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Captain America

為了解決sr400%E8%A6%8F%E6%A0的問題，作者Kirby, Jack,Simon, Joe,Lee, Stan 這樣論述：

Born Jacob Kurtzberg in 1917 to Jewish-Austrian parents on New York’s Lower East Side, Jack Kirby came of age at the birth of the American comic book industry. Horrified by the rise of Nazism, Kirby co-created the patriotic hero Captain America with Joe Simon in 1940. Cap’s exploits on the comic boo

k page entertained millions of American readers at home and inspired US troops fight­ing the enemy abroad. Kirby’s partnership with Simon continued throughout the 1940s and early ’50s; together, they produced com­ics in every popular genre, from Western to romance. In 1958, Kirby began his equally f

ruitful collaboration with writer- editor Stan Lee, and in 1961 the two men co-created the foundational text of the modern Marvel Universe: The Fantastic Four. Over the next de­cade, Kirby and Lee would introduce a mind- boggling array of new characters-- including the Avengers, the Hulk, Thor, Iron

Man, the Silver Surfer, and the X-Men. Kirby’s groundbreaking work with Lee formed the foundation of the Marvel Universe. In the early 1970s, Kirby moved to DC Comics, where he created his intercon­nected Fourth World series, as well as freestanding titles such as The Demon. He returned to Marvel i

n 1975, writing and illustrat­ing The Black Panther and Captain America, and introducing series such as Devil Dinosaur, and the Eternals. Kirby died in 1994. Today, he is generally regarded as one of the most important and influential creators in the history of American comics. His work has inspired

multiple generations of writers, artists, designers, and film­makers, who continue to explore his vast universe of concepts and characters. He was an inaugural inductee into the Eisner Hall of Fame in 1987. Writer-editor Stan Lee (1922-2018) and artist Jack Kirby made comic book history in 1961 wit

h The Fantastic Four #1. The suc­cess of its new style inspired Lee and his many collaborators to de­velop a number of new super heroes, including, with Jack Kirby, the Incredible Hulk and the X-Men; with Steve Ditko, the Amazing Spider-Man and Doctor Strange; and with Bill Everett, Daredevil. Lee o

versaw the adventures of these creations for more than a de­cade before handing over the editorial reins at Marvel to others and focusing on developing Marvel’s properties in other media. For the remainder of his long life, he continued to serve as a creative figure­head at Marvel and as an ambassad

or for the comics medium as a whole. In his final years, Lee’s signature cameo appearances in Marvel’s films established him as one of the world’s most famous faces. While sharing a studio with Jack Kirby, artist Joe Simon co-created Captain America, a stirring symbol of American idealism and pride

during the war-torn 1940s. Simon and Kirby would go on to form one of the most productive partnerships of the early American comic book industry. The two men co-created comics in every genre--crime, war, horror, science fiction, Western, humor, and romance--for numerous different publishers between

1940 and 1954. Noted characters and series included the Sandman and the Newsboy Legion for DC Comics, Young Romance for Crestwood, and Boys’ Ranch for Harvey. Simon also wrote two autobiographies--The Comic Book Makers (1990), coauthored with his son, Jim Simon, and Joe Simon: My Life in Comics (20

11)-- essential reading for any historian of comic book history and culture. Jim Steranko rocked the comic book world in the late 1960s with a revolutionary approach to design and narrative, influenced by the contemporary worlds of both commercial and fine art. Ster­anko produced very little comics

work after the 1970s, but his illus­trations would grace the covers of numerous science fiction and fantasy novels, as well as film posters and record album sleeves. He has also produced character designs for a number of filmmakers, including George Lucas, Steven Spielberg, and Francis Ford Cop­pola

. His two- volume History of Comics was one of the first modern works of comics scholarship, and his film industry magazine Prevue enjoyed an impressive twenty- five- year run. Steranko was inducted into the Eisner Hall of Fame in 2006. John Romita Sr. was born in Brooklyn in 1930 and attended Manha

ttan’s School of Industrial Art before entering the comic book industry in 1949. He drew many comics for Marvel (then known as Timely or Atlas) during the early 1950s before moving to DC Comics in 1958, where he established a reputation as a master of romance comics. In 1965 he returned to Marvel, i

nking Don Heck’s pencils on an issue of the Avengers. After a short stint pen­ciling Daredevil, Romita Sr. was tapped by Stan Lee to take over The Amazing Spider-Man when original artist Steve Ditko left the book. Romita Sr. brought a new emotional warmth to the series, while his slick, clean crafts

manship took the title to even greater commercial heights. His renditions of the title character, as well as supporting cast members such as Gwen Stacy and Mary Jane Wat­son, were considered definitive by a generation of fans. In the 1970s, Stan Lee appointed Romita Sr. as art director for the compa

ny; while in this position, he helped design numerous characters (in­cluding the Punisher, Wolverine, and Luke Cage). He was inducted into the Eisner Hall of Fame in 2002. Gene Luen Yang is a MacArthur ＂genius,＂ the fifth National Ambassador for Young People’s Literature, and the author of the half-

million-copy New York Times-bestselling graphic novel and National Book Award Finalist American Born Chinese. He lives in San Jose, California. Ben Saunders is a professor of English at the University of Ore­gon. He is the author of Desiring Donne: Poetry, Sexuality, Inter­pretation and Do the Gods

Wear Capes?: Spirituality, Fantasy, and Superheroes, as well as numerous critical essays on subjects ranging from the writings of Shakespeare to the recordings of Little Richard. He has also curated several museum exhibitions of comics art, in­cluding the record-breaking multimedia touring show Marv

el: Uni­verse of Super Heroes--a retrospective exploring the artistic and cultural impact of Marvel Comics from 1939 to the present.

Captain America

為了解決sr400%E8%A6%8F%E6%A0的問題，作者Kirby, Jack,Simon, Joe,Lee, Stan 這樣論述：

Born Jacob Kurtzberg in 1917 to Jewish-Austrian parents on New York’s Lower East Side, Jack Kirby came of age at the birth of the American comic book industry. Horrified by the rise of Nazism, Kirby co-created the patriotic hero Captain America with Joe Simon in 1940. Cap’s exploits on the comic boo

k page entertained millions of American readers at home and inspired US troops fight­ing the enemy abroad. Kirby’s partnership with Simon continued throughout the 1940s and early ’50s; together, they produced com­ics in every popular genre, from Western to romance. In 1958, Kirby began his equally f

ruitful collaboration with writer- editor Stan Lee, and in 1961 the two men co-created the foundational text of the modern Marvel Universe: The Fantastic Four. Over the next de­cade, Kirby and Lee would introduce a mind- boggling array of new characters-- including the Avengers, the Hulk, Thor, Iron

Man, the Silver Surfer, and the X-Men. Kirby’s groundbreaking work with Lee formed the foundation of the Marvel Universe. In the early 1970s, Kirby moved to DC Comics, where he created his intercon­nected Fourth World series, as well as freestanding titles such as The Demon. He returned to Marvel i

n 1975, writing and illustrat­ing The Black Panther and Captain America, and introducing series such as Devil Dinosaur, and the Eternals. Kirby died in 1994. Today, he is generally regarded as one of the most important and influential creators in the history of American comics. His work has inspired

multiple generations of writers, artists, designers, and film­makers, who continue to explore his vast universe of concepts and characters. He was an inaugural inductee into the Eisner Hall of Fame in 1987. Writer-editor Stan Lee (1922-2018) and artist Jack Kirby made comic book history in 1961 wit

h The Fantastic Four #1. The suc­cess of its new style inspired Lee and his many collaborators to de­velop a number of new super heroes, including, with Jack Kirby, the Incredible Hulk and the X-Men; with Steve Ditko, the Amazing Spider-Man and Doctor Strange; and with Bill Everett, Daredevil. Lee o

versaw the adventures of these creations for more than a de­cade before handing over the editorial reins at Marvel to others and focusing on developing Marvel’s properties in other media. For the remainder of his long life, he continued to serve as a creative figure­head at Marvel and as an ambassad

or for the comics medium as a whole. In his final years, Lee’s signature cameo appearances in Marvel’s films established him as one of the world’s most famous faces. While sharing a studio with Jack Kirby, artist Joe Simon co-created Captain America, a stirring symbol of American idealism and pride

during the war-torn 1940s. Simon and Kirby would go on to form one of the most productive partnerships of the early American comic book industry. The two men co-created comics in every genre--crime, war, horror, science fiction, Western, humor, and romance--for numerous different publishers between

1940 and 1954. Noted characters and series included the Sandman and the Newsboy Legion for DC Comics, Young Romance for Crestwood, and Boys’ Ranch for Harvey. Simon also wrote two autobiographies--The Comic Book Makers (1990), coauthored with his son, Jim Simon, and Joe Simon: My Life in Comics (201

1)-- essential reading for any historian of comic book history and culture. Jim Steranko rocked the comic book world in the late 1960s with a revolutionary approach to design and narrative, influenced by the contemporary worlds of both commercial and fine art. Ster­anko produced very little comics w

ork after the 1970s, but his illus­trations would grace the covers of numerous science fiction and fantasy novels, as well as film posters and record album sleeves. He has also produced character designs for a number of filmmakers, including George Lucas, Steven Spielberg, and Francis Ford Cop­pola.

His two- volume History of Comics was one of the first modern works of comics scholarship, and his film industry magazine Prevue enjoyed an impressive twenty- five- year run. Steranko was inducted into the Eisner Hall of Fame in 2006. John Romita Sr. was born in Brooklyn in 1930 and attended Manhat

tan’s School of Industrial Art before entering the comic book industry in 1949. He drew many comics for Marvel (then known as Timely or Atlas) during the early 1950s before moving to DC Comics in 1958, where he established a reputation as a master of romance comics. In 1965 he returned to Marvel, in

king Don Heck’s pencils on an issue of the Avengers. After a short stint pen­ciling Daredevil, Romita Sr. was tapped by Stan Lee to take over The Amazing Spider-Man when original artist Steve Ditko left the book. Romita Sr. brought a new emotional warmth to the series, while his slick, clean craftsm

anship took the title to even greater commercial heights. His renditions of the title character, as well as supporting cast members such as Gwen Stacy and Mary Jane Wat­son, were considered definitive by a generation of fans. In the 1970s, Stan Lee appointed Romita Sr. as art director for the compan

y; while in this position, he helped design numerous characters (in­cluding the Punisher, Wolverine, and Luke Cage). He was inducted into the Eisner Hall of Fame in 2002. Gene Luen Yang is a MacArthur ＂genius,＂ the fifth National Ambassador for Young People’s Literature, and the author of the half-m

illion-copy New York Times-bestselling graphic novel and National Book Award Finalist American Born Chinese. He lives in San Jose, California. Ben Saunders is a professor of English at the University of Ore­gon. He is the author of Desiring Donne: Poetry, Sexuality, Inter­pretation and Do the Gods W

ear Capes?: Spirituality, Fantasy, and Superheroes, as well as numerous critical essays on subjects ranging from the writings of Shakespeare to the recordings of Little Richard. He has also curated several museum exhibitions of comics art, in­cluding the record-breaking multimedia touring show Marve

l: Uni­verse of Super Heroes--a retrospective exploring the artistic and cultural impact of Marvel Comics from 1939 to the present.

消費者保護法第五十一條懲罰性賠償金之研究—以消費者死亡之案例類型為中心

為了解決sr400%E8%A6%8F%E6%A0的問題，作者陳俊宏 這樣論述：

隨著時代進步，人類社會生活所必需之物品均有賴企業經營者提供，然而企業經營者可能為追逐利益而罔顧消費者權益，放任商品或服務所潛藏之風險侵害消費者之人身安全。針對此問題，我國消費者保護法於制定時，參考美國法並引進懲罰性賠償金制度，但在我國民法主要繼受自大陸法系之情況下，應如何解釋適用消保法之懲罰性賠償金，在學說及實務上衍生不少爭議。尤其近年來重大消費爭議頻傳，對消費者人身安全造成重大危害之案件亦所在多有，其中導致消費者死亡之案例，究應如何解釋適用懲罰性賠償金，似將顯得更為困難。本文透過實務判決之整理與分析，輔以國內學說之研究，並參考美國法之規範，檢討我國消保法之懲罰性賠償金相關爭議問題。首先，針

對懲罰性賠償金制度之目的、性質與發展歷史，以及懲罰性賠償金判決得否於大陸法系承認與執行等方面進行研究，瞭解其制度背景與理論基礎，為後續分析討論奠定基礎。其次，就消保法懲罰性賠償金之爭議問題進行探討，釐清其法律定位及法律結構，再聚焦「適用客體範圍」、「請求權主體」、「責任主體」與「數額計算」之問題，透過分析大量實務及學說見解，歸納出我國適用懲罰性賠償金呈現寬嚴不一之樣貌，並試圖描繪出懲罰性賠償金所應有之圖像。最後，從比較法之角度觀察我國民法生命權侵害之立法抉擇，對消費者死亡之懲罰性賠償金所造成之影響，並參考美國法之規範，建構出消費者死亡仍得請求懲罰性賠償金之規範模式。而關於消費者死亡時之懲罰性賠

償數額計算，則透過實務案例之分析，比較人身損害案件之相關數額，據以檢討現行實務輕重失衡與數額偏低之情形，並嘗試發展可能之解釋途徑與提出立法建議，希冀使懲罰性賠償金之運用更臻完善，及提供實務適用之參考。