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

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.

New Zealand Young Adult Fiction: National Myths, Identity and Coming-of-age

<p>Tara, the 17-year-old narrator of Dear Vincent by Mandy Hager, struggles in the relationship with her mother and learns about her family’s past on a trip to Ireland. She must decide whether she follows in the footsteps of her sister who died by suicide or whether she chooses life for herself and what her life will look like. Whiti Hereaka’s Bugs follows the development of Bugs, who turns 17 about half-way through the novel. She faces low expectations and institutional discrimination at school and must make decisions about her future. While Bugs chooses to stay; her personal growth is like that of Tara who leaves. In Kate De Goldi’s The 10PM Question, we engage with 12-year-old Frankie, who struggles with anxiety and a permanently house-bound mother. Like the protagonists of the other novels, Frankie must determine who he is by forming his first strong friendship with a teenager of the opposite sex and by questioning the adults around him. He, too, must make decisions which contradict the actions of his family. All three, Tara, Bugs and Frankie, are supported in this process by friends and extended family, and, as we will see, these characters come to play crucial roles in each protagonist’s identity formation. What this thesis shows is that their stories are both universal and local. All three novels include common elements of Young Adult fiction about identity formation and coming-of-age and they are firmly located in New Zealand by way of incorporating uniquely New Zealand national myths. These myths shape our collective identities and adolescence is a time when teenagers form theirs. It is during this time that they explicitly notice and, at times, question the myths that they have been raised to believe in. This thesis is concerned with Overseas Experience (OE) as a way to develop one’s sense of self and broadening one’s horizons, the egalitarian myth or the belief that ‘we are all equal here’, and the ‘she’ll be right’ myth, the assumption that things will somehow right themselves. It seeks to explore what these novels suggest about the three different national myths of New Zealand and their role in identity formation. It will also discuss whether different views are presented.</p>

New Zealand Young Adult Fiction: National Myths, Identity and Coming-of-age

<p>Tara, the 17-year-old narrator of Dear Vincent by Mandy Hager, struggles in the relationship with her mother and learns about her family’s past on a trip to Ireland. She must decide whether she follows in the footsteps of her sister who died by suicide or whether she chooses life for herself and what her life will look like. Whiti Hereaka’s Bugs follows the development of Bugs, who turns 17 about half-way through the novel. She faces low expectations and institutional discrimination at school and must make decisions about her future. While Bugs chooses to stay; her personal growth is like that of Tara who leaves. In Kate De Goldi’s The 10PM Question, we engage with 12-year-old Frankie, who struggles with anxiety and a permanently house-bound mother. Like the protagonists of the other novels, Frankie must determine who he is by forming his first strong friendship with a teenager of the opposite sex and by questioning the adults around him. He, too, must make decisions which contradict the actions of his family. All three, Tara, Bugs and Frankie, are supported in this process by friends and extended family, and, as we will see, these characters come to play crucial roles in each protagonist’s identity formation. What this thesis shows is that their stories are both universal and local. All three novels include common elements of Young Adult fiction about identity formation and coming-of-age and they are firmly located in New Zealand by way of incorporating uniquely New Zealand national myths. These myths shape our collective identities and adolescence is a time when teenagers form theirs. It is during this time that they explicitly notice and, at times, question the myths that they have been raised to believe in. This thesis is concerned with Overseas Experience (OE) as a way to develop one’s sense of self and broadening one’s horizons, the egalitarian myth or the belief that ‘we are all equal here’, and the ‘she’ll be right’ myth, the assumption that things will somehow right themselves. It seeks to explore what these novels suggest about the three different national myths of New Zealand and their role in identity formation. It will also discuss whether different views are presented.</p>

2. Definitions and justifications

‘Definitions and justifications’ describes the history of political thought as a recent field of research. Historically, however, every society has formulated histories of political thought from the anodyne to the systematic. The past, where politics has been closely entwined with the worship of deities on whom the survival of a society depends, is also very relevant here. If national myths in culture justify combat or describe thwarted destinies in history, these beliefs will be reflected in the history of political thought. There is the perceived history of decline that can lead to the transformation of politics, which is manifested among nations that fell behind European states during the nineteenth century.

“We the North”? Race, Nation, and the Multicultural Politics of Toronto’s First NBA Championship

The Toronto Raptors’ 2019 National Basketball Association (NBA) championship win, a first for the franchise and for a Canadian team, “turned hockey country into basketball nation” ( CBC Radio 2020 ). Canadians’ burgeoning embrace of the team and the sport seemed to point to a growing celebration of Blackness within the nation. However, we problematize the 2019 championship win to tell a more expansive story about how sport and national myths conceal truths about race and belonging in Canada. We explore two particular cases—the “We The North” campaign and the media coverage of Raptors superfan Nav Bhatia—to highlight the contradictory ways that the Raptors coverage mobilized symbols of the North and multiculturalism to present the team as quintessentially Canadian and rebrand basketball for Canadian audiences. We further explore how these stark contradictions manifest in the racialized policing of basketball courts in the Greater Toronto Area (GTA). These cases demonstrate that the celebrations of the Raptors and basketball not only continued to police racialized bodies, but also ensured that their inclusion was contingent on the maintenance of the status quo.

Reconnecting Forward: Nasjonal Samling’s Apocalyptic Temporality as a Key to the Fascist Regime of Historicity

This article analyses the conception of history or ‘regime of historicity’ structuring the ideology of the Norwegian fascist party, Nasjonal Samling (1933–1945). It highlights the value of the theory of palingenetic ultranationalism to the understanding of fascist temporality generically and specifically. Generically, because the findings show how Nasjonal Samling’s regime of historicity followed the same structure of revolution and eternity, decay and rebirth, as other fascist movements did. Specifically, because it also shows how Nasjonal Samling drew heavily on Norwegian national myths. The ideologues of ns recoded these myths, and integrated them into their own palingenetic, apocalyptic, and – after 1935 – antisemitic grand narratives. These crystallized in a triadic scheme, forming a fascist regime of historicity, structured around the myth of past greatness, followed by decadence, combined with a fantasy of a future revolutionary rebirth of the nation.

INDONESIA’S OWN ‘PYRAMID’: THE IMAGINED PAST AND NATIONALISM OF GUNUNG PADANG

A narrative commonly found within the discourse of nationalist archaeology is the polemic of ideology at the expense of empiricism. There are many examples of the manipulation of archaeological data in the service of the state’s nationalist or imperialist ideology, and such efforts produce narratives in which archaeology is treated as inherently apolitical. This paper explores the interactions between and within multiple stakeholders –the state, archaeologists, and the media – and their roles in the construction of national myths, and their consequences for local populations. It highlights recent controversies surrounding the re-interpretation of the megalithic site of Gunung Padang in Western Java, Indonesia. The case of Gunung Padang offers an opportunity to observe how national myths are both constructed and contested in recent times. This paper argues that the intersections between archaeology and popular media contributed to a skewed understanding of the past and generated specific categories of acceptable national myths which, in turn, directed nationalistic research.