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Journal articles on the topic 'Cultural hero'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Petrova, A. P. "Cultural Hero and Screen Hero: Essential Characteristics of the Image." Art & Culture Studies, no. 1 (2021): 244–65. http://dx.doi.org/10.51678/2226-0072-2021-1-244-265.

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Screen arts — cinema, television, multimedia — have become the dominant means of representing culture. Today, the screen hero is pushing the literary hero out of the cultural space. It occupies a leading position in audience reach and public awareness. Moreover, the screen hero is a mirror of culture and the result of reflection on how an artist (in our case, a director or screenwriter) sees, feels and understands a modern person. The article reveals the essential characteristics of the screen hero and the cultural hero as a more extensive phenomenon of which he is a part. We define their place and functions in the sociocultural space, the methods of their communication with the recipient. The formation of the phenomenon of the cultural hero began in antiquity. Therefore, we analyze its essential characteristics through the theory of myth (E.M. Meletinsky, M. Eliade, M.M. Bakhtin, K. Levi-Strauss, C.G. Jung, J. Campbell). We also consider the shadow side of the cultural hero — the trickster. He is the forerunner of the antihero in screen culture. The screen hero is a modern form of the cultural hero. Therefore, he adopts mythology and basic essential characteristics from his predecessor. However, the screen hero is a more complexed phenome- non of encoded cultural text. It is born at the junction of the millennial canon of representing a cultural hero and new artistic and expressive means of the screen.

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2

Szönyi, György E., and Rowland Wymer. "John Dee as a Cultural Hero." European Journal of English Studies 15, no. 3 (December 2011): 189–209. http://dx.doi.org/10.1080/13825577.2011.626942.

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3

Gehring, Wes D. "Hero." Journal of Popular Film and Television 23, no. 1 (April 1995): 36–43. http://dx.doi.org/10.1080/01956051.1995.10662045.

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4

Kumar, Satendra. "Hero." South Asia: Journal of South Asian Studies 40, no. 2 (April 3, 2017): 327–29. http://dx.doi.org/10.1080/00856401.2017.1295207.

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5

Satkauskytė, Dalia. "Algimantas Mackus kaip kultūrinis herojus." Deeds and Days 69 (2018): 129–40. http://dx.doi.org/10.7220/2335-8769.69.7.

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6

Goedicke, Patricia. "Hero." Hudson Review 47, no. 4 (1995): 599. http://dx.doi.org/10.2307/3851721.

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7

Carpenter, M. W. "Blinding the Hero." differences 17, no. 3 (January 1, 2006): 52–68. http://dx.doi.org/10.1215/10407391-2006-011.

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8

Williams, Gilbert A. "The black disc jockey as a cultural hero." Popular Music and Society 10, no. 3 (January 1986): 79–90. http://dx.doi.org/10.1080/03007768608591251.

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9

Lukin, Karina. "Recategorising an Arctic Hero." Ethnologia Fennica 47, no. 1 (June 25, 2020): 33–56. http://dx.doi.org/10.23991/ef.v47i1.84285.

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This article discusses the claims of entitlement and processes of rendering a story tellable in early twentieth-century Soviet Union through a case study of the play Vavlyo Nyenyangg. The play was co-authored by Ivan Nogo and linguist Grigori Verbov in the context of the creation of a cultural and political intelligentsia, as well as a literature and other modern institutions, for Nenets, an indigenous community living in northern Russia and Western Siberia. In analysing the manuscripts of the play, the alterations made to it and its final, published version, the article argues that Nenets writers collaborated with their Russian assistants by combining two different fields, the vernacular Nenets and the institutionalised socialist models, to create original textual products that both followed the socialist requirements and alluded to the Nenets oral narration. Shared knowledge, called either ‘folklore’ or ‘oral history’, was used as an entitlement for the indigenous writers to tell stories that were rendered tellable in the socialist context through choices in vocabulary and plot structure. These choices produced stories that erased some local contents, structures and interpretations but simultaneously produced new ones.

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10

Kohn, Nate. "Hail the conquering hero!" Visual Anthropology 9, no. 1 (October 1996): 41–51. http://dx.doi.org/10.1080/08949468.1996.9966690.

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11

Gilbert, Dennis. "Emiliano Zapata: Textbook Hero." Mexican Studies/Estudios Mexicanos 19, no. 1 (2003): 127–59. http://dx.doi.org/10.1525/msem.2003.19.1.127.

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Emiliano Zapata (1879––1919) died defeated and, in many quarters, despised. This article traces his resurrection and subsequent career as a textbook hero. It examines portrayals of Zapata in officially sanctioned primary school textbooks from the early 1920s to the 2001––2002 school year. These textbook accounts are considered in a dual context: the external political context in which the books are created and the internal narrative context of Mexican history as presented by official historians. Emiliano Zapata (1879––1919) murióó derrotado y, en algunas partes, odiado. Este artíículo traza su resurreccióón como hééroe de libros de texto. En el artíículo se examinan las representaciones de Zapata en los libros de texto de escuelas primarias oficialmente supervisados por el gobierno desde los inicios de la déécada de 1920 hasta el añño acadéémico 2001––2002. Los relatos allíí presentados son considerados en un contexto doble: el contexto políítico externo y el contexto interno de la narracióón de la historia de Mééxico que se presenta a travéés de los historiadores oficiales.

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12

Carpentier, Nico, and Wim Hannot. "To be a common hero." International Journal of Cultural Studies 12, no. 6 (October 30, 2009): 597–616. http://dx.doi.org/10.1177/1367877909342482.

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13

Hemphill, Essex. "American Hero." Callaloo, no. 32 (1987): 365. http://dx.doi.org/10.2307/2930449.

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14

Bongyoul Kim. "Heracles as a Cultural Hero, and Dialectic of Enlightenment." Journal of Classic and English Renaissance Literature 21, no. 2 (December 2012): 5–27. http://dx.doi.org/10.17259/jcerl.2012.21.2.5.

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15

Segrave, Jeffrey O. "Sport as a Cultural Hero-System: What Price Glory?" Quest 45, no. 2 (May 1993): 182–96. http://dx.doi.org/10.1080/00336297.1993.10484083.

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16

Larson, Wendy. "Zhang Yimou's Hero: dismantling the myth of cultural power." Journal of Chinese Cinemas 2, no. 3 (January 2008): 181–96. http://dx.doi.org/10.1386/jcc.2.3.181_1.

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17

Gerstle, C. Andrew. "Hero as Murderer in Chikamatsu." Monumenta Nipponica 51, no. 3 (1996): 317. http://dx.doi.org/10.2307/2385613.

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18

Ispas, Sabina. "Updating the tragic hero epos." Acta Ethnographica Hungarica 47, no. 1-2 (July 2002): 217–22. http://dx.doi.org/10.1556/aethn.47.2002.1-2.22.

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19

Davidson, Hilda Ellis, and Dáithí Ó. hÓgáin. "The Hero in Irish Folk History." Béaloideas 54/55 (1986): 271. http://dx.doi.org/10.2307/20522290.

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20

Leiby, John S. "San Martín: Argentine Soldier, American Hero." Hispanic American Historical Review 90, no. 3 (August 1, 2010): 554–55. http://dx.doi.org/10.1215/00182168-2010-024.

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21

Dabove, Juan Pablo. "Juan Moreira: Romantic Outlaw, Liberal Hero." Journal of Latin American Cultural Studies 28, no. 1 (January 2, 2019): 3–22. http://dx.doi.org/10.1080/13569325.2019.1601619.

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22

HARRIS, JANE GARY. "LIDIIAGINZBURG'S THE LITERARY HERO: A READING." Canadian-American Slavic Studies 19, no. 2 (1985): 140–50. http://dx.doi.org/10.1163/221023985x00279.

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23

Masur, Louis P., and James Brewer Stewart. "Wendell Phillips: Liberty's Hero." Journal of the Early Republic 6, no. 4 (1986): 449. http://dx.doi.org/10.2307/3122661.

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24

Heilbronn, Lisa M. "Coming Home a Hero." Journal of Popular Film and Television 13, no. 1 (April 1985): 25–30. http://dx.doi.org/10.1080/01956051.1985.10661989.

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25

Sharrett, Christopher. "The Hero as Pastiche." Journal of Popular Film and Television 13, no. 2 (July 1985): 80–91. http://dx.doi.org/10.1080/01956051.1985.10661996.

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26

Skoryna, L. V. "Prometheus as a cultural hero of Ukrainian literature of 1920s." Science and Education a New Dimension VI(149), no. 42 (February 20, 2018): 64–68. http://dx.doi.org/10.31174/send-ph2018-149vi42-15.

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27

Benson, Linda. "Ahmetjan kasimi: A Chinese paradigm for a Uygur cultural hero∗." Central Asian Survey 11, no. 3 (September 1992): 23–49. http://dx.doi.org/10.1080/02634939208400779.

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28

Jenkyns, Richard. "The Last Trojan Hero: A Cultural History of Virgil's “Aeneid”." Common Knowledge 22, no. 3 (September 2016): 512.1–512. http://dx.doi.org/10.1215/0961754x-3634202.

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29

Lan Yang. "The Depiction of the Hero in the Cultural Revolution Novel." China Information 12, no. 4 (March 1998): 68–94. http://dx.doi.org/10.1177/0920203x9801200404.

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30

Morozov, S. V. "SOME TYPES OF CULTURAL HERO IN B. PASTERNAK’s NOVEL “DOCTOR ZHIVAGO”." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (December 25, 2019): 1024–29. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1024-1029.

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The significance of the snowstorm image in B. Pasternak’s novel “Doctor Zhivago” is characterized. A comparative analysis of the positions of B. Pasternak and A. Blok in relation to the revolutionary events of 1917 and their reflection in “Doctor Zhivago” and in the poem “Twelve” is carried out. The image of Yuri Zhivago is investigated from the point of view of the type of cultural hero - the Ascetic. The characteristic is given to the image of Antipov - Strelnikov as a representative of the type of cultural hero - Conquistador.

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31

Katz, Gideon. "THE SECULAR HERO." Journal of Modern Jewish Studies 8, no. 2 (May 20, 2009): 133–49. http://dx.doi.org/10.1080/14725880902949114.

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32

Urbainczyk, Theresa. "Spartacus:A Hero Turns 50." Film International 8, no. 3 (July 2010): 7–13. http://dx.doi.org/10.1386/fiin.8.3.7.

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33

Mazovskiy, Ronit. "Hadji Murad: Tolstoy’s Transnational Hero." International Journal of Critical Cultural Studies 18, no. 1 (2020): 29–36. http://dx.doi.org/10.18848/2327-0055/cgp/v18i01/29-36.

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34

Walker, Steven S. "Hero Myths: A Reader (review)." Journal of American Folklore 116, no. 460 (2003): 235–36. http://dx.doi.org/10.1353/jaf.2003.0034.

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35

Peers, Douglas M. "Book Review: Sir Garnet Wolseley. Victorian Hero." War in History 9, no. 3 (July 2002): 362–64. http://dx.doi.org/10.1177/096834450200900309.

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36

Earle, Rebecca. "Heroes and Hero Cults in Latin America." Hispanic American Historical Review 89, no. 1 (February 1, 2009): 177–78. http://dx.doi.org/10.1215/00182168-2008-066.

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37

Dame, Avery. "“I’m your hero? Like me?”." Journal of Language and Sexuality 2, no. 1 (February 18, 2013): 40–69. http://dx.doi.org/10.1075/jls.2.1.02dam.

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The issue of “expertise,” while not always termed as such, has long sat at the center of much trans theory. Initially held only by medical authorities, transgender expertise has shifted alongside changes in cultural attitudes and diagnosis models: transgender individuals now often find themselves conversationally positioned as “expert” on the phenomenological experience of being transgender — even if they do not willingly take on that social role. This article considers, first, the role of the trans speaker as expert, and second, the use of expert discourse or expertness (Nguyen 2006) by trans male video bloggers (vloggers) on YouTube. As highly public individuals, these vloggers strategically assume the expert role to correct viewer “misbehavior.” In their talk, vloggers utilize a specific mode of recipient design, advice-giving, to focus attention on viewers’ lack of knowledge and away from the vlogger’s subjective experience. If successful, their talk forecloses on the possibility of further viewer challenges.

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38

Сидоренко, В. Д. "Cultural hero as a part of artistic thinking of classical times." Contemporary Art, no. 13 (December 12, 2017): 264–71. http://dx.doi.org/10.31500/2309-8813.13.2017.142443.

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39

Hokanson, Katya, and Judith Deutsch Kornblatt. "The Cossack Hero in Russian Literature: A Study in Cultural Mythology." Russian Review 53, no. 4 (October 1994): 562. http://dx.doi.org/10.2307/130968.

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40

Sydorenko, Victor. "Cultural Hero and Personage: Representation in Contemporary Visual Art of Ukraine." Journal of History Culture and Art Research 9, no. 4 (December 24, 2020): 345. http://dx.doi.org/10.7596/taksad.v9i4.2905.

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41

Budge, Gavin. "The Hero as Seer: Character, Perception and Cultural Health in Carlyle." Articles, no. 52 (January 30, 2009): 0. http://dx.doi.org/10.7202/019805ar.

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Abstract A rhetoric of spectrality pervades Thomas Carlyle’s writings, in a way which is intimately related to his characteristic position of “natural supernaturalism.” This essay argues that Carlyle’s rhetorical emphasis on spectral hallucinations in his descriptions of social upheavals such as those of revolutionary France reflects the influence on his work of physiological theories of perception stemming from the medical thought of Erasmus Darwin, theories which are frequently invoked in early nineteenth-century theories of ghosts and apparitions. Carlyle’s preoccupation in his historical writing with the figure of the “Great Man” also reflects this medical context, in that the Great Man’s superior ability to perceive the reality of his historical moment is understood by Carlyle as indicative of a superior cultural “health” that he manages to convey to the society of his time, contrasted by Carlyle with the state of feverish delirium characteristic of revolutionary situations. The essay suggests that this relationship to theories of perception aligns the Carlylean “Great Man” to the figures of the Wordsworthian poet and the Romantic genius more generally, and also helps to explain the Victorian emphasis on “character,” of which the Carlylean historiography of “Great Men” is an example. The placing of individual character at the centre of accounts of perception by nineteenth-century thinkers such as Carlyle and Ruskin reacts against the determinism associated with Enlightenment thought’s assumption that in perception the mind is passively imprinted with sense-data, and reflects the influence of the alternative account of perception as a process of interpretation of signs put forward by Thomas Reid and other Common Sense philosophers.

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42

Ermolaev, Herman, and Judith Deutsch Kornblatt. "The Cossack Hero in Russian Literature: A Study in Cultural Mythology." South Central Review 13, no. 1 (1996): 68. http://dx.doi.org/10.2307/3189928.

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43

Bennett, Virginia H., and Judith Deutsch Kornblatt. "The Cossack Hero in Russian Literature: A Study in Cultural Mythology." Slavic and East European Journal 38, no. 2 (1994): 357. http://dx.doi.org/10.2307/308813.

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44

O’Neill, Mark E., and Murray G. Phillips. "Sport, Film, and Australian Cultural Identity: Reading Hero to a Nation." Sport History Review 41, no. 1 (May 2010): 1–16. http://dx.doi.org/10.1123/shr.41.1.1.

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45

Neimneh, Shadi. "The Anti-Hero in Modernist Fiction: From Irony to Cultural Renewal." Mosaic: a journal for the interdisciplinary study of literature 46, no. 4 (2013): 75–90. http://dx.doi.org/10.1353/mos.2013.0036.

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46

Curtis, Jerry L. "Cultural Alienation: A New Look at the Hero of The Stranger." Journal of American Culture 15, no. 2 (June 1992): 31–38. http://dx.doi.org/10.1111/j.1542-734x.1992.00031.x.

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47

SARO-WIWA, KEN. "English is the Hero." Matatu 23-24, no. 1 (April 26, 2001): 13–19. http://dx.doi.org/10.1163/18757421-90000351.

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48

Abrahamian, Levon. "The Chained Hero: The Cave and the Labyrinth." Iran and the Caucasus 11, no. 1 (2007): 89–99. http://dx.doi.org/10.1163/157338407x224923.

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AbstractThe article is a comparative study of the well-known mythological sujet of the chained hero and another popular motif, that of the labyrinth. The author lists in brief various versions of the legend about the chained hero, widespread in the Caucasian-Near Eastern region, emphasising the most significant details: tracing the motif of theomachy as a sin, and retribution common for all of them. The paper includes the analysis of such features of the chained hero as his ambivalence going back to the archetypal twoness; twins representing a positive character and that of the snake (dragon) nature. Another reason for the ambivalence of the chained hero is his chthonic nature, observable in the place of his imprisonment or his environment. The cave here is approximating to a labyrinth-like covert, and the idea of a labyrinth, in its turn, points to the motif of initiation. The Caucasian-Near Eastern complex of the stories about the chained/neutralised chthonic heroes allows to anew elucidate the cave-labyrinth theme in the vast proto-Caucasian context, and to probably give original interpretations to newly found artefacts depicting respective symbols.

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49

Ainsworth, Cynthea L., and David Adams Leeming. "Mythology: The Voyage of the Hero." Journal of American Folklore 115, no. 455 (2002): 111. http://dx.doi.org/10.2307/542085.

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50

Qi, Shouhua, and Wei Zhang. "Tragic hero and hero tragedy: reimaginingOedipus the King asJingju(Peking opera) for the Chinese stage." Classical Receptions Journal 11, no. 1 (June 12, 2018): 1–22. http://dx.doi.org/10.1093/crj/cly006.

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