Construction of Heroes

This article explores the role of literature and romantic nationalism in the creation of nations as this applies to the Faroese nation, in particular the case of the poet Nólsoyar Páll.
It is the ambition to discuss how literature can be a medium of collective identity-making, as it involves the canonisation of what is termed cultural saints (i.e. the heroic, mythological,
and legendary figures who are seen as founders of communities). The article will give an introduction to the research that considers the dynamics of selected vernacular writers, artists or scholars for inclusion into the canon of cultural sainthood. The following will
link a hitherto underexplored part of European romanticism to the developing theory of how durable forms of memory, such as public monuments, banknotes, hagiographies, are constructed.

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?.

“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.

Ovaj rad osvrnut će se na tri važna elementa u stvaranju kulta Stjepana Radića u razdoblju između proglašenja šestosiječanjske diktature početkom 1929. pa do smrti kralja Aleksandra I. Karađorđevića koncem 1934. godine. Preko praćenje reakcija organa vlasti na posmrtne ostatke Stjepana Radića, planove vodstva Hrvatske seljačke stranke za izradu njegova mjesta memorije te kroz razne, većinom upotrebne predmete s njegovim likom ili imenom očituje se uzdizanje mrtvog Radića do položaja nacionalnog vođe-mučenika koji je služio u nacionalno-integracijskim procesima koji su se tada odvijali unutar hrvatskog naroda.

The ground-breaking or especially difficult moments in the history of Latvia have almost always found their reflection in the literature. During each of the challenging moments an ideal hero is born, a hero ready to fight for his fatherland and nation, constituting a role model to be followed. However, Latvian writers do not create new heroes, but have been summoning the same figures for over a hundred years. The paper is going to present the stands and transformations of literary heroes – Vidvuds and Lāčplēsis – at different stages of Latvian history, as they face threats against national freedom and social integrity.

"Viņi vienmēr atgriežas. Varoņi krīzes laikam: Vidvuds un Lāčplēsis"
Lūzuma brīži, kā arī daži citi īpaši grūti momenti Latvijas vēsturē bieži atrod savu atspoguļojumu literatūrā. Katrā no šiem grūtākajiem brīžiem piedzimst ideāls varonis, kurš ir gatavs karot par savu dzimteni un tautu ,un tajā pašā laikā kļūst arī par paraugu visiem nākamajiem cīnītājiem. Tomēr latviešu rakstnieki nerada jaunus varoņus, bet jau vairāk nekā simts gadus izmanto vienus un tos pašus tēlus, piemēram, Vidvudu un Lāčplēsi. Rakstā tiek aplūkota viņu abu stāja un transformācijas dažādos Latvijas vēstures posmos, kā arī viņu īpatnējā izpratne par varonību, atbildību un pretošanās pret valsts brīvības un sabiedrības integrācijas draudiem. Raksturvārdi: latviešu literatūra, latviešu nacionālais varonis, latviešu identitāte.

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.

The role of heroine in Vietnamese and Chinese cultures is defined differently in different time periods as values and norms are redefined in response to both internal and external influences on Vietnamese and Chinese society, including war, famine, economic recessions, and political movements. The traditional role of the woman in both Vietnamese and Chinese cultures is that of the filial daughter and submissive wife; however, in times of social upheaval the “traditional lady” (Tai 1992: 88-113) is permitted to morph into a heroine. Such heroines of both China and Vietnam are women that deviate from the conventional image of the ideal female for socially acceptable reasons.  Through exploring how Vietnamese and Chinese heroines are constructed in history as well as in literature this paper will reveal how ordinary women become extraordinary heroines.

Resumen: Este artículo estudia los orígenes y la evolución de la propaganda centrada en Juan Martín Díez, " el Empecinado " , durante la guerra de la Independencia (1808-1814). Durante la invasión francesa de España, el Empecinado pasó de ser un simple campesino a convertirse en uno de los jefes guerrilleros más importantes. Esta evolución se debió al talento del Empecinado para hacer la guerra irregular, pero también al uso masivo y permanente de la propaganda. Palabras clave: Propaganda, imagen, guerra de guerrillas, guerra de la Independencia, prensa periódica. Abstract: This paper studies the genesis and evolution of propaganda about Juan Martín Díez, called the " Empecinado " , during the Peninsular War (1808-1814). During the French invasion of Spain, the " Empecinado " went from being a simple peasant to become one of the most important guerrilla leaders. This development is largely due to the talent of the " Empecinado " to make the irregular war, but also because of a massive and permanent use of propaganda.

This conference paper will explore the term 'hero' in relation to Marvel's Netflix television show "Daredevil" (2015-present) by asking who truly is a hero in Hell's Kitchen? The definition of hero itself is limited and narrow, yet much of season two speculates on who can ascribe to this title: is it Matt Murdoch, the Devil of Hell's Kitchen? Is it Foggy Nelson, a lawyer who takes on a losing case just because? is it Karen Page, the lawyer's assistant who believes the best in their criminal client? Or is it Frank Castle, the Punisher, who delves out justice that the judicial system and police are too afraid to do?
Much of "Daredevil"'s success is due to many of the characters ambiguity and their moral positioning, as well as their justification. By positioning this paper into four sections and focusing on the four main characters of season two, I will attempt to position Foggy and Karen against Matt and Frank in terms of their heroics, by exploring the binary of the 'everyday hero' and the 'vigilante hero.' Both have specific roles and duties to perform, but whether or not they are successful in their performance as hero is at stake in this paper. My goal is to question the definition of 'hero' and the second season narrative success of each character in their attempts of heroic deeds in Hell's Kitchen.

A case study of the memory of William Orr, the protomartyr of Irish republicanism, reveals that in modern Ireland (and particularly in the northern province of Ulster) social forgetting was part and parcel of social remembrance, even in the case of the nation’s most revered heroes, and that this forgetting reflected deeply embedded anxieties and internal conflicts.

Resumen: En este ensayo propongo un análisis de la serie de televisión Game Of Thrones a partir de tres ideas centrales. Primero planteo que la obra se construye dentro del género de lo fantástico, para después realizar un estudio de los dos héroes de la historia y su constitución como tales; finalmente, sugiero un análisis de la historia a partir de todos los giros políticos que se van dando en su desarrollo. Palabras clave: Género fantástico, héroe, política. Abstract: In this essay I propose an analysis of the television series Game Of Thrones from three ideas. First, I suggest that the work is constructed within the genre of the fantastic; second, I analize the two heroes of the fiction and its constitution as such; finally, I study all the political turns that occurred throughout the series.

RESUMEN

“Miguel Hidalgo en los relatos de nación. Del patriotismo criollo al nacionalismo posrevolucionario” no es una investigación que se ocupe de la vida y obra de Hidalgo. Este estudio desarrolla  cómo se construyó el mito nacional en torno a este personaje y cuál fue la importancia que tuvo dicho mito en el proceso de invención de la nación mexicana durante el siglo XIX y primera mitad del XX.

        El trabajo está enfocado en dos aspectos importantes: se aborda cómo el mito del “padre de la patria” ha sido utilizado como estrategia de legitimación política  y como fuerza cohesionadora que facilitó que la población se identificara y sintiera parte de una sola comunidad cultural y política: la nación mexicana

        Para desarrollar la investigación fue necesario identificar los distintos imaginarios nacionales que fueron impulsados desde el siglo XIX para explicar qué era la nación mexicana, qué era lo mexicano y quiénes eran los mexicanos. Cada uno de estos imaginarios fue promovido por diversas condiciones políticas, económicas y tecnológicas. Una vez que se tuvieron estos contextos, en cada uno de ellos se desarrolla qué interpretación se hacía de Miguel Hidalgo, cómo las elites rectoras del país reinterpretaron y se apropiaron de su culto para justificar su poder político y para potenciar una identidad nacional en el resto de la población.

        Esta estrategia metodológica fue derivada de la llamada “teoría modernista sobre el nacionalismo y la invención de las naciones”, la cual sostiene que las naciones modernas son construcciones culturales que tuvieron cabida a finales del siglo XVIII e inicios del XIX, cuando se desplazó la tradición divino-dinástica de los Estados de Antiguo régimen y “la Nación” fue colocada como fuente de soberanía de los Estados modernos. La investigación se centró en cuatro tipo de fuentes: la historiografía clásica del siglo XIX, las celebraciones patrióticas, la enseñanza de historia patria en sistema escolar influenciado por el gobierno y a partir de las fuentes icónicas (monumentos, pintura, etc.) que han tenido un peso en la construcción de imaginarios nacionales.

        Como última precisión, es pertinente mencionar que la tesis, aunque está centrada en la invención del mito del “padre de la patria”, también aporta conocimiento sobre el proceso de invención de la nación mexicana y lo que esto ha implicado: la manipulación del discurso histórico.

Palabras clave:    Miguel Hidalgo, nacionalismo, nación, mito, héroe.

This paper analyzes images of war in the Srpska zora magazine, which was launched by a group of Serbs in Vienna. As the magazine for entertainment and lessons, it was being published from 1876 till 1881. Most of illustrations in the Srpska zora magazine (portraits, landscapes and images of war) were used for propaganda of Serbian national idea and imaging of national identity.
The paper analyzes images of current war actions, at the time very popular throughout Europe at that time – uprisings in Bosnia and Herzegovina and Bulgaria, as well as wars of the Serbs and Russians against the Turks. Through these illustrations we can see several phenomena, among which cult of national heroes is the dominant one. At the same time, we notice cult of the Montenegrins and idea of Pan-Slavism. The aim of this paper is to point out possibilities in the interpretation of illustrated periodicals and mapping its position in the system of Serbian visual culture.

En esta tesis se estudian las representaciones heroicas de los virreyes de la Nueva España durante su entrada triunfal a la Ciudad de México; se trabajó a partir de recibimientos realizados entre 1722 y 1785, así como desde la emblemática usada en los arcos triunfales que el Cabildo de la Ciudad de México dispuso para tales eventos. Se demuestra que las representaciones heroicas de los virreyes, a pesar de darse en un periodo de cambios políticos e ideológicos surgidos del movimiento ilustrado, siguieron mostrando fuertes vínculos con el ideario barroco, del cual fueron herederas, principalmente en lo que concierne al concepto del príncipe cristiano.
Por medio del estudio del ritual político y de la representación dentro de estas entradas triunfales se delineó un modelo de héroe dieciochesco presente en las diferentes manifestaciones simbólicas de estas ceremonias, al mismo tiempo que se pudo caracterizar un periodo de tránsito entre el uso vigoroso de la emblemática barroca y su posterior declive hacia la segunda mitad del siglo XVIII. De esta forma, se aprecia la conjunción de dos periodos característicos de la historia cultural de la Nueva España, el barroco y la ilustración, que se combinaban en la figura del virrey representado como héroe durante su entrada triunfal.

JEUNESSE C. (2021) Guerre et idéologie du guerrier dans l’Europe des IVe et IIIe millénaires, L’Archéologue 160, 2021, 13-21 – with full english translation

The data available for the European Neolithic and Chalcolithic periods suggest that the practice of warfare preceded the emergence of a warrior ideology in this geographical area. The second appears in the first half of the fourth millennium, probably within the North Caucasian culture of Maikop. The development of a warrior ideology, whose social and symbolic impact goes far beyond the practice of war strictly speaking, is typical of stratified societies (chiefdom or primitive kingship). It can, however, spread to contemporaneous peripheral or later acephalous societies. In this case, there is an adaptation to local socio-political contexts. Oral literature probably plays a central role in this diffusion process. The article examines how an ideology born in the North Caucasus at the beginning of the fourth millennium contributed to a profound change in the European ideological landscape during the following 15 centuries.

This is the first paper to be published from a research project on how moral characters -- heroes, villians, victims, minions, and clowns -- are used in political rhetoric. They help explain why narratives can move people, but also why visual images are (or are not) effective.

This article explores the symbolic appeal of Che Guevara within radical Left circles of the 1960s and 1970s. Che’s importance as a shared political reference offers a unique window on aspirational symbols and the desire for meaningful transnational solidarity. By tracing Che’s resonance in Latin America, western Europe, the United States, and the Middle East, the article brings into conversation the study of post-war radicalism, political iconography, and the cognitive dimensions of interconnectivity. As a means of understanding Che’s appeal to both protest movements and guerrilla organizations, the article develops the notion of a ‘transnational imagination’, or mode of perception that frames local circumstances in a world historical trajectory and thereby affects collective aspirations and actions.

La relevancia de los videojuegos hoy en día es más que palpable, lo cual ha comportado que su estudio y análisis se pueda llevar a cabo desde numerosas perspectivas. En este caso, el presente escrito consiste en analizar la visualidad de la masculinidad hegemónica de la Antigüedad clásica a través de los videojuegos. Así, dicho medio audiovisual interactivo da continuidad a la imagen del héroe y, en algunas ocasiones, la reformula. Para ello se tendrán en cuenta dos videojuegos que gozan de gran popularidad y que transmiten de forma explícita la visualidad de la hegemonía masculina del héroe: Assassin’s Creed Odyssey (2018) y la saga God of War (2005-2018). Ambos son ejemplos paradigmáticos de dicha visualidad, ya que, aunque muestren otros aspectos referentes a la masculinidad y otros modelos de masculinidades no hegemónicos, los aspectos relacionados con la corpulencia, la dominación, el poder y la violencia serán los más recurrentes.

El héroe canónicamente se nos presenta en la épica como una figura digna de ser recordada por sus hazañas en beneficio de él mismo o de su comunidad. Pero sus hazañas en beneficio de él mismo o de su comunidad. Pero sus logras también tiene efectos secundarios, nefastos para otros eres, como su enemigo y la mujer. Proponemos una lectura del “Carmen 64” de Catulo, como un poema mixto donde el discurso épico se entrecruza con el trágico conductor de la opinión femenina, específicamente la de Ariadna (relacionada formal y temáticamente con Medea). Esta inserción de otro discurso que caracteriza al héroe como saevus y crudelis no se aboca sólo al discurso femenino, sino que es reforzado por el ego poético, quien busca presentar estas dos caras del héroe no como excluyentes sino como complementarias. Mediante las digresiones caracterizadas por el uso de la enargeia es el ego quien nos hace conocer y nos revela las virtutes heroum, cuyos resultados son no sólo positivos, sino también negativos.

On the case of the literary tale of Fran Levstik: Martin Krpan (1858), the article illuminates Levstik’s political agenda and his literary implementation of the outlaw hero, Martin Krpan, for the needs of Slovenia’s nation-building process, a phenomenon that was characteristic of almost all emerging European nations at the time. An analysis of Levstik’s Martin Krpan reveals a unique phenomenon that was tailored to a specific program: namely, the conscious desire to create a national literary character that would constitute both a foundation for further literary creation and for the national political struggle.
Levstik was the most prominent writer among the emerging Slovenian intellectual class in the second half of the 19th century. The value of Levstik’s tale resides in its merging of mythical and literary narrative into a functionally connected organism, the simultaneity of “historical” and “non-historical” elements, and the interaction between symbolic and real ambiguities. Levstik’s structure for both his literary-political program and for his tale about Martin Krpan originates in historical realities and cultural memory of the 15th and 16th centuries: economic (transportation), social (peasant revolts), and political (defense against the Ottoman Turks). Levstik combined these elements with the fundamentals of folkloric and ethno-symbolic cultural heritage of that period. In Martin Krpan, Levstik skillfully conceals “historical realities” behind metaphors and symbolism, which is typical of myths. In this way, he provides a path toward the realization of national political ambitions. But the “real” myth Levstik created was more than simply Martin Krpan and his adventures. It was more than an argument for the historical origin or vocation of a nation, the defense of the civilization, or the demand for political rights or mimetic narrative prose, i.e. the ability to create a virtual real world. The “real” myth of the literary tale was the elevation of the Slovenian language to the essential distinguishing and constitutive element of the Slovenian nation-building process in comparison with the "Other (s)".

This paper deals with the analysis of the illustrations in the magazine The Balcan war in picture and words published in Belgrade during 1913. The paper processed the pictures that had related to the territory of Kosovo and Metohija. Most of them are the portraits of soldiers, so-called Kosovo avengers. The portraits of priests were published as well, which pointed out their importance in the liberation activities. Also, it published the photographs of military graves, Kosovo towns and areas. The magazine was conceived so as to celebrate the cult of the battlefield heroes as well as the cult of Kosovo through its texts and illustrated material.

This article seeks to clarify doubts regarding an epithet commonly associated with Simón Bolívar, namely «father of the country» [padre de la patria]. It offers an analysis of the particular context in which it was applied in the time of independence movements, as a means to a clearer understanding of the paradoxes in the heroisation of a figure who came to be worshipped almost as a demi-god throughout a continent. To that end we emphasise the use of this term in New Granada beginning in the 16th century: then, founders of townships and presidents of the Real Audiencia were hailed as new Romuluses until a more Augustan sense of the term came into preferential use in the latter years of the 18th century. During the «New Granada interregnum» (1810-1816), the term retained the ambiguity of the classical tradition, namely the hailing of republican heroes—like Camillus, Fabius, Cincinnatus or the Scipios—and their imperial epigones alike as the first «hero of the century». To distance themselves from the Augustan tradition, associated with the Bourbons, Bolívar and his supporters sought to place the emphasis on another epithet more attuned to the republican essence of their struggle—that is, Liberator, like Brutus the Younger. By 1823 the growing association of the two epithets Liberator and Father of the Country was already raising suspicion of a ravenous appetite for glory in their bearers. As a result, Andrés Bello sought to downplay Bolívar’s reputation from London, above all others the source-point of its fabrication: and so he acclaimed other Venezuelan and New Granadan heroes before taking exile in Chile in 1829, where he stood up as the herald of domestic heroism, the only kind attuned to Freedom in the minds of Modernists.

El presente trabajo propone aclarar el equívoco de un epíteto comúnmente asociado a Simón Bolívar: «padre de la patria». Se trata de analizar el contexto propio de su atribución, durante las independencias, para entender mejor las paradojas de la heroización de quien llegaría a ser celebrado hasta como demiurgo de un continente entero. Para ello, enfatizamos el uso de esta locución en la Nueva Granada desde el siglo XVI, donde fundadores de urbes y presidentes de la Real Audiencia fueron celebrados entonces como nuevos Rómulos antes de que se impusiera el significado más nítidamente augusteo del epíteto en las postrimerías del siglo XVIII. Durante el «interregno neogranadino» (1810-1816), la locución no se deshizo de un equívoco que conllevaba la tradición clásica: celebrar tanto a héroes republicanos —como Camilo, Fabio, Cincinato o los Escipiones— como al primer «héroe del siglo» y sus epígonos imperiales. Frente al registro de los laúdes de Augusto, asociado a los Borbones, Bolívar y sus partidarios trataron de poner el énfasis en otro epíteto más conforme con el significado republicano de su combate: Libertador, tal Bruto el Joven. La asociación creciente de ambos epítetos, Libertador y Padre de la Patria, acarreó ya en 1823 la sospecha de un desenfrenado apetito por la gloria de quien los llevaba. Andrés Bello trató de aminorar la fama de Bolívar desde Londres ensalzando a otros héroes venezolanos y neogranadinos, antes de viajar a Chile en 1829 donde se haría el heraldo del heroísmo doméstico.

Cet article se propose de réduire l’ambiguïté liée à l’épithète communément associée à Simon Bolivar de « père de la patrie ». Il s’agit d’analyser le contexte authentique de son attribution, à l’époque des indépendances, afin de mieux cerner les paradoxes de l’héroïsation de celui qui parviendrait à être qualifié de démiurge d’un continent tout entier. Afin d’y parvenir, nous mettons l’accent sur l’usage de cette locution en Nouvelle-Grenade depuis le XVIe siècle : plusieurs fondateurs de villes et présidents de l’Audience royale y ont fait figure de nouveaux Romulus, avant que l’expression ne revête un sens plus nettement augustéen à la fin du XVIIIe siècle. Durant l’interrègne néo-grenadin (1810-1816), la locution n’a pu se départir d’une équivoque propre à la tradition classique : s’appliquer à la fois aux héros républicains — tels Camille, Fabius, Cincinnatus ou les Scipions — et au premier « héros du siècle » comme à ses épigones impériaux. Afin de se dégager du registre augustéen associé aux Bourbons, Bolivar et ses partisans ont essayé de mettre l’accent sur une autre épithète plus à même de traduire le caractère républicain de leur combat : libérateur, à l’image de Brutus le Jeune. L’association croissante des deux épithètes de libérateur et de père de la patrie a fait peser sur celui qui les portait le soupçon d’un appétit sans limites pour la gloire. Aussi, Andrés Bello a-t-il œuvré à rabaisser la renommée de Bolivar dans la ville même où elle s’élaborait : Londres. Il fit l’éloge d’autres héros vénézuéliens et néo-grenadins, avant de partir en exil au Chili, en 1829. Il y défendit l’héroïsme domestique, le seul qui soit conforme à la Liberté des Modernes.

ISBN 9788490960493

A quasi tre anni dalla prematura quanto dolorosa scomparsa di Enzo Lippolis (3 marzo 2018), occorsa con «modalità paradossali, degne di un eroe greco […] chiamato a sé dagli dei proprio nel momento più alto della sua parabola umana e professionale» (G.F. La Torre) , la Società Magna Grecia ha inteso ricordarne la poliedrica figura promuovendo l’edizione di una raccolta composita di scritti dedicati alla sua memoria. Pur non ricoprendo, infatti, un ruolo attivo nei ranghi dell’Istituto (la sua cooptazione nel Corpo consultivo di quest’ultimo era stata tuttavia già deliberata, anche se ancora non resa esecutiva, nel novembre del 2017), l’accademico tarantino era ormai da diversi anni – e unanimemente – annoverato tra le voci più autorevoli della ricerca specialistica avente come orizzonte l’archeologia della Grecità occidentale: campo d’indagine condiviso, sul quale Lippolis, integrando eterogenei fattori di conoscenza (Politica, Società, Economia, Religione), aveva fondato larga parte della sua lunga e proficua carriera di indagatore del Passato sino ad essere quotato, «grazie ad un impegno generoso e costante», tra i più saldi punti di riferimento (top performer) dell’antichistica classica italiana.

The present article develops a new approach to intellectual history and sociology of knowledge. Its point of departure is to investigate the conditions under which social thinkers assume the iconic reputation. What does it take to become ‘a founding father’ of a humanistic discipline? How do social thinkers achieve the status of a trans-disciplinary star? Why some intellectuals attract tremendous attention and ‘go down in history’ despite personal and professional failures, while others enjoy only limited recognition or simply sink into oblivion, even if they have met all the standards of their day? Quite a few sociologists have tackled this elusive issue. Pierre Bourdieu, Michele Lamont and Randall Collins are among those who fleshed out strong explanatory frameworks. This project adds to this body of knowledge by emphasizing cultural factors that these authors downplayed in their seminal accounts, despite being aware of their significance. By showing why these underdeveloped aspects of their works need to be incorporated into the debate and how this can be achieved, this article introduces a new theorization of the iconic, lasting intellectual reputation substantiated by evidence from the lifeworks of Bronislaw Malinowski and Michel Foucault. As such, it aims, minimally, to make sociology of knowledge decisively ‘cultural’. Maximally, it seeks to demonstrate that the iconic success of intellectual intervention in social theory depends on carefully performed and contingently mediated engagement with the binary systems of symbolic classification.

Download full text at: https://doi.org/10.1524/9783486704211-003
Heracles/Hercules is a particularly striking example of how European societies have received, appropriated and reshaped classical heroic myths into the early 21st century. Is the ancient hero thus also a European site of memory? It will be shown that it was a specific aspect of the myth that was evoked particularly frequently and became a topos by a distinct community of memory - the European princely courts - during a particular period, from the Renaissance to late Baroque. This topos functioned as a reference point for certain concepts of value that were historically framed - as a topos of memory.

Herakles/Herkules ist ein besonders augenfälliges Beispiel, wie europäische Gesellschaften bis ins frühe 21. Jahrhundert hinein antike Heldenmythen rezipiert, angeeignet und umgeformt haben. Ist der antike Held damit auch ein europäischer Erinnerungsort? Es wird sich zeigen, dass es vor allem ein spezifischer Aspekt des Mythos war, der in einer bestimmten Periode, zwischen Renaissance und Spätbarock, von einer distinkten Erinnerungsgemeinde – den europäischen Fürstenhöfen – besonders häufig evoziert und zum Gemeinplatz wurde. Dieser Topos fungierte als Referenzpunkt für bestimmte, geschichtlich verstandeneWertvorstellungen – als Erinnerungstopos.

Resumen: Jerónimo Merino, apodado el Cura Merino porque era sacerdote, fue uno de
los líderes guerrilleros más importantes y conocidos de la guerra de la Independencia
(1808-1814). La fama que obtuvo durante la invasión napoleónica de la península ibérica
se la debió Merino no solo a sus capacidades militares, sino también a una presencia
masiva en los periódicos de la época. Al terminar el conflicto, Merino volvió a la vida
eclesiástica. Este artículo analiza la imagen periodística y propagandística de Merino
durante el Trienio Liberal (1820-1823). A lo largo de dicho periodo el cura empuñó
las armas nuevamente, defendiendo los intereses de los absolutistas frente a los de los
liberales, en la que es considerada como la primera guerra civil española contemporánea.
Abstract: Jerónimo Merino, a clergyman dubbed as the “Priest Merino”, was one of
the most important and well-known guerrilla leaders during the Peninsular War (1808-
1814). Merino owed his fame to the Napoleonic invasion of the Iberian Peninsula, not
only because of his military prowess, but also due to his widespread presence in the press
of the time. At the end of the conflict, Merino returned to his ecclesiastical life. This
article addresses the journalistic and propaganda perception of Merino during the Liberal
Triennium (1820-1823), a time when the priest took up arms once again, this time to
defend the interests of the absolutist rule against those of the liberals in what has come to
be considered as the first contemporary Spanish civil war.

Irish republicanism is commonly associated with martyrdom and with terrorism. The historical roots of these joined connotations can be found in nineteenth-century Fenianism. However, Fenianism is a somewhat elusive term. By surveying the elaborate cults of political martyrs developed by republicans in the late-nineteenth century, alongside the more marginal engagement with terrorism, this essay disentangles the complex genealogy of the Irish martyrdom-terrorism nexus from the Fenian rising of 1867 up to the Easter Rising of 1916.

This essay deals with the trial held in the years 1630-’31 following the forcing of the sarcophagus of Francesco Petrarch by the Domenican friar Tommaso Martinelli. The trial documents let us see the possible motivations that led to the removal of some of the poet’s bones. The episode is connected to the image of this local hero, which grew up over
the course of the centuries within the community of Arquà following the cult that had arisen among the numerous Italian and foreign travellers who stopped at this small village in the Euganean Hills to express their admiration for and devotion to the remains of Francesco Petrarch.

In the aftermath of the violent Revolution of Dignity (2013/2014) and the subsequent war in Donbas (2014-), a heroic story about the new beginning of a "united, Ukrainian nation" began to emerge. Shaping this new narrative are new museum projects devoted to Ukraine's developing history. This article examines the process of these new institutions' formation, the content of created exhibitions, and the activities conducted therein. It focuses on the role of the museums in activating, unifying, and integrating both the Ukrainian national community and civil society. This article is based on a qualitative analysis of materials collected during seven research stays in Ukraine

In February 1998, the entire Czech Republic was in jubilation over the gold medal victory of its ice-hockey team at the Olympic Games in Nagano, Japan. The players were spectacularly welcomed home by tens of thousands of fans, including ordinary citizens and political figures. Goalkeeper Dominik Hašek, the famous NHL star Jaro-mír Jágr, and team captain Vladimír Růžička, were heavily covered by the media. The three athletes went on to have successful careers after Nagano. Czech media coverage played a significant role in the "Naganomania" of the time and was later also to assist in the social fall of some of those heroes. Based on the theory of myths in sports journalism , the concept of fallen heroes, and the media frame analysis, this paper presents the development within the media coverage of the four above-mentioned athletes in selected Czech dailies. The media portrayals of these athletes so similarly celebrated in 1998 are shown to have diversely evolved over a twenty year span.

Studi: II. Carmelo MALACRINO, Su un appunto “dimenticato” di Paolo Orsi. Il sarcofago marmoreo di S. Eufemia Vetere; Maria Luisa MARCHI, Giovanni FORTE, Luceria. Lettura storico-topografica della città e del suo territorio; Madeleine MERTENS HORN, Una monumentale testa di Sfinge arcaica da Taranto; Sophie MONTEL, Airton POLLINI, Réinventer l’histoire: réécritures du passé et honneurs aux héros dans le monde grec à l’époque classique; Kees NEEFT, Florals in the Workshop of the Laurion Painter; Maria Cecilia PARRA, Una nota per l’agora di Locri Epizefiri; Nicoletta POLI, Il culto attestato in località Pizzone a Taranto; Ted ROBINSON, Spurs in Ancient South Italy; Daria RUSSO, Rappresentare gruppi civici ad Atene: presenze e assenze sul fregio del Partenone; Umberto SPIGO, I pinakes di Francavilla di Sicilia: alcuni addenda; Paolo STORCHI, Enzo Lippolis e il territorio reggiano. Una stagione di grandi scoperte; Chiara TARDITI, Vasi di bronzo in area apula: le importazioni ateniesi; Indice dei sommari delle annate 2019 e 2020.

Resumen: En las siguientes páginas nos aproximaremos a la reconfiguración de los tipos heroicos del Antiguo Régimen español producida al regazo de la política propagandística del absolutismo y el reformismo ilustrado de Carlos III y, sobre todo, Carlos IV. Estudia-remos la modelación de un héroe cuya causa es la patria y cuya conducta se basa en la hombría de bien. Desde esta perspectiva estudiaremos figuras emergentes del panteón de la época como el rey patriota, el militar ilustrado o el defensor del bien común.

Abstract: In the following pages we consider the reconfiguration of heroism in the last decades of the Spanish Ancien Régime. These changes were related to the political propaganda sponsored by Charles III and Charles IV in accordance with their absolutist and reformist agenda. We find a hero whose cause is the fatherland and whose role model is the so-called «hombre de bien». From this perspective, important characters in the Pantheon of these times, such as the patriotic king or the hero of the common good are analyzed.

Marko Miljanov: kult hrdiny v perspektivě transnacionální historie, In: Dana Bittnerová – Mirjam Moravcová (eds.), Etnické komunity - Hrdinové, šibalové, antagonisté Balkánu, Praha: FHS UK 2017,  pp. 111-172.
SUMMARY: Marko Miljanov: A Hero Cult from the Perspective of Transnational History. The contribution is devoted to the cult of Marko Miljanov (1833-1901), chieftain of the Kuči tribe from the present-day Montenegrin-Albanian borderland, general and writer, traditionally considered as an an epitome of "Montenegrin heroism" (crnogorsko junaštvo). It will primarily focus on the process of establishment of his cult from the perspective of transnational history. Miljanov is primarily a Montenegrin hero, but is also included in the imaginary Serb national pantheon. The image of Miljanov in the Albanian milieu is more ambivalent. Miljanov can be represented as a military foe of the Albanians, but also as their greatest friend among the South Slavs and sometimes even as a person of Albanian ethnic origin. The genesis of the cult of Marko Miljanov as a great hero and exemplary human being has a Prague context as well.  Czech Slavophiles, especially the writer, journalist and translator Josef Holeček, contributed to his glorification already during Miljanov´s lifetime in the 1880s and 1890s. In the 1930s and 1940s, the stories about Miljanov as well as his own writings attracted the attention of the leading German Slavicist Gerhard Gesemann, who taught at the German University in Prague at the time.  In Montenegro itself, the memory of Marko Miljanov was appropriated and instrumentalized by all political regimes throughout the 20th and 21st century. In recent years, Miljanov has been reinterpreted as an advocate of multiethnic coexistence of the South Slavs and Albanians. At the same time, critical efforts to deconstruct his cult have also appeared, especially among historians and contemporary writers.

"Strip funkcionira kao zrcalo koje upija, reflektira, prevodi i iznevjeruje svjetlo koje dolazi od onoga što ga najviše privlači: kino, televizija te popularna književnost. Stripovi su veliki prevoditelji i indikatori imaginarnog, njegovih fragmenata, rubova i globalnih promjena. Stoga nije teško zaključiti da su dinamički procesi stripa usko vezani za promjene u "srodnim" sustavima u univerzumu medija, te da njegove teme i načini na koje ih prenosi proizlaze iz ponovnog pisanja ili crtanja, probavljanja ili odbijanja onih tema i informacija koje se pojavljuju ili su čitljive između redaka u ostalim medijima" (Gino Frezza "La macchina del mito tra film e fumetti"). Članak analizira osam publiciranih stripova u Hrvatskoj 1990-ih godina, koji su sva pronađena građa koju je autor uspio skupiti. Tematski se mogu podijelit i u tri skupine: superheroji, antijunaci te stripovi s porukom. Cilj je bio pokazati da strip na sebi svojstven način apsorbira teme kojima se bave ostali mediji. Dakle, u ovom slučaju, ratište, imidž ratnika i neprijatelja ali i svojevrsna idealizacija povijesti Hrvata, gdje su oni mahom prikazani kao mudriji, dovitljiviji i učeniji ili jednom riječju ‡ bolji od naroda s kojima su dolazili u kontakt, biti će dominantne teme kojima su se bavili autori. Stoga će nas hrvatski ratni strip podsjetiti na već viđeno, dakle ono "naše" ili "lokalno" na što se nadovezuju elementi pop kulture, politike i povijesnog revizionizma, pa ih je moguće gledati i analizirati kao propagandne uratke za "mlađe" u kojima se može otkriti "refleksija" kolektivnog imaginarija devedesetih godina u Hrvatskoj. Ključne riječi: Hrvatska / strip / 1990-e

Myth is a meta-language that shapes our cultures and the way we individually and collectively make sense of reality. This paper presents the methodologies of French anthropologist and sociologist Gilbert Durand as a way to unveil how ancient myths contribute to the symbolic construction of societal leaders in times of crisis. To do so, it analyses the controversy of the selection of Time magazine’s Person of the Year, which confronted the figures of Julien Assange and Mark Zuckerberg. The myth analysis of their Wikipedia biographies will show that despite the fact these two personalities are considered almost opposites, the structure of the collective shared narratives about each of them follow the structure of the myth of Hermes, one shaping the grand narrative of the postmodern era. Realizing why and how the myth of Hermes promotes our contemporary leaders, sometimes apparent antagonists, contributes to better understanding of the unconscious drives of their symbolic construction, and enabling critical engagement with the rationales of their emergence.