Journal articles on the topic 'Idealism (Personality trait)'

Purpose: This study aims to theorize new conceptual linkages between two popular paradigms of management research personality (Big Five Trait) and ethics (Ethical Ideology). Big Five personality traits and ethical ideology dimensions (idealism and relativism) relationship with job outcomes such as interpersonal conflict, workplace deviance, and Organizational Citizenship Behavior (OCB) were proposed. Methodology: This study adopted a longitudinal field survey design. Data analysis for descriptive, regression, and correlation techniques, was done using SPSS v 17 whereas conduct Confirmatory Factor Analysis (CFA) of study variables was done using AMOS v 16. Main Findings: Results revealed significant association of i) extraversion, conscientiousness, and agreeableness with OCB, ii) Agreeableness and neuroticism with workplace deviance and iii) agreeableness, openness to experience, neuroticism with interpersonal conflict. Moreover, agreeableness was a significant predictor of idealism ethical ideology, neuroticism and openness to experience were significant predictors of relativism ethical ideology. Idealism significantly predicted interpersonal conflict and OCB and relativism significantly predicted workplace deviance and interpersonal conflict. Idealism ethical ideology mediated between extraversion and interpersonal conflict, agreeableness and interpersonal conflict as well as OCB. On the other hand, relativism ethical ideology mediated between openness to experience and interpersonal conflict. Similarly, relativism also mediated between neuroticism and two job outcomes (interpersonal conflict, workplace deviance). Limitations/ Applications: Future research directions and implications for theory and practice are suggested. Novelty/Originality of this study: This study explained the conceptual mechanism that individual outcomes of the Big Five traits are determined through the ethical ideology of the respective personality trait; moreover, this study also added empirical evidence in existing OB literature from a unique cultural context i.e., Pakistan.

Research exploring the Machiavellian personality trait shows it is often a significant variable influencing career choice and behavior in the workplace. This study proposes a number of research questions examining the relationships between the Machiavellian trait and accountants' demographic characteristics, job satisfaction, career satisfaction and ethical ideology. Findings indicate that, in general, accountants participating in this study are significantly less Machiavellian than vocational groups participating in previous studies. However, accountants higher in the trait appear to be less satisfied with accounting as a career and tend toward a relativistic ethical stance. Findings suggest that Machiavellian behavior is not required to achieve success in the accounting profession, and the promulgation of ethical standards should sustain a high level of integrity in a profession characterized by idealism.

The aim of this paper is to explore the differences between the Idealist personalism present in Britain and America, and the Realist personalism, proper to all the different branches of European or Continental Personalism: dialogic, communitarian, phenomenological, classical ontological, and modern ontological. After making clear that not all the British personalists are idealists, but mainly those linked to personal idealism, we will discuss whether we can speak of personalism in a similar sense as idealistic and realistic personalism. Secondly, we will analyze four points in order to compare the peculiar traits of personalism in these philosophies: the phenomenality of matter; the problem of experience; metaphysics and person; and corporeality, personality, and person. Special attention is paid to A. S. Pringle-Pattison and Borden Parker Bowne, as the leaders of idealistic personalism in Britain and the United States.

Background: Divorce has always been one of the five main issues in the country and one of the criteria for community health. Therefore, this study aimed to systematically review quantitative and qualitative research on the factors affecting divorce. Methods: The research community included all the quantitative and qualitative articles published from 2006 to 2016, which regarded the causes of divorce. A total number of 70 quantitative and qualitative studies were selected and reviewed individually. Results: The findings showed that the highest share of the individual and personality trait factors is the variable of addiction (14.28% in quantitative research and 32.3% in qualitative research), followed by verbal and physical violence (28.84% in quantitative research and 21.42% in the qualitative section). The most frequent economic variables in both research categories were economic problems (10.71%) and unemployment (14.7%). Among the social factors, the interference of families and people around them had the highest share and contributed to 17.85% and 21.42% of the quantitative and qualitative research, respectively. Besides, among the cultural factors studied, idealism and the positive imagery of the consequences of divorce with the frequency of 14.7% in quantitative and quantitative research, and the negative effects of media with the frequency of 10.71% in qualitative research had the highest percentages, compared with other variables. Conclusion: Based on the findings, we conducted an analysis using the Boudon model to determine the final pattern of divorce, however, it was impossible to design a comprehensive model.

Temperament is a set of innate tendencies of the mind associated with the processes of perception, analysis and decision-making. The purpose of this article is to predict the psychotype of individuals based on chat stories and follow the Keirsi model, according to which the psycho type is classified as a craftsman, guardian, idealist and mind. The proposed methodology uses a version of LIWC, a dictionary of words, to analyze the context of words and uses supervised learning using KNN, SVM, and Random Forest algorithms to train the classifier. The average accuracy obtained was 88.37% for artisan temperament, 86.92% for caregivers, 55.61% for idealists, and 69.09% for rationality. When using the binary classifier, the average accuracy was 90.93% for artisan temperament, 88.98% for caregivers, 51.98% for idealism, and 71.42% for rationality.

Temperament is a set of innate tendencies of the mind associated with the processes of perception, analysis and decision-making. The purpose of this article is to predict the psychotype of individuals based on chat stories and follow the Keirsi model, according to which the psycho type is classified as a craftsman, guardian, idealist and mind. The proposed methodology uses a version of LIWC, a dictionary of words, to analyze the context of words and uses supervised learning using KNN, SVM, and Random Forest algorithms to train the classifier. The average accuracy obtained was 88.37% for artisan temperament, 86.92% for caregivers, 55.61% for idealists, and 69.09% for rationality. When using the binary classifier, the average accuracy was 90.93% for artisan temperament, 88.98% for caregivers, 51.98% for idealism, and 71.42% for rationality.

Conceptual understanding and representation in mathematics are both important mathematical abilities to develop. Conceptual understanding and representation abilities are needed by students to solve mathematical problems. The aim of this research was to describe the representation of mathematics of RME based on student's personality type, the conceptual understanding in RME based on student's personality type. In this research, 8 PGSD students from artisan, idealist, guardian, and rational personality types were selected as subjects. The methods used in this research were tests, interviews, and documentation of personality type questionnaires of the students according to (Keirsey, 1984)). The tests and interviews were analyzed to describe the conceptual understanding and representation abilities of the students. The results of this research were that the students with the rational personality type were very good at identifying and making examples, traits and conditions. Students with the idealist personality type were very good at identifying verbally and in written form. All four personality types’ conceptual understanding when identifying and distinguishing concepts was still poor. Meanwhile, for the mathematical representation aspect, all four personality types were very good at visual mathematical representation in the form of figures and tables.

The aim of the present study is to determine the structure of values in the Spanish population and its relation to the Big Five personality traits. Using a psycholexical approach, 566 words were identified as values and administered to a sample of participants who were instructed to rate the extent to which they were guided by each value. Principal components analysis revealed seven factors: Social Recognition, Competence, Love and Happiness, Benevolence, Idealism, Equilibrium and Family. The results show that there is no complete equivalence between these factors and those obtained in previous studies. However, the results are congruent with those obtained in other studies as far as the relation between values and personality traits is concerned. Copyright © 2011 John Wiley & Sons, Ltd.

The purpose of this investigation is to understand what influences the involvement with vegan products when comparing vegan and non-vegan individuals. This study presents eco-motivated antecedents (ecological motivations, environmental concerns, animal welfare) and personal antecedents (social influence, idealism). Also, the influence of involvement with vegan products on eudemonic and hedonic happiness, purchase intention, and price sensitivity. The impact price sensitivity has on purchase intention is presented. The research uses a structured questionnaire to collect information from two cross-sectional samples, 580 vegans and 517 non-vegans, collected from four vegan groups on Facebook, for a total of 284,900 members. Structural equation modeling (SEM) is used to test the proposed hypotheses. Results show that among vegans, ecological motivations and social influence do not impact involvement with vegan products. Vegans choose this lifestyle mainly due to animal protection, environmental concerns, and ideological views. Regarding non-vegans, idealism does not impact involvement with vegan products, probably due to their moral views, since they do not stop ingesting meat. At the same time, social influence becomes a relevant predictor. A cross-sectional study does not allow inferring causality. The model could be tested by introducing variables like gender, age, personality traits, sensitivity, and religion, which could be pertinent drivers of involvement with vegan products in vegan and non-vegan groups. This investigation compares the impact of personal and eco-motivated determinants, comparing vegans and non-vegans regarding their involvement with vegan products. It also compares how involvement with vegan products predicts consumer behavior patterns among vegans and non-vegans.

Abstract This paper interrogates how English language teaching and learning spaces become a locus for a “pedagogy of personality”: spaces where ideal forms of personhood can be transmitted, taught and learned. We draw on ethnographic accounts of moments produced in a municipal English language teaching programme in Rionegro, Colombia, and in the English language class of an elite international school near Barcelona, in Catalonia. We explore discourses mobilised by teachers, students, and school administrators that glorify personality traits that should enable students to become “good community members”, “good citizens” and to reflect on the ways in which language learning spaces are imagined to have an effect on learners’ personalities. We claim that it is not necessarily the English competence acquired in these spaces, or the act of speaking English itself, which is imagined as automatically triggering the enactment of ‘better’ forms of personality. Rather, we believe that our ethnographic data point to the fact that language curricula provide the space to construct, spread and normalise moral values which are associated to idealised forms of subjectivity, and desired forms of being. The discourses circulated through landscapes and classroom interactions show how the mere act of being in an English language learning space is expected to raise students’ awareness of the moral duty to become better, more responsible individuals. We make a key contribution to critical sociolinguistic research by placing a focus on how “good personality” is informed by the pedagogic trajectories of each space, beyond neoliberal projects of self. Moralising catholic discourses, values and ideologies, and broader humanist educational discourses inform ideas about personality and personality development in these spaces. Thus, we call for a slower sociolinguistics, that takes pause before reaching for the explanatory power of neoliberalism and makes room for the complex, historically sedimented logics of our research sites.

The article is devoted to the theoretical analysis of an innovative personal potential as a psychological construct. Well-known definitions of an innovative personal potential have such characteristics as openness to new information and experience (cognitive component), a desire to change/willingness to create something new (motivational component), innovative activity (behavioral component) and value-semantic system (axiological component). The empirical study of an innovative personal potential of student was held in Novosibirsk State Technical University. Authors used psychological tests (KTS by D. Keirsey, TAS by S. Badner; Tests by F. Williams, the scale of self-esteem of an innovative personality traits by N.M. Lebedeva, A.N. Tatarko, “Problems of the real world” by R. Sternberg). The sample included 177 students. The correlational analysis showed that students, who consider themselves innovative persons, show interest, plays with ideas, reflects on the hidden meaning. They are tolerant to new situations, to the emergence of possible difficulties, they tend to be open, relaxed, free, mobile, trendwatching and are able to deviate from obvious and generally accepted things and develop a simple idea to make it more interesting. Also, it is found that Rational and Idealist types have more apparent characteristics of an innovative personal potential.

IJRP 14: Full Issue Table of Contents Evan Torner, Sarah Lynne Bowman, and William J. White -- "Editorial: Transformative Play Seminar 2022: Role-playing, Heritage, and Culture" This special issue is the second of a two-part series collecting the short articles presented during the Transformative Play Initiative Seminar, held at Uppsala University Campus Gotland in Visby, Sweden on October 20-21, 2022. "Statement by Mohamad Rabah" The statement reveals why the keynoter from Palestine was unable to attend the seminar in Visby due to a delayed visa approval by the Swedish Embassy in Israel. The statement emphasizes the importance of play as a tool for hope for young children, but also its limitations in the face of oppression. Weronika Szatkowska, "The People: A Serious Role-playing Game Designed to Address a Humanitarian Crisis" This article presents a case study of a serious role-play game called The People. The game was created as a response to the migration crisis on the Polish-Belarusian border in cooperation with an engaged collective of researchers and groups of activists. Tadeu Rodrigues Iuama, "Towards the Post-Modern Art Week: Anthropophagic Reflexes in the Brazilian Larp Scenes" This article reflects on larp using the concept of anthropophagy. The metaphor, created by Oswald de Andrade in 1928 in Brazil, is characterized by the de-hierarchization of the hegemonic places of culture and by the critical digestion of the Other. Rian Rezende and Denise Portinari -- "Playing with Wonders: Objects, Role-Playing Games, and the Cultural Legacy of Bispo do Rosário for the City of Rio de Janeiro" This work focuses on an art object called “The Presentation Cloak.” The cloak forms a central element of micro role-playing games created to encourage people to experience stories linked to Brazilian cultural heritage. Yuqiao Liu --"Experiencing China’s Intangible Cultural Heritage in Role-playing Games: Comparative Studies between MMORPGs and Larps" Using case studies from MMORPGs and Jubensha, this article explores the great potential role-playing games have to promote the learning of intangible cultural expres sions and traditions of China and make them available to a wider public. Bálint Márk Turi and Mátyás Hartyándi -- "Playing With The Fictitious “I”: Early Forms of Educational Role-playing in Hungary, 1938-1978" This article analyzes various sources to determine what forms of transformative play were present at the Bánk vacation program in Hungary (1938-1978). The authors discuss the program as a unique heritage of educational role-playing. Evan Torner -- "Jeppe and Maria Bergmann Ham-ming’s Literary-Musical Larp Adaptations" This article addresses analog RPG authorship through an analysis of three music-based blackbox larps by Jeppe and Maria Bergmann Hamming. The larps bear a unique signature, using aesthetic idealism and high culture to explore themes of decadance and downfall. Josephine Baird -- "Larp as a Potential Space for Non-Formal Queer Cultural Heritage" This article argues that larp design seeking to reflect and represent queer cultural production in social and performance spaces may allow for non-formal education on LGBTQIA+ lives and heritage, as well as personal (gender) expression, exploration, and embodiment. Hilda Levin -- "Bridging Historical and Present-Day Queer Community Through Embodied Role-playing" This article argues that in the affirmative space of larp, playing queer personality traits that might be suppressed can offer opportunities for personal growth and community building. Such impacts are especially possible with metareflection and integration. Henry Korkeila and J. Tuomas Harviainen -- "Gaming Capital in Contemporary Role-playing Game Platforms" This study approaches the formation of gaming capital within both Massively Multiplayer Online Role-Playing Games (MMORPGs) and Dungeons & Dragons (1974), emphasizing information flow and social space perspectives.

The main objective of this paper is to define “al-rujoolah” (manhood) and its contexts in the primary Arabic literature that it Prophet Muhammad's (peace be upon him) Hadith. The project's goal is to comprehend the significance of this subject in the Prophet's statement and to contribute to the library of Arabic rhetorical and scientific work related to this Hadith, which includes a rhetorical lesson, stylistic analysis, and reveals the ornamental characteristics and stylistic features. The study used an analytical method based on analyzing, interpreting, and comparing how the Quran and prophets talked about this trait and its signs. Also, talk about the different stories in the Hadith to figure out what they mean. The word “al-rujoolah” in "seven people to whom Allah will give His shade on the day when there will be no shade but the shade of His throne (on the day of resurrection)." provides the meaning of “perfection of personality and its idealism," which appears in particular situations. This study showed the were and what other qualities the Prophet wanted Muslims to have in their everyday lives. The rhetorical lesson gives a style analysis and shows how the Prophet's statement about the uses of this word shows off his style and rhetorical skills. "Al-Rujolah" means "perfection of personality and its idealism," which appears in particular situations.

Purpose This research looks at the main effect of individuals’ moral philosophies, idealism and relativism, and its impact on the four dimensions of the consumer ethics beliefs – active benefit, passive benefit, no harm and doing good. The moderating impact of two dominant personalities – Machiavellianism and narcissism – was also analyzed. Based on Hunt–Vitell theory of ethics, this study aims to propose that there is a positive and significant impact of more relativistic and less idealistic moral philosophies on the decreased consumer ethical perceptions and that the narcissistic/Machiavellian personality traits drive that effect. Design/methodology/approach A total of 497 survey respondents were recruited via an online platform. All respondents were asked to answer questions, which were divided into four major parts. The first part consisted of scales related to both moral philosophies, the second part had both dark personality scales, the third part questioned about their consumer ethical beliefs and the final part was related to consumer demographics. Findings Relativists had higher scores in three consumer unethical belief dimensions. Idealists were not supportive of the active and passive illegal activities, as did their positive relation with doing good aspect of the ethical beliefs. Machiavellians strengthen the positive relativism relationship. The idealistic relation of narcissists, compared to relativistic relation, is stronger on unethical decision-making for consumers. Originality/value This study contributes to the current knowledge of individual’s moral philosophies and their impact on consumer ethical beliefs. It further demonstrates how the dark personalities of narcissism and Machiavellianism drive the relationship.

AbstractDue to its prominent role in online social networks, avatar creation has become an important research topic in the field of computer-mediated communication. One main motive for creating avatars is the representation of one’s own identity. Previous research indicates that avatar creation depends on the activity context for which the avatar is created. Though, studies comparing avatar creation for a wide variety of activity contexts are still missing. The present study addresses this empirical gap by examining (1) the self-representation of physical, demographical, and personality characteristics through avatars, (2) differences in self-representation between various online activity contexts, and (3) between-participant variance in ascribed personality traits. Participants attributed physical, demographical, and personality characteristics to their avatar for one of six online activity contexts and indicated the same characteristics for their actual and ideal selves. We analysed the data of 568 participants and found a high level of congruence between demographical/physical characteristics of the avatar, the actual self, and the ideal self. Furthermore, we found an idealised representation of the avatar’s personality traits, which was affected by the specific activity context. Last, the between-participant variance in the avatar’s personality traits was mainly larger than the variance in the ideal self but smaller than the variance in the actual self, indicating a link between avatar creation and social norms. These results deliver new insights into the strategies behind avatar creation in different contexts and build a basis for future research and practical implications for developers and designers of virtual worlds.

Aim. The aim of this study is to determine the factors affecting the preferences of specialization in the field of medicine. Materials and Methods. Mixed research and exploratory sequential research design were used. In the exploratory phase, data were collected from specialist physicians (n=14) and findings were analyzed by descriptive and content analysis. In the light of qualitative findings, a measurement tool was developed and applied to medical school students and the physicians who prepared specialty exams (n = 502). Results. Qualitative findings were structured under 3 themes: individual, occupational and systemic factors. The measurement tool, which was named “Physicians' Preference Tendencies of Specialty Branch” was structured as 42 items and 7 dimensions: risk, comfort, health problems, status, emotional interest, gender, and marital status emerged. Conclusions. Although there are many factors that affect preferences of the medical field, it is concluded that personality traits and idealism of individuals and mortality rates associated with branch or field of medicine are the most significant professional factors, while the risks and the exposure to violence and the application of the additional payment based on the performance of candidates are the systemic factors that affect selections and preferences. Also, it was concluded that qualitative data obtained in the research were supported with quantitative data.

Introduction "Barbie has a great day every day, but Ken only has a great day if Barbie looks at him", states the narrator in Barbie (2023). Directed by Greta Gerwig, the film not only claimed the title of the highest-grossing film of the year but also prompted its audience to reconsider a character they had previously mostly overlooked; another one of Barbie’s many accessories: Ken. Ken's identity as Barbie's companion is fundamentally dependent upon the presence and recognition of his more prominent female counterpart. This highlights Ken's secondary role, where he serves as a supporting figure to Barbie's idealised existence. Akin to a Manic Pixie Dream Boy (MPDB) overshadowed by Barbie, we realise Ken’s lack of identity. Throughout the film, Ken, initially depicted as identity-less, embarks on a journey of self-discovery, challenging the confines imposed by white patriarchy, although it doesn’t seem that way at first. This article will first establish Ken's MPDB status, highlighting traits such as (a) seeking to elevate and challenge the main character’s beliefs, (b) harbouring both gentleness and deviousness, while also engaging in playful yet mildly destructive mischief, (c) acting as a catalyst for change, (d) exhibiting a desire to escape, disappear, or transform, leaving valuable lessons behind, and (e) existing solely within the perception of or for the benefit of the main character. Subsequently, it will follow his journey, ultimately examining how a humanoid doll undergoes healing particularly concerning gender issues. Through the deconstruction of his narrative, this article aims to uncover the underlying power dynamics at play and to explore how Ken's transformation contributes to broader conversations surrounding gender fluidity and representation. By doing so, the article will provide an understanding of Ken's role and contribution to the feminist cause, while also offering insights into the broader cultural significance of the film. Manic Pixie Dream Girl In contemporary discourse, the term MPDGirl has gained recognition following its coinage by Nathan Rabin: “that bubbly, shallow, cinematic creature that exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures” (Rabin, "The Bataan"). It rapidly gained eminence within popular culture, precipitating a widespread societal fixation on the quest for mining more MPDGs, up to the point where Rabin himself voiced his regret about coining the term ("I’m Sorry"). However, the MPDG was already a presence among us. As Laurie Penny states in the article "I Was a Manic Pixie Dream Girl", “Like scabies and syphilis, Manic Pixie Dream Girls were with us long before they were accurately named”. Additionally, Gouck contends that “the Pixie is a descendant of the Classical Muse and also has roots in the Pygmalion myth” (527). Thus, tracing from these foundational mythical and ancient iterations to contemporary relatives such as the Earnest Elfin Dream Gay (EEDG) and the “Magical Negro”, popularised by Spike Lee, reveals a diverse family tree. Although various writers for online platforms have declared the demise of the MPDG (Eby; Harris; Stoeffel), the trope constantly found ways to revive itself. Harris, in her 2012 article "Is the Manic Pixie Dream Girl Dead?", claimed that the trope has been turned on its head with later iterations like Ruby Sparks, “depicting a writer (Paul Dano) whose idealistic, winsome female character comes to life and challenges patriarchal notions of what women actually want”. Tannenbaum, on the other hand, suggested that the MPDG isn’t dead but just evolved through a loophole: the tragic backstory. This article contends that as long as a concept remains in circulation, it cannot die. Thus, even this article itself contributes to the preservation of the phenomenon in question. Manic Pixie Dream Boy In 2012, Molly Lambert introduced a notable extension of the MPDG archetype: the MPDB. Lambert described the MPDB as a character who uplifts the heroine's self-confidence through comfort, inspiration, and nurturing support, without expecting anything in return. He … tamps down her … temper while appreciating her quirks … . He’s a nerd, but not an angry … one. He’s handsome, but he has no idea … . His … hobbies might be immature … but it doesn’t extend to his emotions … . He’s a selfless, responsible Peter Pan. (Lambert) The likening of the MPDB to a selfless and responsible Peter Pan is flawed. One of the main reasons that make Peter Pan Peter Pan is that he doesn’t want to become an adult and be burdened with responsibilities. Additionally, the notion of the MPDB wanting nothing in return is flawed, as the MPDB's actions are usually driven by a fixation obsession rather than genuine altruism. Consequently, rather than epitomising selflessness, the MPDB defined by Lambert aligns more closely with an idealised EveryWoman’sDreamBoy archetype. In 2015, Anna Breslaw introduced another definition, labelling the MPDB as a “self-mythologizing ‘free-spirited’ dude”; however, it still remains unclear and unsatisfactory. Since its inception, there has been a fundamental misunderstanding of the concept of the MPDB. Originally rooted in a female-centric trope, it requires careful interpretation. When the definitions of the MPDB are applied as previously stated, it effectively transforms into an archetype that conventionally represents many women's ideal. However, unlike the MPDG, who is characterised by her eccentricity, the previous definitions of the MPDB reject this norm. Drawing inspiration from figures such as Peter Pan, Puck, King Kong, the Amphibian Man, the Beast, and Edward Scissorhands, the MPDB embodies a blend of comfort and chaos. This dichotomy is exemplified in Ken, who fulfills the role of comfort and chaos for Barbie, yet finds himself unwanted and unneeded. The real MPDB is defined by five core features that distinguish it from the misinterpreted notion often associated with the trope. a) The MPDB seeks to elevate and challenge the main character’s beliefs: Ken consistently tries to alter Barbie’s perceptions, as evidenced by his persistent attempts to reshape her opinion of him beyond superficial interests. This is exemplified by his pursuits beyond conventional activities, such as his daring act of running into the plastic waves, a seemingly unprecedented action that surprises, shocks, or scares those around him. b) The MPDB harbours both gentleness and deviousness, while engaging in playful yet mildly destructive mischief: Ken exhibits a dual nature, demonstrating kindness and charm towards Barbie while simultaneously harbouring ulterior motives, including a deep-seated desire to become Barbie's romantic partner. This complexity in character can be likened to the “nice guy syndrome”, where benevolent actions may mask underlying intentions. Furthermore, upon his return to build patriarchy, this desire is accentuated, showcasing his multilayered personality. c) The MPDB acts as a catalyst for change: Ken serves as an important force in instigating transformation, as demonstrated by the significant shifts that occur in both Barbieland and Barbie's life due to Ken's presence. His actions challenge Barbie's beliefs, whether intentionally or inadvertently, leading her to perceive new perspectives and undergo personal growth. d) The MPDB exhibits a desire to escape, disappear, or transform, leaving valuable lessons behind: Throughout Ken's MPDB journey, his inclination towards escapism, disappearance, or transformation becomes evident. While his initial desire to accompany Barbie may stem from romantic aspirations, it is also fuelled by the rivalry among the Kens. Once Ken realises there is more than Barbieland and he can want different things, he expresses his desire for change. As Ken evolves and heals, he undergoes a transformation, ultimately becoming a changed entity, yet leaving behind significant lessons that pave the way for the transformation of Barbieland and Barbie. e) The MPDB exists solely within the perception of or for the benefit of the main character: Ken’s presence is exclusively crafted within the perspective of, or to serve the needs of, the main character. According to a 2017 GQ article, Michael Shore, the head of Mattel's global consumer insights at the time, states that, “Ken was really viewed as more of an accessory in Barbie’s world, to support the narrative of whatever was happening with the girls” (qtd. in Weaver). This perspective reinforces Ken's role as arm candy within Barbie's world, serving as a complement to her endeavors at a ratio of about 1:7 (Weaver). This aspect highlights the trope's function as a narrative construct intended to support and shape the protagonist's storyline and growth. The MPDB Ken Ken (Ryan Gosling) makes his debut appearance in the Barbie movie at the eight-minute mark. While the narrative primarily revolves around Barbie, Ken's introduction is a subtle but significant moment. As Barbieland unfolds before us, Ken's delayed entrance, as another inhabitant of Barbieland, draws attention. Barbie is everywhere, but where is Ken? Amidst the cheerful exchanges of “Hi Barbie, Hi Ken”, Ken's behavior stands out—he doesn't reciprocate the greeting with other Kens, he only greets Barbie. Ken's omission from acknowledging his fellow Kens seems like a deliberate choice—a denial of their existence, perhaps suggesting that he perceives himself as the sole Ken of significance in Barbieland. His exclusive greeting to Barbie highlights this notion; in his world, Barbie is paramount, and other Kens are unimportant in comparison. We understand that there is a rivalry going on between the Kens; there is no Kenship, mainly between Ken (Gosling) and Ken (Simu Liu). The same evening at the party, while all the Barbies wear complementary yet distinct clothes, the Kens are dressed uniformly in identical outfits. This lack of individuality strips them of identity, claims Roche, “it is a training, an element in the education of controlled individual power ... designed to shape the physique … of [an] individual” (228-9). Uniforms shape individuality into collectivity and thus cause a lack of identity. The white and gold motifs on Kens’ jumpsuits may symbolise collectivity. They are a team; they are minds that have never been shaped before, they are accessories. The 'K' emblem on their jackets further emphasises their lack of identity. Costume designer Jacqueline Durran “imagined Gosling’s character as ‘almost like an accessory’ where his main function is to just be there and match her look. The Kens could all be dressed the same because there wasn’t meant to be anything distinct about them” (Zemler, "Dressing Barbie"). This point is even more highlighted in a scene where Barbie and Ken are in the car going to the real world, where Ken has another jumpsuit that is covered with the letter “B”. In the absence of the other Kens he is even more of an accessory, and even wearing something with his initials is denied, he is Barbie’s property. Contact with Patriarchy Barbie and Ken enter the real world, and interestingly, while throughout the travel sequence, Barbie is in front of Ken, leading Ken, in the shot where they enter the real world, Ken is in front of Barbie. Ken, for the first time alone, somehow ends up at Century City: “it is the antithesis of Barbieland”, says Greenwood, “there is an homage to the male construction industry and the male gaze” (Zemler, "On Location"). Men who are passing him say “excuse me, sir, thanks man, what’s up bud”. This new world that he encounters in Century City is giving him an identity. For the first time, he is something more than an unwanted MPDB. He is sir, he is man, he is bud. Since the Kens exist as a second-class species whose sole purpose is to cheer the Barbies on, he cannot comprehend his actual yearning, he thinks common decency (someone saying excuse me) is what patriarchy is. A fish out of water, the manic pixie Ken creates a pastiche of everything he encounters to assume this new identity: male presidents, mini-fridges, golf, a fur coat, and even horses. His first interaction with horses is through two police officers riding horses. Believing that horses are an important part of patriarchy, Ken wearing a cowboy outfit too, internalises the bond between horse and man. Pickel-Chavelier, in a study about horse stories, states that “the horse has been a fundamental element in the evolution of Western civilization” (120). Robinson argues that historically “the human-horse relationship was male-dominated, reflecting the horses’ role as a work tool and the traditional placing of power and power sources under the control of men” (44). Thus, the rider has been considered to have “increased power and an increased sense of power” while evoking “a sense of inferiority and envy” in pedestrians (Robinson 43). Studying the human-horse relationship through the American mounted police, Lawrence claimed that the mounted police have close relationships with their horses. Robinson states that “the officers spend much time with their animals each day and develop a sense of trust” (43). Ken's admiration of horses likely symbolises his evolving understanding of masculinity and power dynamics within patriarchy. Being introduced to horses as symbols of authority and control, he understands them as companions embodying strength, loyalty, and trust. This explains how he understands masculinity as a realm where power is defined by mutual respect and partnership, rather than dominance, which is also probably the reason why he loses interest in patriarchy when he realises it’s not about horses. Nicholas, in their article "Ken’s Rights?", claims that “radicalization … is often motivated by feelings among … men of being left behind by a feminist world or system that doesn’t value them. This then leads them to long for an imagined natural order of patriarchy where women are back in their place and men regain their entitlements”. Ken’s frustration leads him to introduce patriarchy to his fellow Kens, envisioning a transformation of Barbieland into a new Century City. This shift reflects Ken’s Manic Pixie healing journey: rather than being solely an MPDB, Ken slowly constructs an identity under patriarchy for himself. Drawing from Connell's perspective on hegemonic masculinity, which posits that masculinity is always constructed in response to subordinated masculinities, we see how Ken's desire for change extends to altering the very fabric of Barbieland, from its constitution to its name, renaming it Kendom. This name change holds significance, echoing the concept of “Inceldom” within the larger misogynist ecosystem of the Manosphere, where men perceive themselves as deprived of love and intimacy due to feminist ideals. In addition to incels, the ‘Manosphere’ is comprised of Men’s Right Activists, Men Going Their Own Way (MGTOW), AND Pick-Up Artists (PUAs). Each of these groups subscribe to the same underlying philosophy, referred to as the ‘red pill’… When an individual has ‘taken the red pill’, they have enlightened themselves to a reality in which women wield feminism as a weapon against men, depriving them of sex and love. (Gothard et al. 1) Ken’s new outfit is another important change. As patriarchy leaks into Barbieland, Ken's outfit begins to reflect iconic images of masculinity, such as Sylvester Stallone in a mink coat. Previously, Ken's clothing complemented Barbie's, but now, his fanny pack displays his full name instead of just the letter K, positioned over his non-existent genitalia. This deliberate placement implies a newfound connection between his new identity and his imagined sex. When discontent Barbies strategise to disrupt the new order, they manipulate Kens' fragile egos, inciting conflict just before the crucial constitution vote. The fighting sequence starts with Ryan Gosling’s "I'm just Ken" song and imagery reminiscent of Rodin's iconic statue “The Thinker”. The Rodin Museum describes the figure as “a being with a tortured body, almost a damned soul, and a free-thinking man, determined to transcend his suffering through poetry”, mirroring Ken's current state of turmoil. In Rodin’s lifetime, there were “many marble and bronze editions in several sizes” that have been executed (Zelazko). Similarly, there are countless iterations of Ken, undermining his belief in his uniqueness. The general anticipation of the statue being impressive but then feeling let down when seeing its real size serves as a poignant metaphor for Ken's inflated self-importance, contrasted with his inherent fragility and insignificance. As the chorus “I’m just Ken” starts, Ken (Gosling) rides into the battle “on paddle boats reminiscent of cannon-loaded ships, while [Ken (Liu)]’s crew carries him over their shoulders, spinning umbrellas like wheels and holding stick horses as if they were human chariots” (Lee), having frisbees, tennis rackets, and other sports equipment in their hands. This imagery not only captivates the audience but also serves as a reflection of the sports and war imagery in media representations of men. The notion of hegemonic masculinity is intricately woven into such depictions. Jansen and Sabo point out “that the sport/war metaphor is embedded within a “deep structure” of patriarchal values, beliefs, and power relations that, in turn, reflect and advance the agendas of hegemonic masculinity” (2). This metaphor not only reflects but also advances the agendas of hegemonic masculinity. By glorifying competition and valorising traits associated with aggression and dominance, media representations perpetuate narrow and rigid norms of masculinity, reinforcing the hierarchical gender dynamics prevalent in society. However, through playful exploration of these notions, Barbie introduces a significant step in the healing journey of MPDBs, all while cleverly critiquing the inherent associations society makes between masculinity, competitive sports, and even aspects of warfare. Kenough As Ken continues his performance, seamlessly transitioning from a part-power ballad, part-battle sequence into a dream ballet, the narrative takes a profound turn. Connell's concept of “gender order”, referring to “a historically constructed pattern of power relations between men and women and definitions of femininity and masculinity” that emerge and are transformed within varying institutional contexts (98-99), becomes particularly relevant when applied to dancing, seen as an institutional context. Silvester, discussing how gender dynamics within dancing evolved, notes that in the 60s, with the twist and later with disco dancing, dancers did not have to have partners any more, which made the “presumptions about the effeminacy of professional male dancers” widespread (qtd. in Owen 18). Because in performance culture female dancers were the objects of desire for usually male spectators, dancing found itself a place inside the borders of femininity, “and homophobic prejudices against male dancers grew” (Owen 18). Initially, at the party, dancing symbolises their confinement to their identities as Barbie’s accessory, and later it serves as a catalyst for shedding the performative shackles of masculinity and patriarchy. Through dance, MPDB Ken embraces authenticity, breaking down the barriers of the embarrassment of showing admiration to his fellow Kens and fostering genuine connection and affection. The Kens help each other up, they giggle, and they kiss each other on the cheek; they are no longer threatened by each other or by showing affection. As the battle sequence comes to an end, one Ken acknowledges that they were only fighting because they didn’t know who they were. What initially began as a melodramatic expression of the insecurities of an incel, angry at his object of affection, transforms into a collective affirmation of self-worth, fostering unity and acceptance among the Kens. Lee aptly describes this transformation as an elevation from internal conflict to self-affirming validation, marking a pivotal shift away from self-destructive behaviours towards mutual respect and understanding. Ken finally has an identity that is not defined through Barbie’s gaze or patriarchal vision of masculinity. He is not an MPDB that only exists for the protagonist anymore. He finds an identity; however, one he does not know how to express. Connell and Messerschmidt state that “men can adopt hegemonic masculinity when it is desirable; but the same men can distance themselves strategically from hegemonic masculinity at other moments. Consequently, ‘masculinity’ represents not a certain type of man but, rather, a way that men position themselves through discursive practices” (841). Ken still does not abandon what he has found in the real world. Knowing he has been defeated he tries to “strategically” reposition himself. Like a toddler having a temper tantrum, he runs to his mojo dojo casa house, throws himself on his bed, and starts crying, while Barbie tries to comfort him. Myisha et al. suggest that Barbie, as a woman, again is cast in the role of nurturer and comforter, and thus the movie finds itself repeating gender stereotypes. However, missing the point that Ken is crying in this scene, these criticisms are themselves reinforcing gender stereotypes by mistaking common decency for an intrinsic association with women. Ken later denounces patriarchy and learns from Barbie not to define himself by his possessions, his relationship, or his job. Embracing his individuality, he declares, “I'm Ken, and I'm Kenough”, going down the slide, symbolizing a rebirth. In his final shot, Ken is seen with a sweatshirt proclaiming “I’m Kenough”. In embracing his past identities through the bandana and the color pink, he constructs a new identity, one that welcomes all colors. bell hooks defines feminism as “the struggle to end sexist oppression” for all women without “[privileging] women over men” (26). Greta Gerwig, in an interview with Time, acknowledges the struggles faced by both men and women throughout history, highlighting the universal pressure to meet unrealistic standards (Carlin). This suggests that while women face specific forms of oppression, men too are ensnared by other rigid societal norms, if not the same. By recognising these challenges, feminism advocates for the involvement of men in the movement. Whether it is standing in solidarity with women or confronting their own biases, men play a pivotal role in advancing gender equality. For feminism to thrive, it necessitates men's active participation, urging them to support women's rights and challenge patriarchal structures while remaining open to introspection and growth. Feminism has consistently aimed to dismantle the rigid gender binaries epitomised by the Barbie/Ken dichotomy, advocating for the separation of attributes from their gendered associations. From Barbie, we can glean the lesson that hierarchical and inflexible gender norms benefit no one and that power and social roles should not be determined by one's biological sex. Nicholas, in their article "Ken’s Rights?", claims that online antifeminist discourses reveal parallels between Ken's journey in the movie and themes found in Men’s Rights Activist spaces. Ken's transition from aggrievement to a more enlightened perspective on masculinity mirrors the narratives prevalent in such spaces. This underscores the importance of understanding and addressing men within the context of feminism, as their experiences are intertwined with broader societal structures and expectations. True progress cannot be achieved if we continue to view those who perpetuate patriarchy or toxic masculinity as “others”. We should see them as humanoid Ken dolls, and in doing so help them to help us trigger answers and solutions. Understanding and addressing these issues is crucial for healing and reducing harm inflicted by patriarchal norms. While Barbie may have its flaws, focussing solely on its shortcomings detracts from the opportunity to address deeper issues regarding society. MPDB Ken's portrayal as a subservient accessory to Barbie raises important questions about gender dynamics and the impact of societal expectations on individuals. Rather than vilifying Ken because he brought patriarchy to Barbieland, and reducing him only to a man, I advocate for understanding his journey and recognising him also as a brainwashed character, alongside the brainwashed Barbies, who needed the help of his friends to heal. By acknowledging and addressing the influence of patriarchal norms on all individuals, including men like Ken, we can work towards healing and progress for all. References Barbie. Dir. G. Gerwig. Warner Bros. Pictures, 2023. Breslaw, Anna. “Beware the Manic Pixie Dream Boyfriend.” The Cut, 13 Sep. 2015. <https://www.thecut.com/2015/09/beware-the-manic-pixie-dream-boyfriend.html>. Carlin, Shannon. “The History Behind Barbie’s Ken.” Time, 20 Jul. 2023. <https://time.com/6296386/barbie-ken-history/>. Connell, Raewyn. "The Social Organization of Masculinity." Feminist Theory Reader. Routledge, 2020. 192-200. ———. Gender and Power Cambridge. Polity, 1987. Connell, Raewyn, and James W. Messerschmidt. "Hegemonic Masculinity: Rethinking the Concept." Gender & Society 19.6 (2005): 829-59. “Director Spike Lee Slams ‘Same Old’ Black Stereotypes in Today’s Films.” YALE Bulletin & Calender 29.21 (2 Mar. 2001). <http://archives.news.yale.edu/v29.n21/story3.html>. Eby, Margaret. “The Death of the Manic Pixie Dream Girl.” Brooklyn, 15 Jul. 2014. <https://www.bkmag.com/2014/07/15/the-death-of-the-manic-pixie-dream-girl/>. Gothard, Kelly Caroline, et al. “The Incel Lexicon: Deciphering the Emergent Cryptolect of a Global Misogynistic Community.” University of Vermont and State Agricultural College, 2021. Gouck, Jennifer. “The Problematic (Im)persistence of the Manic Pixie Dream Girl in Popular Culture and YA Fiction.” Women's Studies 52.5 (2023): 525-44. Harris, Aisha. “Is the Manic Pixie Dream Girl Dead?” Slate, 5 Dec. 2012. <https://slate.com/culture/2012/12/manic-pixie-prostitute-video-is-the-latest-critique-of-the-manic-pixie-dream-girl-archetype-video.html>. hooks, bell. Feminist Theory: From Margin to Center. Pluto Press, 2000. Jansen, Sue Curry, and Don Sabo. “The Sport/War Metaphor: Hegemonic Masculinity, the Persian Gulf War, and the New World Order.” Sociology of Sport Journal 11.1 (1994): 1-17. <https://journals.humankinetics.com/view/journals/ssj/11/1/article-p1.xml>. Stoeffel, Kat. “The ‘Manic Pixie Dream Girl’ Has Died.” The Cut, 29 July 2013. <https://www.thecut.com/2013/07/manic-pixie-dream-girl-has-died.html>. Lambert, Molly. “1D Internet Fantasies: Liz Lemon, One Direction, and the Rise of the Manic Pixie Dream Guy.” Grantland: Hollywood Prospectus, 3 Dec. 2012. <https://grantland.com/hollywood-prospectus/1d-internet-fantasies-liz-lemon-one-direction-and-the-rise-of-the-manic-pixie-dream-guy/>. Lee, Ashley. “How Hilarious ‘Barbie’ Earworm ’I’m Just Ken’ Brings Toxic Masculinity to Its Knees.” Los Angeles Times, 28 Jul. 2023. <https://www.latimes.com/entertainment-arts/movies/story/2023-07-28/barbie-movie-ryan-gosling-im-just-ken-lyrics-dance-moves-explained>. Mason, Derrit. “The Earnest Elfin Dream Gay.” Public Books, 9 Nov. 2018. <https://www.publicbooks.org/the-earnest-elfin-dream-gay/>. Myisha, Nabila, et al. “Decoding the Perpetuation of Patriarchal Culture in the Barbie Movie.” Cultural Narratives 1.2 (2023): 71-82. Nicholas, Lucy. “Ken’s Rights? Our Research Shows Barbie Is Surprisingly Accurate on How ‘Men’s Rights Activists’ Are Radicalized.” The Conversation, 25 Jul. 2023. <https://theconversation.com/kens-rights-our-research-shows-barbie-is-surprisingly-accurate-on-how-mens-rights-activists-are-radicalised-210273>. Owen, Craig Robert. Dancing Gender: Exploring Embodied Masculinities. 2014. PhD dissertation. Bath: University of Bath. <https://purehost.bath.ac.uk/ws/portalfiles/portal/187931069/OWEN_Craig_PhD_Thesis_1_6_2014.pdf>. Penny, Laurie. “Laurie Penny on Sexism in Storytelling: I Was a Manic Pixie Dream Girl.” The New Statesman, 7 Aug. 2014. <https://www.newstatesman.com/politics/2013/06/i-was-manic-pixie-dream-girl>. Pickel-Chavalier, Sylvine. “Popular Horse Stories and the Invention of the Contemporary Human-Horse Relationship through an ‘Alter Ego’ paradigm.” Journal of Sports Science 5 (2017): 119-137. <https://hal.science/hal-01571632/document>. Rabin, Nathan. “The Bataan Death March of Whimsy Case File #1: Elizabethtown.” The A.V. Club, 25 Jan. 2007. <https://www.avclub.com/the-bataan-death-march-of-whimsy-case-file-1-elizabet-1798210595>. ———. “I’m Sorry for Coining the Phrase 'Manic Pixie Dream Girl'.” Salon, 16 Jul. 2014. <https://www.salon.com/2014/07/15/im_sorry_for_coining_the_phrase_manic_pixie_dream_girl/>. Robinson, I.H. “The Human‐Horse Relationship: How Much Do We Know?” Equine Veterinary Journal 31.S28 (Apr. 1999): 42–5. DOI: 10.1111/j.2042-3306.1999.tb05155.x. Roche, Daniel. The Culture of Clothing: Dress and Fashion in the Ancien Régime. Cambridge UP, 1996. Romero-Medina, Pablo, and Júlia Vilasís-Pamos. “Alt-Right, Neomasculinities and Video Games: A Narrative Review.” Digital Games Research Association (DiGRA), 2023. <http://digra.org:9998/DiGRA_2023_CR_1583.pdf>. Tannenbaum, Emily. “The ‘Manic Pixie Dream Girl’ Isn’t Dead – She Has Just Evolved.” Glamour, 25 Aug. 2020. <https://www.glamour.com/story/the-manic-pixie-dream-girl-isnt-dead-shes-just-evolved>. “The Thinker.” Musee Rodin, n.d. <https://www.musee-rodin.fr/en/musee/collections/oeuvres/thinker>. Weaver, Caity. “The Ken Doll Reboot: Beefy, Cornrowed, and Pan-Racial.” GQ, 20 Jun. 2017. <https://www.gq.com/story/the-ken-doll-reboot-beefy-cornrowed-and-pan-racial>. Zelazko, Alicja. “The Thinker.” Britannica, 20 Feb. 2024. <https://www.britannica.com/topic/The-Thinker-sculpture-by-Rodin>. Zemler, Emily. “On Location: Unboxing Barbie in Venice Beach.” Conde Nast: Traveler, 21 Jul. 2023. <https://www.cntraveler.com/story/barbie-movie-venice-beach>. ———. Dressing Barbie Was Always the Best Part: Just Ask Costume Designer Jacqueline Durran. Yahoo! Movies, 20 Feb. 2024. <https://ca.movies.yahoo.com/dressing-barbie-always-best-part-130045950.html>.

IntroductionNordic mythology, also known as Norse mythology, is a term used to describe Medieval creation myths and tales of Gods and otherworldly realms, told and retold by Northern Germanic and Scandinavian tribes of the ninth century AD (see for example Gaiman).I discuss a new type of Nordic mythology that is being created through popular culture, social media, books, and television shows. I am interested in how contemporary portrayals of the Nordic countries has created a kind of mythological place called Scandinavia, where things, people, and ideas are better than in other places.Whereas the old myths portray a fierce warrior race, the new myths create a utopian Scandinavia as a place that is inherently good; a place that is progressive and harmonious. In the creation of these new myths the underbelly of the North is often neglected, producing a homogenised representation of a group of countries that are in actuality diverse and inevitably imperfect.ScandimaniaGenerally the term Scandinavia always refers to Denmark, Norway, and Sweden. When including Finland and Iceland, it is more accurate to refer to the five as the Nordic countries. I was born and grew up in Denmark. My observations are skewed towards a focus on Denmark, rather than Scandinavia as a whole. Though I will use the term Nordic and Scandinavia throughout the article, it is worth noting that these definitions describe a group of countries that despite some commonalities are also quite different in geography, and culture.Whether we are speaking strictly of Scandinavia or of the Nordic countries as a whole, one thing is certain: in recent years there has been a surge of popularity in all things Nordic. Scandinavian design has been popular since the 1950s, known for its functionality and simplistic beauty, and globalised through the Swedish furniture chain IKEA. Consequently, Nordic interior design has become a style widely praised and emulated, as has Nordic fashion, architecture, and innovation.The fact that Scandinavian people are often represented as being intelligent and beautiful adds to the notion of stylish and aesthetically pleasing ideals. This is partly why sperm from Danish sperm donors is the most sought after and widely distributed in the world: perhaps prospective parents find the idea of having a baby of Viking stock appealing (Kale). Nordic countries are also known for their egalitarian societies, which are described as “the holy grail of a healthy economy and society” (Cleary). These are countries where the collective good is cherished. Tax rates are high (in Denmark between 55 per cent and 60 per cent of income), which leads to excellent welfare systems.In recent years other terms have entered the collective Western vocabulary. New Nordic Cuisine describes a trend that has taken the culinary world by storm. This term refers to food that is created with seasonal, local, and foraged ingredients. The emphasis being a renewed connection to nature and old ways. In 2016 the Danish word hygge was shortlisted by the Oxford Dictionary as word of the year. A word, which has no direct English translation, it means “a quality of cosiness and comfortable conviviality that engenders a feeling of contentment or well-being (regarded as a defining characteristic of Danish culture)”. Countless books were published in the United Kingdom, and elsewhere, explaining the art of hygge. Other Scandinavian words are now becoming popular, such as the Swedish lagom, meaning “just enough”.In the past two years, the United Nations’ World Happiness Report listed Denmark and Norway as the happiest places on earth. Other surveys similarly put the Nordic countries on top as the most prosperous places on earth (Anderson).Mythologies and Discursive FormationsThe standard definition of myth is a “traditional story, especially one concerning the early history of a people or explaining a natural or social phenomenon, and typically involving supernatural beings or events.” Or “A widely held but false belief or idea” (Oxford Dictionaries, Myth).During what became known as the “discursive turn”, both Barthes and Foucault expanded the conception of myth by placing it within a wider socio-political and historical contexts of power and truth. “Discursive formations” became a commonly accepted way of describing a cluster of ideas, images, and practices that define particular “truths” within a given cultural context (Hall 6). In other words, myths serve specific purposes within given socio-cultural constructions.I argue that the current idolisation of Scandinavia is creating a common global narrative of a superior society. A mythical place that has “figured it out”, and found the key to happiness. The mythologised North is based on an array of media stories, statistics, reports, articles, advertising, political rhetoric, books, films, TV series, exhibitions, and social media activity. These perpetuate a “truth” of the Nordic countries as being especially benign, cultured, and distinguished. The Smiling PolicemanIn his well-known essay Myth Today, Barthes analyses an image of a North African boy in uniform saluting the French flag on the front cover of a magazine. Barthes argues that by analysing the semiotic meaning of the image in two stages, one can identify the “myth”.The first level is the signifiers (what we see), a dark skinned boy, a uniform, a raised arm, a flag. The signified is our recognition of these as a North African boy raising his arm to the French flag. The second level of interpretation is the wider context in which we understand what we see: the greatness of France is signified in the depiction of one of her colonial subjects submitting to and glorifying the flag. That is to say, the myth generated by the image is the story of France as a great colonial and military nation.Now take a look at this image, which was distributed the world over in newspapers, online media, and in turn social media (Warren; Kolff). This image is interesting because it epitomises much of what is believed about Scandinavia (the new myths). If we approach the image through the semiotic lens of Barthes, we firstly describe what is seen in the picture (signifiers): a blonde policeman, a girl of dark complexion, a road in the countryside, a van in the distance, and some other people with backpacks on the side of the road. When we put these elements together in context, we understand that the image to be depicting a Danish policeman, blonde, smiling and handsome, playing with a Syrian refugee girl on an empty Danish highway, with her fellow refugees behind her.The second level of interpretation (the myth) is created by combining the elements into a story: A friendly police officer is playing with a refugee girl, which is unusual because policemen are commonly seen as authoritarian and unfriendly to illegal immigrants. This policeman is smiling. He is happy in his job. He is healthy, good-looking, and compassionate.This fits the image of Scandinavian men as good fathers (they have paternity leave, and often help equally with child rearing). The image confirms that the happiest people on earth would of course also have happy, friendly policemen. The belief that the Scandinavian social model is one to admire would appear to be endorsed.The fact that this is in a rural setting with green landscapes adds further to the notion of Nordic freshness, naturalness, environmentalism, and food that comes from the wild. The fact that the policeman is well-groomed, stylish, well-built, and handsome reinforces the notion that Scandinavia is a place of style and taste, where the good Viking gene pool produces fit and beautiful people.It makes sense that in a place with a focus on togetherness and the common good, refugees are also treated well. Just as the French image of a dark-skinned boy saluting the French flag sent out messages of French superiority, this image sends out messages of inherent Nordic goodness in a time where positive images of the European refugee crisis are few and far between.In a discursive discussion, one asks not only what meanings does this image convey, but why is this image chosen, distributed, shared, tweeted, and promoted over other images? What purpose does its proliferation serve? What is the historical context in which it is popularised? What is the cultural imagination/narrative that is served? In the current often depressing socio-political situation in Europe, people like to know that there is a place where compassion and play exists.Among other news stories of death, despair, and border protection, depictions of an idealised North can help calm anxieties by implying the existence of a place that is free of conflict. Jakob Stougaard-Nielsen writes:The flood of journalistic and popular ethnographic explorations of the Nordic region in the UK is an expression, perhaps, of a search for a lost sense of identity, a nostalgic longing for an imagined past society more in tune with pre-Thatcherite welfarist values, by way of consuming, appropriating and exoticising proximate cultural identities such as the now much hyped Danish or Nordic utopias. (Nordic Noir, 6)In The Almost Nearly Perfect People, British writer Michael Booth wonders: “one thing in particular about this new-found love of all things Scandinavian … which struck me as particularly odd: considering all this positive PR, and with awareness of the so-called Nordic miracle at an all-time high, why wasn’t everyone flocking to live here [in Denmark]?” (7).In actuality not many people in the West are interested in living in the Nordic countries. Rather, as Barbara Goodwin writes: “utopias hold up a mirror to the fears and aspirations of the time in which they were written” (2). In other words, in an age of anxiety, where traditional norms and stabilities are shifting, to believe that there is a place where contemporary societies have found a way of living in happiness and togetherness provides a sense of hope. People are not flocking to live in Scandinavia because it is not in their interests to have their utopian ideals shattered by the reality that, though the North has a lot to offer, it is inevitably not a utopia (Sougaard-Nielsen, The Truth Is).UnderbellyParadoxically, in recent years, Scandinavia has become well known for its “Nordic Noir” crime fiction and television. In the documentary TV series Scandimania, British TV personality Hugh Fearnley-Whittingstall travels through Denmark, Sweden, and Norway, exploring the culture, scenery, and food. He finds it curious that Denmark has become so famous for its sombre crime series, such as The Killing and The Bridge, because it seems so far removed from the Denmark he experiences riding around the streets of Copenhagen on his bike.Fearnley-Whittingstall ponders that one has to look hard to find the dark side of Denmark, and that perhaps it does not actually exist at all. This observation points to something essential. Even though millions of viewers worldwide have seen shows such as The Killing, which are known for their dark story lines, bleak urban settings, complex but realistic characters, progressive gender equality, and social commentary, the positive mythologising of Scandinavia remains so strong that it engenders a belief that the underbelly shown in Nordic Noir is perhaps entirely fictional.Stougaard-Nielsen (see also Pitcher, Consuming Race) argues that perhaps the British obsession with Nordic Noir (and this could be applied to other western countries) can be attributed to “a more appropriate white cosmopolitan desire to imagine rooted identities in an age of globalisation steeped in complex identity politics” (Nordic Noir, 8). That is to say that, for a segment of society which feels overwhelmed by contemporary multiculturalism, there may be a pleasure in watching a show that is predominantly populated by white Nordic protagonists, where the homes and people are stylish, and where the Nordic model of welfare and progressive thinking provides a rich identity source for white people as a symbolic point of origin.The watching/reading of Nordic Noir, as well as other preoccupations with all things Nordic, help build upon a mythological sense of whiteness that sets itself apart from our usual notions of race politics, by being an accepted form of longing for the North of bygone ages: a place that is progressive, moral, stylish, and imbued with aspirational ways of living, thinking, and being (Pitcher, Racial Politics).The image of the Danish police officer and the refugee girl fits this ideal of a progressive society where race relations are uncomplicated. The policeman who epitomises the Nordic ideal is in a position of power, but this is an authority which is benevolent. The girl is non-threatening in her otherness, because she is a child and female, and therefore does not fit the culturally dreaded Muslim/terrorist stereotype. In this constellation the two can meet beautifully.The reality, of course, is that the race relations and issues surrounding immigration in Denmark, and in other Nordic countries, are as complicated and often messy and hateful as they are in other countries. In Sweden, as Fearnley-Whittingstall touches upon in Scandimania, there are escalating problems with integration of the many new Swedes and growing inequalities in wealth. In Norway, the underlying race tensions became acutely topical in the aftermath of the 2011 massacre, where right-wing extremist Anders Breivik killed 77 people. Denmark has one of the harshest anti-immigration laws in Europe, laws that are continuously being tightened (Boserup); and whenever visiting Denmark I have been surprised to see how much space and time discussions about immigration and integration take up in the news and current affairs.If we contrast the previous image with the image above, taken within a similar timeframe on the same Danish highway, we can see the reality of Danish immigration policies. Here we are exposed to a different story. The scene and the location is the same, but the power dynamics have shifted from benign, peaceful, and playful to aggressive, authoritarian, and conflict ridden. A desperate father carries his daughter, determined to march on towards their destination of Sweden. The policeman is pulling his arm, attempting to detain the refugees so that they cannot go further, the goal being to deport the Syrians back to their previous place of detention, just over the border in Germany (Harticollis). While the previous image reflects the humanity of the refugee crisis, this image reflects the politics, policies, and to a large extent public opinion in Denmark, which is not refugee-friendly. This image, however, was not widely distributed, partly because it feeds into the same depressing narrative of an unsolvable refugee crisis seen so often elsewhere, and partly because it does not fit into the narrative of the infallible North. It could not be tweeted with the hashtag #Humanity, nor shared on Facebook with a smiley face and liked with an emoji heart.Another image from Denmark, in the form of a politically funded billboard, shows that there are deep-seated tendencies within Danish society that want to promote and retain a Denmark which adheres to its traditional values and ethnic whiteness. The image was displayed all over the country, at train stations, bus stops, and other public spaces when I visited in 2016. It was issued by Dansk Folkeparti (the Danish People’s Party); a party which is anti-immigration and which was until recently the country’s second largest party. The title says “Our Denmark”, while the byline cleverly plays with the double meaning of passe på: it can mean “there is so much we need to take care of”, but also “there is so much we need to beware of.” In other words, the white working-class family needs to take care of their Denmark, and beware of anyone who does not fit into this norm. Though hugely contested and criticised (Cremer; see a counter-reaction designed by opponents below), the fact that thinly veiled anti-immigration propaganda can be so readily distributed speaks of an underbelly in Danish society that is not made of the dark murder mysteries in The Killing, but rather of a quietly brewing distain for the foreigner that reigns within stylishly designed living rooms. ConclusionMyths are stories cultures tell and retell until they form a belief system that becomes a natural part of our collective narrative. For Barthes, these stories were intrinsically connected to our understanding of language and our ability to read images, films, artifacts, and popular culture more generally. To later cultural theorists, the notion of discursive formations expands this understanding, to see myth within a broader network of socio-political discourses placed within a certain place and time in history. When connected, small narratives (images, advertising, film, music, news stories, social media sharing, scientific evidence, etc.) come together to form a common narrative (the myth) about how things are and should be in relation to a particular topic. The culminating popularity of numerous Nordic themes (Nordic television/film, interior design, fashion, cuisine, architecture, lifestyle, sustainability, welfare system, school system, gender equality, etc.) has created a grand narrative of the Nordic countries as a type of utopia: one that shows the rest of the world that an egalitarian society of togetherness and progressive innovation is possible. This mythologisation serves to quell anxieties about the flux and uncertainty of contemporary times, and may also serve to legitimise a yearning for a simple, benign, and progressive whiteness, where we imagine Nordic families sitting peacefully at their beechwood dining tables, candles lit, playing board games. This is a projected yearning which is otherwise largely disallowed in today’s multicultural societies.ReferencesAnderson, Elizabeth. “The Most Prosperous Countries in the World, Based on Happiness and Financial Health.” The Telegraph, 2 Nov. 2015. <http://www.telegraph.co.uk/finance/economics/11966461/The-most-prosperous-countries-in-the-world-based-on-happiness-and-financial-health.html>.Barthes, Roland. Mythologies. London: Vintage, 2000 [1957].———. “Myth Today.” Mythologies. London: Vintage, 2000 [1957].Booth, Michael. The Almost Nearly Perfect People. London: Jonathan Cape, 2014.Boserup, Rasmus Alenius. “Denmark’s Harsh New Immigration Law Will End Badly for Everyone.” Huffington Post. <https://www.huffingtonpost.com/rasmus-alenius-boserup/denmark-immigration-law_b_9112148.html>.Bridge, The. (Danish: Broen.) Created by Hans Rosenfeldt. Sveriges Television and DR, 2013-present.Cleary, Paul. “Norway Is Proof That You Can Have It All.” The Australian, 15 July 2013. <http://www.theaustralian.com.au/life/norway-is-proof-that-you-can-have-it-all/news-story/3d2895adbace87431410e7b033ec84bf>.Colson, Thomas. “7 Reasons Denmark Is the Happiest Country in the World.” The Independent, 26 Sep. 2016. <http://www.independent.co.uk/news/world/europe/7-reasons-denmark-is-the-happiest-country-in-the-world-a7331146.html>.Cremer, Justin. “The Strangest Political Story in Denmark Just Got Stranger.” The Local, 19 May 2016. <https://www.thelocal.dk/20160519/strangest-political-story-in-denmark-just-got-stranger>.Dregni, Eric. “Why Is Norway the Happiest Place on Earth?” Star Tribune, 11 June 2017. <http://www.startribune.com/the-height-of-happy/427321393/#1>.Foucault, Michel. The History of Sexuality: The Will to Knowledge. London: Penguin Books, 1998 [1976]. Gaiman, Neil. “Neil Gaiman Retells Classic Norse Mythology.” Conversations. Radio National 30 Mar. 2017.Goodwin, Barbara, ed. The Philosophy of Utopia. London: Frank Cass, 2001.Hall, Stuart, ed. Representation: Cultural Representations and Signifying Practices. London: Sage, 1997.Hartocollis, Anemona. “Traveling in Europe’s River of Migrants.” New York Times, 9 Sep. 2015. <https://www.nytimes.com/interactive/projects/cp/reporters-notebook/migrants/denmark-refugees-migrants>.Helliwell, J., R. Layard, and J. Sachs. World Happiness Report 2017. New York: Sustainable Development Solutions Network, 2017.Kale, Sirin. “Women Are Now Pillaging Sperm Banks for Viking Babies.” Vice, 2 Oct. 2015. <https://broadly.vice.com/en_us/article/3dx9nj/women-are-now-pillaging-sperm-banks-for-viking-babies>.Killing, The. (Danish: Forbrydelsen.) Created by Søren Sveistrup. DR, 2007-2012.Kolff, Louise. “Part III: The Hunk & the Refugee.” Perspectra, 3 Dec. 2015. <https://perspectra.org/2015/12/03/danish-police-and-refugee-girl/>.Oxford Dictionaries. “Hygge.” <https://en.oxforddictionaries.com/definition/hygge>.Oxford Dictionaries. “Myth.” <https://en.oxforddictionaries.com/definition/myth>.Pitcher, Ben. Consuming Race. London: Routledge, 2014.———. “The Racial Politics of Nordic Noir.” Mecetes, 9 April 2014. <http://mecetes.co.uk/racial-politics-nordic-noir/>.Scandimania. Featuring H. Fearnley-Whittingstall. Channel 4, 2014.Sougaard-Nielsen, Jacob. “Nordic Noir in the UK: The Allure of Accessible Difference.” Journal of Aesthetics & Culture 8.1 (2016). 1 Oct. 2017 <http://www.tandfonline.com/doi/full/10.3402/jac.v8.32704>.———. “The Truth Is, Scandinavia Is Neither Heaven nor Hell.” The Conversation, 19 Aug. 2014. <https://theconversation.com/the-truth-is-scandinavia-is-neither-heaven-nor-hell-30641>.Warren, Rossalyn. “The Touching Moment a Policeman Sat Down to Play with a Syrian Refugee.” BuzzFeed News, 15 Sep. 2015. <https://www.buzzfeed.com/rossalynwarren/the-adorable-moment-a-policeman-sat-down-to-play-with-a-syri?utm_term=.qjzl2WEk7#.kgZXOp76M>.