scholarly journals Dead kings and national myths: why myths of founding and martyrdom are important

2020 ◽  
pp. 31-48
Author(s):  
Sabrina P. Ramet
Keyword(s):  
National Myths

scholarly journals M. Veller’s “The Great Last Chance”: Russian National Myths, Ideas, and Author’s View on the Problems

2015 ◽  
Vol 28 (33A) ◽  
pp. 4
Author(s):  
Oleg Perov
Keyword(s):  
Social Justice ◽  
Negative Information ◽  
The Other ◽  
National Myths ◽  
The Social ◽  
East And West ◽  
Main Basis ◽  
Other World ◽  
Main Ideas ◽  
Logical Result

This article presents the analysis of the main ideas which are reflected in M. Veller’s novel The Great Last Chance. This is not only a reception of a definite country, a version of her historical way, the demonstration of cultural peculiarities, the own code of civilization, people’s traditions and faith, but also an original author’s view on the process of self-identification and logical result, i.e., the national myths and ideas. The main intention is to negotiate, refute many national myths: about complicated and bloody history; about laziness and hard drinking; about the opposition of East and West; about the peace-loving nation; about the underestimation from the other world. The author asserts that the Russian national idea is not liberal: the main basis is a national self-identification, the main traits are social justice and retribution for guilty. The main problems of the country are located in a definite range: from the global to the local (stealing, corruption, negative information field). The principal way to solve these problems is to aspirate to the social justice, labour, and creative works.

scholarly journals La actualización revolucionaria de los mitos fundacionales de la nación en la obra del grupo Cine Liberación y el cine histórico cubano (1968 – 1976)

2013 ◽  
pp. 241-264
Author(s):  
Ignacio Del Valle Dávila
Keyword(s):  
The Other ◽  
Mots Clés ◽  
Other Hand ◽  
National Myths ◽  
First Case ◽  
The Sixties ◽  
Cultural Domain ◽  
The Revolution

Resumo No final dos anos sessenta, ocorreu uma eclosão do cinema folclórico-histórico na Argentina e em Cuba. No primeiro caso, isso se deu principalmente devido ao interesse da ditadura de Onganía em utilizar os mitos fundadores da nação como uma metáfora legitimadora do regime. Contrários a essa tendência, o Grupo Cine Liberación elaborou representações desses relatos que buscavam adaptá-los à contingência, especialmente nos filmes La hora de los hornos (1968) e Los hijos del Fierro (1976). Em Cuba, o centenário da Guerra Grande (1868-1878) e a maior rigidez ideológica em matéria cultural durante o Quinquênio Gris (1971-1976) levaram a que se fomentasse a produção de um cinema histórico que representava a Revolução de 1959 como o produto de um século de luta. Os cineastas cubanos e Cine Liberación coincidiram em sua busca por renovar a forma de representação cinematográfica da História, enquanto o cinema comercial argentino apostou em adaptações distantes desse revisionismo. Résumé À la fin des années soixante s’est produit en Argentine et Cuba une éclosion du cinéma folklorique-historique. Dans le premier cas, ceci est dû principalement à l’intérêt de la dictature d’Onganía à se servir des mythes fondateurs de la nation avec l’objectif d’élaborer des métaphores légitimatrices du régime. Face à cela, Grupo Cine Liberación a élaboré des représentations de ces récits tout en cherchant à les adapter à la contingence, notamment dans les films L’heure des brasiers (1968) et Les fils de Fierro (1976). À Cuba le centenaire de la Guerre des dix ans (1968-1878) ainsi qu’une plus grande rigidité idéologique dans le domaine culturel pendant le Quinquennat Gris (1971-1976), ont conduit à l’encouragement de la production d’un cinéma historique où la révolution de 1959 est représentée comme la conclusion d’un siècle de lutte. Les cinéastes cubains et Cine Liberación ont partagé leur intérêt de renouveler les représentations cinématographiques de l’Histoire, tandis que le cinéma commercial argentin a misé sur des adaptations éloignées du révisionnisme.Abstract At the end of the sixties, there was a growth of historical-folkloric cinema in Argentina and Cuba. In the first case, it happened mainly because of the interest of the Onganía’s dictatorship in making use of the nation’s founding myths to develop metaphors to legitimize this regime. On the other hand, Grupo Cine Liberación elaborated representations of these narratives trying to adapt them to the contingency, especially in the movies The hour of the furnaces (1968) and Los hijos del Fierro (1976). In Cuba, the centenary of the War of ten years (1868-1878), as well as an increase of ideological rigidity in the cultural domain during the Grey Quinquennium (1971-1976), encouraged the production of a historical cinema where the revolution of 1959 has been represented as the conclusion of a century of struggle. Cuban filmmakers and Cine Liberación shared their interest in renewing the filmic representations of History, whereas the Argentinean commercial cinema supported adaptations far from this revisionism.Palavras-chave Cinema histórico, legitimação, mitos nacionais Mots-clés Cinéma historique, légitimation, mythes nationauxKeywords Historical cinema, legitimization, national myths 

scholarly journals FROM PROMETHEUS TO AMRAN: ON THE CHAINED HERO IN THE OSSETIAN EPIC

Kavkaz-forum ◽  
2021 ◽  
Author(s):  
Р.Н. АБИСАЛОВА
Keyword(s):  
Greek Mythology ◽  
Ancient Greek ◽  
The Caucasus ◽  
National Myths ◽  
The People ◽  
The World ◽  
History Of ◽  
Ancient Times ◽  
The Difference

В статье рассмотрен один из мотивов осетинского Даредзановского эпоса – мотив прикованного героя, еще в древности вошедший в мифологию, фольклор, литературу многих народов и получивший название «мотив Прометея». Образ Прометея относится к «вечным образам» мировой художественной культуры. История прикования и освобождения Прометея и в древнегреческой мифологии, и в трагедии Эсхила позиционируется как топонимически привязанная к Кавказу. Именно здесь сюжет о наказанном Богом и прикованном богатыре получил распространение в национальных мифах и эпических преданиях – грузинских, осетинских, кабардинских, абхазских, вайнахских, армянских и др. Эти лаконичные предания об Амиране-Амране, по мнению Вс.Ф. Миллера, – кульминационные во всех источниках, рассказывающих об этом герое. Рассмотрены как древнегреческий Прометей, так и кавказские, в первую очередь осетинские, прикованные герои, представленные в работах Вс.Ф. Миллера, Г.Н. Потанина, Дз. Гатуева, Д.А. Калоевой, З.Г. Тменовой, Ю.А. Дзиццоты, Х.Ф. Цгоева и др. Образ Амирана сравнивается с соответствующими ему героями кавказских эпосов. При всей схожести мотивов богоборчества и наказания героя прикованием к скале или столбу нельзя не отметить отличия осетинского Амирана от остальных. В Даредзановских сказаниях он героическая личность, истинный богатырь, совершающий множество подвигов, побеждающий великанов, помогающий всем нуждающимся. Сын племянницы Бога, герой близок к народу, он побеждает врагов не только ради демонстрации силы, ловкости, хитрости, но и для спасения родных и друзей. В отличие от большинства кавказских прикованных героев, освобождение Амирана не предвещает гибель мира, напротив, осетинский Амиран, в случае освобождения, даст людям свободу и счастье. Многие мотивы в преданиях об Амране соотносятся с мотивами Нартовского эпоса. Амиран-Амран приравнивается к любимым героям осетинской Нартиады – Сослану, Батразу, Урузмагу, Шатане. В работе его образ рассмотрен для подтверждения объективной закономерности подобной репрезентации осетинского героя. The article deals with one of the motives of the Ossetian Daredzanian epic − the motive of the chained hero, which in ancient times entered the mythology, folklore, literature of many peoples and was called the "Prometheus motive". The image of Prometheus belongs to the "eternal images" of world art culture. The history of the chaining and liberation of Prometheus, both in ancient Greek mythology and in the tragedy of Aeschylus, is positioned as toponymically tied to the Caucasus. It was here that the plot about the God-punished and chained hero became widespread in national myths and epic legends − Georgian, Ossetian, Kabardian, Abkhaz, Vainakh, Armenian, etc. These laconic legends about Amiran-Amran, according to Vs.F. Miller, are culminating in all the sources telling about this hero. Both the ancient Greek Prometheus and the Caucasian, primarily Ossetian, chained heroes presented in the works of Vs.F. Miller, G.N. Potanin, Dz. Gatuev, D.A. Kaloeva, Z.G. Tmenova, Yu.A. Dzizzoity, Kh.F. Tsgoev and others. The image of Amiran is compared with the corresponding heroes of the Caucasian epics. With all the similarity of the motives of fighting against God and the punishment of the hero by being chained to a rock or a pillar, one cannot fail to note the difference between the Ossetian Amiran and the others. In Daredzan's legends, he is a heroic person, a true hero who performs many feats, conquers giants, and helps all those in need. The son of the niece of God, the hero is close to the people, he defeats enemies not only for the sake of demonstrating strength, dexterity, cunning, but also to save family and friends. Unlike most of the Caucasian chained heroes, the release of Amiran does not portend the death of the world, on the contrary, the Ossetian Amiran, if liberated, will give people freedom and happiness. Many motives in the legends about Amran correlate with the motives of the Nartov epic. Amiran-Amran is equated with the favorite heroes of the Ossetian Nartiada - Soslan, Batraz, Uruzmag, Shatana. In the work, his image is considered to confirm the objective regularity of such a representation of the Ossetian hero.

Contemporary Finnish Theatre: National Myths and beyond

1982 ◽  
Vol 26 (3) ◽  
pp. 35
Author(s):  
Dennis Carroll ◽  
Elsa Carroll
Keyword(s):  
National Myths

Gendered Intimacies of the Nationalist Archive

2017 ◽  
Author(s):  
Athena Athanasiou
Keyword(s):  
National Myths

This chapter is about the ways in which the performative practices of the Women in Black movement of Belgrade come to inhabit and trouble such sovereign accounts of archival discursivity as a vehicle for authenticating and accommodating an incomplete past. If these activists keep something about the archive, this is what is “not yet”, in Jacques Derrida’s terms: namely, the event of an “other” archive. The concern of this chapter is with how national myths and public spectacles, which aim to manage the conditions of appropriate commemoration, draw on imageries and imaginaries of proper gender. At the same time, it is concerned with how these activists trouble the sedimented intimacies of the nationalist archive, by occupying the position of the internal enemy in ways that replot the gendered and ethnicized apparatus of belonging.

The fatherland, the Italian nation and its role in the world

2018 ◽  
pp. 132-195
Author(s):  
Andrea Mariuzzo
Keyword(s):  
Cold War ◽  
Decisive Role ◽  
Political Arena ◽  
National Myths ◽  
The World ◽  
The Cold War ◽  
Militaristic Nationalism

This chapter discusses the importance of the ‘national-patriotic’ symbology and expressive codes for all the competitors in the Italian political arena during the Cold War. In the struggle between pro-Soviet and anti-Communist fronts, both sides used Italian national myths and iconic unifying symbols, such as the image of Garibaldi, in order to present themselves as the ‘true’ Fatherland against their competitors, identified as the ‘fifth column’ and the ‘servants’ of ‘foreign imperialists’. However, after the disaster of fascist expansionism and the horrors of a war nobody wanted to repeat, in any case the claim of a renovated decisive role in the world could not be presented according to the words of militaristic nationalism. It was rather conjured with the promotion of peace against the menace of a new invasion and a subsequent global conflict.

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