In the theories of origin put forward by fans, critics, and other origin-obsessives, the idea of Superman has been accounted the offspring or recapitulation, in no particular order, of Friedrich Nietzsche; of Philip Wylie (in his novel “Gladiator”); of the strengths, frailties, and neuroses of his creators, Jerry Siegel and Joe Shuster, of Cleveland, Ohio; of the aching wishfulness of the Great Depression; of the (Jewish) immigrant experience; of the mastermind stratagems of popular texts in their sinister quest for reader domination; of repressed Oedipal fantasies and homoerotic wishes; of fascism; of capitalism; of the production modes of mass culture (and not in a good way); of celebrated strongmen and proponents of physical culture like Eugen Sandow; and of a host of literary not-quite-Superman precursors, chief among them Doc Savage.
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Regarding this last problem, Salmon 1992 and McKay 1991 compellingly argue that believing that Superman is stronger than Superman is distinct from believing that Superman is stronger than himself because the proposition that Superman is stronger than Superman is different from the proposition that Superman is stronger than himself, on the grounds that being stronger than Superman is a different property from being stronger than oneself.
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As she is intuitively not irrational, ‘Superman’ in (1) is not substitutable salva veritate for ‘Clark Kent’.
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Lois simultaneously believes that Superman is strong and that Superman is not strong.
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He is Superman’s greatest foe because he relies not on cosmic powers but on the power of his own mind.
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It's pretty spotty, quite honestly.
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But the first involves implicit reference to Lois’s “Superman-y” way of thinking of Superman and the second to Lois’s “Clark Kent-y” way of thinking of Superman.
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Maybe we can get ourselves to accept that Lois rationally believes that Superman is stronger than Superman.
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“It’s amazing how often quite little things, quite small aspects, can spoil everything,” he said.
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Like all Superman films, it is a paean to immigrant success.
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Puzo also was a writer on other films (including ''Earthquake,'' ''Superman,'' ''Superman II'' and ''The Cotton Club'') and continued his career as a novelist.
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A whole industry of scholarship has sprung up around Superman.
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These included the all-star swashbucklers The Three Musketeers (1973), The Four Musketeers (1974), and Royal Flash (1975), the revisionist Robin and Marian (1976), the bittersweet historical romance Cuba (1979), and the lavish comic-book derivations Superman II (1980) and Superman III (1983).
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Among the most-memorable actors to portray him were Gene Hackman in the 1978 motion picture Superman and two of its sequels (1980, 1987) and Kevin Spacey in Superman Returns (2006).
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In (2a) we make the clause ‘that Superman is nearby’ the complement of ‘proposition’ to guarantee that ‘Superman’ is within the scope of ‘fears’ (the resulting NP ‘the proposition…’ is a “scope island”).
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Lois is familiar with Clark Kent, her fellow employee, and Superman, the hero she most admires, but she does not recognize that the person she calls ‘Clark Kent’ is identical with the person she calls ‘Superman’.
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He reprised the role in Superman II and Superman IV: The Quest for Peace.
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"Superman" is now drawn by Wayne Boring.
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“By the time you sit on a rocket, you’re actually feeling quite comfortable.”
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…Lane in the Superman movie Man of Steel (2013).
not-quite-Superman
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