Mutant And Proud

An empirical literature review using LGBT affirmative therapy models, biblio-narrative therapy techniques, identity development models, and wellness models to explore the X-men Universe.Not an Officially licensed product of Marvel, Disney, or Fox Entertainment.

"Being crazy" is generally a negative characterization today, yet many celebrated artists, leaders, and successful individuals have achieved greatness despite suffering from mental illness. This book explores the many different representations of mental illness that exist—and sometimes persist—in both traditional and new media across eras. Mental health professionals and advocates typically point a finger at pop culture for sensationalizing and stigmatizing mental illness, perpetuating stereotypes, and capitalizing on the increased anxiety that invariably follows mass shootings at schools, military bases, or workplaces; on public transportation; or at large public gatherings. While drugs or street gangs were once most often blamed for public violence, the upswing of psychotic perpetrators casts a harsher light on mental illness and commands media's attention. What aspects of popular culture could play a role in mental health across the nation? How accurate and influential are the various media representations of mental illness? Or are there unsung positive portrayals of mental illness? This standout work on the intersections of pop culture and mental illness brings informed perspectives and necessary context to the myriad topics within these important, timely, and controversial issues. Divided into five sections, the book covers movies; television; popular literature, encompassing novels, poetry, and memoirs; the visual arts, such as fine art, video games, comics, and graphic novels; and popular music, addressing lyrics and musicians' lives. Some of the essays reference multiple media, such as a filmic adaptation of a memoir or a video game adaptation of a story or characters that were originally in comics. With roughly 20 percent of U.S. citizens taking psychotropic prescriptions or carrying a psychiatric diagnosis, this timely topic is relevant to far more individuals than many people would admit.

Rethinking Superhero and Weapon Play offers a fresh and knowledgeable insight into children’s fascination with superheroes and weapon play. It explores what lies at the heart of superhero and weapon play and why so many children are drawn to this contentious area of children’s play. This innovative book offers: A detailed look at why many early years professionals and teachers are cautious about superhero and weapon play. Does weapon play make children more violent? Do ‘goodies versus baddies’ stories make children more confrontational? Do superheroes offer positive gender role-models? The book tackles these questions and suggests some alternative perspectives, as well as offering practical advice about keeping children’s superhero and weapon play positive and productive. An exploration of how superhero and weapon play relates to the development of children’s moral values, moral principles and moral reasoning; the building of children’s co-operation, empathy and sense of community; and the development of children’s sense of self and self-esteem. Discussion of the deep moral themes that lie within superhero narratives, and how superhero characters and narratives can be used to enhance and deepen children’s understanding of good character, moral responsibility, attachment, prejudice and ill-treatment, and why it is important to be good in the first place. A wealth of learning opportunities and suggestions of ways to use superheroes to advance children’s moral, philosophical and emotional thinking This book is an excellent resource for those studying or working in early years or primary education who wish to understand the phenomenon of children’s superhero and weapon play and make the most of children’s enthusiasm for it. “Warm, funny, smart, and honest, the argument made in Steven Popper’s book astutely, and with a sharp eye for detail, teases out many subtle reflections on morality, childhood development and the paradoxes of human nature, through the lens of our much-loved Superhero narratives. He is able, through nuanced and well-supported argument, drawn from both theory and practice, and from pedagogy and real life, to present a compelling and detailed account of the ways in which these stories might interface with the moral development of children. The book offers a rich, and articulate narrative of its own, which ‘aims at the good’ in its desire to propose that immersion in such superhero ‘narrative play’ can teach children about ethics, social responsibility, and what it is to be ‘human’. This is also a wonderful contribution to debates around the role of mass media in promoting critical thinking and enquiry among children.” Dr. Sheena Calvert, Senior Lecturer, University of Westminster, UK “This book authoritatively assesses the virtues of engaging in superhero play with young children. It argues that far from damaging children and encouraging them to adopt unthinking, aggressive behaviours superhero play is an implicitly moral activity. It encourages children to explore profound moral and ethical thinking. This book is both a well-researched account of the appeal that superhero play has for children of both sexes and a practical guide to how such play can be used imaginatively in early years settings.” Rob Abbott, Senior Lecturer in Early Childhood and Education, University of Chichester, UK

Ryan finds his freedom in the water, where he is not bound by gravity and his wheelchair. When he rescues his schoolmate, Jack, from the water their lives become connected, whether they like it or not. Ryan keeps Jack's secret about that day in the water, but he knows that Jack needs help. The school is full of rumors about Jack's sexuality, and he has few friends. Almost against his better judgement, Ryan decides to invite Jack on a trip to Comic Con he's planned with his best friend Cody, the captain of the school's swim team. The three boys make an unlikely combination, but they will each have the chance to show whether they are brave enough to go against the stereotypes the world wants to define them by.

Originally appearing as a comic book in the 1960s, X-Men has been a cultural touchpoint for decades. Since the release of the first film in 2000, the series has enjoyed an even greater transnational presence. With each successive film, the franchise has secured its place within global popular culture, becoming one of the most profitable and complex superhero series to date. While much of the research that has been published on the X-Men focuses on the comics, the movies constitute their own cultural text and deserve special attention. In The X-Men Films: A Cultural Analysis, Claudia Bucciferro has assembled a collection of essays that draw from work in communication, cultural studies, and media studies. With contributions from a diverse group of scholars, the chapters analyze issues that include gender, sexuality, disability, class, and race. The contributors pose intriguing questions about the franchise, such as: What do “mutants” really represent? What role do women and people of color play in the narratives? Why does it matter that Professor X is disabled? Why is Mystique often shown naked? What facilitated Wolverine’s rise to prominence? And how do topics regarding identity, trauma, and bioethics, figure in the stories? Exploring issues relevant for a multicultural world and connecting thematic elements from the films to political debates and social struggles, the book seeks to make a thoughtful contribution to the scholarship of popular culture. The X-Men Films will appeal to media scholars and students, as well as to anyone interested in the X-Men series.

This volume, the first of its kind, establishes and clarifies the significance of Jewish rhetorics as its own field and as a field within rhetoric studies. Diverse essays illuminate and complicate the editors' definition of a Jewish rhetorical stance as allowing speakers to maintain a "resolute sense of engagement" with their fellows and their community, while also remaining aware of the dislocation from the members of those communities. Topics include the historical and theoretical foundations of Jewish rhetorics; cultural variants and modes of cultural expression; and intersections with Greco-Roman, Christian, Islamic, and contemporary rhetorical theory and practice. In addition, the contributors examine gender and Yiddish, and evaluate the actual and potential effect of Jewish rhetorics on contemporary scholarship and on the ways we understand and teach language and writing. The contributors include some of the world's leading scholars of rhetoric, writing, and Jewish studies.

My name is Dylan Taylor, human incarnation of the burning dumpster gif, and this is my life. I always wanted to be an X-Man. Except people and me never got along, and apparently you need social skills to run a successful team. Cue Emma Hall's party. One hot make out session with the host herself, and I can talk to objects like my pillow (who's far too invested in my love life) and my baseball bat (who was a pacifist before I got hold of him). Now there's a whole group of us with strange abilities, including super hot ice queen Dani Kim who doesn't approve of how reckless I can be. The bigger problem is a mysterious mutant causing unnatural disasters, and we're the ones who have to stop him. Except trying to make a difference makes things blow up in my face and the team's on the verge of falling apart. Can I bring them back together in time to stop the villain from taking revenge? Have I mentioned I'm not a people person? Magneto help us.

This book traces the uneven history of queer media visibility through crucial turning points including the Hollywood Production Code era, the AIDS crisis of the 1980s, the so-called explosion of gay visibility on television during the1990s, and the re-imagination of queer representations on TV after the events of 9/11. Kohnen intervenes in previous academic and popular accounts that paint the increase in queer visibility over the past four decades as a largely progressive development. She examines how and why a limited and limiting concept of queer visibility structured around white gay and lesbian characters in committed relationships has become the embodiment of progressive LGBT media representations. She also investigates queer visibility across film, TV, and print media, and highlights previously unexplored connections, such as the lingering traces of classical Hollywood cinema's queer tropes in the X-Men franchise. Across all chapters, narratives and arguments emerge that demonstrate how queer visibility shapes and reflects not only media representations, but the real and imagined geographies, histories, and people of the American nation.