Theme Of War Research Articles

The impact of language in conflicts over urban coyotes

Abstract Wildlife managers and others charged with resolving human-coyote conflict in urban and suburban areas cannot focus solely on ecology and coyote behavior. The perceptions of the people living in the affected communities play a significant role in the resolution of human-coyote conflict. In this study, we explore how residents of two communities in suburban Denver, CO, USA, mentally processed, made sense of, and acted upon human–coyote interactions in the face of conflict. By conducting interviews and using qualitative content analysis to explore existing documents, we examined how the use of language reflected and exacerbated the conflict over coyote management. Themes of violence, crime and war ran throughout our data. Anger and accusations of extremism were prevalent. Closely tied to the violent language and imagery used was a discussion of tolerance and intolerance, taking what is generally human-centric language and using it with wildlife. In addition, labeling coyotes as not belonging in an area (although they are a native species) further increased the urge to protect family and pets from the perception of the threat against ‘the other’, sometimes expressed in inflammatory language. Political and other messaging can either enhance or reduce a sense of threat, and we found that the language used in this debate enhanced the perceived threat of both coyotes and policy opponents. Finding ways to defuse this language could be a step toward a greater understanding of how to live with local wildlife in a way that minimizes harm to people and to the animals.

German-Balkan Entangled Histories in the Twentieth Century ed. by Mirna Zakić and Christopher A. Molnar

Reviewed by: German-Balkan Entangled Histories in the Twentieth Century ed. by Mirna Zakić and Christopher A. Molnar M. Blake Morley German-Balkan Entangled Histories in the Twentieth Century. Edited by Mirna Zakić and Christopher A. Molnar. Pittsburgh: University of Pittsburgh Press, 2021. Pp vii + 381. Cloth $35.00. ISBN 978-0822966753. Twentieth-century Balkan history is often presented through the legacies of the Ottoman and Habsburg empires. By the end of World War I, both empires ceased to exist. The essays in Mirna Zakić and Christopher A. Molnar's edited volume take up the question of Germany's involvement in southeastern Europe when this imperial void presented itself. This work brings to light an important chapter in Germany's destructive drive for power during the first half of the twentieth century while highlighting the ways that ethnic Germans from the Balkans and West Germany came to terms with this tragic history in the postwar period. The book is organized into an introductory essay that familiarizes the reader with the history of German-Balkan relations, followed by two sections of essays linked by the themes of war, empire, migration, and memory. The first section, titled "War and Empire in the Balkans," focuses on German-Balkan entanglements during the first half of the twentieth century and how actors [End Page 614] within the region negotiated Germany's political, economic, and military ambitions. David Hamlin opens this section with a challenge to Fritz Fischer's thesis that Germany's war aims during World War I reflected longstanding prewar ambitions for domination. Rather, Hamlin argues that German-Romanian relations during the war, which culminated in the signing of the Treaty of Bucharest in 1918, were dictated more by Germany's need to fortify its wartime domestic economy. Bernd Robionek's study of the economic cooperative Avis, an ethnic German organization in the Kingdom of Yugoslavia, shows how attempts to fortify a local self-sufficient ethnic community aligned with Germany ultimately forced the cooperative into a double bind caught between the shifting economic demands and racial policies of the Nazi state and the complex realities of an ethnically diverse Yugoslavia. Christian Promitzer explores Germany's entanglements in the Balkans through the development of Nazi racial science (Rassenkunde), highlighting the often-overlooked links between SS racial policies and earlier anthropological studies of Serbian prisoners of war during World War I and German ethnographic research throughout southeastern Europe in the interwar period. Mirna Zakić's essay focuses on the "misremembering" of Prince Eugene of Savoy among ethnic Germans in the Serbian Banat as they sought to position themselves as equals in the Third Reich and how the Prince's image was put to work to support Nazi claims in the Balkans during the 1930s and 1940s. Mark Biondich's chapter on the Holocaust in southeastern Europe shows how the scale of genocidal violence in Croatia was not the result of Nazi policies alone but more so determined by preexisting anti-Jewish and anti-Serb domestic policies of the Ustaša, the Independent State of Croatia's (NDH) fascist regime. Closing out the first section of essays, Kateřina Králová and Jiří Kocián's analysis of Holocaust survivor testimonies demonstrates the inherent difficulties of overcoming traumatic memory and how this process is challenged by different attitudes toward German collective guilt and individual responsibility, attitudes ultimately determined by whether the survivor came from an occupied state or a collaborationist state in southeastern Europe. The second section, "Aftershocks and Memories of War," turns to the question of memory as the collected essays explore German-Balkan entanglements in the postwar period. Jannis Panagiotidis adds a global dimension to these entanglements by showing how Gottschee Germans utilized preexisting transcontinental business and familial networks in North America to negotiate the complexities of postwar migration and German identity. Gregor Kranjc's chapter continues the discussion on Gottscheer German postwar experiences by focusing on the ways individual traumatic memories of loss and suffering from different events before, during, and after World War II allowed members of the Gottscheer diaspora in the United States to develop a collective memory of victimization that occluded their own Nazi past. Similarly, Gaëlle Fisher's essay...

Русская и дунганская литература о войне: сравнительный аспект

The article presents a comparative characteristic of Russian and Dungan literature about the Second World War. The author has used a large amount of text material, historical sources and facts. The article analyzes the problematic and thematic analogies of Dungan and Russian authors, the impact of Russian writers on Dungan authors is proved. Russian and Dungan literature of the twentieth century about the war demonstrated the actualization of heroism and patriotism. The author of the article determined that the reason why heroism became a common theme of Dungan and Russian military literature is that, in addition to describing the military situation, they demonstrate popular patriotism. The article emphasizes that over time, Russian military literature has changed its focus of attention, shifting it from describing military scenes to depicting the inner world of characters. This made it possible to understand the value of human life in the context of war. The theme of war is combined in the works with the thought of humanism. Moral research has become the main narrative strategy of Russian and Dungan military literature. Dungan military literature is consistent with Russian literature and expresses compassion for man, depicts the life of people in war conditions. The author of the article believes that the central idea of the military works of Dungan and Russian authors is to depict human compassion. The author of the article emphasized that the problem of war orphans typologically unites Russian and Dungan writers, and the influence of Russian writers on Dungan writers is also obvious. The article emphasizes that many works of Russian and Dungan literature recreate the war through the eyes of women and children who were innocent victims, their images reveal the terrible nature of the era, its inhumanity. The writers combined the description of heroism with the description of the tragedy of war, revealed the enormous mental trauma inflicted by the war, and investigated the fate of ordinary people in the war. The author of the article comes to the conclusion that the common features of Dungan literature about war and the works of Russian writers of the twentieth century on this topic are that they do not directly describe military actions, but focus their attention on the tragic impact of war on human destiny. Dungan writers, following Russian authors, discovered the value of life and rejection of war.

“PLACES OF REMEMBRANCE” IN “A GOD IN RUINS” NOVEL BY KATE ATKINSON

The study analyses Kate Atkinson’s novel “A God in Ruins” (2015) in terms of the multidisciplinary field of memory studies. Among the tasks that were set by the author of the study there are: 1) tracking the correlation of individual memory and collective memory; 2) outlining the traumatic experience of the Todd family, namely the “wounds of time” caused to the family by World War II; 3) comprehending the moments of “crystallization” of collective memory, its “thickening” in “places of remembrance”; 4) outlining the boundaries of the cultural archive reproduced in the novel. The study discusses the main message of the novel, which is focused on the theme of World War II, on its understanding and reflection in the collective memory of the British people. Through the image of the main character Teddy Todd, a military pilot, specially created by the author to describe war events, the reader can feel and experience the burden of air battles. Teddy Todd is a survivor who survived to preserve the memory of his fallen comrades, to testify war crimes and to raise a new generation of British people (post-war generation of children and grandchildren). The character realises that a peaceful life is not the final happy-end, because in addition to the need to arrange his own existence, it is necessary to heal the “wounds of time”, as well as to fulfil the duty of remembrance towards the dead men. These surviving memories should be embodied in “places of remembrance” (monuments, museums, military burials, works of art, etc.). The study outlines a conditional cultural archive that correlates with the text of Kate Atkinson’s novel. This arrangement of memorable dates, memories, and events can be tentatively described in the form of a scheme (the scheme is attached hereto), where the central place is occupied by the most catastrophic experience of people during the World War II. Other “places of remembrance” in connection with the war may be related to its causes or consequences. The main points of the conditional archive: World War I, coinciding with the birth of Teddy Todd; interwar period, which includes the childhood and adolescence of the character; World War II, which involves Teddy Todd in the Battle for Britain and the bombing of Germany; postwar reconstruction of Britain; pacifist movements and youth subcultures in Britain in the 1960s and 1970s that shaped Viola Todd’s worldview; The Queen’s Elizabeth Diamond Jubilee, coinciding with the death of Teddy Todd. The conditional archive of the novel, and the “places of remembrance” recreated in it correlate with the collective memory of people in Britain, thus encouraging the understanding of the traumatic experience caused by the World War II.

Cuadros de fusilamientos, ss. xx-xxi. De la mímesis al fantasma

This is a study of several visual works under the theme of shooting and war as a drama and as a brutalizing element that begins Goya with his Third of May 1808. The common thread is the mimesis of the formal elements in different arguments and artistic presentations located in the xx and xxi centuries. One stream maintains a formal relationship of rows of executioners and victims and another starts with the Guernica who only takes from the Third of May some formal elements while the executioners are a reference and the victims are bombed and not shot. These two currents are maintained in the paradigmatic examples studied under different artists, means and approaches, going from imitation to the concept of copying as a culmination of mimesis. Finally, the artist Ballester empties the reference paintings of their figures that only reappear as ghosts in the memory of the look.

Spanish cinema on the Civil War: the aspect of national reconciliation

The article deals with one of the aspects of the cinematic interpretation of the theme of Spanish Civil War. Among the various models of its implementation in the cinema, the most justified and promising options are those aimed at achieving national understanding and harmony. The validity of the existence of such a trend in Spanish cinema is illustrated by the analysis of several films focused on this task.

The Olevsk Borderline as the Creation of the Polish-Soviet War

The Peace of Riga 1921 has caused substantial changes that are still commonly discussing in historical science and has become an important aspect of numerous researches due to the theme of the Polish-Soviet War’s end. It has been identified that the regional administrative structure and the whole structure of daily life of the Olevsk Borderline inhabitants have undergone a big change. This article represents the study of the consequences of the Polish-Soviet War in 1919–1920 which took its strong influence on the regional phenomenon of the Olevsk Borderline and its inhabitants in part of this. The main themes which were described in the research are the regional administrative and legal system changes in this time in the territories of Volyn’ and Polissia. We mainly focuse on the changes which led to a nascency of the Olevsk Borderline. In late 1919 and early 1920s, the Bolsheviks occupation system was established on the lands of Ukraine by a new government. That process was accompanied by great violence which meant both political internal battles in Volyn’s province during the persistence of large-scale military action. As the result of the war, this territory became a frontier area and was divided into two parts due to the diplomatic contract. Some villages and towns were integrated by Poland and others became the part of Ukrainian Soviet Socialist Republic. The aggressive substance of the Soviet power had a negative impact on the population of that region. The use of complex analysis of the historical sources and the historiography revealed the consequences of the Riga Peace 1921 for the Olevsk Borderline in the early 1920s years. In particular, we show what changes occurred in both parts of the frontier after that administrative-territorial reforming processes in Soviet Ukraine and Poland. The paper includes recent results obtained by the usage of general scientific and special historical methods.

Preserving the Memory of the Great Patriotic War: Regional Practices (1941–1945)

The perpetuation of the feat of the Soviet people during the Great Patriotic War through monuments, museum displays, and artistic texts has been going on for three-quarters of a century now. Perpetuation strategies at various stages have been determined by official interpretations of events, processes, and commemorative practices. Referring to the analysis of the situation in Krasnodar Krai, this article reconstructs the initial stage of war commemoration and the mechanisms of historical memory production that were formed synchronously with the events of 1941–1945. The sources for the reconstruction are various documents of central and local Soviet bodies and the Communist party, creative unions, cultural institutions, periodicals, memoirs, and artistic texts. The main directions of the war commemoration were the combination of all-Union recommendations as well as regional peculiarities. The work was developed mainly after the liberation of the region in 1943. Military and labour exploits of the Kuban population were actualised. The merits of the Cossack formations were specially highlighted, while information about the facts of collaboration was minimised. Resistance to fascism during the occupation of Kuban was represented by the partisan theme. The main print source of the partisan movement in the region was the books by P. K. Ignatov, commander of the partisan detachment, that were promptly published and replicated in the USSR and abroad. The exploits of his dead sons, Heroes of the Soviet Union, became a classic example. Memorial spaces, a system for recording military monuments were formed. The artistic chronicle of the war was created as a set of victorious stories. The theme of the ongoing war was added to the repertoire of professional and amateur art groups, as well as exhibitions of local museums. The calendar of holiday dates included anniversaries of the liberation of territories from the Nazis. The memory of the war was reflected in the local toponyms.

WAR AND CAPTIVITY THEMES IN THE «LAWCODE» BY MKHITAR GOSH

The purpose of this study is to present the laws about war and captivity in the "Lawcode" by Mkhitar Gosh. The task of the work is to present the original texts of the subject in three editions by comparing them and then to analyze their meanings. The importance and relevance of the study are the characteristics of the church-historical realities, and the development of the state-juridical structure. The author's views on nation consciousness and protection, in order to rebuild the statehood by the way of public unity and law codes, are important and actual. The article is written based on historical-research analysis of the sources and studies. The conclusion of the article is that Mkhitar Gosh emphasized war and captivity themes and wrote the laws for topic issues. He told about the war and it’s results and wanted people to prevent their nation values in public life. The study includes all the original texts of the themes.

АКТУАЛИЗАЦИЯ В РУССКОЙ ПОЭЗИИ ВОСПОМИНАНИЙ ОБ ОТЕЧЕСТВЕННОЙ ВОЙНЕ 1812 ГОДА В КОНТЕКСТЕ КРЫМСКОЙ ВОЙНЫ 1853–1856 ГОДОВ

. In the minds of contemporaries, the Crimean War of 1853–1856 and the Patriotic War of 1812 that preceded it were closely linked. The author of the article examines the image of the French and France as an enemy familiar to the Russians from the 1812 Patriotic War. The article analyzes the system of images, motives, memories associated with the events of 1812–1814 and reflected in the poetic works of the Crimean campaign contemporaries. The author of the article points out the reasons for the actualization of memories, shows how and in what way the perception of the French as military adversaries has changed in comparison with the previous war. Particular attention is paid to the depiction of Napoleon I and his nephew Napoleon III in Russian poetry. If Napoleon I is described by Russian poets of the 1850s. in a respectful manner as a mature politician, the image of Napoleon III is firmly associated with the motives of betrayal, ingratitude for the mercy of Russians towards France in 1814 war. No less attention is paid to the images of the 1812 Patriotic War veterans who appear in the poems of the Crimean War period both alive, eager to rise again to defend the homeland, and dead, tacitly calling on their descendants to repeat the victory over the French. Apart from the images and motifs reflecting Russian-French relations in the historical context, the author finds motifs of feasting and entertainment unrelated to the theme of war in the poetry contemporary to the events of the Crimean War.

A Look at Yuri Bondarev in Turkey from Past to Present

Yuri Vasilyevich Bondarev is one of the well-known names of 20th century Russian literature, and he is one Russian writer familiar to Turkish readers. A successful author of war prose, Bondarev attracted the attention of the Turkish audience with a wide range of literary works which includes novels, novellas, short stories, poems, articles, essays, interviews, etc. In this respect, the years in which he produced writings on the universal theme of war have an important place in Turkish politics. Bondarev began to be published in Turkey during the politization process following the military coup (1980) and he continued to be present in Turkey until the day he died. Especially in the 80’s when he was adopted as a war prose writer he was a guide for left-wing people in the struggle after the events of September 12. It is worth noting that the recent significant increase of interest in Bondarev’s work among Turkish linguists and philologists indicates that he is popular with the Turkish reader no less than the recognized classics of Russian literature. In this article, Bondarev’s position in Turkey from past to present will be analyzed in view of the studies on him in Turkish press and literature, and it will be emphasized that the author engrossed the Turkish reader with his artistic expertise and the ideology relayed through his works.

The First World War and the Homefront in Canada: Broadening the Analysis

The First World War and the Homefront in Canada: Broadening the Analysis Brad Shoebottom (bio) TWENTY-FIVE YEARS AGO, WHILE I WAS A GRADUATE STUDENT of Canadian military history, a faculty member mentioned that historians faced difficulties selecting which histories to write given a vast potential list of topics and gave the example of the hypothetical local and rural “History of the Post Office in Gagetown, NB.” At the time, I could not have agreed more – being more interested in national-level questions – and I was unable to fathom that there would be enough interest in the operations of a village post office. However, after completing a thesis about a local New Brunswick entrepreneur and after the passage of 25 years, I have come to appreciate that a post office was one of the key hubs of small villages and rural Canada, lower in importance than only the church and the general store. Local community or institutional history, despite its amateur roots, was and still is incredibly popular history. And local history, in a time of war, offers a bottom-up approach to military history that offers a different home front perspective than the typical top-down national narratives about war. Local history – the study of social and cultural history in the local community – became more acceptable as an academic subject in the United Kingdom in the 1950s, when W.G. Hoskins made the case that the local perspective uncovers themes not always visible in a national narrative.1 John Beckett explained more recently that national and local history are both valid and can co-exist so long as both use rigorous analysis of sources.2 In Australia, Ian Willis argues that local history is a radical history as “local histories often look away from the histories of the elite to the experiences of the ordinary, the mundane, the intimate and the banal.”3 In the United States, Carol Kammen agreed with the broader history idea: “Local history is, despite its limited geographical focus, a broad field of inquiry: it is political, social, and economic [End Page 149] history of the community and it’s religious and intellectual history too. . . . Local history is the study of who remained in a community and who left – and why.”4 In Canada, Robert Rutherdale’s Hometown Horizon (2002) noted that the local history approach provides a first-hand experience on various Great War themes such as social conflict about enemy aliens, volunteering, the role of women, conscription, and returning soldiers based on analysis of gender, ethnicity, class, and age.5 Local history therefore offers an alternative approach to the study of history and, in this case, the impact of the First World War on Canada. Canadian military historians writing about the First World War spent much of the first 75 postwar years in a top-down, metanarrative approach debating three major questions: national unity, especially the impact of conscription on English and French relations and on urban and rural areas; the impact on national identity of the battlefield achievements of the Canadian Corps in France, especially the symbolism of the battle for Vimy Ridge in 1917 on the road to Canada’s nationhood; and the impact of the war on the industrialization of Canada.6 These themes help to explore why the war was necessary or to bring more meaning to the war. A more recent trend places less emphasis on overseas events and a military history methodology and more emphasis on a social history methodology to discuss the home front, historical memory, and gender and race issues.7 This is a new military history or, as some call it “war and society” history as pioneered by John Herd Thompson’s [End Page 150] The Harvests of War.8 As such, previously unheard voices have come to light. Typically, most locality-focused articles and books cover only a single subject like recruiting, conscription, women’s war work, race, industrialization, labour relations, or a disaster like the influenza in Winnipeg or the Halifax Explosion. Most of these local studies almost exclusively focus on a large urban centre (as in Montreal, Toronto, or Regina), or provinces (such as Quebec, Nova Scotia, or Ontario), or a...

Military and peace weekdays of the “merry soldier” in the great Patriotic war. V.P. Astafiev

The article regards the image of the «merry soldier» through its significance for understanding the features of V. P. Astafiev’s artistic worldview. The story «The Merry soldier» is examined in the context of the evolution of the military theme in the writer’s work, shows how Astafiev creates on the autobiographical material the national scale image, containing self asking questions primarily related to the theme of the great Patriotic war.

Strepitu belli propelluntur artes: Dostoevsky’s Latin Aphorism

The article examines the Latin aphorism Strepitu belli propelluntur artes, which is found twice in Dostoevsky’s notebooks. The spelling and translation of the aphorism, its grammatical and stylistic structure, as well as the possible sources of the Latin quotation are elucidated. The expression in question is contextually unrelated to the Russian text and functions as an independent statement. The semantic connection of the aphorism with the content of the pages where it is found is revealed. The Latin expression marks the theme of war. The juxtaposition of war and art inherent in the aphorism and traditionally understood as the impossibility of their coexistence, is interpreted by the writer as a paradox: through his paradoxical hero, Dostoevsky fosters the idea that only during a war true art awakens souls and mobilizes a society’s spiritual needs. Subsequently, on his own behalf, the writer speaks about the nature of true art, which arouses people by its lofty ideals in the times of peace. However, the social reality is such that the only way for a spiritually unhealthy society to awaken and cleanse itself is a war over a noble idea. The Latin quotation is a key link in the writer’s reasoning, and it becomes an instrument of his argumentation.

A Comparative Analysis of the Themes of ‘War’, ‘Love’, and ‘Illusion’ in Postmodern Age in A Farewell to Arms and Eye of the Needle

The study attempts to explore and analyze the themes of 'love', 'war' and 'illusion' in the two novels written by two different authors. One is A Farewell to Arms (1929) written by Ernest Hemingway and the other is Eye of the Needle (2015) written by Ken Follet. Hemingway way and Follet both are American novelists who are known for their fondness for writing on the theme of war. Hemingway wrote many novels using the backdrop of the First World War whereas Ken Follet's Eye of the Needle is authored in the backdrop of the Second World War. Hemingway is one of the representative of modern age writers, whereas Ken Follet is one the writers of postmodern age. It has been observed that both writers while writing on the theme of war in the chosen novels involve, consciously or unconsciously, two sub-themes of 'love' and 'illusion' in their fiction. The research analyzes that what are the differences and the similarities between these writers’ approach towards the said themes. This paper aims at interpreting these themes in the context of postmodernists' scholarship while comparing and contrasting the treatment, which both writers have given to the themes of war, love, and illusion.

Vietnamese lives matter… Obraz demokratii v igrovom kinematografe SShA (na primere temy v'etnamskoj vojny)

The article is devoted to the image of democracy in US cinematography through the theme of Vietnam war. Special attention is paid to the phases of the image development proposed by Jean Baudrillard. The author made the conclusion that the image of democracy in American cinema offers a distorted model of US intervention, in which the images of the aggressor and the victims replace each other, as well as the concept of democracy, which does not allow the fact of lawlessness and violation of the rights of citizens of any nationality or country.

From sketch to painting: the theme of the Great Patriotic War in the works of Gennady Borunov

The article examines the development of the theme of the Great Patriotic War in the works of the Altai artist Gennady Borunov. It is noted that this theme was significant in the artist's work and indirectly passes through many of his paintings: landscapes, portraits, plot-thematic pictures. For the first time, a number of sketches and portraits depicting veterans of the 315th Rifle, Melitopol, Order of the Red Banner Division, veterans of the village of Pavlovsk, the artist's birthplace, are introduced into scientific circulation and analyzed. The author of the article reconstructs the creative method and the long-term evolution of Gennady Borunov's idea, which was finally embodied in the painting “May 9. Soldiers of Victory” in 2000. В статье рассматривается раскрытие темы Великой Отечественной войны в произведениях алтайского художника Геннадия Федоровича Борунова. Отмечается, что эта тема являлась значимой в творчестве художника и опосредованно проходит через многие картины живописца: пейзажи, портреты, сюжетно-тематические полотна. В научный оборот впервые вводится и анализируется ряд набросков и портретов с изображением ветеранов 315-й Мелитопольской Краснознаменной стрелковой дивизии, ветеранов села Павловска — родины художника. Автор статьи реконструирует творческий метод и многолетнюю эволюцию замысла Геннадия Борунова, воплотившегося, наконец, в картине «9 Мая. Рядовые Победы» в 2000 году.

Cold War literary modernists in a dialogue under oppression

Abstract The article deals with selected aspects of the cultural appropriation of post-Stalinist Soviet poetry by Anglo-American poets and translators. The article focuses on Yevgeny Yevtushenko and Andrei Voznesensky, two eminent representatives of Russian lyric poetry of the “Thaw.” English translations of Yevtushenko’s and Voznesensky’s poems are discussed in relation to Cold War issues and imagery, such as the themes of the Second World War, the Holocaust, and the rediscovery of America. The article demonstrates that the Soviet-Russian authors and their Anglo-American translators appealed to their governments and audiences over the moral and aesthetic barriers imposed by the Cold War. The opportunity for independent, liberal, romantic, or leftist English-speaking authors to collaborate with the post-Stalinist Russian poets of the Thaw was made possible by the latters’ willingness to break the cultural isolation of the Soviet Union after Stalin’s death.

Representações de alteridade na guerra: apontamentos críticos à Primeira Guerra Mundial em Virginia Woolf e Thomas Mann

Em Montanha mágica, Thomas Mann aponta para as transformações políticas, sociais e culturais, relacionadas ao deflagrar da Primeira Guerra Mundial, como um divisor temporal imposto à narrativa. Em Doutor Fausto, Mann expõe o mesmo ponto de vista, com um rigor crítico mais acentuado em relação à guerra iniciada em 1914, mencionando a oposição entre a euforia do período anterior à guerra e o pesar observado após o conflito. Virginia Woolf trata o tema da Primeira Guerra Mundial nos textos Ao farol e Mrs. Dalloway, a partir de um contexto da experiência dos combates. Em Mrs Dalloway, é perceptível a descrição do trauma, como no exemplo dos bombardeios a Londres. Já em Ao farol, o conflito armado é transposto à ideia da passagem do tempo, exposta, sobretudo, no segundo capítulo do romance, intitulado “O tempo passa”. A presente análise busca revelar o aspecto crítico de ambos autores em relação à Primeira Guerra Mundial – evento que transformaria tanto os modos de vida, meios de produção e, certamente, a escrita literária – bem como possíveis aproximações entre seus posicionamentos em relação ao tema.

Міф як засіб формування квазінової соціальної ідентичност

Проросійські владні структури окупованих територій України вдаються до викривленого висвітлення актуальних суспільних подій та маніпулювання історичними фактами, використовують штучно створені політичні, соціальні, культурні міфи для формування в мешканців цих регіонів, насамперед у молодого покоління, соціальної ідентичності, зміст якої узгоджувався б із політичними цілями Росії – руйнуванням ідентичності громадян України та знищенням її як держави. Як інструмент швидкого поширення інформації серед масової аудиторії, згуртування людей та зняття емоційної напруженості, міф є ефективним соціально-психологічним засобом управління соціальними процесами, у тому числі й цілеспрямованого формування соціальної ідентичності в певної групи людей. Контент-аналіз текстів новин на сайті Міністерства освіти та науки псевдодержави ЛНР (2016–2019 рр., понад 3750 інформаційних повідомлень) показав, що формування свідомості молодих громадян «республіки» здебільшого базується на міфах колишнього СРСР; воно штучно спрямовується до ідеологем минулого, тому, по суті, їхня соціальна ідентичність є квазіновою. Така ідентичність виконує функції соціалізації дітей і молоді як вірнопідданих громадян «молодих держав», адаптації старшого покоління до зміни соціальної ситуації (по суті, до умов війни), пояснення мешканцями самим собі сенсу сучасних подій, створення позитивного образу майбутнього. Реалізація цих завдань неможлива без міфологічної інтерпретації історичного минулого та сьогодення. Частка новин на сайті МОН так званої «ЛНР», які містять різні ідеологічні настанови міфологічного спрямування, у середньому становить третину інформаційних повідомлень. Умовно міфологеми було класифіковано на три види залежно від того, на формування якої ідентичності в дітей і молоді вони спрямовані: 1) проросійської ідентичності (25,97%); 2) ідентичності громадянина «ЛНР» (17,12%); 3) мілітаризованої свідомості, що маскується під патріотичне виховання молоді та насамперед використовує тематику Великої Вітчизняної війни (56,91%).