
ated by two Jewish authors (Jerry siegel and Joe schuster), both
children of
10. european immigrants, who imagined superman as an alien
vainly longing for his
lost homeland, the iconic superhero’s “mythology” borrows
heavily from the
Gospel narrative, probably in response to the general public’s
cultural sensibili-
ties. Movie adaptations by Bryan singer (2006) and Zack snyder
(2013) clearly
underline this aspect of the protagonist, representing the
character as a saviour
9 see Pagello 2013, 5–6.
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sent by his father to lead humanity to peace. But while
superman’s story can be
read in light of Christology, iron Age comics are increasingly
impregnated with
Christian eschatology, more specifically with the futurist
approach of Protes-
tant eschatology that sees in the gospels of Matthew (24:15) and
Luke (21:20),
in the texts regarding the Great tribulation, the foretelling of the
end of the
world.
in the genre’s evolution during the last three decades, we can
identify two
main modifications to the medium’s syntax: the loss of
the Golden Age comics’
11. lightness and naïve optimism, and the borrowingof
science-fiction elements,
and especially its dystopian features, with twentieth-century
adultscience fic-
tion preferring a darker vision of humankind’s future.10 those
elements are re-
current during the Iron Age and can be identified in
the major publications of
the 1980s, all of which were adapted into movies in the 2000s:
Days of Future
Past, The Dark Knight Returns, Watchmen, and V for Vendetta.
When we consider the blockbusters of the last 15
years, and specifically the
25 biggest worldwide hits of each year, we notice that a
growing proportion of
those movies shows, in different ways,
massive destruction, whether of a city,
a country, a civilization, or even the whole
world – between one and threefilms
per year in the mid 2000s, eight in 2013 and 13 in 2014 (7 of
those 13 movies were
among the 10 biggest hits of the year). in dystopias, post-
apocalyptic movies,
disaster movies or Superhero film, images of
massive and global destruction
became not only the visual and narrative convention of a
blockbuster, but also
a promotional tool.
We do not yet have the hindsight that is necessary if we are to
identify clearly
the symptoms behind the recent apocalyptic imagery – that task
awaits cultural
studies in the future.11 But it is noteworthy that popular
cinema, usually a medi-
12. um of escapism and comforting utopias, now targets the
fundamental fears of
the spectator. the “cinema of catastrophe” (in which we can
place the genres
referred to earlier) is today the most popular cinema worldwide.
10 It seems natural that genre borrowingfrom
science fiction would eventually produce a
more pes-
simistic illustration of humanity’s future. Science
fiction itselfrapidly grew beyond the utopian
bursts
of the nineteenth century and became increasingly associated
with dystopia. the works of h. G. Wells
and JulesVerne are good examples: both authors re-
evaluated the optimism of their first novels and
by the end of their literary careers were presenting a darker
vision of the future. superhero literature
has a time delay when compared to science
fiction. It inherited the lightness and optimism of
science
fiction at the moment the latter was losing
thesecharacteristics after the bombing of Hiroshima
and
during the Cold War. in the early 1980s, however, the same kind
of disenchantment caught up with the
superhero genre.
11 the literature representing the apocalypse, or any story
reminiscent of the Gospel’s Great tribulation,
never appears ex nihilo. recently, Muriel Debié, a research
director at the École Pratique des hautes
Études, Paris, launched a project on apocalyptic
writings of the seventh and eighth centuries,
focusing
in particular on those of the Middle East region
13. during the Muslim expansion. Every major
turmoil in a
society’s social, political, and cultural fabric leads inevitably to
the rise of an end-of-days literature.
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the twentieth century saw destroyed every form of optimism
inherited from
the age of the enlightenment: the two World Wars transformed
rousseau’s hu-
man perfectibility into a pitiful utopia. German
expressionism and American film
noir were among the cinematic outcomes of this new existential
pessimism.
But even if it is impossible for us to know the reasons for the
rise of the cinema
of catastrophe, we can try to understand how that cinema
suggests, in its own
way, the deconstruction of philosophy’s humanist certainties
and relaunches
necessary arguments related to the problem of evil. the cinema
of catastrophe
discusses evil, but not in the way the tale (a distant ancestor to
the superhero
genre) discusses evil, where the intention is to prepare the child
for the dangers
of adulthood. freeing itself from the conventions of the tale, for
14. better or for
worse this cinema addresses the adult, drawing on diverse and
complex means
to discuss the issue of evil.
this last age of comics cannot be dissociated from Christian
theodicy, where-
by God’s omniscience remains inseparable from
his infinite kindness despite the
presence of evil in the world. the existence of evil in a world
where God’s kind-
ness is elevated to the status of absolute continues to haunt
Christian thought
and, by extension, American literature.
the PrOBLeM Of eViL
As the COre tOPiC Of the sUPerherO GeNre
the question of evil’s existence, or being (or absence of being),
is not fortui-
tous within a genre’s narrative that works mainly in dichotomist
terms and with
radical oppositions, borrowing from ancient mythologies as well
as Christian
iconography. the conventional opposition in the superhero genre
sees the birth
of the hero naturally followed by the creation of his nemesis –
an idea initially
illustrated in Spiderman (sam raimi, Us 2002).12 But DC
animated movies also
explore evil, its existence and the legitimacy of the hero’s
actions to put an end
to it, in a more subtle manner, behind the veneer of dualist
oppositions. the
question of evil has political, moral, religious, psychological,
and metaphysical
15. implications, some of which are introduced here.
Evil is defined as the negation of good. Such
negation is found in many con-
frontations in comics, the most iconic being the battle between
Batman and
the Joker. evil is thought of as an absolute, a universal notion
generating moral
codes shared by many cultures – for example, the sixth
Commandment, which
forbids the act of killing, draws a line some superheroes choose
not to cross.
12 the idea also appears in Unbreakable (M. Night shyamalan,
Us 2000). shyamalan’s movie anticipated
the commercial domination of the superhero genre over the next
decade, while developing, in an
almost avant-garde way, a meta-filmic and critical
approach to the genre’s syntax. see Pagello 2013,
6–7.
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Some movies contribute to the debate over the
distinction between justice
and vigilantism: the protagonist evolves in the margins of the
law while pre-
tending to serve it; interprets,transgresses, or
judges it inefficient; and finally
follows a more personal (and oftenambiguous) ideal of
justice. This process
16. leads to a graduate deletion of the distinction between what rené
Girard calls
private vengeance (based on vendetta codes) and public
vengeance (a non-
arbitrary application of the law).13 the movies featuring
Batman, adapted from
1980s classic comics, are often concerned with this topic:
Batman: Under the
Red Hood (Brandon Vietti, US 2010); Batman:
Year One (sam Liu/Lauren Mont-
gomery, US 2011); The Dark Knight Returns (Jay
Oliva, Us 2012–2013).
evil appears not only in Manichaean oppositions but also in
confrontations
of opposite points of views, linking to Hegel’s
definition of tragedy:14 Justice
League: The New Frontier (Dave Bullock, US 2008);
Batman: Under the Red
Hood (2010); Justice League: Doom (Lauren
Montgomery, Us 2012).
in other cases and especially in some recent interpretations of
iconic char-
acters (and in a way that contradicts the first
point), evil appears in the actions
of an individual engaged in a precise teleological process, the
violent reform of
a fallible world. As long as the objectives are
noble, everything is allowed. The
hero’s actions are to be judged not in light of
principles, but in the light of issues
and circumstances. evil here is thought of from a utilitarian
angle, with one evil
preventing another evil with more disastrous consequences. this
cynical ascer-
17. tainment of fallen characters can be found in Superman vs.
the Elite (Michael
Chang, Us 2012), Batman: Under the Red Hood (2010)
and Batman: The Dark
Night Returns (2012–2013).15
each category represents a possibly productive route for study
as long as the
genre evolves and matures – and there is still a substantial
margin for improve-
ment.16 However, a first potentially interesting
topicto explore from a moral
and religious perspective, it seems to me, concerns the action’s
relevance: is
13 see Girard 2011.
14 in The Phenomenology of the Spirit and his Aesthetic
Courses, hegel talks, for example, of sophocles’
Antigone, a work of which he thinks highly, and of the
opposition between Creon, the representative
of human law, and Antigone, the defender of divine duty. As
Mathieu thibodeau summarizes, the
tragic heroes are bound to “confront their compatriots, to assert
their point of views, to promote their
interests and to defend their own conception of the truth” (my
translation). this situation leads them
into unresolvable conflicts with others, bringing disaster
and death. See Thibodeau 2011, 35.
15 Movies featuring Batman are frequently cited here due to the
ambivalence created by a character who
follows his own moral code but eventually expresses a certain
faith in humankind. in Justice League:
Doom (Lauren Montgomery, Us 2012), a group of villains
steals plans that had been elaborated by
18. Batman in order for him to be able to neutralize, if the need
arose, his own powerful allies (superman
and Wonder Woman, for example) should they lose their
innocence by fully realizing the potential of
their unlimited powers. the villains eventually deploy what
Batman had considered a deterrent.
16 We can add to those different categories a
debate related to a present political reality:
the Cornelian
dilemma involving individual liberty and security. see, for
example, Marvel Comics’ Civil War, which was
recently adapted for the big screen. some critics have already
linked this question to erich fromm’s
thesis about “the Basic human Dilemma” between unlimited
freedom and security. see Langley 2016.
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action good if it only generates chaos? this question seems to
haunt modern
superheroes, sincetheir fight is endless. Despite their
efforts and good will,
their involvement in the world’s affairs does not
restore a lost equilibrium, but
instead generates new distortions. Condemned by their chosen
actions to a
punishment worthy of Sisyphus, they multiply their
efforts but appear to ac-
knowledge, in the end, the vanity of those
efforts. The frequent borrowings of
19. dystopian elements during the iron Age contribute to this
growing feeling of
fatalism, and of a sense that the modern hero is unable to
change anything in
the world from what it is condemned to be – or to become.17
this modern superhero inability places the superhero within a
long tradition
of anti-heroes, initiated by Don Quixote and prevalent in
modern literature. Like
Cervantes’ hero, the superhero genre protagonists are helplessly
willing to fol-
low a given ideal or any recognizable paragon of moral rigour.
DC COMiCs’ MULtiVerse:
AN irONiC iLLUstrAtiON Of LeiBNiZ’s theODiCy?
While Marvel sets up its own cosmogony with its layers and
hierarchies, DC
Comics prefers to create parallel worlds and timelines that can
interact thanks
to the ability of some protagonists (flash, Lex Luthor) to travel
from one world
to another. The Multiverse, made up of an
infinity of earths that serve as mirrors
for one another, was introduced in the 1960s but elaborated in
the 1980s. it al-
lows the implementation of many versions of the worlds created
by DC Comics,
and above all of different versions of their iconic
characters: DC authors rework
and reinvent their origin stories and their profile,
restart popular narrative arcs
and erase less popular ones.18 in addition to its obvious
promotional potential,
the Multiverse also enables new and diverse
20. thematic ramifications.
in one of the DC Universe animated movies, this story arc is
developed sub-
stantially. Justice League: Crisis on Two Earths (sam
Liu/Lauren Montgomery,
US 2010) centres on the conflict between the
usual DC heroes, reunited in the
Justice League (superman, Batman, Wonder Woman, and flash
are all mem-
bers), and their alter egos from another earth, who compose a
group called
the “crime syndicate” that spreads terror in the parallel world.
in this alterna-
17 in the 21st episode (of 23) of season four of Arrow (Greg
Berlanti, Us 2015–2016), an atomic missile
launched by the season’s villain explodes in an American town,
causing the death of “tens of
thousands”. What could have been that season’s high point, or
the catastrophe the protagonists of
the show tried to prevent for all 23 episodes, becomes the
climax of a single episode, and the hero and
his allies live it with a strange kind of resignation. the higher
stakes of the next episode (the end of
the world) might seem to explain the banality to which the event
has been reduced, but perhaps the
explanation lies in a sort of narrative laziness or, maybe worse,
in the fact that in the contemporary
superhero universe, an end-of-the-world narrative is
not somethinga superhero tries to fight or avoid:
the superhero must ultimately simply accept its inevitability.
the superhero is not a shield against the
dooming of the world, but just a “beacon of
hope”, as the protagonists say, in a doomed
21. world.
18 see Pagello 2013, 2–3.
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tive earth, all roles are inverted: Lex Luthor, usually
superman’s nemesis, is the
leader of the heroes, while superman’s alter ego is the villains’
leader. Luthor
is able to travel from one world to another and asks for the
Justice League’s
help. the superheroes will travel to the parallel earth to put an
end to the crime
syndicate’s reign of terror.
in this conventional plot, based on Crisis on Infinite Earths
(2001) by Marv
Wolfman and George Perez, one element stands out. Amongst
all the super-
heroes’ monstrous doubles, Batman’s alter ego, called Owlman,
is the most in-
triguing character. He discovers the existence of infinite
earths, and in particu-
lar that of “earth-prime”, the earth from which all other earths
originate. After
blackmailing the governments of his world with a weapon of
mass destruction,
he finally decides to use his weapon on Earth-
prime, thus erasing all reality.
When his mistress asks him why a man of reason (and, like
22. Batman, he seems
to be an extremely rational character) would do such a thing, he
claims that the
discovery of infinite parallel earths made him
realize the vanity of his actions,
with the actions of his doubles on other earths nullifying the
raison d’être of his
actions. He justifies his plan at length:
Because it is the only action one could take that would have any
purpose … every
decision we make is meaningless. Because somewhere, on a
parallel earth, we have
already made the opposite choice. We are nothing, absolutely
nothing. [here, we are
rich, we are conquerors], and here we are poor, we are slaves,
and here, our parents
never met so we were never born. here, the World ended in
nuclear war, here, no
fish was ever brave enough to crawl up on
land and humans never evolved, and so
on, ad infinitum19.
in the character’s mind, the decision to erase all reality means
no other version
of him will be able to make an alternative choice.
One scientific inspiration of DC’sMultiverse could
be the Everett Interpreta-
tion, or many-worlds interpretation, in quantum mechanics,
formulated in the
1960s.20 One can argue that this theory, extremely popular in
the United states
and reworked in many science-fiction subgenres (most
obviously, perhaps, in
Uchronia) was the direct influence on the development
23. of the Multiverse narra-
tive in DC Comics. the dynamics of evil, a core aspect of this
narrative, is better
underlined, however, by a philosophical questioning.
indeed, the nihilistic assertion noted above by a character
confronted with
the painful discovery of infinite earths and his
subsequent action articulate two
19 Justice League: Crisis on Two Earths (sam
Liu/Lauren Montgomery, Us 2010).
20 Many-worlds interpretation, initially suggested by hugh
everett, stipulates in short that all alternate
worlds and futures are “real” and that every world that could
have been possible because of alternate
choices or events in the past actually occurred in other worlds
considered alternate realities. this
theory is illustrated by the schrödinger’s cat theorem.
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aspects of the problem of evil, also discussed by Christian
theology: moral evil
(the inability of humans to free themselves from sin, a
constituent part of their
nature) and metaphysical evil (is evil a part of God’s creation?).
those two as-
pects, frequently illustrated in American comics, are tightly
linked in many ani-
24. mated adaptations of the DC Universe, whose
generic syntax they refine.
Concerning moral evil, the first aspect, we find a
general feeling of fatalism
evident in comics and their adaptations, and notably in the DC
Comics–adapted
storyarcs. This feeling links the modern superhero to
anti-heroic figures popu-
lar in classical genres such as film noir of the
1940s: anti-heroes are aware of the
inevitable failure of their actions, but are also unable to act in
any other way.
robert Pippin, a professor of philosophy at the University of
Chicago, raises the
issueof agency in a series of classic films
noirs, asking, “What could action and
agency at all look like where there is almost no credible sense
of any ‘space of
possibility’ left; when the suspicion is that the
very idea of someone running the
show, leading his or her life, begins to look naïve or self-
deceived?”21
in the contemporary superhero genre, this question is picked up
in the pro-
tagonists’ seeing their area of action and influence
gradually reduced, which is
tragic considering that their archetype is defined by
altruistic intentions. With
a character like Owlman, the monstrous double of a superhero
with an already
dominant shadow side, this discovery only leads to a radical re-
evaluation of
free will, and by extension of humanity.
25. Concerning metaphysical evil, the second aspect, DC Comics’
Multiverse re-
minds us of the central argument of Gottfried Leibniz’s
Theodicy, and the as-
sertion that our world is “the best of all potential worlds”. At
the beginning
of the eighteenth century, Leibniz, a German philosopher and
mathematician,
participated in a theological debate related to the co-existence
of evil and God
in a world created by the latter. Like many theologians of his
time, Leibnitz was
eager to resolve the question of the existence of
moral evil (sins, injustices)
and physical evil (sufferings) in a world created
by an omnipotent God, but he
faced a problematic contradiction in the New testament’s having
elevated the
attributes of good and love in God to absolutes.22 to the
question of why God
allows evil in a world God had the power to create perfect,
Leibniz maintained
that the existence of evil is necessary, evil being the criteria by
which good acts
are evaluated. functioning like the weight on a scale, it allows
the positive of
humanity to be gauged. God must have assessed the
different possible combi-
21 Pippin 2012, 10–11.
22 Even if theodicy as the “justification of
God” already existed in Greek and Latin
philosophy, it was with
the rise of monotheistic religions, and the defence of an all-
powerful and omnibenevolent God that
26. this question became more and more pressing for dogmatic
thought.
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nations and would have chosen the best possible combination,
with the optimal
complementarity of good and evil.23
this idea is illustrated in the DC Universe in a way that is
faithful to Leibniz’s
imagery. Parallel worlds offer nightmarish versions of
the initial world and imag-
ine what could have been the fate of the famous superheroes had
the circum-
stances of their initiation been different. Those stories
work on the dark side of
each character, acknowledging the extent of the character’s
powers and the
nature of the character’s demons.24
On another level, however, this universe seems to
offer a parody of Leib-
niz’s metaphysics. superheroes can be seen as extremely
humane (since the
turn to reality of the 1960s, their weaknesses have underlined
their humanity)
or as pathetic representations of divinities. superhero stories
may initially have
been conceived as modern adaptations of Greek and Nordic
theogonies, but
27. the influence of the characters on their environment
was gradually reduced in
the contemporary age of comics. hence, despite their powers
they are unable
to achieve a purpose (counter evil deeds) with
just their good intentions or,
worse, without the use of questionable means – and one of
Leibniz’s critiques
echoes here: isn’t an omniscient, omnipotent
God by definition supposed to
be able to achieve the goal of a better world without having to
resort to evil?25
even if theodicy seemed to lose its impact after the nineteenth
century,
the shockwaves and existential crisis generated by the second
World War, the
holocaust, and hiroshima in the second half of the twentieth
century renewed
interest in theodicy’s central questions. two texts published in
the 1980s shed
light on this renewal: hans Jonas’ The Concept of God after
Auschwitz, published
in 1984, and a conference paper given by Paul ricœur at the
University of Laus-
anne in 1985, “evil: A Challenge to Philosophy and
theology”26. hans Jonas, a
German philosopher, student of husserl and heidegger and
friend of hannah
Arendt, was deeply affected by society’s sudden
decline into extreme violence
during the 1930s and 1940s and became obsessed with human
civilization’s
finitude.27 in his 1984 essay, he re-evaluated the pertinence of
theodicy’s argu-
ments for the contemporary world. One new question arose: how
28. can we still
23 see Leibniz 1969.
24 following Leibniz’s assertions, many philosophers of the
seventeenth century discussed the central
issues of theodicy, among them emmanuel Kant and G. W. f.
hegel (in chapter six of the Phenom-
enology of the spirit). Kant’s study of Job, found in an essay of
1791 entitled On the Miscarriage of All
Philosophical Trials in Theodicy, constituted a first attempt
to revise the theories on which theodicy is
constructed. Against theodicy he raised the idea of
anthropodicy (justification of humankind as
good).
in the dialectic chapters of Critique of Pure Reason, theodicy
falls under what he designates “transcen-
dental illusion”. he does not exclude the question of evil from
philosophical discourse, but places it
in the “practical” sphere, as somethingthat must
not be and that action fights. Therefore,
the main
concern is not where evil comes from, but why we commit it.
see ricœur 1985, 41–42.
25 see franklin 2003, 97–101.
26 this keynotewas also previously given at the American
Academy of religion, in 1984.
27 A subject also discussed by Hannah Arendt in
Qu’est-ce que la Politique? (1955–1958).
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accept the idea of an omnipotent God after Auschwitz? this
contextualized
reconsidering of theodicy’s basic questions had become
necessary for Jonas,
who, as a Christian, rarely questioned the existence of God but
did try to under-
stand God’s apparent laisser-faire. in this context, we must start
by abandoning
the idea of an omnipotent God, for human reason cannot accept
that a being
capable of stopping the horror of Auschwitz did not do so.
however, Jonas’s
argumentation is interesting in that he tried to explain the
paradox of a power-
less God by proposing a personal interpretation, we could say
even a rewriting,
of the creation myth as, “in the beginning, God, in an
unfathomable choice,
decided to indulge in chance, risk and in the
infinite diversity of fate”.28 then
God trembles because, carried by his own impulsion, “the shock
of evolution
crosses the threshold at which innocence ceases, and new
criteria of success
or failure appear”.29 Jonas separates the ideas of goodness and
omnipotence in
God, who abandoned the latter at the world’s creation.
Jonas’ efforts to rethink theodicy by relying
on myth’s codes have their
charm but also their limitations. in the beginning of his essay
mentioned above,
ricœur expanded on how myth incorporates a fragmentary
30. experience of evil
into origin stories with cosmic dimensions,
offering initial explanation of the ex-
istence of evil. however, myths do not avoid paradoxes and
ambiguities while
trying to explain the origins of evil: they constitute a partial
response, with con-
solatory effect, to the questions of where evil
comes from, why, and for how
long.Myth answers the “why” question, but fails to
find a response to “why
me?” Metaphysics and then moral philosophy take over.30
ricœur then reviews how Leibniz’s Theodicy places under the
same concept,
and the same source, disparate terms such as sin (a moral evil
seen in the re-
sponsible agent that inflicts pain), suffering (seen
from the perspective of the
victim who receives pain), and death. ricœur rethinks evil, in
light of Kant’s
reassertions, in its “relational-dialogical structure”,31 with
evil inflicted by one
echoing in the evil suffered by the other. The
synthesis he offers of the many
aspects of theodicy reminds us of the need to confront the
problem of evil even
when God is no longer at the centre of philosophical systems.
in the third act of Justice League: Crisis on Two Earths
(2010), and while
setting his diabolical plan in motion, the Owlman
character seems to pointa fin-
ger at the human’s free will, another controversial
subject discussed by Leibniz.
having teleported himself onto earth-prime but before he
31. activates his bomb
in order to erase every form of existence, he is confronted by
Batman, his alter
28 Jonas 1994, 14 (my translation).
29 ibid., 20 (my translation).
30 ricoeur 2010, 27–28.
31 ibid., 24.
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ego, who has followed him in order to stop him. Owlman
explains to his nem-
esis, and double, the nature of Earth-prime, where
they now find themselves:
Before there was thought, there was this place, one earth with a
single history. But
with the coming of Man came the illusion of free will, and with
that illusion came cha-
os. With every choice we make, we literally create a World.
history branches in two,
creating one earth where we made the choice, and a second
where we did not. that
is the secret of the Universe. Billions of people, making billions
of choices, creating
infinite earths. Some so similar to each other
you could spend a lifetime searching for
any distinction, otherso radically different they defy
comprehension. … The source
of the cataclysm was the same as it always is: Man32.
32. the character’s explanation of the Multiverse’s functions
reminds us of the
place of free will in Leibniz’s system. emile Bréhier, a french
historian of phi-
losophy, summarizes this system as follows:
in this system where only individual substances exist, where
everything arises from
their spontaneity, nothing is considered that is
not linked to the whole universe;
those substances are already universes and there is nothing they
do not include, at
least virtually: each of these substances, that seems to include
everything, is in fact
defined by its relation to all the others, and by
a fixedplace in a hierarchy that com-
prises doomed beings as well as angels and chosen ones.”33
In a way, Owlman’s assertion is rather Leibnizian,
sinceit afflicts humankind
with all the evils of the universe. In his theodicy
project, where the initial idea
was that evil had corrupted the relations between God and
humankind, Leibniz
found himself in a quandary as he sought to
justify God’s actions, for he was
unable to exonerate one without holding the other guilty,
“oscillating between
the temptation of forgiving himself by accusing God, and
pardoning God by ac-
cusing himself”.34
Like Leibniz, the Owlman character locates evil solely in human
action and re-
sponsibility. But unlike for the philosopher, for the Owlman
33. every possibility of
optimism or empathy is then erased, for humankind and
humankind’s free will
are a cancer from which the world must be delivered, even if to
do so means the
destruction of the world and of himself – for, by his own
admission, he himself is
as imperfect as all the others. A physical and verbal
confrontation ensues, dur-
32 Justice League: Crisis on Two Earths (sam
Liu/Lauren Montgomery, Us 2010).
33 “Dans ce système où seules existent des substances
individuelles, où tout découle de leur spontanéité,
il n’est pas fait la moindre part à rien qui ne soit fonction de
l’univers tout entier, c’est que ces
substances sont déjà des univers et qu’il n’est rien
qu’elles ne contiennent au moins
virtuellement :
chacune de ces substances, qui paraît être tout
dedans, n’est en réalité définie que par ses
rapports
avec toutes les autres, et par une place fixe
dans une hiérarchie qui comporte des damnés aussi
bien
que des anges et des élus” (Bréhier, 1994, 306. My translation).
34 Brunschwig 1969, 9–10 (my translation).
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34. ing which Batman, whose faith in humanity is also ambivalent,
blocks the plans
of his nihilistic alter ego before giving this strange reply,
inspired by Nietzsche,
a philosopher much referred to in popular culture: “We both
looked into the
abyss. But when the abyss looked back, you blinked35.”
this curious reference to the famous aphorism 146 of Beyond
Good and Evil
raises a question: Did the Batman character, this creature of the
night, perfectly
understand the essence of evil, which allowed him not to
surrender to it blindly?
the mistake committed by the Owlman character, the act of
blinking, calls to
mind the prophets – saint Paul, for example,– who were blinded
and covered
their eyes when confronted with a divine vision. the suggestion
for Batman is of
a total surrender to the forces of the abyss –
identified as a divine power – and
the obliteration of any trace of free will, a disease that,
according to the Owl-
man’s initial observation, gives only an illusion of freedom.36
the Leibnizian solution was never convincing. During the
eighteenth century,
and even before Voltaire’s caricature of Leibniz in Pangloss in
Candide, David
hume suggested that the world had been created by a novice
god, in a half-
accomplished first attempt. On the same note, and in
the context of the twenti-
eth century’s pessimism and metaphysical scepticism, the
35. existence of parallel
worlds in the DC Universe can only lead to an inversion of
Leibniz’s plea. yet
does recognizing Leibniz’s argument nullify those
heroic figures’ raison d’être
and necessity? if this world is the best of all possible worlds,
why bother with
superheroes? These protagonists are stuck in an
infinite vicious circle, where
their heroic actions (fighting against the forces of
evil) are incompatible with
their identity (forces of evil define them as heroic
protagonists). But, in a para-
doxical manner, it is less a question of compatibility than of
complementarity,
with the hero’s actions stimulated by antagonistic
forces, indefinitely generat-
ing new actions.
CONCLUsiON
The question of evil, and its endless ramifications,
enables the semantic ele-
ments and syntax of the superhero genre to mature and be
renewed. some of
the more obvious signsof syntactic renewal are the
efforts of the superhero
genre to raise awareness, through its own means, of
contemporary socio-polit-
ical issues. it also addresses an audience that is no longer
limited to teenagers,
35 Justice League: Crisis on Two Earths (sam
Liu/Lauren Montgomery, Us 2010).
36 the choice of an owl as the symbol of Batman’s diabolical
alter ego is interesting. Both owl and bat
36. are creatures of the night, but in many cultures the owl
symbolizes loneliness, melancholy, and forces
of darkness, unlike the bat, whose representations suggest a
more dualist symbolism: though seen
as a failed bird, or a monstrous being whose spiritual evolution
was interrupted, in Greek mythology
the bat refers to an intermediary state of progress, of
maturation. see Chevalier/Gheerbrant 1982,
252–254.
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with more adults interested in comics and their adaptations. in
addition, the
influence of dystopian literature on the development of
the superhero genre
has become more palpable over the years.
this renewal is thought unfortunate by observers who consider
the genre’s
loss of innocence and its desire to be taken seriously a step
backwards, deem-
ing that its authors are ignoring the silliness that is integral to
the genre – and
where is the pleasure when a genre tries to be serious when it is
not supposed
to be? in addition, over the last thirty years, although the study
of comics has
gained a certain cultural legitimation, some researchers,
especially in europe,
37. still find it difficult to see analysis of the comic
as a cultural practice worthy of
theoretical approaches and academic emancipation as are
cinema and televi-
sion.37
furthermore, the close relationship between academic research
and fandom,
a characteristic feature of the study of comics in the United
states, is not always
well received by mainstream academics.38 the extreme
popularity of the media
and its heavy reliance on the fans’ imperatives and needs seem
to undermine its
hopes for cultural legitimacy. however, the renewal of the
genre, especially via
film, another popular medium, is a positive sign
for those who can identify the
superhero genre’s ability to build a political and philosophical
discourse that is
in line with today’s angst.
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Bréhier, emile, 1994, histoire de la philosophie, vol. 4: XViie
38. siècle, Paris: Cérès.
Brunschwig, Jacques, 1969, introduction, in: Leibniz, Gottfried
Wilhelm, essais de théodicée, Paris:
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Campbell, Joseph, 2013, Le héros aux mille et un visages, trans.
henri Crès, Paris: J’ai Lu.
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figures, Paris: Presses Universitaires de France.
Dufour, Eric, 2011, Le Cinéma de science-fiction.
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37 there are some notable exceptions in the french-speaking
academic world, such as the studies of
hergé’s Les aventures de Tintin, a cultural phenomenon in its
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38 see Baetens 2005, 4–5.
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39. forest, Claude (ed.), 2009, Du héros au super-héros. Mutations
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franklin, James, 2003, Leibniz’s solution to the Problem of evil,
think 5, 97–101.
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Arrow (Greg Berlanti, the CW, Us 2012–).
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Batman: Year One (sam Liu/Lauren Montgomery, Us 2011).
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The Avengers (Joss Whedon, Us 2012).
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V for Vendetta (James Mcteigue, Us 2005).
Watchmen (Zack snyder, Us 2009).
X-Men: Days of Future (Bryan singer, Us 2014).
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