Heroism

Kult nieznanego żołnierza jest szczególnym przykładem kultu bohaterów narodowych. Narodził się na Zachodzie i rozpowszechnił na całym świecie, przyjmując w poszczególnych regionach lokalny charakter. Stało się tak również w Europie Środkowo-Wschodniej. W niniejszym szkicu skupię się na konkretnym momencie historycznym i na tym, jakie znalazł odbicie w kulcie nieznanego żołnierza, a szerzej: w narodowych narracjach heroicznych. Momentem tym jest okres stalinizmu i odwilży połowy lat pięćdziesiątych – czas przełomowy w rozwoju środkowoeuropejskiego kultu. To wtedy uległa podziałowi spójna, powstała w dwudziestoleciu międzywojennym, narracja heroiczna, a władze w każdym z krajów wybrały różne strategie narracyjne względem kultu, odpowiadające bieżącym potrzebom legitymizacyjnym. W latach sześćdziesiątych doszło jednak do jego ponownej uniformizacji, gdy kult nieznanego żołnierza wszędzie uzyskał nowy, komunistyczny kształt. Ten krótki esej może stać się przyczynkiem do refleksji nad kultem bohaterów narodowych, nad jego wymiarem środkowoeuropejskim i specyfiką narodową. Jako że punktem wyjścia do analizy będą topograficzne miejsca pamięci, groby nieznanego żołnierza, tekst jest również próbą uchwycenia różnych metod ideologizacji przestrzeni miejskiej. Dokładniej przyjrzę się trzem grobom: bukareszteńskiemu, warszawskiemu i budapeszteńskiemu.

"This article aims to highlight the rebellion of citizens to the institutions that are performed in contemporary narratives told in the film medium. In particular it addressed through the case of the production of a filmmaker, Steven Spielberg. This dissertation addresses the position of lack of acceptance of laws by the hero by analyzing some of the popular feature film director.""

El artículo está compilado en la Biblioteca de la Universidad de Berkeley.

Ever since the 2006 movement to preserve the Star Ferry and Queen’s Piers, Hong Kong’s social movements have never gone without artists, artists who have ignited the avant-garde spirit, walked the frontlines and used all manner of creative methods to amplify the voices of the weak and turn the tide of public opinion. The phrase “art x social movement” has become a key term in the discussion of Hong Kong contemporary artists. This has particularly been the case in issues that touch on the specific operations of spatial politics, such as public space, urban renewal and development of the outskirts. In such cases, art has been used to skirt politics, following the maxim of “I hope we don’t get arrested for this” (This phrase in Chinese has served as the title of the exhibition “CHiE! – Culture sieges Politics”, a show curated by Japar Lau and Jessie Chang in 2008)”) as they occupy areas, repurpose spaces and overturn conventions. But since the student strikes and Occupy Central actions that began in the name of universal suffrage in late September, despite the waves of umbrellas and action, many artists who had once passionately engaged in politics chose this time to sit on the fence, or blend anonymously into the crowd. They were replaced by impromptu DIY efforts by citizens on the scene and in the digital world, from slogan banners to post-it notes, feet knocking over barriers, people appropriating news images and reimagining them in Cantonese. These are the flowers that sprouted across Occupy. For this essay, the author met with many newcomers and old veterans of “art x social movement” in an attempt to understand their sudden caution.

This essay researches the artworks  and artifacts produced during the Occupy Central Movement for universal suffrage, exploring the properties, roles and possibilities for contemporary art that have resulted, including the potential for art to change the world, and the role that art plays in social movements. One example is an “artwork” created out of umbrellas by students from the City University School of Creative Media. Drawing from the materials around them, they stacked metal barricades to form a pedestal, cobbled together a frame from the wires of broken umbrellas, and then affixed umbrellas of different colors together to create an Umbrella Tree. These “trees” have been placed in visible locations to serve as landmarks at the gathering areas. These students are using the installation form to create substantive expressions. They hold that the police should not oppose them, and that the situation today was caused by the powers that be, so the barricade symbolizes the police, while the umbrella represents the people, and the two should come together. However, artists including Justin Wong, the logo designer of the Occupy Central Movement, Pak Shuen Cheun, the conceptual artist, Yip Hoi Lun, the young calligrapher, Clara Cheung, the art space founder, all choose to participate as ordinary citizen. For them, creativity liberated by the movement should occupy the stage instead of the “artist”.

At this point, the essay raises several points for reflection. First, when the people have already “awakened” (a slogan of the Hong Kong Federation of Students), should artists take another step forward, or take a step back, leaving the stage to the people? Second, in this new era of the attention economy, the sense of joyful participation in resistance lowers the threshold for political participation, but how to revive the Carnivalesque energy of Mikhail Bakhtin, and expand it to touch on stagnant everyday life and even shake the political order? Finally, the author shows that after so many democratic movements, “art x social movement” has become deeply rooted in Hong Kong. The people proactively take to the streets and frontlines, with no fear of arrest. Now that the boundaries between aesthetics and politics have vanished, a new wave of art x social movement is waiting for renewal.

Can heroes, that one comes to idealise over years, actually be evil? Are discourses around their extraordinary courage created to hide their ordinary degeneracy? Moreover, is it their 'natural' human nature that is capable of both good and evil, at fault? Or is it the far more sinister impulse to categorise them as either of these two facets of man's personality that is responsible? These are some of the questions that the paper would aim at answering by studying how false discourses around matters of 'heroism' and 'heroes' are produced which are then further propounded in order to hide the

A book that looks at the relationship between melodrama, gender, sexuality and nationalism per se, and with reference to Hindi cinema between 1970-2000.
Table of Contents:
1. Political History, Political Economy
2. Bombay Cinema and Questions of Form
3. Towards a Theory of the Sexual Economy
4. Femininity and the Regulation of Pleasure and Desire
5. The Changing Faces of Masculinity
6. Gender, Sexuality, Nation
7. Communities and Their Others
8. Wounded Identities

We interviewed Philip G. Zimbardo on April 19, 2011, in anticipation of the 40th anniversary of the Stanford Prison Experiment in August 2011. While Zimbardo's name is mentioned often in tandem with the experiment, he has distinguished himself in many other areas within psychology before and after the experiment, beginning with an accomplished early career at New York University in which he took interest in social psychology research on deindividuation. We discussed the Stanford Prison Experiment in the greater context of his varied and illustrious career, including recent pioneering work on heroism, the establishment of The Shyness Clinic at Stanford University, and the iconic Discovering Psychology series. We also addressed his adroit and candid approach to the experiment itself over the years.

El nuevo milenio revitaliza las tesis de Ulrich Beck (2008) y su sociedad del riesgo a través de dos grandes acontecimientos
que golpean a Estados Unidos en el arranque del siglo XXI: los atentados del 11 de Septiembre —y
sus consecuencias— y la Gran Recesión. Precisamente en este ambiente de incertidumbre se desarrolla uno de
los momentos de mayor esplendor para las producciones dramáticas estadounidenses conocida como la Tercera
Edad Dorada de la televisión. Este doble contexto es el punto de partida de la presente investigación que se centra
en el papel de la ficción en la reproducción de la sensación de miedo. Así pues, el estudio se centra en Breaking Bad
(AMC, 2008-2013), uno de los grandes éxitos de esta época de calidad e innovación.
De esta forma, y haciendo uso del análisis de contenido cualitativo, se estudia la influencia de la sociedad del
riesgo a partir del impacto del miedo en la trama, prestando especial atención a la construcción del personaje
principal y su consecuente evolución hacia el antiheroísmo. Una investigación que revela la importancia de la
ficción a la hora de explicar y reproducir el presente ambiente de incertidumbre.
Abstract
In the new millennium, the thesis of Ulrich Beck (2008) focused on the Risk Society are continuously revitalized, not
only by the 9/11 attacks and its consequences but by the economic crisis that starts seven years later in the USA. An
environment strongly influenced by the uncertainty, where the so-called Third Golden Age of American Television also
takes place. It is just that the bottom of this research that questions the role of fiction in reproducing the sensation
of fear. For such purpose, the case study is Breaking Bad (AMC, 2008-2013). A television series which is born between
these two historic moments that impacts in its plot and in its sub-genres.
In this way, the Qualitative Content Analysis allows to analyze the influence of the Risk Society on the impact of
the fear in this plot, specifically the anti-heroism. A research that shows that fiction is fundamental for a better understanding
of the environment of uncertainty nowadays.

“Not all monsters do monstrous things,” Lydia Martin tells Meredith in season four of MTV’s Teen Wolf. How can ‘monstrous’ be defined, when everyone is a supernatural creature, a so-called “monster”, anyway? Where does the line of ‘monstrous’ and ‘human’ blur, and why is such a distinction necessary? Most importantly, are Scott McCall and his pack monsters?

This article focuses on the relationship between Scott McCall as a True Alpha and his friends (his chosen pack) in order to explore how Teen Wolf reflects on identity construction via the “pack.” I aim to discern how Scott’s ideologies bring his pack together through additional intersections of race, education, and culture. Predominantly, the fact that Scott is a True Alpha, someone who “rises purely on the strength of the character, by virtue, by sheer force of will” is important due to the delineated morals and ethics that set him apart from other Alphas presented on the show. Teen Wolf’s season 3A and 3B specifically plays with the concept of monstrosity by warping the perceptions of Scott’s friends and pack to their biological families, their classmates, and even to one another when their darker natures are unveiled.

Furthermore, by focusing this article on how the pack attempts a dual identity of ‘ordinary high school students’ while saving their hometown Beacon Hills from various supernatural evils, bent on either stealing Scott’s powers, or satisfying their own cravings for chaos and destruction, I will note how the choice to maintain “secret” identities questions how Scott and his pack not only see themselves, but how they think others will perceive them. To overcome these preconceived notions of Scott’s pack’s supernatural abilities as being synonymous with monstrous, they must first overcome their personal fears and help each other; after all, the stronger the pack, the stronger the Alpha.

This study codifies the category of the alt-right anti-hero and the antihero’s characteristics. In examining alt-right digital rhetorics, the authors found allusions to heroism in manifestos by killers, both recent and historical, that highlighted heroic actions from alt-right perspectives that were in direct contrast to progressive efforts toward multiculturalism, gender rights, immigration, and other systemic equities. The authors found alt-right anti-hero examples in Breaking Bad’s Walter White, American Horror Story: Cult’s Kai Anderson, and Westworld’s neo-Western anti-hero, Man in Black, all of whom reflect a growing form of aggressive masculinity in U.S. society.

In this article, we review the psychology of hero development and hero worship. Heroes and hero narratives fulfill important cognitive and emotional needs, including the need for wisdom, meaning, hope, inspiration, and growth. Hero stories provide epistemic benefits by providing scripts for prosocial action, by revealing fundamental truths about human existence, by unpacking life paradoxes, and by cultivating emotional intelligence. To energize us, heroes promote moral elevation, heal psychic wounds, inspire psychological growth, and exude charisma.

Published in English for the first time, and the only Arabic epic named for a woman, The Tale of Princess Fatima recounts the thrilling adventures of a legendary medieval warrior universally known throughout the Middle East and long overdue to join world literature's pantheon of female heroes.

A fearsome, sword-slinging heroine who defeated countless men in stealth attacks on horseback, Dhat al-Himma, or Princess Fatima, was secretly given away at birth because she wasn't male, only to triumph as the most formidable warrior of her time. Known alternately as "she-wolf," "woman of high resolve," and "calamity of the soul," she lives on in this rousing narrative of female empowerment, in which she leads armies of more than seventy thousand men in clashes between rival tribes and between Muslims and Christians; reconciles with her father after taking him prisoner; and fends off her infatuated cousin, who challenges her to a battle for the right to marry her. Though he suffers an ignominious defeat, he impregnates Fatima against her will and, when she gives birth to a Black son, disowns his own son, who also grows up to be a great warrior, eventually avenging his mother's honor. The epic culminates in a showdown between Fatima and another formidable woman warrior, and earns Fatima a place alongside the likes of Circe, Mulan, Wonder Woman, Katniss Everdeen and other powerful women.

Translated, Edited, and with an Introduction and Notes by Melanie Magidow

This article focuses on the reception in Israel of Sugihara Chiune, a Japanese diplomat who served in Kaunas in 1939-40 and granted transit visa to several thousands of refugees, mostly Jews. The article explains the mechanisms that influenced the recognition of Sugihara in Yad Vashem during a 16-year hiatus since his name first reached this institution. It also argues that the key for the reception of Sugihara in Israel was his recognition by Yad Vashem as a Righteous Among the Nations. Once this recognition was made, it allowed further tokens of recognition that affected his status overseas too.
KEYWORDS: Sugihara Chiune, World War II, Holocaust, visa granting, Jewish refugees, Yad Vashem.

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Dans cet ouvrage appuyé de nombreux interviews de personnalités du monde de l'entreprise, le leadership apparaît comme une force d’inspiration et d’entrainement du collectif à tous les niveaux de l’entreprise dans le but d’atteindre un objectif estimable et ambitieux. Le Génie du leadership s’adresse donc à tous les passionnés de la chose collective, désireux d’explorer les ressorts et les nouveaux défis de l’action managériale à l’ère de la mondialisation.

Este artigo apresenta uma breve análise das representações do feminino nas histórias da Mulher-Maravilha, embasada por teorias feministas, e como essa identificação é simbólica para as mulheres, podendo ser utilizada para conscientizar quanto ao universo feminino e suas lutas. Além disso, sugerir a inserção de histórias em quadrinhos nas salas de aula de escolas e universidades do Brasil, de maneira educacional, a fim de que crianças, jovens e adultos tenham um aprendizado dinâmico acerca da cultura de ódio e violência às mulheres, para combatê-las.

Heldenfiguren gelten heute als suspekt: zu viel Pathos, zu viel Männlichkeits-ausdünstungen, zu viel moralischer Zeigefinger. Wir leben, heißt es, in postheroischen Zeiten. Gleichzeitig hat sich die Faszination von Heldengeschichten nicht erschöpft, ja, der Fragwürdigkeit heroischer Vorbilder steht ein schier unstillbarer Heldenhunger gegenüber, der reichlich bedient wird. Lebensretter werden ebenso heroisiert wie Klimaaktivistinnen und Whistleblower, Superhelden bevölkern Filme und Computerspiele, und der Spitzensport liefert kontinuierlich heroisierbares Personal. Mit der globalen Konjunktur populistischer Führergestalten kehren schließlich Heldendarsteller auch auf die politische Bühne zurück. Ulrich Bröckling nimmt diese Gleichzeitigkeit heroischer und postheroischer Leitbilder zum Anlass, den Platz des Heroischen in der Gegenwartsgesellschaft auszuloten. Dazu zeichnet er die Reflexionsgeschichte des Heroismus in der Moderne nach, besichtigt das Figurenkabinett zeitgenössischer Heldinnen und Helden und fragt nach den affektuellen und normativen Dimensionen von Heldenerzählungen sowie nach den Aspekten ihrer Relativierung und Verabschiedung. Sein Fazit: Der Held lebt. Aber unsterblich ist er nicht! Warum das eine gute Nachricht ist, zeigt dieses fulminante Buch.

Ovids Metamorphosen weisen ein ‚Heldenbild‘ auf, das sich radikal von ‚klassischen‘ antiken Epen wie Homers Odyssee oder Vergils Aeneis unterscheidet. An die Stelle des einen Helden tritt nun eine Polyphonie von Helden in ca. 250 Einzelerzählungen, die unter dem Aspekt aitiologisch motivierter Verwandlungen zu einem narrativ hochkomplexen Gesamtgebilde verbunden sind. Der Beitrag versucht, diesen in der Forschung immer wieder betonten Aspekt näher zu analysieren, indem er Ansätze der Tübinger Ambiguitätsforschung (GRK 1808) und des Freiburger Heldenprojektes (SFB 948) integriert. Im Einzelnen wird auf der Schnittfläche von Literaturwissenschat und Linguistik gefragt, wie Ambiguität in den Metamorphosen sprachlich erzeugt wird. Es geht also weniger um die Bewertung einzelner Figuren unter dem Gesichtspunkt der Heldenhaftigkeit (z.B. ‚Ist Actaeon ein Held oder Anti-Held‘), sondern darum, wie – eine Ebene tiefer – eine Sprache der Ambiguität erzeugt wird. Ausgangspunkt bilden sprachliche Einheiten, die Aspekte des Halben bezeichnen, wie die bei Ovid auffällig häufigen Komposita auf semi- / ‚halb‘ (z.B. semi-vir / ‚Halb-mann‘).

Heroes come in all shapes and sizes. Captain Ahab is no exception. Forget for a second Ahab's villainous qualities and look instead to the classical tradition. Shakespeare's Macbeth was not a very nice guy. Neither was Milton's Satan. Still, we find qualities within these antagonists that conform to ancient ideas of the epic and tragedy. Let us, then, look at Ahab in this same light. Ahab may be a monomaniac, but we still adore him despite all of his faults. Therefore, this essay explores the heroic qualities of Ahab which have made him into the American lit icon he is today.

The problem of weakening a social identity of the community marked by waning of memory about Local Heroes is a real threat to Indonesian national life. Local Heroes gait is no longer enter into the conversations in public spaces and in the educational environment. Researchers are trying to assess it because the urgency is, teaching Local Heroes in the classroom is a strategic step to reopen the discussions that have been dim. So hopefully, then the collective memory of Local Heroes will again be nurtured and maintained. This research focuses on 3 aspects, namely; 1) How does Local Heroes philosophy as a concept in teaching local history ?; 2) What if Local Heroes enters local history class ?; and 3) How is the appreciation of the academic community about the concept of Local Heroes ?. The research method used is qualitative method with critical ethnography design. The results showed that; 1) The true concept of Local Heroes if read in philosophical discourse is very relevant to the teaching of local history; 2) The class of history becomes more interesting when popular concepts fall into the passage of matter, since the millennial generation is less interested in studying too political and elitist history, so Local Heroes has its own determination in this respect; and 3) In Class, the concept gets a positive appreciation from educators and learners, even educators suggest a special guide book to teach Local Heroes as well as a handbook for researching Local Heroes. From the description of the researchers concluded that, currently teaching history requires an innovation in accordance with the needs of the times. Therefore, the concept of Local Heroes can be an alternative to meet those needs.

No es extraño sostener que Lionel Messi ha sido una figura sobresaliente en el fútbol mundial desde su debut en Primera División en el Barcelona. Nacido en la ciudad de Rosario, Argentina, en 1987, Messi forma parte de una nueva fase del fútbol globalizado y él mismo, a través de su talento, ha marcado un aceleramiento en la transición y la tendencia de los grandes clubes europeos en hacerse, rápidamente, de los jugadores habilidosos. Esto ocurre ya no sólo en Sudamérica, su principal fuente de abastecimiento, sino de todo lugar donde los puedan encontrar.

Truman Capote was the creator of a milestone in popular culture: In Cold Blood (1966), a ‘nonfiction’ novel based upon the real murder of the Clutter family committed by Dick Hickock and Perry Smith in the town of Holcomb (Kansas), 1959. After the book was published, Capote chose director Richard Brooks to “act as intermediary between book and screen” (Capote 2007, 274) out of a great number of directors and producers. Sharing the same plot, both novel and film were published and released respectively with only a one-year difference.
After the capture of Hickock and Smith, Capote researched the case thoroughly, spent weeks talking with the prisoners, jurors, police, friends of the slain family and neighbors of Holcomb trying to unearth why such an abominable act was committed and what should have been the society's response. Hence, the novelist's main intention was to illustrate how the townspeople reacted to such a horrid event. In the meantime however Capote started to build a close relationship with Smith, acknowledging his weight in the book: “unless I could establish close contact with this half-Irish, half-Indian young man, I would have to abandon the project” (Capote 2007, 267). Reading closely between the lines of the book, we may notice that Capote's empathy with the murderer has been filtered to the point of victimizing and stressing the importance Smith in a project that was initially designed to portray the neighbors' reaction of the crime.
Taking adaptation studies and cultural studies as my central theoretical perspective, this paper aims to demonstrate not only how the figure of Perry Smith both stands as Truman Capote's alter ego and is transformed into that of a protagonist in the book, but also how Richard Brook's motion picture reassures and even elevates the murderer's position to that of a hero.

Keywords: film adaptation studies, cultural studies, hero, alter ego, nonfiction novel.

My thesis project examines CS Lewis's Space Trilogy, where the tale of hero/philologist Dr. Ransom illustrates concepts regarding language, experience, heroism, and emotion. This becomes particularly interesting when considering the theories of Joseph Campbell (heroic journey/mythic motif) and Owen Barfield (myth is significant as an expression of language in relation to the human condition). Lewis contends there has been a process of working against “mythical imagination,” moving the hero away from the concrete and toward the abstract. This path produces “men without chests," where the head rules without the benefit of an informing heart, and where cold thought exists alongside a "defect of fertile and generous emotion." Lewis reverses this process: he supplies a hero informed by both head and heart, who demonstrates an awareness of conventions of language, emotion, and expression where mythic concepts are available and understanding need not be abstract or calculating to be valuable.

Battling Siki la météorite de la boxe. BRETAGNE, Jean-Pierre Battling Siki, Paris : Philippe Ray, 2008, 185 p. Col. A tombeau ouvert. Le personnage Mbarick Fall, connu sous le nom de Battling Siki est très confidentiel. S'il est une icône dans son Sénégal natal, si quelques personnalités du monde de la culture et de la politique lui ont rendu des hommages, il demeure relativement méconnu. Pour cette raison, le livre de Jean-Marie Bretagne est d'un grand intérêt. Il rappelle le destin brisé d'un athlète promis à une grande carrière mais qui devait s'arrêter tragiquement, fauché à 28 ou 25 ans selon le calcul fantaisiste de l'agent qui a établi son acte de décès. (p. 17) En écrivant cet ouvrage, Jean-Marie Bretagne a conscience de faire non seulement un travail de compilation mais aussi celui de reconstruction. Les documents sur le premier boxeur africain « champion du monde » sont en effet très rares voire inexistants. La bibliographie, toute sommaire, renseigne et recommande le documentaire de Koppen Niek 1 sorti en 1992 et l'étude universitaire de Peter Benson. 2 Ces deux « véritables » sources étayent quelques fragments (articles de presse, rapport de commission). Les autres documents sont des fictions inspirées de la vie de du boxeur. Les romanciers comme Hémingway, Henri Miller ou encore Orio Vergani ont sans doute étaient sensibles au destin tout romanesque de Siki. Aussi cette biographie que propose Jean-Marie Bretagne est-elle forcément romancée. Elle emprunte au « travail de Peter Benson, bien plus rigoureux que celui de toutes les encyclopédies de la boxe » (p. 126) et aux témoignages contenus dans le film de Niek Koppen pour retrouver la trace de M'barick Fall. Qui était-il ? A quels types d'hommes appartenait-il ? Etait-il un grand champion ? En dehors du ring, face à quels autres adversaires il a dû se battre ? Quels sont ses rapports avec les femmes ? C'est à toutes ces questions que Jean-Marie Bretagne tente de répondre. Si comme on peut le voir à travers ces questions, le projet même de ce livre est de jeter le maximum de lumière sur la vie de Battling Siki, il est également celui de démêler (ou du moins de tenter) la vérité des mythes qui accompagnent souvent des personnages que l'on idéalise. C'est là un exploit difficile à réussir tout du long ! Bretagne a cependant le mérite de mettre en parallèle plusieurs versions des évènements, de proposer plusieurs entrées. Il place en effet, à côté de l'histoire connue, une autre voix qui apporte au personnage une complexité. Ainsi, par exemple, la thèse du kidnapping de Siki dans le port de Saint-Louis ne paraît plus qu'incertaine. Autant que l'est la victoire de l'irlandais Mike Mc Tigue dans le match de championnat du monde en mars 1924. Ces récits parallèles prouvent que Battling Siki, à l'instar des boxeurs noirs de son époque, a bataillé plus à l'extérieur qu'à l'intérieur du ring. S'il lui était relativement facile de remporter des victoires face à d'autres boxeurs, même de véritables mythes comme Carpentier, le système était quant à lui plus insidieux. Jean-Marie Bretagne indique en substance que le plus farouche adversaire du prodige sénégalais a été Paul Rousseau, journaliste et Tout puissant président de la fédération française de boxe (voir les « travaux d'Hercule » que le boxeur doit réussir pour conserver sa licence, p. 131) Même lorsque les faits parlaient pour lui, même lorsque le public voyait en lui le nouveau champion, M'barick Phall n'a jamais eu le profil d'un héros français. C'est au Sénégal, dans sa ville de Saint-Louis où il est célébré que Jean-Marie Bretagne l'a croisé avant de se décider à lui consacrer ce livre. C'est un ouvrage d'un admirateur qui pense, comme, plusieurs autres, que Battling Siki est injustement resté aux portes de l'histoire de la boxe et aussi de l'engagement politique via le sport. Sans être l'équivalent de Jack Johnson, Siki a vécu sa vie avec le même idéal de liberté. Ce livre constitue, avec une chanson en swahili

Heroes are projection surfaces for society. The mechanisms of selecting and worshipping heroes are time- and context-bound. Hero worship and heroic concepts can thus serve as cultural-historical seismographs; they reflect attitudes, value patterns and experiences of a specific group at a specific period that can be located socially, nationally, religiously and regionally. And yet there are traditional lines of hero worship that seem to bridge several centuries. This essay takes a look at the complexity of the phenomenon of "heroes". It highlights the historical expressions of heroic ideas and hero worship in Europe since antiquity. The aim is to demonstrate the temporality of the ideals which communities and groups project into their respective heroes. Of course, the diversity of the often overlapping or contradictory heroic ideas must be simplified and schematized. For it is not only important to present the individual types of heroes, but also to show the different contexts of action or constellations in which they acted. As a rule, the constellations had an effect on the respective hero type.

Helden sind gesellschaftliche Projektionsflächen. Die Mechanismen der Auserwählung und Verehrung von Helden sind zeit- und kontextgebunden. Heldenverehrung und Heldenvorstellungen können so als kulturgeschichtlicher Seismograf dienen; in ihnen spiegeln sich Denkhaltungen, Wertemuster und Erfahrungszusammenhänge einer spezifischen Zeit, einer spezifischen Gruppe, die sozial, national, religiös-konfessionell und regional zu verorten ist. Und doch gibt es Traditionslinien der Heldenverehrung, mit denen sich scheinbar mehrere Jahrhunderte überbrücken lassen. Dieser Essay nimmt die Vielschichtigkeit des Phänomens »Helden« in den Blick. Er führt historische Ausprägungen von Heldenvorstellungen und Heldenverehrung in Europa seit der Antike schlaglichtartig vor. Damit soll die Zeitgebundenheit der Ideale, welche Gemeinschaften und Gruppen in ihre jeweiligen Helden hineinprojizieren, aufgezeigt werden. Natürlich ist die Vielfalt der sich häufig überlagernden oder widersprechenden Heldenvorstellungen zu vereinfachen und zu schematisieren. Denn es gilt nicht nur, die einzelnen Heldentypen vorzuführen, sondern auch die unterschiedlichen Handlungszusammenhänge bzw. Konstellationen aufzuzeigen, in denen sie agierten. Die Konstellationen wirkten in der Regel auf den jeweiligen Helden-Typus zurück.

Atualiza não apenas o conhecimento existente sobre a revolução da Maria da Fonte (1846) como os reflexos corporizados na heroína e que se prolongam até hoje. Originalmente publicados por Paulo Freitas no Jornal Maria da Fonte na passagem dos 170 Anos da Revolução, os 28 textos em formato de “folhetim” ganham suporte de conjunto.

Em 2021 cumprem-se 175 anos sobre a Revolução da Maria da Fonte (e 135 sobre a fundação do jornal que dela quis tomar título). Os primeiros levantamentos de 1846 aconteceram, inegavelmente, na Póvoa de Lanhoso. Foram esses episódios de contestação protagonizados por um conjunto de mulheres, não apenas da freguesia de Fontarcada mas de todo o concelho, que viriam a legar nome às ocorrências que a História de Portugal regista como a Revolução da Maria da Fonte. A mesma também foi, e é, apelidada de Revolução do Minho.
Mas isso aconteceu por toda esta vasta região ter então seguido o exemplo da Póvoa de Lanhoso, levantando-se em armas e levando o país à sublevação e o governo à demissão, com fuga para Espanha do chefe do governo de então, Costa Cabral.
Muito se escreveu sobre os acontecimentos de 1846, cabendo, contudo, ao periódico, que ostenta o nome da heroína, desde a sua fundação em 1886, ter assumido a tarefa de contar, ou repor a verdade da mesma história, como um dos seus objetivos de fundação.
Desde 1846 que a Maria da Fonte e a ação das mulheres que protagonizaram a maioria dos episódios estão envoltas numa série de enredos, contribuindo inadvertidamente para a sua transformação em símbolo nacional, enquanto referência da luta por justiça e igualdade. Hoje, dado o vasto conjunto de estudos publicados, especialmente após a realização de um congresso sobre o tema em 1996, e da investigação que tem frutificado, é-nos possível documentar perfeitamente o essencial da ação e participação de cada um dos protagonistas nos acontecimentos de há 175 anos – das mulheres com nomes próprios às autoridades com competências e funções bem definidas por lei; dos titulares de cargos públicos, eleitos ou nomeados, em exercício e com participação nos episódios, aos dos próprios membros das elites locais, enquanto “observadores” interessados.
Justifica-se, pois, 135 anos volvidos sobre a fundação do jornal “Maria da Fonte”, que ele mesmo pudesse disponibilizar o conhecimento existente, de forma idêntica à que utilizou para tentar clarificar dúvidas ou interpretações, corrigindo muito do enredo na informação que em 1885 Camilo Castelo Branco dera à estampa, e sobejamente veiculada a todo o país com a publicação do seu livro cujo título era o da virago povoense de 1846.
Tentaremos, aqui, explicar os principais contornos dos episódios que enformaram a Revolta da Maria da Fonte; o porquê de acontecerem na Póvoa de Lanhoso; o seu desenvolvimento em Revolução; os nomes das mulheres que protagonizaram os acontecimentos; a reação das autoridades e os principais contributos na construção do símbolo em que se transformou. Esta divulgação apenas no formato difere do folhetim com que Azevedo Coutinho, auxiliado por Martins de Oliveira, deu a público nas páginas do Jornal Maria da Fonte entre janeiro e agosto de 1886, decisivo na perceção do grande volume de factos conhecidos e hoje documentalmente confirmados.

The Gallipoli campaign is a very important part of Australian history, but the role of myths in the Anzac ‘legend’ play a disproportionate part in the creation of our national identity. This essay explores how Australia’s national identity has been affected by an Anzac story built by myths, myth-makers, mateship and men.

Taking up the various conceptions of heroism that are conjured in the Harry Potter series, this collection examines the ways fictional heroism in the twenty-first century challenges the idealized forms of a somewhat simplistic masculinity associated with genres like the epic, romance and classic adventure story. The collection's three sections address broad issues related to genre, Harry Potter's development as the central heroic character and the question of who qualifies as a hero in the Harry Potter series. Among the topics are Harry Potter as both epic and postmodern hero; the series as a modern-day example of psychomachia; the heptalogy's indebtedness to the Gothic tradition; Harry's development in the first six film adaptations; Harry Potter and the idea of the English gentleman; Rowling's post-feminist version of female heroism as realized in the character of Hermione; adult role models in the series; and the complex depictions of heroism exhibited by...