Letteratura scientifica selezionata sul tema "Anti-Hero Lead"

This paper examines the role of anti-hero works in recent years' film history and their influences on audiences. By incorporating evidence from academic articles in film reviewing and narrative analysis, this paper explores how film producers create novelty anti-hero images to satisfy audiences. This study demonstrates the change in the tastes of audiences by comparing the anti-hero film and television works and classic heroic ones. During the transition process, the differences and similarities between these two kinds of characters also demonstrate the consistent and changed representative ideas in reality. The background of these audiences from different cultures and languages is also considered as the variable factors of their aesthetic view and absorbed information since cultural differences and language barriers could twist the meaning during the information transmission.Through the analysis of relative academic articles, this study found the existence of different social factors, various propositions, and ideologies that cause these anti-hero images' creation and lead to the impact on audiences and their psychological changes. These varied impacts assert both negative and positive influences on them. Negative influence contains the pursuit and imitation of violent scenes and further change into morally- ambiguous ways of thinking, while positive influence includes stress relieving function and reflection of themselves or others.

King Lear(1606) is one of the political tragedies of Shakespeare in which the playwright censures Lear's hamartia wrecking havoc not only upon people's lives but bringing devastation on his own kindred. Shakespeare castigates Lear's wrath, sense of superiority, and misjudgments which lead to catastrophic consequences. InDeath ofYazdgerd(1979), an anti-authoritarian play, Bahram Beyzayie, the well-known Persiaian tragedian, also depicts the hamartia of King Yazdgerd III whose pride and unjust treatment of people end in devastation. By demonstrating such defective and reprehensible tragic heroes, both playwrights set at providing audience with an anti-heroic representation of the kings and also shattering the common god-like heroism attributed to hero kings. Bearing in mind the political instability of England after the succession of James I, Shakespeare avails himself of such anti-heroic representation to forewarn those monarchs incapable of maintaining a balance between their judgments and the society's need for a genuine authority. In a similar fashion, Beyzayie narrates the true historical event of a Persian king whose improper exercise of authority, withdrawal from battle, and an ultimate escape leave people helpless against the invasion of Arabs. The article initially aims to discuss the concept of hamartia within the tragedies based on Aristotle's definition of hamartia and golden mean; by defining the nature of the kings' unforgivable errors and their extremely imbalanced temperament, the paper demonstrates how such ignoble failure relegates the hero kings to anti-heroes whose punishment equals their mistakes. Contrary to Aristotle’s idea, the article also elucidates how Shakespeare and Beyzaie have caused the audiences’ catharsis of emotion not through fear and pity but through the creation of a sense of justice by portraying characters who deserve their ultimate downfall.

Today, it would not be an exaggeration to say that Chuck Palahniuk is recognized as a literary genius, a hero for the generation of nihilists. Among the epithets used are: "king of countercultural prose", author of fascinating anti-social novels, cult author and a number of others. In this article, I comment on the profound connection between his philosophically insightful and abstract prose and the postmodern challenges that together lead him to reveal the deepest vices of the crisis-ridden contemporary American society. Palahniuk's postmodernism presents a generalized expression of modern man's disgust with the consumer society of crimes and injustices. He sees a way out only in individual anarchist rebellion, which rests on the denial of all false values.

The author has given a socio-cultural interpretation of the phenomenon of laughter in the film "The Joker" (Todd, Phillips, 2019) as an individual as well as a social phenomenon of Western civilization. He considers the difference between the concepts of utopia, dystopia and utopistics as a possible solution to the problem that would avoid an optimistic and pessimistic view of the future of humanity. The author seeks a civilization parallel between the fictional world of film and the cultural elements of today. The necrophilic atmosphere of Gotham City is strikingly reminiscent of the spiritual lethargy that characterizes the postmodern metropolises of the 21st century. The fate of the film's protagonist could afflict any individual on our planet if they came to the realization that they are a personality, that they have created themselves, and that on their own spiritual skin they have felt the misunderstanding of others who do not wish to stand out from the crowd. The author notes that many protesters against the governing structures of the oligarchy of states around the world have identified themselves in their protest with the Joker, an anti-hero who in a century of tolerance defends with laughter when he feels that his existence is threatened. In this film, the Joker is the personification of a diseased society. Todd Philips' work is an attempt to draw attention to the fact that the stratification of the human community can lead to the breakdown of social relations, however much the governing establishment's media seek to entertain and laugh at masses of proletarians and homeless people without a cultural identity through entertainment shows. The impact of the film, as a work of art, was visible immediately after its broadcast in public. The failed clown Joker could not cure himself with laughter because his laughing was "crying upside down" out of despair that was contrary to the hope of a man who could seek the meaning of his life in two Christian virtues: faith and love. However, the author of this text offers a solution by reminding of the way of life of a specific person, which would save the world from moral panic. He introduces us to a man with an accomplished existence of being a clown and a university professor at the same time - E. Kiphard (1923-2010), who lived to help fellow men with a mission to treat people with laughter rather than to defend them with the Joker's unnatural and contagious laughter of an anti-utopian resident.

AbstractMircea Eliade, the writer and historian of religions, and Ernst Jünger, the hero of the Great War, novelist, and essayist, met in the 1950s and co-edited twelve issues of the periodical Antaios. Before they met and cooperated, however, and while the German writer knew about Eliade from their common friend, Carl Schmitt, they both dealt with the subject of human sacrifice. Eliade began to do so in the thirties, and his interest in that theme was at least in part an aspect of his political activism on behalf of the Legion of the Archangel Michael, or the Iron Guard, the nationalistic and anti-Semitic movement lead by Corneliu Codreanu. Sacrificial ideology was a central aspect of the Legion's political theories, as well as of the practice of its members. After the Iron Guard was outlawed by its allies, and many of its members had been killed, and while the Romanian regime of Marshal Ion Antonescu was still fighting alongside the National Socialist regime in the Second World War, Eliade turned to other aspects of sacrificial ideology. In 1939 he wrote the play Iphigenia, celebrating Agamemnon's daughter as a willing victim whose death made the Greek conquest of Troy possible; and as a member of the regime's diplomatic service in Lisbon he published a book in Portuguese on Romanian virtues (1943), in which he presented what he called Two Myths of Romanian Spirituality, extolling his nation's readiness to die through the description of the sacrificial traditions of Master Manole and of the Ewe Lamb (Mioritza). Jünger's attitude to sacrifice ran along lines that were less traditional: possibly already while serving as a Wehrmacht officer, in his pamphlet Der Friede, the German writer attributed sacrificial status to all the victims of the Second World War, soldiers, workmen, and unknowing innocents, and saw their death as the ransom of a peace "without victory or defeat." In this article, the sacrificial ideologies of the two intellectuals are compared in order to reflect upon the complex interplay between traditional religious themes, more or less freely re-interpreted and transformed, political power, and violent conflict, in an age of warfare marked by fascisms and by the terrible massacre some refer to by the name of an ancient Greek sacrificial practice.

The subject of the article is the political behavior of one of Stalin's greatest opponents, Grigory Yevseevich Zinoviev, in the period between his first expulsion from the party at the end of 1927 and his arrest on charges of Kirov's murder in December 1934. Zinoviev's letters, speeches and statements to the party leadership are analyzed, through which he tried to achieve the main goal of returning to the party and to political activity. It is established that Zinoviev has an internal struggle between public speaking and maintaining his own political attitudes. These "torments" and "tosses" caused distrust of Zinoviev from the party leaders and led the hero first to a psychological breakdown, and then to political death. The materialistic concept (in particular, historical determinism) is used as a tool. The method of psychohistory is also used to analyze the inner world of a politician and the motivation of his actions. An analysis of Zinoviev's activities as a vivid example of the political behavior of a communist oppositionist allows us to draw the following conclusions: 1) Zinoviev's behavior during the period under review was determined by his return to the party, preferably to a leadership job. The basis for achieving the goal was the recognition of the impossibility of further opposition struggle, which could lead to a split of the CPSU(b), as well as general agreement with the policy of collectivization and industrialization that had begun; 2) The content of Zinoviev's appeals to various governing bodies, including I. V. Stalin, changed according to the situation inside the party leadership. 3) The calculation was not just to return to the party and to the leadership, but to take part on Stalin's side in the fight against Bukharin. The party leadership saw this and used it for psychological breakdown. 4) It is incorrect to consider Zinoviev's political behavior as a classic "double-dealing". He did not conduct anti-party work and did not reject the foundations of the party line. But his behavior led at the end of 1932 to a psychological breakdown and a rejection of his own political self. Finally, Zinoviev's "torments" and "throwing" stopped at the end of 1934. He died as a politician. The scientific novelty of the article lies in the very formulation of the question, the introduction of unpublished Zinoviev documents into scientific circulation, consideration through one of the leaders of the party and the oppositionist of the mechanism of strengthening Stalin's personality.

Objective. To identify the potential epizootic and epidemiological risks arising from the development of the infrastructure of Platov Airport in the territory adjacent to the airport for the development, if necessary, of a set of anti-epidemic and preventive measures. Materials and methods. Epizootological monitoring was carried out in the vicinity of Platov airport, as well as on the territory of the complex itself for three seasons (20192021). The capture of small mammals was carried out according to the standard method of trap-lines with Hero crushers; 1200 trap-days were accumulated. Route records of bats with the determination of their species were carried out. The species belonging of blood-sucking arthropods was determined using determinants. Regulatory support for the above monitoring was formed in accordance with the current normative and methodological documents: SanPiN 3.3686-21 "Sanitary and Epidemiological Requirements for the Prevention of Infectious Diseases"; MP 3.1.0211-20 "Trapping, Accounting and Forecasting the Number of Small Mammals and Birds in Natural Foci of Infectious Diseases"; MU 3.1.3012-12 "Collection, Accounting and Preparation for Laboratory Examination of Blood-sucking Arthropods in Natural Foci of Dangerous Infectious Diseases". Laboratory studies of samples of extracted biomaterial for the search of markers of pathogens of natural focal infections were carried out taking into account the requirements of current regulatory documents. Samples for laboratory testing were formed in compliance with the principle of "one point of collection of material, one time of collection of material, one type of material". Results. The results of epizootological monitoring of the territory of the Platov airport (Rostov-on-Don) are presented, according to which a real possibility of the development of epizootics of dangerous infectious diseases among small mammals living in the adjacent territory to the Platov airport has been established. In order to eliminate potential risks that can lead to complications of the epidemiological situation, it is necessary to carry out planned deratization and acaricide treatments on the territory of Platov airport. The continuation of regular epizootological monitoring of the airport territories and adjacent territories remains very relevant. Conclusions. The results of epizootological monitoring of the territory of the Platov International Airport (Rostov-on-Don) revealed the presence of mouse-like rodents penetrating from the surrounding fields, including those belonging to groups I and II of infectious sensitivity to tularemia, which form potential epizootological risks. A comprehensive laboratory study of biological material obtained from mouse-like rodents captured during epizootological monitoring did not reveal markers of pathogens of natural focal infections. At the same time, systematic regular epizootological monitoring of the airport territory is necessary due to the presence in the territories surrounding the airport complex of natural foci of particularly dangerous infections common to humans and animals, where mouse-like rodents live and reproduce, including house mice and rats, capable of migrating and inhabiting residential and warehouse premises and in case of activation of epizootic process to introduce infection into the territory of the airport complex, especially in autumn and winter.

Abstract Historiography of the study of Ivan the Terrible’s times contains many examples of demystification attempts: E. Keenan declared the correspondence between Ivan the Terrible and Andrey Kurbsky to be apocrypha, Anthony Grobovsky exposed the ‘Chosen Rada’, Mikhail Krom unmasked the time of ‘boyar rule’. Cornelia Soldat suggests revising the history of the ‘massacre of Novgorod’ in 1570. She believes it to be a product of a ‘literary game’. The story of the destruction of Novgorod first appeared in the German Flying Leaf in 1570 and Alexander Guagnini’s Chronicle in 1578. It was a product of European political discourse. The Novgorod Chronicles borrowed that story from Guagnini’s Chronicle in the late 17th century. However, this hypothesis lacks sufficient proof. Independent evidence exists: The Solovetsky Chronicle of the 16th century. According to Soldat, the reports from The Novgorod Uvarov Chronicle date back to the late 16t–early 17th (about 1606) centuries, rather than to the 17th century. The main argument against her concept is the confirmation in independent sources and documents of the death of many people, while the circumstances of the repression or death point to Novgorod and 1570. The Novgorod chronicles contain no evidence of text borrowings from German or Polish sources. There is no proven textual similarity between them. The story of the ‘massacre of Novgorod’ evolved in the Novgorod’s urban legends. This would have been hardly possible, if this story had been of a purely bookish, literary origin. Therefore, Cornelia Soldat’s attempt to demystify the history of the ‘massacre of Novgorod’ in 1570 cannot be considered convincing.

The purpose of the paper is to consider the modern concept of love (in the framework of the social psychology of the “Man and Woman” relations), reflecting the specificity of scientific approaches in our century. The authors refer to the phenomenon of love in the history of the humanity, which is transformed into a new archetypal reality through global and socio-cultural changes. By method of comparative analysis the authors attempted to trace the dynamics of changes of the rhythm and way of life, reflected in the framework of changes in social relations within the communication space of “male” and “female”, the similarities and differences of this. The authors make a conclusion about the archetypes associated with the conversion of love in consummation of external manifestations. Schematically this process looks like the desire for functional infantilisation of generations that extends in the framework of “birth - death – rebirth” through the archetypal theme of “child” and “hero”; however, individuation (narcissism) leads to a loss of subjectity and the updated archetypal theme of “the disabled hero” is compensated in the image of “anti-love”.

Taking the archetypes of the paterfamilias, the hero and the anti-hero, the mother, the vamp and the shrew as our point of departure, we attempt to trace the evolution of gender behaviour and its representations during the second half of the century as they are reflected in the language of a selection of English, Canadian and American radio and television programmes. We explore some illustrations of the interaction between social status and language, of the difficulty of reconciling the expression of emotion with positions of authority. We analyse a few examples of how language can serve to establish dominant / subordinate relationships : how speakers use language to gain sway over their interlocutors or to belittle them. We stress the necessity of examining elements of the situation of discourse and of the linguistic context in order to determine whether or not accusations of semantic derogation are justified. A linguistic analysis of utterances cited as examples of the ingrained male bias of the language leads us to consider some of the ways in which meaning is conveyed and to reflect upon the categories of gender and the generic in English.

Franz Kafka’s The Trial stands as one of the most influential and emblematic novels of the twentieth century. Yet, as the overused adjective “Kafkaesque” suggests, rather than as a work of art in its full complexity, it has all too often been received as an expression of some vaguely felt cultural or psychological malaise—a symbol, perhaps, of all that we do not seem to comprehend, but that nevertheless is felt to haunt and influence us in inexplicable ways. Its plot, however, is both complex and completely unforgettable. A man stands accused of a crime he appears not to have any recollection of having committed and whose nature is never revealed to him. In what may ultimately be described as a tragic quest-narrative, the protagonist’s search for truth and clarity (about himself, his alleged guilt, and the system he is facing) progressively leads to increasing confusion before ending with his execution in an abandoned quarry. Josef K., its famous anti-hero, is an everyman faced with an anonymous, inscrutable yet seemingly omnipotent power. For all its fundamental strangeness, the novel seems to address defining concerns of the modern era: a sense of radical estrangement, the belittling of the individual in a bureaucratically controlled mass society, the rise perhaps of totalitarianism, as well as the fearful nihilism of a world apparently abandoned by God....

This chapter provides an overview of British musical theatre. The first known British musical was dramatist John Gay's The Beggar's Opera (1728), which centers on an anti-hero, Macheath, who was surrounded by enemies and allies grouped in twos. The music is not original because Gay pasted his lyrics onto pre-existing folk and popular tunes known as “ballads,” therefore making Gay's work a ballad opera. It was the flash success of The Beggar's Opera that led the manager of Lincoln’s Inn, John Rich, to build Covent Garden. The chapter looks at a more famous ballad opera, Allan Ramsay's The Gentle Shepherd (1725). The chapter then looks at genres such as the comic opera, the burletta, the extravaganza, the pantomime, and the burlesque.

This chapter offers a reading of London’s major sea novel, The Sea-Wolf, and his most celebrated semi-autobiographical novel, Martin Eden. The discussion of The Sea-Wolf focuses on the opposition of Wolf Larsen’s Nietzschean individualism and Humphrey Van Weyden’s collective idealism. This analysis focuses on the ways in which London uses Larsen’s anti-egalitarian materialism and Van Weyden’s more egalitarian idealism to orchestrate an effective and sensational war of ideas. Martin Eden also offers a critique of individualism, but his eponymous writer-hero emerges as a more ambiguous and sympathetic character. Unlike Larsen, Eden is generous and charitable in his social interactions, but his Nietzschean creed manifests itself as severe intellectual malady, which leads to depression, loneliness, and his eventual suicide. London depicts how aesthetic standardization and the popular press also contribute to Eden’s despair.

This chapter discusses Wes Craven's New Nightmare and John Carpenter's In The Mouth of Madness that blurred existing horror cinema and horror literature with reality and pseudo-realities. It analyses how the acknowledgment of both creators and audience within intricate, self-reflexive narratives equally strive to operate as serious, frightening genre films in an age of pastiche and repetition. It also talks about Last Action Hero from 1993 as a higher-profile failure that was conceived by two neophyte writers as a parody of 1980s action films. The chapter examines the icons of horror that formerly dominate the covers of genre bible Fangoria that were fading from public popularity as the 'McDonaldisation of horror'. It describes the fervour to capitalise on the popularity of anti-heroes like Freddy Krueger that led to increasingly campy and gimmicky sequels.

This chapter details how, as US liberalism began to divide into hostile camps with the onset of the Cold War, the Liberal Party found itself in an ambiguous position. On the one hand, it had established a formal structure and gained recognition as an official party under New York election law. On the other hand, it had yet to achieve any major electoral victories, or even to differentiate itself clearly in voters' minds from the American Labor Party, let alone overtake its left-wing rival. But in 1948 and 1949, it did all those things. In 1948, after some vacillation, it firmly committed itself to the national anti-communist Fair Deal coalition led by President Harry Truman, against the communist-backed third-party movement led by its former hero, Henry Wallace. In so doing, however, the Liberal Party surrendered any lingering hopes of forming the basis for a new national progressive party, and settled uneasily into the balance-of-power strategy that remained its stock and trade for the long term.