CULTURE AND COLD WAR AS A PROBLEM OF SPY NOVEL

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dc.contributor.authorHolub, Daryna Oleksandrivna
dc.date.accessioned2018-01-05T19:44:33Z
dc.date.available2018-01-05T19:44:33Z
dc.date.issued2017
dc.descriptionHolub D.Culture and cold war as a problem of spy novel // Вісник Університету імені Альфреда Нобеля. Серія «Філологічні науки» / Відп. ред. Г.А. Степанова – 2017. № 2 (14). – С. 44 – 49.uk_UA
dc.description.abstractThe article is devoted to the studying of the phenomenon of Cold War in its correlation to the introduction of a new hero into a mass literature. Cold War as an ideological resistance between the former wartime Allied victors in the second half of the 1940s was reasoned by after-war political situation. The break between two countries of East and West especially in its political and cultural aspects was visible inside every society and even through the example of a certain personality. As writers, artists and thinkers were the first who experienced Cold War, this phenomenon engaged cultural history and history of foreign affairs. Thus, the 1950s became the golden time for the spy fiction and cinema that was characterized by the success in England after the presentation of the novels about James Bond in 1953. Meanwhile the theme of espionage in Soviet newspapers and books was being touched on. Due to the cinematography it became even more popular, underlining the biopolarity of the culture of East and West during the period of Cold War. It is fair to say that the image of a spy is not only the creation of the specifics of Cold War but foremost of the culture that played a significant role in the appearance of a new hero. The 1950s was a period of a cultural renovation, the moment of «rebooting» of the genre of spy novel in Soviet literature. It meant that among the other things there would be the search for a new ideal, with a new focus on the rehabilitated people and with a profound interest to the «second rate» literature and its hero, primarily a spy. That was a time of Bond and Stirlitz appearance on screens. Vyacheslav Tykhonov as Isaev-Stirlitz and famous handsome Bond actors Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, Daniel Craig changed the existing standard appearance of a spy. There came «a moment of truth» that is opportunity to compare broad variety of bondiana with the image of Stirlitz – hero-myths that are profoundly asymmetric. If Bond’s universe influenced the spy novel and film on East in the end of the 1960s, then Soviet popular culture had on contrary «the spy who came from the cold». However, this important aspect is left as a blank spot. The interplay between culture and Cold War that was a background for the formation of the spy or patriotic and spy novel and its hero-myth needs further serious investigation.uk_UA
dc.identifier.issn2523 - 4463
dc.identifier.urihttp://ir.duan.edu.ua/handle/123456789/646
dc.language.isoenuk_UA
dc.publisherВісник Університету імені Альфреда Нобеляuk_UA
dc.relation.ispartofseriesФілологічні науки;2(14)2017
dc.subjectCold War, spy / intelligent operative, spy novel, patriotic and spy novel, hero-myth, mass culture, mass literatureuk_UA
dc.titleCULTURE AND COLD WAR AS A PROBLEM OF SPY NOVELuk_UA
dc.typeArticleuk_UA

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The article is devoted to the studying of the phenomenon of Cold War in its correlation to the introduction of a new hero in literature, namely in a spy novel. Social and cultural background that determined the formation of a patriotic and spy novel with its hero-myth is under consideration.
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