000 | 03086cam a2200445 i 4500 | ||
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001 | ocn910070623 | ||
003 | OCoLC | ||
005 | 20240726104917.0 | ||
008 | 150211s2015 nyu ob 001 0 eng d | ||
040 |
_aP@U _beng _epn _erda _cP@U _dOCLCO _dYDXCP _dWAU _dOCLCO _dOCLCA _dDKC _dNT _dOCLCO _dEBLCP _dOCLCF _dOCLCO _dOCLCQ _dOCLCO _dIDEBK _dOCLCQ _dOCLCO _dJSTOR _dOCLCO _dIDB _dOCLCQ _dOCLCO _dAGLDB _dUAB _dMOR _dOCLCQ _dMERUC _dOCLCQ _dIOG _dOCLCO _dBUF _dEZ9 _dIUL _dSTF _dOCLCA _dOCLCQ _dVTS _dRRP _dINT _dJBG _dOCLCQ _dLVT _dOCLCQ _dAU@ _dOCLCQ _dOCLCO _dM8D _dUKAHL _dOCLCQ _dOCLCO _dMM9 _dOCLCO _dOCLCQ _dUBY _dOCLCQ _dWAU |
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020 |
_a9780815653202 _q((electronic)l(electronic)ctronic) |
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043 | _an-us--- | ||
050 | 0 | 4 |
_aPN6728 _b.C378 2015 |
049 | _aMAIN | ||
100 | 1 |
_aStevens, J. Richard, _e1 |
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245 | 1 | 0 |
_aCaptain America, masculinity, and violence : _bthe evolution of a national icon / _cJ. Richard Stevens. |
250 | _aFirst edition. | ||
260 |
_aSyracuse, New York : _bSyracuse University Press, _c(c)2015. |
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300 | _a1 online resource | ||
336 |
_atext _btxt _2rdacontent |
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337 |
_acomputer _bc _2rdamedia |
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338 |
_aonline resource _bcr _2rdacarrier |
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347 |
_adata file _2rda |
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490 | 1 | _aTelevision and popular culture | |
504 | _a2 | ||
505 | 0 | 0 |
_aPreface -- _t1. Introduction: Sentinel of Liberty -- _t2. The Anti-Hitler Crusader (1940-1949) -- _t3. Commie Smasher! (1953-1954) -- _t4. The Man out of Time (1963-1969) -- _t5. The Liberal Crusader (1969-1979) -- _t6. The Hypercommercialized Leader (1979-1990) -- _t7. The Superficial Icon (1990-2002) -- _t8. Captain America's Responses to the War on Terror (2002-2007) -- _t9. The Death and Rebirths of Captain America (2007-2014) -- _tNotes -- _tBibliography -- _tIndex. |
520 | 0 | _a"Captain America's adventures span from World War II through the Cold War to the American War on Terror. In Captain America, Masculinity, and Violence, Stevens reveals how the hero evolved to maintain relevance to America's fluctuating ideas of masculinity, patriotism, and violence. Tracking the history of Captain America's adventures, Stevens places them in dialogue with the comic book industry as well as American politics, showing how the hero represents the ultimate American story: permanent enough to survive for more than seventy years with a history fluid enough to be constantly reinterpreted to meet the needs of an ever-changing culture, "--Back cover | |
530 |
_a2 _ub |
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600 | 0 | 0 |
_aCaptain America _c(Fictitious character) _xIn comics. |
650 | 0 |
_aComic books, strips, etc. _zUnited States _xHistory and criticism. |
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650 | 0 | _aViolence in comics. | |
650 | 0 | _aMasculinity in comics. | |
650 | 0 | _aSuperheroes in comics. | |
655 | 1 | _aElectronic Books. | |
856 | 4 | 0 |
_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=916350&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password |
936 | _aBATCHLOAD | ||
942 |
_cOB _D _eEB _hPN. _m2015 _QOL _R _x _8NFIC _2LOC |
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994 |
_a92 _bNT |
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_c82560 _d82560 |
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_a1 _bCynthia Snell _c1 _dCynthia Snell |