Type Of Hero Research Articles

Мотив адюльтера в романе Анатолия Мариенгофа Циники: слом или продолжение традиций русского словесно-культурного процесса?

Cynics as the poetics and worldview of imagism suggests, gives the impression of a kind of novel-rebellion against Russian literary culture that has developed since the era of Pushkin. This is despite the fact that Mariengof at the end of the 1920s, when predictably dominated by social-political issues, creates a novel about a love story, seemingly quite traditional for Russian literature. This novel is not only about a love story, however, but also about adultery, proposed almost as a norm in married life. This violates and partly as it were destroys the traditions developed by the Russian literary process in the sphere of motives. Love stories and adulteries are inscribed in the motif, gradually gaining strength, of marital unfaithfulness which increases the independent poetics in Russian literature. According to literary scholars, adultery has its origins in the prose of Pushkin, and Lermontov, and it is further developed by Leo Tolstoy. However, researchers have not paid enough attention to the genres of the romantic, secular novella of the 1820s–1840s, with Turgenev’s works as another line of adultery, largely autonomous, experiencing the natural influence of the Europeanmedieval tradition. From this angle, the motif of adultery in Cynics has an “external” dimension, correlating with historical time, a catastrophic social-political situation, and internal literary history, as Veselovsky designated it. This naturally and inextricably connects the novel with the thickness of national and Western European literary meanings, images, types of heroes, and conflicts.

Renovatio/Continuatio in Greek times: Four Sculptural Case Studies

Four “test-cases” are being proposed, to raise issues of continuity and renovation in Greek sculpture. The first involves the use of pre-existing carved metopes on a later temple, at Foce del Sele, with a consequent discrepancy of styles – as on the Arch of Constantine. The second case views the bronze head recovered from the Porticello wreck as a “Philosopher ante litteram” in type but definitely not to be considered a portrait. The third case discusses the Riace warriors as examples of the permanence of a certain heroic body type. Finally, the helmet decoration of the Athena Parthenos by Pheidias is presented to emphasize a continuing tradition from Bronze Age-Iron Age times still valid in the fifth century B.C. and later.

A035: What Makes Ecological Sport Possible: Reflections on Lewis Mumford's Technological View of Mass Sport

Background/Purpose: Lewis Mumford insightfully points out that "if sport is played for sport's sake, then its primary significance is lost". Under the coercion of the machine system, sport has become a so-called spontaneous response to resist the machine system, but such spontaneous response has not succeeded in resisting the machine system, instead, it has made sport itself a compensatory system to stabilize the order under the machine system, which has led to a crisis in the ecology of sport itself. Mumford's critique is an effective path to solving the ecological crisis of sport by practicing deep ecological sport ideology. Deep ecological view of sport is a view of sport that organically combines nature, sport and people. Method: Using qualitative research methods, such as literature analysis and textual analysis, starting from the logic of the book Technology and Civilization, placing ourselves in the historical environment where Mumford is located, and combining the critical logic of Technology and Civilization, we excavate the commonality between Lewis Mumford's critical thought and the deep ecological sports thought. Results: Mumford notes that sport exists in abstract form in the machine civilization, and he summarizes the elements that sport possesses: the spectacle of the event, the competition in the event, and the popular new type of hero. Spectators see the spectacle and feel mobilized because of the characteristic satisfaction that the machine system brings to the spectator, but this satisfaction is based on the cost of damaging the athlete's body. At the same time, time has replaced visible opponents, and the original race of the event against the man has become a race against the record, with people far more keen on setting records than they are concerned with placing. The emergence of sports stars has rendered it pointless for sport to rebel against the machine system, for sport has become an integral part of a generally tightly controlled life. Conclusion/Discussion: The mass sport under the machine system criticized by Mumford puts the benefits brought by sport above life, and the significance of people as well as sport is seriously distorted. What Mumford hopes for, and what the deep ecological view of sport ideology practises[sic], is to establish an organic worldview, so that inhuman, mechanized sport can be transformed into human, organic and ecological sport, and thus a real solution to the ecological crisis of sport can be found.

Identity Values and Cultural Memory in Contemporary Kyrgyz Cinema

The study examines the subject of several fiction feature films awarded at the first Bishkek International Film Festival (November 17-21, 2023). These films exalt the identity values and the cultural memory of Kyrgyz people and of other neighbored Central-Asian peoples, in order to put the question: “Which are conceptually these identity values?” and “Which are the narrative situations and the hero types that better emphasize them?” After identifying several such identity values, the study focuses on the motif or even the archetype of the abandoned child, a frequent motif in the films mentioned above. Through an effort to mature his conscience, but also with the support of an adult spiritual mentor, the abandoned child morally rises above the adults who abandoned him due to negligence or selfishness, becoming himself their potential spiritual savior. The study starts from the premise that a local and relatively young cinema industry, like the Kyrgyz one or generally the Central-Asian one, which hasn’t yet axiologically dissolved into the current of globalization, cannot be correctly and plenary understood without a deep knowledge of the cultural and civilizational background that generated it. Film analysis is therefore interwoven with anthropological analysis and cultural theory.

«Spanish Noir»: towards a Literary Understanding of Genre (on the Example of the Novel «Todo esto te daré» by D. Redondo)

The theoretical orientation of the article pursues a practical purpose: to embed a sample of contemporary Spanish crime literature in the genre framework and to be able to apply the results obtained in this type of works. The issue of genre attribution in crime literature has not yet been resolved due to the different starting points of numerous approaches: genre genesis, national specifics, gender perspective, stylistics, etc. Our hypothesis consists in the possibility of attributing any sample of modern criminal literature to a certain genre on the basis of unified literary parameters regardless of the national origin of the work. The artistic analysis of Dolores Redondo’s novel «Todo esto te daré» (2016) on the basis of the genre-typological method – is preceded by theoretical sections. In the introduction, the expediency of this study in the light of the influence of publishing practices on the literary component itself is substantiated. The issue of genre determination is often distorted for the sake of commercial success, depriving researchers of the possibility of scientific analysis using unified terms. Turning directly to the subject of the study, we offer a short excursion into the history of Spanish crime literature and into the environment of scholarly reflection on the so-called «noir» – frequent, but lacking terminological nomination. The methodology proposed by N.N. Kirilenko and O.V. Fedunina becomes the main tool for analyzing the text. The consistent «filtering» of the novel through the constant structural features (type of hero, subject structure, chronotope, and compositional forms of speech) allows it to be attributed to the genre of “victim investigation” with some features of a police novel. The search for the genre of a work in a synchronic context is convenient and universal, therefore, firstly, it is applicable to almost all samples of modern criminal literature, and secondly, it can be complementarily combined with other research purposes. So, you can focus on the genesis of the genre or various factors influencing it in the past and present. In any case, for all the mobility and hybrid nature of contemporary crime literature, its samples can be classified according to uniform criteria, which significantly enriches the toolkit for further research.

НОВЫЙ ГЕРОЙ В КЫРГЫЗСКОЙ ЛИТЕРАТУРЕ (ПО РОМАНУ К. ДЖУСУБАЛИЕВА «ХОЛОДНЫЕ СТЕНЫ»)

K. Dzhusubaliev's novel "Cold Walls" (1969) is a pioneering work in Kyrgyz literature, employing the “stream of consciousness” technique and introducing a new type of hero. This article examines Arykov's character and the artistic methods used to reveal his inner world. The author creates a multilayered psychological portrait of a hero living in his memories and reflections, representing a departure from traditional Kyrgyz literary characters. “Cold Walls” significantly influenced the development of Kyrgyz literature by showcasing the potential of modernist techniques and profound psychologism, opening new avenues for portraying the human inner world.

THE IMAGE OF A POSITIVE HERO IN THE UKRAINIAN MAGICAL TALE

The article examines the features of the image of a positive hero of a magical fairy tale, its content, context, and educational potential. The purpose of this article is to study of the characteristic features of the image of the positive hero of the Ukrainian fairy tale and the identification of his educational potential. The study of the image of the positive hero in Ukrainian magical fairy tales employs a multidisciplinary approach, incorporating folklore studies, literary criticism, and cultural anthropology. This method allows for an in-depth examination of the narrative structures, thematic elements, and cultural significance of the tales. The primary sources for this study include a comprehensive collection of Ukrainian magical tales, scholarly articles, and historical texts that provide insights into the evolution of these stories and their roles within Ukrainian culture. The types of heroes of magical tales are highlighted, their national and universal virtues are analyzed. Mythologemes and archaisms of the fairy tale "Kotygoroshko" were studied. It was concluded that the images of positive heroes of fairy tales in their own actions, activities, exploits, communication with other characters appear as integral human characters, exponents of the best virtues of the Ukrainian people. Heroes are consistent in their actions, value honor, justice, loyalty to family, people, and Motherland above all else. They wage an implacable struggle against evil in all its forms and always win. These are strong, courageous, honest, reliable knights, devoted to the end of the fight for the truth.

History and myth in Leonid Yuzefovich’s novel “Philhelle”

The article analyzes L. Yuzefovich’s novel “Philhellene” from the point of view of its historical and mythological (mythopoetic) codes’ functions. The purpose of the work is to identify historical and mythological encodings in the novel, using descriptive and mythopoetic research methods. Particular attention is paid to the analysis of the type of hero, the character system, as well as the identification of the novel chronotope and the justification of its genre characteristics. We argue that L. Yuzefovich’s novel is not a historical novel in the generally accepted sense. Although “Philhellene” has the necessary markers of the historical novel genre, L. Yuzefovich, through the category that we call “duality”, rises to the level of the symbolic generalization characteristic of myth. In his authorial myth, history, mythologized history, mythology, epic and legend coexist in one space, determining the originality of the novel world of “Philhellene”. We analyze the image of the main character, Mostsepanov who reveals a clear similarity with the image of the epic hero. In his wanderings, a mythopoetic chronotope is embodied through the prism of L. Yuzefovich’s authorial myth. The article states that L. Yuzefovich sees Greece’s path to prosperity through the merging of two related national identities – Russian and Greek – so Mostsepanov becomes the embodiment of this synthesis. As a result of the above statements, “Philhellene” can be characterized as a historical-mythological novel with a predominance of the mythological code.

Марсианские хроники «прекрасной эпохи»

The French literature from the late 19th and early 20th centuries that can be classified as “space fiction” centered on missions to Mars and making contact with Martians. The topic’s appeal stems from scientific findings of the time (particularly the so-called Martian canals) as well as the traditional symbolism of the Roman god who gave the Red Planet its name. All authors who wrote about Mars during the “Belle Époque” were inspired, to varying degrees, by the writings of the eminent astronomer Camille Flammarion (both scientific and fictional). The article delves into the specifics of how Joseph Rosnyaîné, André Laurie, Georges Le Faure, Henry de Graffigny, Arnould Galopin, Gustave Le Rouge, and Jean de La Hire interpret the Martian theme in their works. It is demonstrated that the use of traditional materials for popular novels is mixed with a desire to update popular literature’s narrative strategies. Thus, The Extraordinary Adventures of a Russian Scientist Across the Solar System by Le Faure and Graffigny, written between 1888-1896, contrasts the “intergalactic” theme, which was novel in French literature, with its archaic interpretation. The tendency to mix genres, to combine the “merveilleux-scientifique” (scientific marvelous) with Gothic and vampire literature approaches, as well as to augment the story with the occult component, increases. The so-called “martian duology” by G. Le Rouge, which lays the foundation for the poetics of horror – so vital to the 20th-century popular reading – is among the most significant literary works. The modernist bent is particularly evident in J. de La Hire’s 1911 book The Mystery of the Fifteen, which foresaw the rise of the superman hero, a new type of hero for the popular novel (however, this hero did not gain popularity in France).

The overlooked traits of the ‘new drama’. The literary fate of S. Naydyonov

The article seeks to revive interest in the legacy of the Silver Age playwright S. Naydyonov. Upon analysis of his plays, the authors prove that Naydyonov tried to distance himself from his literary reputation as A. Ostrovsky’s successor, bestowed on him by critics after the triumph of his first play. In his subsequent work, the dramatist searched for a new type of hero, using the transformation of space to give an insight into the psychology of his characters, and proposed conflict realization methods that relied on enhanced symbolism of objects rather than direct clashes of the opposing parties. The article shows that his experiments largely corresponded to the artistic intentions of the ‘new drama.’ Therefore, the present study of Naydyonov’s plays written in the early 1900s demonstrates that, while A. Chekhov and L. Andreev remain the undisputed pioneers of the ‘new drama’ aesthetics in Russia, its artistic paradigm was frequently adopted by second-tier writers such as Naydyonov, often without the pioneers’ direct influence.

Narrative Storytelling as a Fan Conversion Tool in the Netflix Docuseries Drive to Survive

This paper explores how narrative storytelling converts individuals into sport fans. Data were collected through content analysis of Netflix’s Formula 1: Drive to Survive. Rhetorical criticism was applied to narrative elements identified in this popular docuseries. The conceptual framework drew from existing theories to detail how narrative storytelling effectively engages audiences and facilitates information exchange to achieve sport fandom. Findings show that the main narrative elements used in Drive to Survive were the plot types of adventure, ascension/descension, rivalry, and sacrifice, as well as the character type of hero. These narrative elements fostered sport fan conversion by providing multiple opportunities for information exchange, emotional connection, and inter-fan relationships. Ultimately, this study provides insight into conversion-through-narrative, strengthening the theoretical link between narrative storytelling and sport fandom by examining how narrative elements function in a successful case of sport fan conversion.

ON CULTURAL LOSSES IN THE RECEPTIVE PROCESS OF THE CHINESE TRANSLATION OF YU.M. POLYAKOV’S NOVEL I PLANNED AN ESCAPE

The paper deals with the issue of cultural losses in the receptive process of Yu. M. Polyakov’s novel I Planned an Escape. Cultural differences and language barriers complicate translator’s work. Although there are many key cultural losses in the receptive process of the Chinese translation of the novel, the translation was generally successful. The reason for the success is the topical relevance, since great works of literature touch on issues that concern all of humanity, issues that know no boundaries. Secondly, the translator’s skill in preserving the idiosyncrasies of the original author while referring the reader to parallels in his native culture, as brilliantly demonstrated by Zhang Jianhua’s translation, can convey the hidden cultural meanings of a foreign-language work of fiction to the masses as much as possible. Thirdly, the Chinese reader, probably, is close to the type of hero who aspires to a happy and wealthy life, who manages to realize his desires, but never becomes truly happy. Everyone, even for a minute, if not for several minutes, has been or is becoming an Escapist.

THE FATHER-SON CONFLICT IN THE SHORT NOVEL (POVEST’) “THE MOTHER” BY MAXIM GORKY

The turn of the 20th century was marked by M. Gorky’s search for new artistic forms, genres, new aesthetics and a new hero. It was important for the writer to bring timeliness and usefulness of literature come to the fore. In the short novel “The Mother” Gorky attempted to present the result of his search: to act as an innovator in terms of genre; to acquaint readers with a new type of hero, his new truth and aesthetics, to demonstrate his goals and capabilities; as well as to resolve the long-standing conflict of “fathers and sons,”which concerned the writer at the very beginning of his career. Gorky offered his version of the solution to the conflict, which consisted of breaking the binding thread between generations of “fathers and children.” According to the writer’s observations, the generation of “fathers” turned out to be incapable of this, as well as incapable of resolving the existing contradictions and finding a compromise, therefore, he took the side of the younger generation in the overdue “confrontation.” Having taken the father, as the bearer of the traditions of the past that have become obsolete, out of the dispute, the writer provided the Son with the opportunity to assert his own new truth, the essence of which is the struggle for a better future for all mankind. The author entrusted this exalted and honorable mission to the younger generation. Gorky’s innovation was expressed in the fact that he made Mother the key assistant, friend and ally in this significant matter, thereby reminding society of the lofty purpose and role of a woman, as well as the sacred essence of motherhood in this world. The main conclusion of the study states that the spiritual revival of Pelageya Vlasova as an individual is the central leitmotif of this work.

Neo-romantic hero: Vital characters in Holger Drachmann’s short stories

The article focuses on the specific type of literary hero that is common in the short stories of Holger Drachmann, who was considered the most prominent Danish writer in the early 20th century. His first books, “Poems” and a collection of short stories, “With Charcoal and Chalk”, were published in 1872. At the time, Drachmann belonged to the modernist movement and was one of Georg Brandes’ students, but later he changed his political and aesthetic preferences and moved away from the group of Brandes’ followers. Drachman’s artistic style is very special because it has features of Naturalism, Romanticism, Impressionism and Symbolism. But it is possible to conclude that his artistic manner can be called “neo-romantic” according to the contemporary terminology. The characters in his early collections of short stories are vivid, honest, and strong, and they represent the common type of neo-romantic hero that is inherent in other texts related to Neo-Romanticism. Very often Neo-Romanticism is seen as a “reaction” to Naturalism and a return to the principles of Romanticism, but it seems that Neo-Romanticism is much more like Naturalism than Romanticism. The type of neo-romantic hero is closer to naturalistic characters than to romantic characters, because it is a courageous and extraordinary person, an outsider and a rebel, his life is full of desire, risk and adventure, and it looks like a romantic hero, but a neo-romantic hero is a physically and mentally healthy person, and this character is determined by nature and genesis, which is the main feature of Naturalism. Drachman creates a new type of hero in Danish literature: the vital, strong character who struggles with nature and circumstances. His characters have the healthy genetics of ordinary people. Neo-Romanticism in Danish literature was strongly influenced by Naturalism and was the original phenomenon of national literature.

Onegin type of hero in the Russian poetry of 1840s and 1850s (N. M. Yazykov, Ap. Grigoriev, N. P. Ogarev, N. A. Nekrasov)

Onegin type of hero in the Russian poetry of 1840s and 1850s (N. M. Yazykov, Ap. Grigoriev, N. P. Ogarev, N. A. Nekrasov)

ДОРН КАК ТИП СОКРАТИЧЕСКОГО ГЕРОЯ В ПЬЕСЕ А. П. ЧЕХОВА «ЧАЙКА»

This article for the first time states the problem of Socratic Man in Chekhov’s reception as an aspect of forming the Nietzschean significant legacy into author’s «new drama». The paper identifies typical traits of the Socratic protagonist and his functionality in Chekhov’s plays of the 1890s. Through the optics of the presence of this type of hero in the author’s later experiments for the theater, Dr. Dorn is considered. The author of this paper proves that the socratic principle is attached to him, which makes it possible to more accurately determine the place of this character in the integrity of the comedy «The Seagull».

“...seems to be built not of stone”: Without Foundation by V. Petrov (Domontovych) as an Architectural and Pictorial Novel-Ekphrasis

Intermedial analysis remains one of the leading interpretive strategies of contemporary literary studies, which determines the relevance of the study. The aim is to read the novel Without Foundation (1948) by V. Petrov (Domontovych) through the prism of intermediality. The research methods are determined by the objective. The method of intermedial analysis, contextual analysis, hermeneutic, comparative and semiotic methods are used. It is indicated that the writer transports a number of codes of plastic arts into the word: composition, colour and linear ratios, volumes, light and shadows, texture, etc. Verbal descriptions of works of art as visual objects in a novel often become a self-contained main narrative with extensive reflections on artistic phenomena. Certain episodes of the novel are a kind of verbal extension of the characters depicted in the paintings. Masterpieces of world and national art, as well as precedent-setting names of artists, provide the writer with the opportunity to find motives, moods, and images that are in tune with his or her own, and enrich the arsenal of visual and expressive means. The main basis of the artistic narrative is the architectural structure, which, determining the unity of the thematic and poetic design of reality, determines the subject, type of hero, system of characters, problematics, plot and compositional structure, chronotope, and type of narrative. Built not of stone, but in the writer's imagination, the Varangian Church becomes an architectural prototype that models a literary work, partially structuring it. Thus, the multifaceted verbal visualization of the Cathedral, in its artistic concept, tends to be similar to the artistic solution of C. Monet with regard to the Cathedral of Rouen. The author also devoted a "series of paintings" to the Varangian Church, which depict the urban space associated with the architectural object. Conclusions. The complex system of visual codes and their multiplicity testify to the originality and novelty of the Ukrainian writer, whose novel, in its language directly related to plastic arts, became a "prologue" to contemporary novels-ekphrasises.

ПОЕТИКА АЗЕРБАЙДЖАНСЬКИХ ЛЮБОВНИХ ДАСТАНІВ

The article aims to study the peculiarities of the content and structure of the love dastan genre as a product of the artistic thinking of the Azerbaijani people, to determine its poetic originality as well as the impact on the development of Azerbaijani literature and spiritual values of the next generations. The article traces the causes and origins of the similarities and differences between the ancient Turkic epic as a product of folk poetry and the subsequent medieval classical love epics created by Ashuga poets. In order to achieve the goal, historical-literary, cultural-historical, comparative, and hermeneutic research methods were used. Poetological originality of love dastans is conditioned by cultural-historical and literary aspects. On the one hand, love dastans contain the ancient culture of composing epics, which is characteristic of the Turks, and on the other hand, they combine features of the artistic outlook specific to medieval Sufism. Thus, the features of Turkic folklore and Sufi consciousness are synthesized in the Azerbaijani love dastans, which is reflected in the level of structure and content specificity of the love epic. In contrast to the works of the heroic epic, which often consisted of separate songs and legends united by a single plot line in a complete work (“Keroglu”, “Kitabi-Dede Gorgud”, etc.), the structure of love dastan tends to the structure of fairy tale genre, where the original plot is built into a universal structure. Love dastans are mainly characterized by a five-level structure, which includes the introductory part (ustadname) and the main one, where the following stages are distinguished: the wonderful birth of the hero, the stage of obtaining “buta”, the stage of overcoming obstacles, and the stage of winning in competitions. The specificity of the content of love dastans is determined by the dominance of the love theme, the understanding of the problems of morality, family values, cognition and mentoring, and a special type of hero – a young man with a pure heart, worthy of receiving a higher gift, which contributes to the spiritual growth of the character and success in achieving the goal (conquest of the beloved). It should be noted that unlike the heroic epic, which focuses on patriotic issues, social values, the main of which is devotion to the Motherland and its people, in love dastans the theme of individual love is understood in the context of the general national values of the Azerbaijani people. In this regard, love dastan as a work of folklore already has the features of an author’s literary work, marking the stage of transition from traditionalist to individual creative poetics.

The Motif of Mental Illness in the Works of M. Pantyukhov (1880–1910) and А. Mire (1874–1913)

The article studies the motif of mental illness in the works of two littleknown writers of the late XIX – early XX centuries: M.I. Pantyukhov (1880 –1910) and A. Mire (1874–1913). Pantyukhov's novella «The Silence and The Old Man» and Mire’s short stories «The Insane», «At Bicêtre» and drama «The Defeated»
 were analyzed. These works were selected as they all are characterized by the motif of mental illness and psychological dissonance. The aim of the analysis was to study the characters showing symptoms of a mental disorder and determine
 their function in the narrative. Having a long history, the mad hero type became peculiarly popular in the Russian literature of the named period as those texts reflected the perturbations of the turning stage of the history and a crisis state of
 people’s minds those processes led to.
 The problem of madness was addressed by both key writers and obscure authors. The writers under study might be interested in that topic because of their personal lives, too: both of them suffered from mental disorders and happened to be patients at a hospital. Paradoxically, despite their addled minds, Pantukhov’s and Mire’s characters grasp the truths which are unobtainable for mentally healthy people and, due to this, become social malady denouncers and – sometimes – moral crusaders. Apart from having a specific, «sick» view of life, mad heroes are extremely
 vulnerable which makes them victims unable to resist the cruelty of life.

Russians’ ideas of heroes and heroism: Stable and changing components (based on the public opinion polls)

Despite an extensive list of the well-described aspects of heroism, this phenomenon is still understudied in sociology. Most of the projects and publications focus on identifying ‘heroes’ in public opinion or media discourse rather than on explaining why communities/societies ‘appoint’ some people heroes, and what is the conventional meaning of the word ‘hero’. Society has always paid close attention to the so-called ‘outstanding personalities’: there are official and folk heroes in all cultures, and they have always served as a kind of reference group for decision-making and self-identification. Moreover, specific types of heroes serve as one of the cultural system’s means for (self) representation: the most typical hero is often directly related to the society’s ethical complex. The authors systematize the sociologically relevant interpretations of the words ‘hero’ and ‘heroism’ together with the typologies of heroic behavior and identify the contemporary trends in the empirical study of heroism, which are certainly sociological surveys. The second part of the article presents the results of the all-Russian online survey representing four age groups: 14-19-year-olds, 20-29, 30-49 and 50-69 (N=800, 200 respondents per each age group). The survey aimed at identifying and comparing the ideas of different Russian generations about heroes and heroism. Two surveys were conducted - in 2020 and 2022, and the authors focus on the changes in the social representations of the heroic. In general, the older generation names the hero-rescuer and the hero-warrior as the main heroic types, while the younger generation prefers the hero-rescuer and the hero-good-doer. In 2022, respondents were less willing to answer questions about heroes and heroism, especially about manifestations of military heroism, but key social representations of the heroic did not change.