Riddle Me This, Batman!: Essays on the Universe of the Dark Knight
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From his first comic-book appearance in 1939 through his many incarnations on the big screen, the archetypal superhero known as The Batman has never been far from the American consciousness. The character shaped the way we read comics and graphic novels, view motion pictures, and analyze the motifs of the Hero, the Anti-Hero and the Villain. He has also captured the scholarly imagination, telling us much about our society and ourselves. These essays examine how Batman is both the canvas on which our cultural identity is painted, and the Eternal Other that informs our own journeys of understanding. Questions relating to a wide range of disciplines--philosophy, literature, psychology, pop culture, and more--are thoroughly and entertainingly explored, in a manner that will appeal both to scholars and to fans of the Caped Crusader alike.
reconsider the signiﬁcance of the image of Batman charging across the page like a knight errant in a medieval romance.3 In “Gotham’s Dark Knight: The Postmodern Transformation of the Arthurian Mythos,” Jesse Nash develops this aspect of the Batman character beginning with the 2. The Dark Knight Errant (BUNDRICK) 27 premise that “Batman comic books [...] exploit traditional Arthuriana” (36). Miller’s version of Batman, is postmodern, Nash argues, speciﬁcally because of the way it revises those
Vaz, Mark Cotta. Tales of the Dark Knight: Batman’s First Fifty Years. New York: Ballantine Books, 1989. 3 Why Adam West Matters Camp and Classical Virtue KEVIN K. DURAND If any of the incarnations of the Batman are singled out for exclusion from the canon of Batman studies, it is George Clooney, his anatomically annoying muscle suit complete with nipples, and Batman and Robin. After Clooney’s expulsion, though, Adam West’s character often comes next to the chopping block. Campy, cartoonish
that Cheap Disguise.” The Many Lives of the Batman. Roberta E. Pearson and William Uricchio, eds London: Routledge, 1991. Vollum, Scott, and Cary D. Adkinson. “The Portrayal of Crime and Justice in the Comic Book Superhero Mythos.” Journal of Criminal Justice and Popular Culture 10.2 (2003): 96 —108. Wein, Len, script. World’s Finest Comics # 207 New York: DC Comics, 1971. 11 Figuration of the Superheroic Revolutionary The Dark Knight of Negation D.T. KOFOED In the ﬁeld of Comics Studies,
is obscured by the foregrounded object in view (Spivak 83). The vestigial elitism of the subaltern is equally informative to my deployment of the term, as it has been generations since any superhero could be genuinely considered a pure ﬁgure of populist myth. These catachrestic heroes of the Dark Knight arc begin each series constrained by governmental/media populist/oligarchical forces; while DKR’s restrained narrative looked to a mere quartet of anti-heroes, the sequel vigorously effuses
good, he collects all those applications of the word “good” made by the common citizens of Athens. Having assembled the collection, he divides the conceptions of the good into three types, establishing that eudaimonia, the state of the soul expressing arete, or “excellence,” is the highest human good. Aristotle is commonly interpreted as supposing that this excellence is a moral excellence, or virtue. However, he suggests that one form of the truly vicious person can exhibit this stable state of