Theme Of War Research Articles

Settler militarism: Affective colonial pursuits and the militarized atmosphere of war commemoration

This article examines settler militarism and how it is mobilized through affective practices that ultimately bolster the settler colonial project. With this intent, it develops the concept of ‘militarized atmosphere’ defined as a staged environment where war is positioned outside politics and critical scrutiny through a series of affective manoeuvres and aesthetics. A militarized atmosphere operates through military aesthetics to attune people’s bodies to a position of uncritical validation of a given discourse of war. This article argues that a militarized atmosphere crucially sustains the settler colonial project by removing or reducing contestation around the theme of war, which is a pillar of settler colonialism. In settler societies, numerous Indigenous individuals perceive themselves as embattled and seek acknowledgement of the history and legacy of colonial violence and warfare. In contrast, settler governments have a vested interest in concealing this history and its enduring legacy, and they do so by exalting military warfare as the foundation of the modern nation and creating affective attachments to the military. The article uses the case of Australia to elucidate the argument. It examines how the aesthetics of war commemoration at the Dawn Service, Australia’s major commemorative event, contributes to producing a militarized atmosphere that sustains the Australian settler colonial project. It proposes a framework that links the feminist concept of affective militarism to settler colonialism and contributes to the emerging literature on settler colonialism and militarism.

Evolution of Theatrical Culture of Ukraine in the context of National Identity

The purpose of the article is to analyse the main aspects in the evolution of theatrical culture in Ukraine in the context of the formation and preservation of national identity. The research methodology is based on a combination of different approaches, including historical, sociocultural and artistic analysis of theatrical events and their interaction with political, sociocultural and economic factors. The historical approach enabled the author to trace the main stages of the development of theatrical culture in Ukraine, in particular the influence of political and social conditions on the formation of the national theatre. The artistic analysis enabled focusing on the aesthetic aspects of theatrical creativity, and the socio-cultural approach – to investigate the relationship between the theatre and society. Scientific novelty. The study is groundbreaking in its analysis of the impact of contemporary events, such as Euromaidan 2014 and the full-scale invasion of 2022, on Ukrainian theatre culture, as well as exploring the process of de-Russification in theatre. In addition, the article emphasises the role of individual artists and the development of modern drama, which underlines the theme of war and national identity. Conclusions. The process of formation of national identity in Ukraine in the context of historical events and cultural transformations was highlighted. Despite the various prohibitions of the desire to destroy national identity, the activities of outstanding national figures, in particular theatre figures, have always popularised Ukrainian culture. A promising direction in the development of theatre culture is to take into account all mental and ideological differences within the framework of Ukrainian values, since every Ukrainian is currently rethinking the question of their identity. The evolution of Ukrainian theatrical culture is an integral part of the process of formation and preservation of national identity. The theatre itself is an important tool of socio-cultural development, which helps Ukrainian society to realise its uniqueness and preserve its cultural heritage.

Oleksandr Ivakhnenko and Oleksandr Danchenko are the Illustrators of Oleksandr Dovzhenko

The article is dedicated to the illustrations of the prominent Ukrainian graphic artists Oleksandr Ivakhnenko and Oleksandr Danchenko for the prose of Oleksandr Dovzhenko, as well as the issue of the existence of auto-illustrations by the filmmaker himself. Oleksandr Dovzhenko (also known as Alexander Dovzhenko) is not only a world-renowned filmmaker but also an outstanding artist – a painter and a graphic artist. Besides his painted portraits and thematic paintings, graphic caricatures, cartoons, and portraits, his drawings for films («Arsenal» – late 1920s, «Shchors» – late 1930s, «Michurin» – 1940s, «Poem on the Sea» – 1950s) are well-known. However, the topic “O. Dovzhenko is the Illustrator of His Own Literary Works” has hardly been explored by researchers of the master’s heritage, although the drawing Little Sashko which is both a portrait of the author in childhood and an image of the hero of the film story The Enchanted Desna, inspires further archival search in the filmmaker archives. V. Yevdokymenko (1967), M. Kompanets (1973), V. Yefymenko (1976), T. Kushch (2006), and others are among the illustrators of O. Dovzhenko’s prose. Oleksandr Ivakhnenko’s etchings for the film story The Enchanted Desna (1975–1976) have become a notable phenomenon in Ukrainian graphics during the period of the so-called “silent protest” (the 1970s–1980s). Having chosen a favourite graphic technique of that period, the artist, however, remained indifferent to the extremely popular “de-booking” technique of the 1970s–1980s. The Enchanted Desna is a book that is well-thought-out and coherent. In terms of space, the illustrations occupy as much space on the page as the printed text, and in shape, they are very elongated horizontally, thus creating a kind of pictorial “film strip”, logical and natural for a “film story”. Oleksandr Danchenko’s cycle of etchings for the collection of stories Unforgettable. 1941–1943 (1980) is another example. The artist has addressed frequently the theme of World War II tragedy (Koriukivka. March 1, 1943 (1971), Adzhimushkai (1985), a cycle of illustrations for O. Honchar’s novel Standard-Bearers (1989)). At the same time, his illustrations for O. Dovzhenko’s stories are internally connected with O. Danchenko’s series The Liberation War of the Ukrainian People of 1648–1654 (1954) and Chornobyl (1988–1990), as well as with the etchings for Dante Alighieri’s Divine Comedy (1990–1992). All these works are based on the combination of documentary with epic, where elevation and poeticism arise precisely as a result of such a combination. The construction of the illustration as a frame, sometimes even a freeze-frame, is an artistic tribute to the creativity of the outstanding filmmaker.

Literature as a Remedy for the (De)sensitization of the Contemporary Child. Attempt of Practical Approach Using the Theme of War

The text is theoretical in its nature and deals with the subject of the influence of literature on the child in early school age in terms of affecting the sensitivity of the recipient. The author considers the phenomenon of (de)sensitization as a process that would help the modern child to accept taboo phenomena on the example of the subject of war. The article refers to the theory of the Highly Sensitive Child and the “bitter-sweet” impact of art, recalling the works of Elaine Aron and Susan Cain. It was emphasized that the child’s hypersensitivity to certain images or sounds is related not only to natural stages of development, but also, or perhaps mainly, to individual predispositions to sensitivity to stimuli. The considerations included in the article also refer to war-themed texts for children published in Poland. The researcher provides a list of reading materials that may be interesting for contemporary child readers, but are not part of the school canon. The text is supplemented by a practical example of working with Liliana Bardijewska’s work entitled Karim’s Cat and Pictures with the use of a board game as a form of work with text at the level of grades I–III of primary school.

МЕСТО ОБРАЗНЫХ СРЕДСТВ В РЕАЛИЗAЦИИ ТЕМЫ ВОЙНЫ

The article analyzes the means of artistic imagery used by the authors to highlight the theme of war in the novels of the Uzbek writer Shukhrat “The Shinelli Years” and the Russian writer Yu. Bondarev “Hot Snow”. Their skills are shown through examples. Authors use them to not only describe external events, but also to reflect the inner world of the characters, their experiences, fears and hopes. This allows you to create a full-fledged and multifaceted image of the war, showing it not only as a historical event, but also as a deeply personal experience for everyone. Throughout our research, we will analyze how imagery contributes to the creation of images of death, courage, patriotism, and sacrifice, and how these images influence the reader’s perception and understanding of war.

The Concept of Violence as Depicted in Contemporary Iraqi Novels: A Review Study

This review study explores the controversial concept of violence in contemporary Iraqi novels. This study draws on studies that discussed the concept of violence as depicted in contemporary Iraqi novels of Alsaadawi's. It argues that violence in contemporary Iraqi novels is represented in those literary works as something other than mere physical cruelty, it is also a psychical, social, and political event. The discussion offers insight into historical and modern-day violence occurring in Iraq. It also deals with themes of war, trauma, and identity. A clear enunciation among the findings is that these novels engage in very critical ways with how optimum violence constructs and is constructed by both the individual and collective identity, relating to societal structures and dynamics of power. It is in these works that elements of horror, supernatural, and stark realist descriptions of the modern warfare setting interplay to create something that does hold deep insight into the dehumanizing process of violence and the resilience of its victims. In this way, the present research concludes by pointing out that literature has an important role in realizing and challenging the complex realities of violence.

Mitte ainult mängu asi

Doll Lottchen is an example of a museum object that has changed its nature and functions throughout its lifespan, so it can be described as a toy and as a comfort object, but also as a symbolic item of personal childhood and national identity, and a delicate museum object with restrictions in use. Doll Lottchen belonged to Anne, who was given it as a gift in 1947, during a film shooting in Saint Petersburg (then Leningrad) by the host of a local family, when she was four years old. She found the little smiling doll lovely and called her Lottchen. Anne believed that the doll was produced in Germany and was probably taken as a trophy by some Soviet soldier at the end of the Second World War, but the moulded mark shows that the doll was made in Okhta factory in Russia. Its origin is still unclear as Rheinische Gummi- und Celluloidfabrik in Germany indeed launched a similar doll called Mädi between 1930 and 1957. The Okhta factory used German moulds in the 1930s and 1940s. Sometimes detecting the history of the previous usage of a museum object needs effort and time; for Lottchen the material was collected within eight months of communication with the donator. As Lottchen was an affective object or sensitive object (Frykman and Frykman) there are various memories about it. Anne describes three dramatic episodes from her childhood, during which the doll was either temporarily lost or broken by a dog. At the age of ten the life story of Anne and the story of her favourite doll intersected. Accidentally Anne learned from a tipsy neighbour that she was actually a “German girl”. During two years, when she kept this shocking information a secret and made a new costume for the doll, her doll Lottchen acquired a new meaning. When Anne became 12, it was revealed that she had been rescued by her Estonian stepmother from Königsberg in 1946. By then the city had been destroyed by the allies and occupied by the Soviet forces; thousands of civilians had died of diseases and starvation. Anne was three and a half, her biological family had lost the father and two other children, and little Roswitha Anne Browarzyck (her actual name) was very fragile, with her feet swollen from hunger. Miraculously escaped to Estonia with her future stepmother, she had to hide her East-Prussian origin and was not allowed to speak German. So she quickly forgot her real identity. When finally donating the doll to the museum, Anne sent her off with the following words of farewell: “May you, dear Lottchen, have many good friends and excitement on every day at the toy museum! Maybe I’ll come to see you sometime! Hugs, your Rose (that’s how I was called at home).” As toy museums tend to be places of childhood nostalgy and the Tartu Toy Museum is no exception, there are some dilemmas about dealing with this kind of objects. As they are made of hazardous and fragile celluloid, the best way to preserve them is to keep them in controlled conditions in the repository. Today doll Lottchen is kept this way. However, as a modern museum would like to exhibit its items and share its collections with visitors, there are ethical questions of how to organise it. It is argued whether the happy-faced doll could be displayed in a showcase together with other celluloid dolls without any explanations, to follow the toy museum’s current policy to keep any war themes or sensitive topics of children’s life as silent as possible. Or should toy museums take a more active part in highlighting uneasy topics and white spots in history? Today the world is dangerous and the ongoing war in Ukraine raises questions about war, forcing parents to find ways to answer them. By means of historical stories about toys and children to whom they belonged, museums could contribute to this task. It seems that the best way could be to conduct visitor´s research among children and adults both through surveys and observations. In this way it could be possible to find out what is preferred and whether and how to deal with difficult topics through temporary exhibitions, events or museum education.

The specifics of the artistic interpretation of the theme of war in the stories of Yu. Yakovlev’s “Where the battery stood” and “Ivan-Willis”

The specifics of the artistic interpretation of the theme of war in the stories of Yu. Yakovlev’s “Where the battery stood” and “Ivan-Willis”

The Gulf War in Saudi Fiction

Abstract There exists only limited scholarship on Saudi novelists as producers of war literature. Research into Saudi fiction has focused on the questions of its historical development, universality, women’s writing, and the reluctance of earlier writers to negotiate socio-political and psychological dimensions compared with the candidness and boldness of contemporary writers portraying these taboo subjects and daring to investigate unexplored regions of human consciousness. This article, however, diverges, using select novels to critique fictional treatment of the Gulf War by Saudi writers. Two prominent American war novels will be used as reference points through which to determine the similarities and differences between the Saudi war novel and its American counterpart. Putting Saudi novels that deal with the theme of war on a par with some American literature that has the same focus aims to uncover patterns of similarity and highlight differences. The goal is ultimately to show how Saudi fiction saw the war while establishing a war narrative that lends the story coherence and meaning.

A Denegative and Intertextual Reassessment of “The Tale”

This paper demonstrates that, as in the case of other short fictions of Joseph Conrad (“Freya of the Seven Isles,” A Smile of Fortune,” and “The Planter of Malata”), also in the case of “The Tale” (1917)—the author’s most enigmatic piece—an intertextual and a denegative approach generates new perspectives. “The Tale”s intertextuality is considered here in the context of pre- and post-Conrad American writing, ranging from Nathaniel Hawthorne’s, through William Faulkner’s, to Toni Morrison’s. A denegative (asserting presence by absence, and vice versa) reconsideration of “The Tale”’s diagetic concentric narration demonstrates that it owes its epistemological haze precisely to the device of denegation, which likewise creates a strict convergence between the story’s governing themes of love and war, thereby revealing the undercurrent of idealism, ego, and suspiciousness in the commanding officer’s character, which seems to be the main factor in both his murderous operational decision and the lovers’ estrangement.

Fiction by Danil Makeev

Danil Makeev was the first in Yakut literature to turn to the fate of war prisoners, the most tragic side of the World War II theme. The story “The Traitor” reveals the story of Yakut soldier Tarabukin, who went through a penal company and managed to maintain his honor and dignity. The even more acutely tragic fate of a man who suffered mortal trials and monstrous humiliations of captivity is revealed in the story “The Destiny of Fate.” Compared to the story “The Traitor,” the author deepened in it the psychological side of the state of the individual, who many times found himself on the brink of death. The story has a complex composition and is structured like the memoirs of a World War II veteran who, in his declining years, recalls the episodes of the environment, the joy of liberation and the vicissitudes of post-war life with the stigma of a person who was in German captivity. In another story, “Brothers,” Makeev tells about the military “odyssey” of three siblings who returned safely from the front. As for the writer’s stories, what is striking is the variety of intra-genre types in his short prose, skillful plot construction based on the principle of testing heroes, the use of traditions of foreign and Russian literature in creating characters, and a rich arsenal of visual and expressive means. In general, Makeev’s talentedly written novels and short stories give reason to believe that he can create major epic works on the theme of the Great Patriotic War, which in the light of recent events has gained new relevance

“The Ballad of War” by Oleksandr Bilash as a National Example of the Mono-Opera Genre

The Ballad of War mono-opera (1971) by the outstanding Ukrainian composer-songwriter Oleksandr Bilash, based on The Ballad of Genes poem by Ivan Drach, is studied in the article. It is emphasized that the work of O. Bilash – I. Drach is extremely relevant today, as it reveals the painful and tragic theme of war and its destructive impact on human destinies. It is defined that O. Bilash’s mono-opera has become a part of a general trend in the Ukrainian musical theatre of the 1960s–1970s associated with the tendency to chamberization and psychologization of opera. It has caused the exceptional popularity of the one-act monodrama genre among contemporary composers (V. Hubarenko, H. Zhukovskyi, Y. Ishchenko, etc.). It is described that I. Drach’s poetic text is used as the basis for the mono-opera with minor modifications (the changes have affected the title and only a few phrases). The structure of the poetic text has a significant impact on the composition of the mono-opera (the central episode is the protagonist’s story about the circumstances surrounding her birth, the extreme sections contain her beloved addresses). The connection between the opera’s system of leitmotifs and key phrases in the poetic text is detected. The leitmotifs are important in cementing the form of the mono-opera – it is in their repetition that the unifying role of the principle of through refrain is revealed. The Ballad of War contains two figurative and intonational spheres of war (scherzo, sharp dissonance, cluster consonances, chromatisation, grotesque syncopated rhythms, «cold» orchestral origin) and peace («warm» vocal origin, ariosity, melodic recitative, songfulness, vocalisations, luxurious Bilash’s melodies). O. Bilash has used various household genres actively: alullaby (an image of the incessantness of Life), a march («military» heroics), a cancan (personification of the image of aggression and spirituality), a Boston waltz (lyrical reflection and psychological solution). The composer uses the technique of stylizing church singing. The technique of sound imitation (movement of a steam locomotive, steam claps) is equally important. O. Bilash’s The Ballad of War mono-opera is a bright, original work and plays an important role in the development of the mono-opera genre both in the composer’s heritage and in Ukrainian music of the 1960s–1970s in general.

Franquismo y guerra civil en dos novelas rosas: Idilio bajo el terror (1938) y María Victoria (1940), de Josefina de la Torre

In this article, the theme of war is analyzed in two romance novels by Josefina de la Torre, Idilio bajo el terror (1938) and María Victoria (1940), being a scarcely addressed issue by critics that proves to be of interest, as there were few women who wrote about the conflict. The works fall within the subgenre of “novela rosa de guerra” and, in the case of the first one, also in “literatura de embajada”. Both exhibit a propagandistic objective, as they idealize the insurgent faction and degrade the republican one. Their approaches differ, given that Idilio bajo el terror is more explicitly politicized than María Victoria.

Stories of our Grandmothers: How Modern Ukrainian Women's Literature Deconstructs the Soviet Myth about the Great Patriotic War

The article analyses how contemporary women’s literature deconstructs the Soviet myth of the Great Patriotic War under the influence of contemporary Russian aggression. This myth defined the narrative of World War II as a heroic sacrifice of the Soviet people. As a result, the diversity of experiences was suppressed and the memory of them was not formed. Since independence, Ukrainian culture has been restoring the gaps in history and memory, which has become especially important in the context of the ongoing war. Women’s literature participates in this process by focusing on women’s experiences, which are usually marginalized in the national-focused narrative. This study aims to identify the contribution of women’s literature to the process of decolonization. The object of the study is such women’s novels as The Museum of Abandoned Secrets by Oksana Zabuzhko (as a precursor to the modern treatment of the topic), Amadoka by Sofia Andruhovych, Because it Hurts by Yevgenia Senik, Eva’s Apples by Khrystyna Kotsira and Faride by Iren Rozdobudko. The study found that women’s literature most often addresses the topics of women combatants, deportations, and the Holocaust. In this way, the authors contribute to the process of returning to national history. At the same time, the study demonstrates the complex interaction of nationality and gender in contemporary women’s literature. As women’s literature also contradicts the traditional nationally oriented discourse, emphasizing female agency and appealing to multinational experience (except Ukrainian, Jewish, and Crimean Tatar). This understanding of the theme of the Second World War by contemporary Ukrainian women’s literature creates a context for the perception of the specifically female experience of the current war and resists attempts at ideological manipulation around women’s roles.

Художественное своеобразие картин на тему Великой Отечественной войны в творчестве А. П. Холмогорова

The paper analyzes original approaches by the RSFSR People’s Artist A. P. Kholmogorov to the theme of the Great Patriotic War revealed in the artist’s paintings and texts. The latter sources have not yet been analyzed in biographical studies. The scientific novelty of the paper lies in updating the content of the painting of the Soviet period associated with the theme of the Great Patriotic War heroes, in focusing on little-studied aspects of A. P. Kholmogorov’s creative work, as well as in introducing new sources into scientific use. These are diaries, articles in printed media outlets, and published interviews, which are presented to readers for the first time. As a result of analysing paintings and archival materials, the role of the specified topic in the artist’s creative work has been revealed. It consists in preserving the historical memory of the events and heroes of the Great Patriotic War. A. P. Kholmogorov’s paintings reflect historical events and convey an atmosphere of heroism and patriotism.

Koroška in Slovenci v luči romanopisja ali o koroškem slovenskem in nemškem romanu

The article focuses on the writing of novels in the 20th and 21st centuries that relate to the Slovenian minority in Carinthia, and at the same time highlights the development, main thematic lines and linguistic characteristics of the minority‘s novelistic production itself. Already in the years following the 1920 plebiscite in Carinthia, the themes of war, borders, linguistic and other conflicts predominanted. After the Second World War, the focus shifted to assimilation politics, National Socialism, the oppression of the Slovene language and the Slovene minority, the Partisan movement and the consequences of this period. These themes were first written about mainly by authors from Slovenia, then by minority writers, and in recent years also by other authors writing in German. While the middle and older generation of Slovene authors in Carinthia continues to write about the war, minority and linguistic issues, most of the younger generation deals with other topics and often chooses to write in German.

Development of ballroom choreographic culture in Ukraine in the 2010s–2020s

The purpose of the study is to reveal the consequences of the challenges of the 2020s, namely the COVID-19 pandemic and full-scale invasion of the Russian Federation with partial occupation of territory, migration of population, expansion of zone of battle actions and the threat of aerial attacks for the entire country. All this had an impact on the ballroom choreographic culture in Ukraine.
 The methodology is based on the principles of a system-synergistic approach. The main methods applied were participant observation, analysis, generalization and systematization of the authors’ many years of dance, organizational and pedagogical experience.
 The results. The challenges of the 2020s, namely the COVID-19 pandemic and the full-scale aggression of the Russian Federation with partial occupation of the territory, population migration, expansion of the combat zone and regular missile terror throughout the country, have significantly affected the ballroom dance culture of Ukraine, in particular, changed the country’s dance map, limiting and partially making it impossible to hold competitions and training in the combat zone and eastern regions that are unprotected from sudden missile attacks. The socio-political upheaval has prompted the Ukrainian dance community to seek national self-identification, giving rise to the creation of imaginative and meaningful compositions through ballroom dance that would embody the pressing issues of our time, including the themes of war, occupation and the challenges they have caused. At the same time, the national organization system of the ballroom dance tournaments and training process has revealed significant shortcomings. In particular, the problem of upgrading to an international class of dancing in the context of the pandemic and then the war, which was felt in previous years, made it impossible for dancers in the eastern regions of Ukraine to develop, as they were deprived of the opportunity to regularly participate in competitions.
 The scientific novelty of the study is to analyze the modern tournament and training system of sports ballroom choreography in Ukraine in the last decade and to identify the problems that hinder the development of this type of dance art and have become especially acute during the challenges of the 2020s.
 The practical significance. Some provisions of the article can be used for updating Ukrainian ballroom dance competitions in accordance with current social and political conditions.
 Prospects for further research. A number of problems require scientific and theoretical comprehension, in particular, the place of ballroom dance in Ukrainian culture, its philosophy, images, styles, principles and expressive means of dance composition. The methodology of dancer’s physical training, based on the peculiarities of sports ballroom dance, requires separate research.

PROSPECTIVITY OF FINALIZATION IN SERHIY ZHADAN’S NOVEL THE ORPHANAGE

The article is devoted to Serhiy Zhadan’s novel The Orphanage, which is considered by modern criticism mainly from a socio-political and ethical perspective because of the theme of war as the final crisis of a long complex history. The purpose of the research is to propose an interpretation of Zhadan’s novel The Orphanage based on the principles of hermeneutic and comparative-typological methods, as well as applying elements of narrative analysis taking into account the artistic potential of a finalization phenomenon. As a result, the prospective nature of finalization is justified and the appropriate typology of this poetic phenomenon is singled out. According to the actual version, the typology consists of four types, namely, extra plot-spatial, oneiric-imaginary, eidetic, and narrative ones. These types correlate with each other, hence, a whole poetic block emerges, which actualizes the new meanings presented in the work, and deepens the content of the novel’s loci communes. In particular, the listing of three days in the titles of the novel’s chapters indicates a real continuation of the list. Moreover, the title of the novel against such a background expresses its ontological content, which is additionally underscored by oneiric-imaginary pictures and the eidetic way of representing these images; instead, the diegetic shift due to the change of narrators returns the novel narrative from the level of ontological-existential symbolism to the level of personal formation of the novel subject.

THE THEME OF THE CIVIL WAR IN CRIMEAN TEXT

The article analyzes the theme of the Civil War in Crimea in 1920 by the example of such works as the novel The Fall of Dair by A.G. Malyshkin, the novel The Sun of the Dead by I.S. Shmelev, the poem Perekop by M.I. Tsvetaeva and the novel The Beast from the Abyss by E.I. Chirikov. The purpose of the study is to identify the motives that reveal the mutually exclusive views of Soviet and emigre writers on what was happening in the 1920s in Crimea. In Malyshkin’s The Fall of Dair and Shmelev’s The Sun of the Dead, a contradictory image of the ‘new man’ of history is created, Malyshkin presents him as the creator of a new and wonderful life, while Shmelev views him as the destroyer of culture and civilization; in Tsvetaeva’s poem, a “Volunteer legend” is created, the poet’s sympathy for the Volunteer Army is expressed; and Chirikov in his novel reflects on the existential meaning of a person at a social turning point and objectively shows the destructive power of the Reds and the Whites. Therefore, in the prose of the metropolis and emigration of the 1920s, alternative approaches to understanding the truth - about the Civil War, about the revolution as the destruction of an established existence or hope for a brighter future -developed. The listed works reflect opposing attitudes of the authors to the “man of the masses”, “the new man of history”, “the coming Huns” and “the volunteers”. As a result of the analysis of the texts, it is concluded that the mutually exclusive views reflected in Crimean text are considered as complementary in the artistic development of the Crimean cataclysm of the early 1920s, in understanding the fullness of the truth about the Civil War. At the same time, the works address similar existential, ontological, and social issues.

The Creativity out of Insecurity and Uncertainty through the Perspective of Realism in Crane’s The Red Badge of Courage

In this paper I intend to discuss realism in Stephen Crane’s The Red Badge of Courage .Although it is purely a work of Crane’s imagination, it is universally recognized as a greater work of art. The novel revolves mainly round the fear-inspired actions and deeply agitated mind of Henry Fleming, the protagonist of the novel. The novel deals with the theme of war and violence that leads to recognize the naturalistic view of the impact of the external forces on human destiny in which it leads to the concept of realism in life through war as a metaphor of life with its ambivalences, morality and alienation.