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El siguiente artículo se centrará en el estudio del comportamiento de dos heroínas de la gran pantalla: Wonder Woman y Capitana Marvel. Al analizar los dos filmes, veremos, por ende, que se nutren del género de la ciencia ficción y utilizan mitos clásicos y ciertas pinceladas de corte feminista con el fin de mostrar una preocupación por la devastación del entorno y por el genocidio humano o de otras especies alienígenas., The following article will focus on two heroines and their behaviour: Wonder Woman and Captain Marvel. If we analyse these films, which belong to science fiction genre, we will observe the use of classical Mythology and feminism to show their concern about the devastation of the environment and human or alien genocide.

The thesis examines how users of the Internet Movie Database (IMDb) negotiate feminism in their reviews of four superheroine films – Wonder Woman, Captain Marvel, Birds of Prey: The Fantabulous Emancipation of One Harley Quinn, and Wonder Woman 1984. By combining critical discourse analysis with methods of corpus linguists, this corpus-based study of over 18,000 reviews analyses the frequency of the topic of feminism in the reviews, words and topics associated with it and the way the reviewers reflect broader mediated discourse over the four films, and the role of IMDb as a space for these reviews. The findings show that feminism is still understood as an anti-male movement where female-led films are shielded from criticism by the mainstream media by the virtue of the lead’s gender, the superheroines are criticised for being overpowered particularly where they have no equal male supporting character and that perceived feminist messaging is usually written off as a forced political agenda or as an insincere cash grab made by corporates which effectively use feminism for promotion. It also reveals IMDb as a highly polarised platform where the users leaving 1- and 10-star reviews are generalized as representatives of different sides of the political spectrum (antifeminist vs feminist, conservative vs liberal) regardless of the actual content of the review.

The thesis examines how users of the Internet Movie Database (IMDb) negotiate feminism in their reviews of four superheroine films – Wonder Woman, Captain Marvel, Birds of Prey: The Fantabulous Emancipation of One Harley Quinn, and Wonder Woman 1984. By combining critical discourse analysis with methods of corpus linguists, this corpus-based study of over 18,000 reviews analyses the frequency of the topic of feminism in the reviews, words and topics associated with it and the way the reviewers reflect broader mediated discourse over the four films, and the role of IMDb as a space for these reviews. The findings show that feminism is still understood as an anti-male movement where female-led films are shielded from criticism by the mainstream media by the virtue of the lead’s gender, the superheroines are criticised for being overpowered particularly where they have no equal male supporting character and that perceived feminist messaging is usually written off as a forced political agenda or as an insincere cash grab made by corporates which effectively use feminism for promotion. It also reveals IMDb as a highly polarised platform where the users leaving 1- and 10-star reviews are generalized as representatives of different sides of the political spectrum (antifeminist vs feminist, conservative vs liberal) regardless of the actual content of the review.

Comic books are means that combine images and text to create narratives. The Wonder Woman character was created for this type of media in 1942 and became an icon for the feminist movement, however, the Amazon warrior’s lessons teach virtue to everyone. The impact caused by the righteous way of living taught in her graphic narratives can be benefited both individually and collectively. In many of her stories, subjects such as justice, compassion, knowledge, temperance, wisdom, courage, generosity and humbleness are found. Although various aspects of this character have changed over the course of its 80 years of existence, its educational essence has been a constant contributor. &nbsp, As histórias em quadrinhos são meios que usam as imagens junto com o texto para criar narrativas. A personagem Mulher-Maravilha foi criada para este meio em 1942, surgindo como um ícone do movimento feminista. Contudo, as lições da amazona ensinam virtudes para todos. O viver bem que suas narrativas gráficas orientam revela atitudes cujos impactos levam a benefícios individuais e coletivos. Em vários enredos há temas como justiça, compaixão, conhecimento, temperança, sabedoria, coragem, generosidade e humildade. Embora vários aspectos da personagem tenham se modificado ao longo dos seus 80 anos de existência, sua essência educadora é uma constante enriquecedora.

Comic books are means that combine images and text to create narratives. The Wonder Woman character was created for this type of media in 1942 and became an icon for the feminist movement, however, the Amazon warrior’s lessons teach virtue to everyone. The impact caused by the righteous way of living taught in her graphic narratives can be benefited both individually and collectively. In many of her stories, subjects such as justice, compassion, knowledge, temperance, wisdom, courage, generosity and humbleness are found. Although various aspects of this character have changed over the course of its 80 years of existence, its educational essence has been a constant contributor. &nbsp, As histórias em quadrinhos são meios que usam as imagens junto com o texto para criar narrativas. A personagem Mulher-Maravilha foi criada para este meio em 1942, surgindo como um ícone do movimento feminista. Contudo, as lições da amazona ensinam virtudes para todos. O viver bem que suas narrativas gráficas orientam revela atitudes cujos impactos levam a benefícios individuais e coletivos. Em vários enredos há temas como justiça, compaixão, conhecimento, temperança, sabedoria, coragem, generosidade e humildade. Embora vários aspectos da personagem tenham se modificado ao longo dos seus 80 anos de existência, sua essência educadora é uma constante enriquecedora.

Comic books are means that combine images and text to create narratives. The Wonder Woman character was created for this type of media in 1942 and became an icon for the feminist movement, however, the Amazon warrior’s lessons teach virtue to everyone. The impact caused by the righteous way of living taught in her graphic narratives can be benefited both individually and collectively. In many of her stories, subjects such as justice, compassion, knowledge, temperance, wisdom, courage, generosity and humbleness are found. Although various aspects of this character have changed over the course of its 80 years of existence, its educational essence has been a constant contributor. &nbsp, As histórias em quadrinhos são meios que usam as imagens junto com o texto para criar narrativas. A personagem Mulher-Maravilha foi criada para este meio em 1942, surgindo como um ícone do movimento feminista. Contudo, as lições da amazona ensinam virtudes para todos. O viver bem que suas narrativas gráficas orientam revela atitudes cujos impactos levam a benefícios individuais e coletivos. Em vários enredos há temas como justiça, compaixão, conhecimento, temperança, sabedoria, coragem, generosidade e humildade. Embora vários aspectos da personagem tenham se modificado ao longo dos seus 80 anos de existência, sua essência educadora é uma constante enriquecedora.

As the American superhero films continue to increase their popularity around the globe, and because of the reccurent criticism against their poor and stereotypical representation, this essay aims to analyse the two newly made productions Man of Steel and Wonder Woman from a gender perspective. The essay argues a difference in Superman and Wonder Woman’s superhero images and further discussess the opportunities as well as potential problems the superhero narratives can offer to discuss gender in the EFL classroom.

As the American superhero films continue to increase their popularity around the globe, and because of the reccurent criticism against their poor and stereotypical representation, this essay aims to analyse the two newly made productions Man of Steel and Wonder Woman from a gender perspective. The essay argues a difference in Superman and Wonder Woman’s superhero images and further discussess the opportunities as well as potential problems the superhero narratives can offer to discuss gender in the EFL classroom.

In this essay are adressed two exciting films where female superheroes are protagonists. This is a recent movie genre that is having a great reception among fans, this is as a novel way of telling action stories. The first film, produced by DC comics and Warner studios, Wonder Woman(Jenkins, 2007), the legendary Amazon, heiress of the Olympian gods and one of the leaders of the justice league, a prototype heroine charactheristic of feminine ethics of care. The other film is from Marvel Comics, Captain Marvel (Bodoen y Fleck, 2019), an incredible pilot, who by an act of chance got superpowers of alien origins and becomes the strongest avenger and a key element of the new super production of this publishing house, being a representative of the Ethical feminist liberals. Each of these superheroes has different origins and also has characteristics related to the current feminist ethics. The wonder woman bases her moral development on equity, the special characteristics of women and their devotion to care. On the other hand, Captain Marvel, a competitive leader who has a development in the pursuit of gender equality in the face of adversity and power conflicts. This essay wants to evidence the differences of these characters and their divergent moral associations, and how this determines a particular representation of the ideal woman who it seems to have each of the comic book publisher., En este ensayo se abordan dos películas con superheroínas como protagonistas, un género relativamente reciente en el cine que ha demostrado tener una gran acogida entre los aficionados, que además tiene una novedosa y emocionante forma de contar historias de acción. La primera película es producida por DC Comics y Warner studios, Mujer Maravilla (Jenkins, 2017). La legendaria amazona, heredera de los dioses olímpicos y una de los líderes de la liga de la justicia, una heroína prototipo de las éticas femeninas del cuidado. La otra película es de Marvel comics, Capitana Marvel (Bodoen y Fleck, 2019), una increíble piloto que por un acto de azar obtiene superpoderes de orígenes alienígenas y termina convirtiéndose en la más fuerte de Los Vengadores, y un elemento clave de la nueva superproducción de esta editorial, una representante de las éticas feministas liberales. Las dos superheroinas tiene distintos orígenes y además características que pueden asociarse a distintas corrientes de éticas feministas. La Mujer Maravilla basa su desarrollo moral en la equidad, defiende ciertas características de la mujer y su devoción al cuidado, y por otro lado, la Capitana Marvel es una líder competitiva quien tiene un desarrollo en búsqueda de la igualdad de género ante la adversidad y los conflictos de poder. Este ensayo pretende evidenciar las diferencias de estos personajes y sus asociaciones morales divergentes, y cómo esto determina una particular representación de mujer ideal que parece tener cada editorial de comic.

The paper analyzes the Wonder Woman comics in terms of feminism and gender roles. The comics are examined from the viewpoint of the feminist literary criticism in several aspects, themes of war and mythology, bondage, her appearance, origin, and characters. It also studies its further development in the Silver, Bronze and Modern Age of comic books., Tato práce se zabývá analýzou komiksu Wonder Woman z hlediska feminismu a genderových rolí. Práce analyzuje komiks z pohledu feministické literární kritiky a studuje několik aspektů, témata války a mytologie, svazování, její vzhled, původ a postavy komiksu. Rovněž se zabývá dalším vývojem tohoto komiksu ve stříbrné, bronzové a moderní éře komiksu., Fakulta filozofická, Studentka stručně představila závěry své práce. Hodnotitelé se v posudcích shodli, vzhledem k tomu, že studentka u obhajoby odpověděla uspokojivě, ale nikterak oslnivě, komise nakonec hodnotí práci a vystoupení jako velmi dobré

Wonder Woman fue especial desde su mismo nacimiento. Su creador deseaba poner en valor lo femenino, y su solución fue crear a Diana de Themyscira, una guerrera amazona que rápidamente se convirtió en un icono de poder femenino y de lucha feminista. Sin embargo, fue creada por un hombre, para una industria masculina. Por ello cabe plantearse hasta qué punto el personaje de Wonder Woman representa los ideales feministas o la defensa de los intereses de las mujeres, en lugar de encarnar las fantasías masculinas. Se decidió analizar la representación de la amazona en las portadas sus cómics más recientes, y compararlas con otra super -heroína, Supergirl. Y con otros superhéroes masculinos: Superman y Batman. El análisis de las portadas permite conocer cuál es la primera impresión que la industria desea mostrar de Wonder Woman y qué la hace especial respecto a otros personajes femininos y masculinos, Wonder Woman was special from birth. Her creator wanted people to value the “femenine characteristics and abilities”, and his solution was to create Diana de Themyscira, an Amazonian warrior who quickly became an icon of women power and feminism. However, she was created by a man, for a male industry. For this reason, it’s proper to analize if the character of Wonder Woman really represents feminist ideals or the defense of women's interests, instead of embodying male fantasies. It was decided to analyze the representation of the Amazon on the covers of his most recent comics and compare them with another superhero, Supergirl. And with other male superheroes: Superman and Batman. The analysis of the covers allows to know what is the first impression the industry wants to show of Wonder Woman, and what makes her special facing other female and male characters

To better grasp the messages Wonder Woman is sending to its audience, a Critical Media Literacy (CML), ideological, and feminist framework is used to examine whether, and if so how, Wonder Woman succumbs to stereotypes that are often portrayed in the media. These theories will be used in the ensuing project to build a curriculum aimed at high school students.The curriculum positions students to examine the hegemonic ideologies that are represented in pop culture, specifically Wonder Woman.

Wonder Woman fue especial desde su mismo nacimiento. Su creador deseaba poner en valor lo femenino, y su solución fue crear a Diana de Themyscira, una guerrera amazona que rápidamente se convirtió en un icono de poder femenino y de lucha feminista. Sin embargo, fue creada por un hombre, para una industria masculina. Por ello cabe plantearse hasta qué punto el personaje de Wonder Woman representa los ideales feministas o la defensa de los intereses de las mujeres, en lugar de encarnar las fantasías masculinas. Se decidió analizar la representación de la amazona en las portadas sus cómics más recientes, y compararlas con otra super -heroína, Supergirl. Y con otros superhéroes masculinos: Superman y Batman. El análisis de las portadas permite conocer cuál es la primera impresión que la industria desea mostrar de Wonder Woman y qué la hace especial respecto a otros personajes femininos y masculinos, Wonder Woman was special from birth. Her creator wanted people to value the “femenine characteristics and abilities”, and his solution was to create Diana de Themyscira, an Amazonian warrior who quickly became an icon of women power and feminism. However, she was created by a man, for a male industry. For this reason, it’s proper to analize if the character of Wonder Woman really represents feminist ideals or the defense of women's interests, instead of embodying male fantasies. It was decided to analyze the representation of the Amazon on the covers of his most recent comics and compare them with another superhero, Supergirl. And with other male superheroes: Superman and Batman. The analysis of the covers allows to know what is the first impression the industry wants to show of Wonder Woman, and what makes her special facing other female and male characters

Syftet med denna uppsats är först och främst att undersöka om Wonder Woman är en komplett hjälte. Utefter Aristoteles dygdeetik och Voglers hjälteresa analyserar vi filmen Wonder Woman från 2017 samt ett icke producerat manus med samma titel. I uppsatsens sista kapitel diskuterar vi sedan kring hur genus har påverkat Wonder Womans möjlighet att framstå som en komplett hjälte. I analysen kommer vi fram till att filmen i jämförelse med manuset är nästintill strukturellt perfekt gällande hjälteresan och ytterligare förstärks av användningen av dygder. Vidare anser vi att gestaltningen av filmens Wonder Woman har påverkats av de karaktärsdrag som originalkaraktären påvisade under 1940-talet. Vi kommer fram till att det är framförallt av dessa två anledningar, samt att hon inte förhåller sig till det maskulina superhjälteidealet, som gör att Diana kan betraktas som en ultimat hjälte vid filmens slut, men inte vid manusets.

Wonder Woman fue especial desde su mismo nacimiento. Su creador deseaba poner en valor lo femenino, y su solución fue crear a Diana de Themyscira, una guerrera amazona que rápidamente se convirtió en un icono de poder femenino y de lucha feminista. Sin embargo, fue creada por un hombre, para una industria masculina. Por ello cabe plantearse hasta qué punto el personaje de Wonder Woman representa los ideales feministas o la defensa de los intereses de las mujeres, en lugar de encarnar las fantasías masculinas. Se decidió analizar la representación de la amazona en las portadas sus cómics más recientes, y compararlas con otra super -heroína, Supergirl. Y con otros superhéroes masculinos: Superman y Batman. El análisis de las portadas permite conocer cuál es la primera impresión que la industria desea mostrar de Wonder Woman y qué la hace especial respecto a otros personajes femininos y masculinos, Wonder Woman was special from birth. Her creator wanted people to value the “femenine characteristics and abilities”, and his solution was to create Diana de Themyscira, an Amazonian warrior who quickly became an icon of women power and feminism. However, she was created by a man, for a male industry. For this reason, it’s proper to analize if the character of Wonder Woman really represents feminist ideals or the defense of women's interests, instead of embodying male fantasies. It was decided to analyze the representation of the Amazon on the covers of his most recent comics and compare them with another superhero, Supergirl. And with other male superheroes: Superman and Batman. The analysis of the covers allows to know what is the first impression the industry wants to show of Wonder Woman, and what makes her special facing other female and male characters

Syftet med denna uppsats är först och främst att undersöka om Wonder Woman är en komplett hjälte. Utefter Aristoteles dygdeetik och Voglers hjälteresa analyserar vi filmen Wonder Woman från 2017 samt ett icke producerat manus med samma titel. I uppsatsens sista kapitel diskuterar vi sedan kring hur genus har påverkat Wonder Womans möjlighet att framstå som en komplett hjälte. I analysen kommer vi fram till att filmen i jämförelse med manuset är nästintill strukturellt perfekt gällande hjälteresan och ytterligare förstärks av användningen av dygder. Vidare anser vi att gestaltningen av filmens Wonder Woman har påverkats av de karaktärsdrag som originalkaraktären påvisade under 1940-talet. Vi kommer fram till att det är framförallt av dessa två anledningar, samt att hon inte förhåller sig till det maskulina superhjälteidealet, som gör att Diana kan betraktas som en ultimat hjälte vid filmens slut, men inte vid manusets.

Wonder Woman fue especial desde su mismo nacimiento. Su creador deseaba poner en valor lo femenino, y su solución fue crear a Diana de Themyscira, una guerrera amazona que rápidamente se convirtió en un icono de poder femenino y de lucha feminista. Sin embargo, fue creada por un hombre, para una industria masculina. Por ello cabe plantearse hasta qué punto el personaje de Wonder Woman representa los ideales feministas o la defensa de los intereses de las mujeres, en lugar de encarnar las fantasías masculinas. Se decidió analizar la representación de la amazona en las portadas sus cómics más recientes, y compararlas con otra super -heroína, Supergirl. Y con otros superhéroes masculinos: Superman y Batman. El análisis de las portadas permite conocer cuál es la primera impresión que la industria desea mostrar de Wonder Woman y qué la hace especial respecto a otros personajes femininos y masculinos, Wonder Woman was special from birth. Her creator wanted people to value the “femenine characteristics and abilities”, and his solution was to create Diana de Themyscira, an Amazonian warrior who quickly became an icon of women power and feminism. However, she was created by a man, for a male industry. For this reason, it’s proper to analize if the character of Wonder Woman really represents feminist ideals or the defense of women's interests, instead of embodying male fantasies. It was decided to analyze the representation of the Amazon on the covers of his most recent comics and compare them with another superhero, Supergirl. And with other male superheroes: Superman and Batman. The analysis of the covers allows to know what is the first impression the industry wants to show of Wonder Woman, and what makes her special facing other female and male characters

Wonder Woman fue especial desde su mismo nacimiento. Su creador deseaba poner en valor lo femenino, y su solución fue crear a Diana de Themyscira, una guerrera amazona que rápidamente se convirtió en un icono de poder femenino y de lucha feminista. Sin embargo, fue creada por un hombre, para una industria masculina. Por ello cabe plantearse hasta qué punto el personaje de Wonder Woman representa los ideales feministas o la defensa de los intereses de las mujeres, en lugar de encarnar las fantasías masculinas. Se decidió analizar la representación de la amazona en las portadas sus cómics más recientes, y compararlas con otra super -heroína, Supergirl. Y con otros superhéroes masculinos: Superman y Batman. El análisis de las portadas permite conocer cuál es la primera impresión que la industria desea mostrar de Wonder Woman y qué la hace especial respecto a otros personajes femininos y masculinos, Wonder Woman was special from birth. Her creator wanted people to value the “femenine characteristics and abilities”, and his solution was to create Diana de Themyscira, an Amazonian warrior who quickly became an icon of women power and feminism. However, she was created by a man, for a male industry. For this reason, it’s proper to analize if the character of Wonder Woman really represents feminist ideals or the defense of women's interests, instead of embodying male fantasies. It was decided to analyze the representation of the Amazon on the covers of his most recent comics and compare them with another superhero, Supergirl. And with other male superheroes: Superman and Batman. The analysis of the covers allows to know what is the first impression the industry wants to show of Wonder Woman, and what makes her special facing other female and male characters

In this thesis I explore the conceptual relationships between Parody, the body and space in via the writer Gail Simone’s version of the comic book heroine Wonder Woman. I develop a critical re-imag(e)ination of performativity, space and the body in contemporary mass culture via Gail Simone’s Wonder Woman. As the title suggests the thesis also elaborate on sexuality understood as a phantasmatic screen. I highlight the relationship between the Russian Linguist M.M. Bakhtin and the Belgian scholar Luce Irigaray’s concepts of mimesis and masquerade in order to unearth the conceptual separation that the parody achieves in the work of the Simone. I take Bakhtin’s idea of another’s speech and fuse it with Irigaray’s theories about the masquerade and mimesis. Two concepts that allow the body to be the operating crux of an advanced process were the concepts of space and sexuality can be described as intertwined. However first I explore the ideological driving force behind Wonder Woman’s creator W.M. Marston, and connect his intellectual project in the 40’s to Simone’s contemporary rendition of the same character. This connectivity then moves this thesis through the seemingly trivial kind of laughter produced by the parody as the operating concept in both of their work. Unveiling of the discursive regimes regulating, in this case – the Feminine. The Feminine, which is expanded on as a way to understand the projection of preformativity, this is in part put in to an understanding of using points in space as reference points for the hegemony. In were the mimicry of the feminine is used to expose a masculine phallocentric gaze. I also emphasizes the intertwined relationship and future potential of combining critical theory, in particular feminist theory, with the extensive work of M.M. Bakhtin who I would argue is largely over looked in contemporary research, and its implications on contemporary mass cultural objects. Gustav Thoreson

The discussions that have occurred in history over the past one hundred years were always reflected on the pages of superheroes comic books (known as Comics, and here in Brazil called Gibi) - especially the question on the difference and gender. These comics were the first ones to bring this discussion to the means of mass communication. The woman has always had her role in the superheroes comics, at first performing a supporting role, being the object of the machinations of villains, and after some time, with the feminist movements and the movements for human rights, performing the main role, being the super heroine of the stories., As discussões que ocorriam no passar da história nestes últimos cem anos eram sempre refletidas nas páginas das histórias em quadrinhos de super-herói (conhecidos como Comics, e aqui no Brasil carinhosamente chamados de Gibis) - Principalmente a questão sobre a diferença e gênero. Estas foram as primeiras a trazer tal discussão para os meios de comunicação de massa. A mulher sempre teve seu papel nas histórias em quadrinhos de super-heróis, primeiramente como coadjuvante, sendo o objeto das maquinações dos vilões, e após um tempo, com as marchas dos movimentos feministas e os movimentos pelos direitos humanos, como papel principal, sendo a super-heroína das histórias., Los debates que tuvieron lugar en la historia pasada en los últimos cien años, se reflejan siempre en las páginas de las historietas de super héroes (conocidas como Cómics, y aquí en Brasil afectuosamente llamadas de Gibis). Sobretodo la cuestión acerca de la diferencia y el género. Estas fueron las primeras en traer tal discusión a los medios de comunicación de masa. La mujer siempre ha tenido su papel en el historietas de super héroes, primeramente como coadyuvante, siendo el objeto de las maquinaciones de los villanos, y después de un tiempo, con las marchas de los movimientos feministas y los movimientos por los derechos humanos, como papel principal, siendo la super heroína de las historias.

The discussions that have occurred in history over the past one hundred years were always reflected on the pages of superheroes comic books (known as Comics, and here in Brazil called Gibi) - especially the question on the difference and gender. These comics were the first ones to bring this discussion to the means of mass communication. The woman has always had her role in the superheroes comics, at first performing a supporting role, being the object of the machinations of villains, and after some time, with the feminist movements and the movements for human rights, performing the main role, being the super heroine of the stories., As discussões que ocorriam no passar da história nestes últimos cem anos eram sempre refletidas nas páginas das histórias em quadrinhos de super-herói (conhecidos como Comics, e aqui no Brasil carinhosamente chamados de Gibis) - Principalmente a questão sobre a diferença e gênero. Estas foram as primeiras a trazer tal discussão para os meios de comunicação de massa. A mulher sempre teve seu papel nas histórias em quadrinhos de super-heróis, primeiramente como coadjuvante, sendo o objeto das maquinações dos vilões, e após um tempo, com as marchas dos movimentos feministas e os movimentos pelos direitos humanos, como papel principal, sendo a super-heroína das histórias., Los debates que tuvieron lugar en la historia pasada en los últimos cien años, se reflejan siempre en las páginas de las historietas de super héroes (conocidas como Cómics, y aquí en Brasil afectuosamente llamadas de Gibis). Sobretodo la cuestión acerca de la diferencia y el género. Estas fueron las primeras en traer tal discusión a los medios de comunicación de masa. La mujer siempre ha tenido su papel en el historietas de super héroes, primeramente como coadyuvante, siendo el objeto de las maquinaciones de los villanos, y después de un tiempo, con las marchas de los movimientos feministas y los movimientos por los derechos humanos, como papel principal, siendo la super heroína de las historias.