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Type of fictional character From Wikipedia, the free encyclopedia
An antihero (sometimes spelled as anti-hero)[1] or anti-heroine is a main character in a narrative (in literature, film, TV, etc.) who may lack some conventional heroic qualities and attributes, such as idealism, and morality.[1] Although antiheroes may sometimes perform actions that most of the audience considers morally correct, their reasons for doing so may not align with the audience's morality.[2]
Antihero is a literary term that can be understood as standing in opposition to the traditional hero, i.e., one with high social status, well liked by the general populace. Past the surface, scholars have additional requirements for the antihero.
The "Racinian" antihero, is defined by three factors. The first is that the antihero is doomed to fail before their adventure begins. The second constitutes the blame of that failure on everyone but themselves. Thirdly, they offer a critique of social morals and reality.[3] To other scholars, an antihero is inherently a hero from a specific point of view, and a villain from another.[4] This idea is further backed by the addition of character alignments, which are commonly displayed by role-playing games.[5]
Typically, an antihero is the focal point of conflict in a story, whether as the protagonist or as the antagonistic force.[6] This is due to the antihero's engagement in the conflict, typically of their own will, rather than a specific calling to serve the greater good. As such, the antihero focuses on their personal motives first and foremost, with everything else secondary.[7]
An early antihero is Homer's Thersites, since he serves to voice criticism, showcasing an anti-establishment stance.[8] The concept has also been identified in classical Greek drama,[9] Roman satire, and Renaissance literature[8] such as Don Quixote[9][10] and the picaresque rogue.[11]
An anti-hero that fits the more contemporary notion of the term is the lower-caste warrior Karna, in The Mahabharata. Karna is the sixth brother of the Pandavas (symbolising good), born out of wedlock, and raised by a lower caste charioteer. He is ridiculed by the Pandavas, but accepted as an excellent warrior by the antagonist Duryodhana, this becoming a loyal friend to him, eventually fighting on the wrong side of the final just war. Karna serves as a critique of the then society, the protagonists, as well as the idea of the war being worthwhile itself – even if Krishna later justifies it properly.[12]
The term antihero was first used as early as 1714,[13] emerging in works such as Rameau's Nephew in the 18th century,[8] and is also used more broadly to cover Byronic heroes as well, created by the English poet Lord Byron.[14]
Literary Romanticism in the 19th century helped popularize new forms of the antihero,[15][16] such as the Gothic double.[17] The antihero eventually became an established form of social criticism, a phenomenon often associated with the unnamed protagonist in Fyodor Dostoyevsky's Notes from Underground.[8] The antihero emerged as a foil to the traditional hero archetype, a process that Northrop Frye called the fictional "center of gravity".[18] This movement indicated a literary change in heroic ethos from feudal aristocrat to urban democrat, as was the shift from epic to ironic narratives.[18]
Huckleberry Finn (1884) has been called "the first antihero in the American nursery".[19] Charlotte Mullen of Somerville and Ross's The Real Charlotte (1894) has been described as an anti-heroine.[20][21][22]
The antihero became prominent in early 20th century existentialist works such as Franz Kafka's The Metamorphosis (1915),[23] Jean-Paul Sartre's Nausea (1938),[24] and Albert Camus's The Stranger (1942).[25] The protagonist in these works is an indecisive central character who drifts through his life and is marked by boredom, angst, and alienation.[26]
The antihero entered American literature in the 1950s and up to the mid-1960s as an alienated figure, unable to communicate.[27] The American antihero of the 1950s and 1960s was typically more proactive than his French counterpart.[28] The British version of the antihero emerged in the works of the "angry young men" of the 1950s.[9][29] The collective protests of Sixties counterculture saw the solitary antihero gradually eclipsed from fictional prominence,[28] though not without subsequent revivals in literary and cinematic form.[27]
During the Golden Age of Television from the 2000s and into early 2020s, antiheroes such as Tony Soprano, Gru, Megamind, Jack Bauer, Gregory House, Dexter Morgan, Walter White, Don Draper, Nucky Thompson, Jax Teller, Alicia Florrick, Annalise Keating, Selina Meyer and Kendall Roy became prominent in the most popular and critically acclaimed TV shows.[31][32][33] This rise of the modern antihero zeitgeist may explain contemporary political outcomes, such as the popularity of non-traditional populists including Donald J. Trump.[34]
In his essay published in 2020, Postheroic Heroes - A Contemporary Image (german: Postheroische Helden - Ein Zeitbild), German sociologist Ulrich Bröckling examines the simultaneity of heroic and post-heroic role models as an opportunity to explore the place of the heroic in contemporary society.[35] In contemporary art, artists such as the French multimedia artist Thomas Liu Le Lann negotiate in his series of Soft Heroes, in which overburdened, modern and tired Anti Heroes seem to have given up on the world around them. [36][37]
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