Góry czeskie i słowackie jako element narodowego mitu

The study is based on a comparison of Czech travelogues to the Krkonoše (Giant Mountains) and the Tatry (Tatras) from the first half of the 19th century. Although the mountains Krkonoše and Tatry represented different, geographically relatively distant localities, their literary image was identically formed in the context of patriotic romanticism. It helped in particular that the Giant Mountains and the Tatras could be included in the “ownership” of the Czech nation and used in the construction of the Czech national myth.

České a slovenské hory jako součást národního mýtu

The study is based on a comparison of Czech travelogues to the Krkonoše (Giant Mountains) and the Tatry (Tatras) from the first half of the 19th century. Although the mountains Krkonoše and Tatry represented different, geographically relatively distant localities, their literary image was identically formed in the context of patriotic romanticism. It helped in particular that the Giant Mountains and the Tatras could be included in the “ownership” of the Czech nation and used in the construction of the Czech national myth.

The Veteran Reintegrated in You’re the Worst and One Day at a Time

As the “War on Terror” continues, the national myth of veteran-as-hero has given way to a narrative shorthand of veteran-as-villain. Films and television shows depicting the reintegration of veterans tend to focus on the struggle and alienation from the homefront that veterans feel upon their return. In contrast, comedy television portrayals such as One Day at a Time and You’re the Worst, both of which slowly but successfully reintegrate their central veteran characters, do so narratively by shifting their characters’ veteran status from their defining feature to one aspect of their past. Ultimately, I argue that the process of reintegration is one paralleled in the rehumanization that these comedy television portrayals permit, ultimately offering hope that reintegration, while not easy, is possible.

Swedish Media, Fundamental Values and the Opinion Corridor in the 2018 Election

Sweden is usually ranking very highly in terms of global democracy and transparency indexes. The 2018 elections in Sweden were very divisive and bitterly fought, where there was an open conflict between the mainstream political establishment parties and the anti-political establishment Swedish Democrats. Mainstream Swedish media were not neutral bystanders in the election coverage, in the months before and after the September 2018 elections. The election coverage framing featured an idealised national myth that uses the notion of various acceptable fundamental values to define it, and an idealised Swedish society. Those actors whose values and norms that do not fit these ideals were subjected to attack and derision within a concept of consensus enforcement known as the opinion corridor, which is akin to the spiral of silence.

Вопрос национального единства в современной России: возможен ли единый национальный миф?

The author, relying on the concept of nations as imagined communities, sharing the existence of the scientific concepts of “ethnic” and “civil” nations, considers the possibility of the emergence of a single national myth, which could become the most important construct in the formation of national unity in a multinational country. Based on various legislative initiatives, amendments to the Constitution of Russia, considering certain aspects of historical policy in Russia, the author concludes that after 2014, on the background of the Ukrainian crisis, the Syrian crisis, US and European Union’s sanctions pressure and political confrontation with the West, the Russian authorities situationally started the mobilisation of public opinion. This policy is capable of producing results only in the short term. Achievement of national unity based on the single national myth, acceptable to most of the Russian society, will require more thorough work and delicate inclusion in the information space, as well as in the educational programs of secondary and higher education.

Staging Empire as History and Allegory in Austria and Germany

Theatrical presentations of the foundational myths of the Austrian and German empires, either as costumed processions and pageants or as specially commissioned plays for the theatre, were staged on anniversaries and important jubilees. In Austria, the most important was Franz Joseph’s Diamond Jubilee in 1908, when a pageant of 12,000 lay participants took place in Vienna, while other elements of the national myth were presented on the stage. Wilhelm II played an active part in promoting the imperial theatre festival in Wiesbaden between 1896 and 1914, for which parts of the Hohenzollern myth were dramatized. In 1897, on Wilhelm I’s hundredth birthday, Ernst von Wildenbruch’s Willehalm was performed in Berlin, a verse drama presenting Wilhelm I in allegorical form as the hero who rescued Germany from the evil French.

EVOLUTION OF THE CONCEPT OF MASCULINITY IN THE ANDRIY GARASEVYCH WORKS

Purpose. The task of this article is to analyze the manifestations of masculinity in A. Harasevych’s poems of of the interwar period by identifying various manifestations of masculinity in the works of the poet, studying their connection with ideological guidelines of A. Harasevych, analysis of the change and evolution of masculine images at different periods of the artist's creative path.Methods. The research uses the following methods: descriptive, historical-biographical, comparative-historical (to compare different types of masculinity), archetypal and textual analysis (determination of the symbolic meaning of artistic images) and elements of masculine studies (study of masculinity as gender, compliance of its manifestations with gender stereotypes in society), stylistic, mythoanalysis, etc.Results. During the research it was revealed that the first period of A. Garasevich's work was marked by the expressive influence of state-building ideas, which were characteristic for the whole «Prague school». The subject of most works of this period is military-historical. Masculinity in them is manifested mainly in the form of hegemonic heroic masculinity, and its ideal carrier is the Warrior. At the second stage, religious motives played an important role in the poet's work. The poet is experiencing a worldview crisis, which is reflected in his works by the crisis of masculinity. Most often it is embodied in the images of a wanderer, a fugitive, whose features are fatigue, helplessness and illness. The last stage of the poet's poetic work is characterized by significant ideological influences of K. Hamsun and F. Nietzsche. There is a certain return to the heroic masculinity of the early works, but such masculinity is asserted not on the battlefield, but by victories over oneself, the element or a wild beast. This is the masculinity of a Nietzschean who hardens the superman in himself, feeling the joy of the process of overcoming. Thus, the concept of masculinity in the works of A. Harasevych has evolved from the romanticized heroic masculinity of the Warrior through the crisis of masculinity to the establishment of a new type of heroic masculinity in peacetime.Conclusions. Studies of gender issues in the works of the representative of the younger generation of the Prague SchoolA. Harasevych allow to form a more complete and holistic picture of this phenomenon and the Ukrainian national myth, an important aspect of which is gender.Key words: gender, gender stereotype, identity crisis, worldview, symbol, vision, archetype, statehood idea. Мета. Метою розвідки є аналіз виявів маскулінності в поетичній творчості А. Гарасевича та їхньої еволюції шляхом ідентифікації різних виявів маскулінності у творах поета; дослідження їхнього зв’язку зі світоглядними ідейними настановами А. Гарасевича; аналізу зміни й розвитку маскулінних образів на різних етапах творчого шляху митця.Методи. Під час дослідження використано такі методи: описовий, історико-біографічний, порівняльно-історичний (для порівняння різних типів маскулінності), архетипний і текстуальний аналіз (визначення символічного значення художніх образів) та елементи маскулінних студій (дослідження маскулінності як ґендеру, відповідності її проявів наявним у суспільстві ґендерним стереотипам), стилістичний, міфоаналіз тощо.Результати. У процесі дослідження виявлено, що перший період творчості А. Гарасевича позначений виразним впливом державницьких ідей, які були характерні для всієї «Празької школи». Тематика більшості творів цього періоду воєнно-історична. Маскулінність у них виявляється переважно у вигляді гегемонної героїчної маскулінності, а її ідеальним носієм є Воїн. На другому етапі важливу роль у творчості поета відіграють релігійні мотиви. Поет переживає світоглядну кризу, що відбивається у його творах кризою маскулінності. Найчастіше вона утілюється в образах мандрівника, утікача, рисами яких є втома, безсилля та хворість. Останній етап поетичної творчості поета характеризується значними світоглядними впливами К. Гамсуна та Ф. Ніцше. Відбувається певне повернення до героїчної маскулінності ранніх творів, але така маскулінність стверджується не на полі бою, а перемогами над собою, стихією чи диким звіром. Це маскулінність ніцшеанця, що гартує в собі надлюдину, відчуваючи радість від самого процесу долання. Отже, концепт маскулінності у творчості А. Гарасевича пройшов еволюцію від романтизованої героїчної маскулінності Воїна через кризу маскулінності до утвердження нового типу героїчної маскулінності мирного часу.Висновки. Дослідження ґендерної проблематики у творчості представника молодшої генерації «Празької школи» А. Гара-севича дозволяють сформувати більш повну й цілісну картину цього феномену та українського національного міфу, важливим аспектом якого є ґендерний.Ключові слова: ґендер, ґендерний стереотип, криза ідентичності, світогляд, символ, візія, архетип, ідея державності.

Slavic fantasy yesterday and today

The article is devoted to the study of the evolution and transformation of the Slavic fantasy genre on Russian soil: from its inception in the 1990s to the present day. Fantasy on the material of the events of the time of the pro-Slavic unity in Russia gained popularity and special significance. They solved the compensatory tasks of re-identification for the mass consciousness: with the collapse of the Soviet empire, the post-Soviet man needed a positive identity, which manifested itself in turning to the “great past” in predominantly heroic images. The subsequent historization and contextualization of the genre, its transformation from a fairy tale to a quasi-historical narrative was largely due to the influence of the ideologies spread by folk history. In the 2000s, Slavonic fantasy employs the mechanisms of routine, serialization, reduction, and convergence. In the 2010s, Slavic fantasy continues to be part of the national myth, gaining new genre forms — a film, a computer game, etc. However, new examples of the genre (in particular, Andrei Rubanov’s novel “Finist the Clear Falcon” of 2019) broadcast nostalgic moods in the aesthetic spirit retroutopia. If at the turn of the 1990–2000s Slavic fantasies became close to a historical adventure novel, now their rapprochement with a fairy tale is indicative.