Liberty University HIUS 222 Reading comprehension quiz 2 solutions answers right

Liberty University HIUS 222 Reading comprehension quiz 2 solutions answers right

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In the late 1930s, two young Ohio science fiction writers, Jerry Siegel and Joe Shuster, began petitioning an idea they had for a comic strip to newspaper syndicates. Their idea was that of a “superman,” who instead of using his great powers for evil, would use them for good, and avenge the misfortunes of the Depressionera downtrodden. In early 1938, Action Comics agreed to launch the Superman character, and on April 18, 1938, Action Comics #1, featuring Superman on the cover (and holding an automobile over his head and smashing it into a large rock) went on sale. It was an immediate success. From Comic Book Nation: The Transformation of Youth Culture in America (2001), by Bradford Wright Siegel and Shuster, however unconsciously, had created a brilliant twentieth­century variation on a classic American hero type. The most persuasive myth in American culture is that of the Western frontier hero who resolves tensions between the wilderness and civilization while embodying the best virtues of both environment and himself. Twentieth­century popular culture has adapted the western and frontier metaphors to meet contemporary tastes and concerns, but the explicit problems and solutions expressed in the Western myth are historically most relevant to American civilization before the twentieth century. Postindustrial American society raised new tensions. Whereas heroes of the previous centuries, like Daniel Boone, Natty Bumpo, and Wyatt Earp, would conquer and tame the savage American frontier, twentiethcentury America demanded a superhero who could resolve the tensions of individuals in an increasingly urban, consumer­driven, and anonymous mass society. The distance between the American dream and reality seemed particularly large during the Great Depression. Pervasive scarcity and unemployment frustrated consumption and called into question the Victorian middle­class axiom that success follows hard work. The old heroes seemed out of touch with the suffering millions. The self­made men of yesterday, the Herbert Hoovers and Horatio Algers, had become the greedy fat­cats and “economic royalists” of the Depression. Where were the new heroes to be found? … The new heroes in Depression America turned out to be the American people themselves. From Depression­era popular culture, there came a passionate celebration of the common man. The idea that virtue resided within regular, unassuming Americans found expression in the novels of John Steinbeck, the films of John Ford and Frank Capra, and the compositions of Aaron Copland, as well as in the everyman qualities of Warner Brothers’ Bugs Bunny cartoons and integrated big­band swing music. Folk singer Woodie Guthrie wrote new national anthems for the poor and forgotten Americans. Gangster movies of the early 1930s usurped the Victorian myth of the self­made man and perverted it into a gloriously selfdestructive revenge narrative for the common man. Even real­life gangsters like John Dillinger and Bonnie and Clyde captured the imagination and vicarious sympathy of dislocated citizens who appreciated the criminals’ assault on financial institutions. Despite their subversive implications, all of these cultural narratives and icons actually worked to fashion a new and more inclusive concept of American identity. Into this cultural exchange entered Superman. Siegel and Shuster’s comic book stories affirmed the young, alienated, and dispossessed “Clark Kents” of society in their desire to commit to an inclusive national culture. The young creators cast their super hero as a “champion of the oppressed…devoted to helping those in need!” In his initial episode, Superman saves a falsely accused prisoner from a lynch mob, produces evidence that frees and innocent women on death row, and defends a woman about to be beaten by her husband. In the second issue of Action Comics, Superman crushes a conspiracy involving a U.S. senator, a lobbyist, and a munitions manufacturer who wish to embroil the United States in a foreign war. He then ends the fraudulent Latin American war by informing the belligerents that they have been manipulated by greedy American industrialists. Echoing the Nye Committee’s conclusion that “merchants of death” had conspired to involve the United States in the Great War, Superman warns that moneyed self­interest remained a menace to the national welfare. Other Superman stories explore the conflict between corporate greed and public welfare. One finds Superman crushing a plot by wealthy American financiers working for a foreign power to manipulate the stock exchange and plunge the nation into another depression. His mission accomplished, Superman assures his readers that “the nation is once again returning to its march towards prosperity!” In many cautionary tales Superman appeared as a sort of progressive “super­reformer.” In a crusade for automobile safety nearly thirty years before anyone heard of Ralph Nader, Superman destroys a car factory after finding that the owner has been using “inferior metals and parts so as to make high profits at the cost of human lives!” Later, after investigating the collapse of a subway tunnel and the murder of a municipal safety inspector, he discovers that the president of the tunnel construction company has been grafting off of the city by using cheap and unsafe building materials. Superman’s America was something of a paradox—a land where the virtue of the poor and the weak towered over that of the wealthy and powerful. Yet the common man could not expect to prevail on his own in this America, and neither could the progressive reformers who tried to fight for justice within the system. Only the righteous violence of Superman, it seemed, could relieve deep social problems—a tacit recognition that American society it took some might to make right after all.

Question 1 Superman was the creation of these two Ohio science fiction writers.

Question 2 Why did the distance between the American dream and reality seem so large during the Great Depression?

Question 3 Which of the following was NOT true about Superman in the initial Action Comics stories?

Question 4 Which of the following is an example of Depression­era popular culture that celebrated the virtues of the common man?

Question 5 According to this document, how was Superman different from early American heroes, such as Wyatt Earp or Daniel Boone, who conquered and tamed the rugged American frontier?