Czech Hercules: Gustav Frištenský, ‘Musculinity’, the Others and Visual Pleasure around 1900

Abstract

Before 1900, in the Czech lands of the Habsburg Monarchy, the lean body of an athlete became a representation of strength, health, and beauty. Through Sokol gymnastics, the body of every Czech man was to be shaped into the form of the somatic mythotype Apollo. After 1900, in circuses, variety shows, and strength sports clubs, a new ideal man embodying somatic mythotype Hercules appeared: the strongman, who transformed a lightly muscled Apollonian shape into a modern Herculean form bulking massive shredded musculature. Strongman Gustav Frištenský in particular, whose body was eroticized, photogenized, nationalized, and racialized, embodied a mobilizing sports star who strengthened the Czech national community. Frištenský’s body was shaped by Hellenistic idealism, which gave rise to his adherence to the somatic mythotype of Hercules. This subsequently gave birth to ‘musculinity’, a new kind of hegemonic masculinity. The perception of Frištenský’s body was influenced by a physical resemblance to the Estonian wrestler Georg Lurich, by practices of othering, and the myth of white male supremacy. The steel and statuesque aesthetic of Frištenský’s body and the voyeurism of the masses then undermined traditional middle-class prudery and patriarchal control over the distribution of visual pleasure.