Heroes

Este artículo reivindica el carácter mítico de la tragedia Fausto de Johann Wolfgang von Goethe al relacionar su configuración argumental con el itinerario simbólico del héroe. Para ello, toma como base las estructuras míticas predeterminadas por Gilbert Durand, Lévi-Strauss o Joseph Campbell. En los dos primeros apartados se compara de manera diacrónica a Fausto con la figura mítica del héroe; en los dos siguientes se relaciona de manera sincrónica y específica cada una de las partes de la obra con los mitemas propios del mito del héroe.

Does the figure of the gangster still exist? how did this figure evolve? These are the cornerstones of my investigative work, leaving out the historiographical aspect and preferring the founding essence of the contemporary gangster with its anxieties, its frailties, and analogies with the classic gangster. An exegetical study therefore, with the aim of highlighting the individuality of a man, of that tragic hero so dear to R. Warshow who is born alone and will die only. Starting from its tragic nature, we arrive at the identification of narrative topoi: blood ties, the climb, the fall, the city in the gangster narrative. These aspects have been like a kind of compass, thus helping me to trace the human and cinematic profile of the gangster more. o that after having made my gangster travel through the maze of his own identity while becoming a contemporary, I will finally try to answer my question.

Se trata de la introducción de la tesis doctoral (2004).

Este trabajo de investigación tiene como origen una "certeza" a acerca del bien que trae consigo el Arte, incluyendo en esta categoría cualquier manifestación artística o expresión comunicativa orientada por un claro predominio de la dimensión poética. Con este punto de partida, abordé una tarea de estudio que se ha convertido, con el tiempo y el trabajo, en el sentido de mi investigación principal, así como en la inspiración y la base de su docencia, centrada, esta última en el ámbito de la Epistemología de la Comunicación, de la teoría de la Representación y de la Escritura de ficción. Estos prolegómenos explican en buena medida por qué la tarea que inicié durante el doctorado es más que un proyecto limitado a un objeto de estudio. Cómo se verá, se trata de una apuesta fuerte de vida por el humanismo cristiano que anda muy lejos de concluir. Desde luego todavía están por ver muchos de los frutos sapienciales del estudio de esta tradición poética, aplicada al área de lo audiovisual y divergente, en esencia, de la asentada por los Estudios culturales, con los que intenta dialogar todo lo que puede. Por otro lado, la razón que comparte el humanismo cristiano con la corriente crítica es noble: estudiar las representaciones audiovisuales, los productos culturales, como expresión contemporánea de las preocupaciones más íntimas y radicales del hombre actual. En primer lugar, el estudio de la ficción, alumbrado por las lecciones que da Aristóteles en su Poética, conlleva aceptar que los asuntos humanos escapan a una explicación cabal ofrecida por la lógica.

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.

In der Diktaturforschung werden für gewöhnlich Napoleon III. und sein Regime als Vorboten faschistischer oder totalitärer Herrschaft betrachtet, sozusagen als eine protofaschistische Herrschaftsform angesehen. Dabei vernachlässigt dieser eurozentrische Blick die Diktatur des Argentiniers Juan Manuel de Rosas, der zwischen 1829 und 1852 mit eiserner Hand über Buenos Aires und de facto über ganz Argentinien regierte. 1

This article presents the stakes of a local deity (Zhang Fei) and a mythological god (Yu the great) in the context of the consequences of the construction of the Three Gorges Dam. Zhang Fei is a national heroes and a deity in the Yunyang County, whom temple was delocalized in its entirety thirty kilometers upstream to avoid submersion. Yu the Great is the demiurge who mythically shaped the Three Gorges by cutting the mountain with a hatchet in order to control a flood of water. The images and narratives related to theses two characters are used by national and authorities of the Yunyang County to convey specific interpretations of the Dam and its consequences. The paper presents in particular rhetorics regarding the environmental changes, the topographical transformations and the forced migration.

This chapter analyses the relationship between beliefs in the spirits of nature and the dead and the conception of hero among the Humangili, a community located in Ataúro Island, Timor-Leste. For this purpose I discuss the concept of culture, the influence of Lisan, the notion of person, the symbolism of the given name, the meaning of physical death, the hierarchical system, the relationship between soul and body, and the impacts of adopting Christianity, while also presenting local stories and myths, the journey of the Humangili’s hero, the notion of order and social stability, as well as the perceptions about the supernatural world and its influence in the world of the living. Overall, the ideas about the meaning of hero are part of a complex system that contributes to the maintenance of dominant narratives about local customs, cosmogonies, values and hierarchies, the perception of individual and collective identity, and the feeling of stability and social unity.

The cult of the Egyptian god Antinous is discussed in the paper. Antinous acted in the image of Osiris and Horus, absorbed the features of Apollo, Dionysus and other heroes, showed himself as a divine child and the pharaoh, was deified in Egyptian and Greco-Roman models that included the elements of apotheosis of the emperor and the posthumous journey of the Egyptian king to heaven. All these images allowed matching Antinous and the emperor. The Roman ruler was worshipped in Egypt as Theos Synnaos along with Antinous. Comparing the emperor with the deified Hadrian’s minion was a form of the Interpretatio Aegyptiaca of the image of the Roman ruler in the valley of the Nile. During the Great Antinous Games, in which boys and girls took part, Antinous received the images of a hero, a god, and a demon-spirit, from whom miracles and predictions were expected. The image of Antinous was combined with the image of a wreath that symbolized the victory over death, the birth of the divine child and rebirth in the afterlife.

Die Gruppe der Neun Guten Helden (frz. neuf preux) verbildlicht einen spätmittelalterlichen Kanon von Personen, die für ihre Tugendhaftigkeit und ihre heroischen Taten verehrt wurden. Zunächst nur als literarischer Topos vertreten, entwickelten sich die Neun Helden später ebenso zu einem kunstgeschichtlichen Motiv, das sich in unterschiedlichen medialen Ausprägungen wie der Malerei, Fresken, Tapisserien oder Skulptur wiederfindet, wobei Auswahl und Reihung keiner festgelegten Tradition folgen. In diesen Darstellungen werden die Neun Helden zu idealen Repräsentanten ritterlicher Tapferkeit erhoben, deren Ruhm und Vorbildlichkeit sich auf die auf dem Schlachtfeld geleisteten Heldentaten begründet.

Modern culture has a tendency to overuse the word 'hero', devaluing its meaning, but demonstrating how emotive the idea of being a hero and finding a hero still is. This essay examines what motivates the heroes of Homer and Beowulf and whether their poets endorse their strivings. Having outlined the Homeric motivations I shall argue that the Iliad's heroic system lets its heroes down and is critiqued both internally and in the Odyssey, which I compare to Beowulf's portrayal of the heroic world and motivations which are similarly critiqued by its poet. I argue that this criticism appears to be pointing the heroic focus towards peaceful community in Beowulf while Homer urges a channelling towards emotional motives. Beowulf and Homer show us heroic motivations in all their glory and horror, but when the time of the heroes is gone these values can still be held up for emulation.

PALABRAS CLAVE: Homeland, Sully, Clint Eastwood, locura, compromiso,
héroe

Mediante el análisis de algunas escenas seleccionadas del último capítulo de la sexta temporada de Homeland y de la película Sully, reflexiono sobre el origen etimológico del término “compromiso” y su relación con la figura del héroe. ¿Son ámbitos diferenciados, irreconciliables o, en momentos determinados, él héroe puede lidiar con cierta locura que implicaría la realización del acto heroico, de un compromiso con su sociedad?.

KEYWORDS: Homeland, Sully, Clint Eastwood, madness, engagement, hero

Through the analysis of selected scenes from the last chapter of Homeland's sixth season and the film Sully, I reflect on the etymological origin of the term “commitment” and its relation to the hero‟s character. Do they belong to different or irreconcilable areas, or at certain moments, can the hero deal with a certain madness that would imply the accomplishment of the heroic act, of a commitment to his/her society?.

When I was growing up, DC Comics and comic heroes like “Batman”, and “Superman”, and “Wonder Woman”, were ubiquitous at local convenient store stands. I remember eagerly reading about the so-called comic book, “Justice League” and how these fictional heroes gathered forces and jointly fought off evil foes. The heroic exploits extended to Saturday morning cartoons in the 1970s to 1980s with the “Super Friends”. In grade school, I too had learned about Greek myths and Greek mythological heroes. So, there were overlaps in my readings about fictional heroes...Most are unsung heroes like teachers working in lower socio-economic public schools; or psychiatrists working in mental health clinics; or nurses in hospitals and different health settings; or medical doctors in emergency rooms; or social workers; or psychologists; or many governmental workers; or firemen; or policemen; or public defenders; or clergy who defend migrants; or clergy working with the poor; or those who work with the homeless; and all those who spend their careers in mediation and working in conflict resolution and peace studies. Some of these unsung heroes may find it strange, I call them peace workers, but I think it can be argued they are indeed such people for making our own existence more peaceable. And while we have made so many notable technological advancements, we hardly think how we have socially advanced toward better living.

“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.

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.

A Idade Média está em alta no universo pop atual. No cinema, na literatura, nas séries de TV, nos jogos eletrônicos e de tabuleiro, no Heavy Metal, ou em feiras e eventos culturais, a temática medieval está presente em todas as formas, estilos e cores que se possa imaginar. Nesta segunda década do século XXI, pesquisadores vinculados ao Studies in Medievalism – corrente angloamericana voltada ao estudo dos usos e apropriações do passado medieval – propuseram-se a (re)formular um conceito teórico capaz de abarcar e explicar as nuances destas novas interfaces do medievo com a cultura do entretenimento – o chamado neomedievalismo. À luz deste referencial, estudamos a série em quadrinhos “Prince Valiant – In the Days of King Arthur”, criada pelo ilustrador canadense Harold Foster, em 1937. A proposta consiste em analisar como a Idade Média é representada no contexto de transição dos anos 1930 para 1940, momento em que os EUA ainda não haviam se recuperado dos danos econômicos e psicológicos causados pela Grande Depressão e os regimes totalitários avançacam a passos largos sobre o velho continente. Além das influências artístico-literárias advindas do romantismo, da ilustração comercial e da literatura infantil, destacamos que as aventuras do Príncipe Valente, ambientadas numa versão fantástica do século V, são repletas de referências à cultura e ao imaginário nacional estadunidense, como o mito da fronteira e do self-made man. Já entre os anos de 1939 e 1940, a série toma uma nova direção, tornando-se ainda mais engajada com os acontecimentos da época. Neste período de um ano, Foster narra a “Guerra Contra os Hunos”, arco de história que pode ser lido como uma crítica ao regime nacional-socialista alemão. Buscamos aqui esmiuçar as estratégias criativas e os jogos de referências histórico-culturais utilizadas pelo autor para engendrar tal discurso, explorando, assim, as relações existentes entre a produção de uma ficção histórica com vistas ao lucro e a inserção de elementos de cunho ideológico em tal processo.

What defines an epic hero?  Must he be perfect?  Homer's The Illiad highlights a well-known epic hero, Achilles.  Achilles was an epic hero, one to be remembered, honored, and immortalized in name forevermore.  He had physical strength and bravery as a result of his immortal descendancy.  Achilles was a war hero and his enemies trembled at the sight of him; and through it all, Achilles showed a humbled humility and never put himself above his comrades nor the gods and goddesses.  However, Achilles was not free from flaws.  He had a temper and his anger cost him greatly in the end.

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.

Fictional heroes have been considered as moral exemplars and as entertaining and soothing characters. Their creators, however, do not work in a vacuum. Therefore, the emergence of heroic narratives is closely connected to a specific space and time context. In this article, I propose a heroic cycle which consist of three different heroic types creators use to cope with events in reality. This cycle consists of the classic hero, the flawed hero, and the contemporary (post 9/11) type of hero which will be defined and described as a hybrid hero. This hybrid hero became very popular in recent years and just as its counterpart, the franchised hero tries with a specific set of characteristics and moral frameworks, to provide a jouissance for audiences (Barthes, 1975). By doing so, these heroes try to sooth, entertain, or challenge their audiences. Both the hybrid and the franchised hero focus on the reception by audiences although their means and behavior differ on many levels. Although the research and development of the hybrid hero is still at its initial stage, this article elaborates on its construction and conceptualizations as fictional character and as moral challenger in today's fiction. The hybrid hero challenges both audience and creators on empathic, moral, and narrative levels and is a contemporary symbiosis of heroic and villainous features. The text consists of two parts: first, background and contextualization and second, a description of a case study (The Borgia Trilogy, a theatre performance which Van Tourhout created) to clarify the empathic and narrative features of hybrid heroes.

Imaginary geographies of the Archaic Greece told stories about two realms of the dead/immortals, one at south, near Ethiopia, peopled by the Hyoernotioi, the other at north, the land of the Hyperboreioi, who were as well cultural heroes and hosts of the god Apollo.

P.F. Strawson's compatibilism about free will and his attendant account of moral responsibility have had a considerable influence on contemporary work. 2 This is so even among those who do not count themselves as followers of Strawson's overall compatibilist program. Even opponents address Strawson's main themes: the moral emotions and our practices of interpersonal expectations and demands. 3 Despite this influence, there are two damning problems for Strawson's theory. First, it appears to restrict the class of morally responsible agents to those who are in fact members of the moral community. However, as Gary Watson has argued in "Responsibility and the Limits of Evil" (2008/1987), this has a disturbing consequence: extreme evil exempts an agent from moral responsibility. If so, why shouldn't we view this as a reductio? Second, in some cases our emotional reaction to an evildoer's history clashes with our emotional expressions of blame. We might then worry that anyone's actions can be explained by his or her history, and thereby, conflict with our present blame. We might also worry that had our history been like the unfortunate evildoer, we too might have been evil. This compromises our standing to blame. Together, this would undermine the expression of blame, generally, and so be self-defeating. It is critical to the Strawsonian project to respond to these problems. I will do so in a novel way. As I see it, we have an impoverished vocabulary of reactive attitudes. Expanding our vocabulary can dissolve the problems. To do so, I will

I. Dünya Savaşı, Avrupa ülkelerinin ekonomik çıkarları ve anlaşmazlıklarından beslenen bir savaş olup büyük yıkımları da beraberinde getirmiştir. Söz konusu tarihlerde zaten yeterince müşkül durumda bulunan Osmanlı Devleti, müdahil olduğu bu savaş dolayısıyla daha da büyük kayıplar vermiştir. Elbette ki bir savaşta alınan zafer yahut yenilgiler, savaşan ülkenin yalnızca askeri birliklerini değil bütün bir halkını ilgilendirmekte ve etkilemektedir. Toplumun birer ferdi olarak hemen her sanatçı bu tür büyük olaylardan etkilendiği gibi ayrıca toplumun sözcülüğünü üstlenmek adına yola çıkan sanatçılar da bulunmaktadır. Sosyolojik yönü bulunan edebiyat için de durumun böyle olduğunu görürüz. Edebi eserler üzerine yapılan incelemeler, bu metinlerin zaman zaman toplum meselelerini takip etmek veya toplumun ahvalini anlayabilmek açısından imkân tanıdığını kanıtlamıştır. Nitekim Türk toplumunu derinden etkileyen I. Dünya Savaşı'nın yansımalarına da edebi eserler üzerinden ulaşmanın mümkün olduğu söylenebilir. Ömer Seyfettin'in birçoğunu 1917-1918 yılları arasında Yeni Mecmua'da yayımladığı öyküleri bu duruma iyi bir örnek teşkil eder. " Eski Kahramanlar " başlığı altındaki hikâyelerinde eski zaman dilimlerini esas alarak kahraman tipleri resmeden Ömer Seyfettin, milletinin taşıdığı cevherleri hatırlatmak suretiyle topluma ve askerlere moral vermeyi amaçlar. Onun yine aynı tarihlerde " Yeni Kahramanlar " üst başlığı ile yazdığı birkaç hikâye ise Çanakkale Savaşı'nın olumlu havasını ve başarısını yansıtmaya yöneliktir. Bu çalışmanın amacı, Ömer Seyfettin'in " Eski Kahramanlar " ve " Yeni Kahramanlar " üst başlıkları altında yayımlanan hikâyelerinden yola çıkarak " kahraman " tanımlaması içerisine oturtulan hikâye kişilerini ve bu kişilerin vasıflarını incelemektir. Abstract World War I, fed from economic interests and disputes of European countries, brought together great destructions. On those dates Ottoman State was already in a pickle and being involved in this war made the situation worse for him. Of course victory or defeat at war effects not only the troops but also the whole nation. As a member of society almost evey literates were effected by such great catastrophe so that they had to be the spokesmen of the society. We can see the similar state for the literature which has sociological side. Researches on the literary works prove that the writings show us the state of the people of the hard times. World War I deeply impressed the Turkish Nation the reflections of which can be seen on literary works. The stories, written in the daily Yeni Mecmua in the years 1917-1918 by Ömer Seyfettin, are

This thesis provides the first in-depth account in English of the life of Nakai Hiromu (1838-1894), a little-known samurai of the Satsuma domain who played a key role in the Bakumatsu/Meiji period of Japanese history, as well as Anglo-Japanese relations’ history. Being one of the pioneering Japanese travellers to Britain in 1866, Nakai, upon his return to Japan was given the important role of escorting British representatives on their first visit to the Emperor Meiji. The visit was postponed due to an attack on the British procession as it travelled through the streets of Kyoto. By cutting down one of the assailants, Nakai assisted in preventing the possibility of an all-out war between Britain and Japan. This fact in itself merits more attention to his life and role in Anglo-Japanese relations’ history. Nakai continued to work within the Meiji government throughout his life, and although only a minor figure himself, never receiving any titles of peerage, and reaching only as far as prefectural governor status, he had a strong network of connections and was well liked by many of the Meiji elite. His close acquaintances include Japan’s first Prime Minister, Itō Hirobumi, and one-time Foreign Minister, Inoue Kaoru. Nakai’s son-in-law was Hara Takashi, Japan’s first Prime Minister of ‘common stock’, upon whom he had no little influence. A well-known expert in Chinese poetry and prose in his time, Nakai has a small number of publications to his name. This thesis provides, for the first time, a full translation of his travel journal describing his first journey to Britain. The central crux of the thesis is to bring the life of this important key player in Anglo-Japanese, and Japanese, history back to the spotlight because it is an injustice of history for him to be forgotten. In addition, a comprehensible collection of data about his life in English, such as this thesis provides, will facilitate the drawing of attention to this important topic from a wider, international audience, as well as from Japanese historians and other scholars within Japan.

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.

http://www.degruyter.com/view/product/458318
This book looks at witnesses to suffering and death in ancient Greek epic (Homer’s Iliad) and tragedy. Internal spectators abound in both genres, and have received due scholarly attention. The present monograph covers new ground by dealing with a specific subset of characters: those who are put in the position of spectator to (and, often, commentator on) their own deed(s). By their very nature, protagonists are confined to the role of witness to the suffering (or deaths) they have caused only for brief stretches of time — often a single scene or even just the length of a speech — but every instance is of central importance, not just to our understanding of the characters in question, but also to the articulation of fundamental themes within the poetic works under examination. As they shift from the status of agent to that of witness, these protagonists, qua spectators to the consequences of their actions, give voice to, dramatize, and enact the tragic motifs of human helplessness and mortal fallibility that lie at the core of Homeric epic and Greek tragedy and that define the human condition, in a manner that leads the audience looking on to ponder their own.

Women's mobility is central to understanding cultural constructions of gender. Regarding ancient cultures, including ancient Greece, a re-evaluation of women's mobility within the household and beyond it is currently taking place. This invites an informed analysis of female mobility in Greek myth, under the premise that myth may open a venue to social ideology and the imaginary.

Female Mobility and Gendered Space in Ancient Greek Myth offers the first comprehensive analysis of this topic. It presents close readings of ancient texts, engaging with feminist thought and the 'mobility turn'. A variety of Olympian goddesses and mortal heroines are explored, and the analysis of their myths follows specific chronological considerations. Female mobility is presented in quite diverse ways in myth, reflecting cultural flexibility in imagining mobile goddesses and heroines. At the same time, the out-of-doors spaces that mortal heroines inhabit seem to lack a public or civic quality, with the heroines being contained behind 'glass walls'. In this respect, myth seems to reproduce the cultural limitations of ancient Greek social ideology on mobility, inviting us to reflect not only on the limits of mythic imagination but also on the timelessness of Greek myth.

The aim of this paper is to explore the patterns and meanings to be found in the characters of Yugoslav national heroes who met a violent death in World War II. These are heroes who belong to the type of martyr heroes, and their sacrifice is highly rated in all patriotic mythologies. Created to denote the heroism of the chosen, they have sublimated the meaning and symbolism of one remembrance of the war. The death of these national heroes will be analyzed through their official biographies, which served to represent the characters of the National Heroes of Yugoslavia and keep the heroic symbol-names ever present in the collective group memory. Through their characters, a specific wartime experience, and the martyr’s death of the national hero who died for the freedom of the Yugoslav peoples, as seen by the victors in this war drama, were transmitted to the citizens of Yugoslavia. Various patterns of wartime heroism (warrior, martyr, leader heroism) were represented as national patriotism, and the fighters and martyrs of the war of national liberation were named. The characteristics of the reputational entrepreneurship of these heroes’ characters are specifically explored, taking into account the characteristics of the discourse through which they were interpreted and presented. On the other hand, the limitations of this discourse provide an opportunity to deconstruct certain common traits of a certain hero type and discover the latent meanings conveyed by the characters of Yugoslav national heroes as actors of a historical-political myth.
Keywords: national heroes; martyrdom; death; reputational entrepreneurship; heroic suicide; the body and society; symbols

Namera ovog rada je da istraži obrasce i značenja koji se nalaze u liko-vima narodnih heroja umorenih nasilnom smrću u Drugom svetskom ratu. To su heroji koji po tipu pripadaju herojima mučenicima i njihova žrtva visoko je vrednovana u svim patriotskim mitologijama. Stvoreni da označe heroizam izabranih, sublimirali su značenje i simboliku jednog pamćenja na rat. Smrt narodnih heroja biće analizirana preko oficijelnih biografija, koje su služile za reprezentaciju likova Narodnih heroja Jugoslavije i održavanje herojskih imena-simbola prisutnim u kolektivnoj memoriji grupe. Kroz njihove likove prenošeno je stanovnicima Jugoslavije specifično ratno iskustvo i mučenička žrtva narodnog heroja za slobodu jugoslovenskih naroda, kako su ga doživeli pobednici u toj ratnoj drami. Različiti obrasci ratnog heroizma (ratnički, mučenički, liderski) reprezentovani su kao narodni patriotizam i imenovani su ratnici i mučenici narodnooslobodilačkog rata. Posebno će se istražiti odlike reputacionog preduzetništva likova ovih heroja uzimajući u obzir odlike diksursa u kome su interpretirani i reprezentovani. Ograničenje ovog diskursa, s druge strane, predstavlja priliku da se dekonstruišu pojedine zajedničke odlike određenog herojskog tipa i otkriju latentna značenja koje prenose likovi narodnih heroja Jugoslavije kao akteri istorijsko-političkog mita.
Ključne reči: narodni heroji, mučeništvo, smrt, reputaciono preduzetništvo, herojsko samoubistvo, telo i društvo, simboli

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.

El artículo ofrece un análisis del héroe épico, como categoría distinta del héroe mítico, en la épica guerrera griega (Ilíada) y en la épica guerrera sánscrita (Mahābhārata). La premisa metodológica que guía la investigación es que los diversos planteamientos existentes sobre el héroe resultan muy generales para su aplicación a los héroes épicos, especialmente a los de la épica guerrera. El modelo teórico sobre el que se apoya el estudio es una combinación de la morfología heroica (Bauzá, 2004) y de los elementos del relato (Mendoza, 1995). La principal contribución es una tipología de las doce características del héroe épico de la épica guerrera.

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.

Ficción televisiva contemporánea estadounidense /// Introducción En estos tiempos de fervor serial, desde Contrapicado creemos interesante elaborar un pequeño dossier que, a lo largo de varios meses, se detenga en ciertos aspectos de la llamada ficción televisiva contemporánea estadounidense. Esa denominación, tan adjetivada y rimbombante, no hace sino enmascarar un conjunto de series de televisión que, en los últimos años, han provocado el "cuelgue patológico" de millones de espectadores en todo el mundo. Series como Los Soprano, 24,