By Oliver Seibt
Vom täglichen Er- und Überleben auf Hängen und Pisten, in der Küche und am Tresen, von Männern und Frauen, Lehrern und Schüler(inne)n in Bildern, die das Leben in gelb und anderen Farben in den Schnee schrieb. (Never devour yellow snow....!)
Seit vielen Jahren fahren sie gemeinsam Ski. OS zeichnet das Leben drum herum und hat darüber mit UC und anderen viele Abende verbracht. Alle endeten mit vom Lachen schmerzenden Bäuchen...
Wer Ähnlichkeiten findet, darf sie behalten.
Möge der Powder mit Euch sein. (Die einzigen weißen Kristalle, die excessive machen, ohne den Beipackzettel lesen zu müssen.)
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Similarly, the crucible of World War II, which began in Europe even as superheroes were rolling off their freelance assembly lines in New York City, was key to the emergence of nationalist superheroes. It is difficult to imagine another subsequent era in which such a flamboyantly nationalistic hero like Captain America could emerge without irony. Nevertheless, with the archetype of the nationalist superhero established during the war, it became possible for comic book producers (and readers), both within the United States and without, to continue to play with the subgenre until the present.
Captain America’s troubled negotiation of gender roles are emphatically on display during a long-running problem in his relationship with Sharon Carter stemming from the danger associated with their jobs. In 1969 Captain America sparks this argument by asking Sharon to resign from SHIELD because her job as a secret agent was too dangerous: “I’m serious Sharon! Every hour, every minute—I’m rubbing shoulders with death! I can’t bear to think of you— facing the same dangers! ”57 She refuses, and several issues later readers hear Captain America’s thoughts and see into his wounded male ego: “How can I marry a girl whose sense of duty equals my own?
In many ways, that is the story of this book. Chapters 2 and 3 view the nationalist superhero through the lens of the body. The nationalist superhero subgenre invests the body of the hero as the embodiment of the nation, but that body cannot be universal—instead it is gendered and raced in particular ways. Chapters 2 and 3 consider how nationalist superhero narratives have negotiated questions of multiculturalism, sexual equality, and the nation-state. Chapters 4 and 5 introduce a concern with time, in particular the narration of nation over time.