Theory in a Digital Age: A Project of English 483 Students, Coastal Carolina UniversityMain MenuTheory in a Digital AgeRemediationThis chapter will showcase how the remaking of art can leave its impact.Cornel West and Black Lives MatterMacKenzie McKeithan-PrickettDetermination in GamingThe Mind Set and ExperienceThe Hope for a Monstrous World Without GenderIntroduction to "A Cyborg Manifesto" and ThesisFreud's Uncanny Double: A Theoretical Study of the Portrayal of Doubles in FilmThis chapter of the book will look at the history of the theme of the "double" using Freud's Uncanny as the theoretical insight of the self perception of the double in film/cinema.From Literacy to Electracy: Resistant Rhetorical Bodies in Digital SpacesAshley Canter"Eddy and Edith": Online Identities vs. Offline IdentitiesA fictional story about online identities and offline identities. (Also a mash-up video between Eddy and Edith and Break Free.)“Pieces of Herself”: Key Signifiers and Their ConnotationsIs the Sonographic Fetus a Cyborg?How sonographic technology initiates gendered socializationPost-Capitalism: Rise of the Digital LaborerParadox of RaceDr. Cornel West, W.E.B Du Bois, and Natasha TretheweySleep Dealer - Digital LaborBy Melissa HarbyThe Kevin Spacey Effect: Video Games as an Art Form, the Virtual Uncanny, and the SimulacrumThe Twilight Zone in the Uncanny ValleyIntroductionThe Virtual Economy and The Dark WebHow Our Economy is Changing Behind the ScenesTransgender Representation and Acceptance in the MainstreamHow the trans* movement has caused and exemplifies the spectralization of genderA Voice for the Humanities in A Divided AmericaDr. Cornel West on the indifference in our society and how he thinks the humanities can help heal itReading Between the Lines: Diversity and Empowerment in ComicsJen Boyle54753b17178fb39025a916cc07e3cb6dd7dbaa99
12016-12-14T15:03:02-08:00Miles Morales: The First Multiracial Spider-man16plain2016-12-14T21:49:10-08:00 While there are heroes specifically created for the black community, other heroes were created to bring diversity to a beloved story line. In “Who is afraid of a black Spider(-Man)?”, Ora C. McWilliams explains that “after 60 years of ongoing publication, Marvel Comics thought its superhero line was aging and wasn't attractive to new readers” (McWilliams 1). In an attempt to attract new readers and create a fresh story line that was easier to keep up with, Marvel made a move to diversify its comics. One superhero who has seen a dramatic take off in the world of comics is Miles Morales, the Ultimate Spider-man. After over two dozen graphic novels Peter Parker, the original Spider-Man was killed off with a fatal gunshot wound to the head in the book The Death of Peter Parker by Brian Michael Bendis. Miles Morales is a half Latino Half African American kid who obtains spider powers and decides to take the challenge and become the new Spider-man. Miles’ success in sales have brought him from his own comic universe to being the Ultimate Spider-Man in 2011 to becoming the official new Spider-man of main stream Marvel comics, while the older adult version of Peter Parker co-exist with his own running series titled The Amazing Spider-man. Miles gives kids of different races someone to look up to. It was only in 2010 that the actor/performer Donald Glover was suggested to play Peter Parker in the upcoming reboot of The Amazing Spider-man before Andrew Garfield was casted, fans had mixed reviews but white anxieties took it's toll. Enough so that Donald Glover mentioned it in the taping of his Comedy Special Weirdo. Only then to be casted as Miles Morales in the 3rd season of Disney XD's television show Ultimate Spider-man in 2015. When looking to a hero, people typically think of someone with exemplary character. Someone who is brave, resilient, and willing to fight for justice. The qualities of a hero should not have to do with the color of their skin, but after Miles Morales was introduced there was backlash from some fans. Unfortunately, “the very mention of such a change upset other fans, who thought that Spider-Man was already representative of a particular population” (McWilliams1). To some comic book readers, heroism was only skin deep. The negative response that black Spider-Man received was due to white anxiety. In "Race Matters" Cornel West talks about the anxieties that occur during conversations about race. He states "in America we can't get anything in the mainstream if we don't come to terms with white fears and white insecurities, and white anxieties, ... it's hard to tell the truth" (West 264). Spider-Man has noting to do with whiteness, so why does a change in race make some fans uncomfortable? By changing Spider-Man’s race, a conversation about race then has to occur.