Burying large reptiles under the floor. It must be a “Pagan survival,” right? Doubtlessly an apotropaic custom, like scorch marks on wooden beams as charm against fire, or leaving old shoes and such inside the walls during construction.
After an engagement with the Germans in which a Red Army armored unit is mostly destroyed, a Russian driver is found in his tank, badly burned but still alive. He makes a miraculous recovery but loses his memory—he remembers his military skills but forgets his name, personal history, and so forth.
He also talk to tanks. In one scene, he walks along a line of railroad flatcars carrying damaged Red Army tanks to the rear, and each one tells him, somehow, how it was knocked out.
A seemingly invincible German Tiger tank is wreaking havoc with Russian units, and the mysterious driver is given command of an upgraded T-34 and told to locate and destroy “the White Tiger.” Naydënov, the driver, believes that the Tank God warns him when he is in danger, and he also comes to think that the White Tiger is itself animated, not needing a human crew. Although he eventually engages and damages the White Tiger, it escapes.
After the German surrender, a Russian officer finds Naydënov still hunting the White Tiger. He tells the tanker that the war over now. To quote Wikipedia,
But Naydënov disagrees, saying that the war will not truly end until the White Tiger is destroyed. Naydënov believes the White Tiger has gone into hiding and has been recovering from its wounds since their last battle. He claims it will return in several decades unless it is completely destroyed. Naydënov then vanishes along with his tank, seemingly into thin air.
At this point the movie becomes strange. In our normal linear history, Adolf Hitler is dead by then, but the final scene is a monologue between Hitler and some shadowy figure, sitting in an elegant office, in which the German leader talks about the “eternal struggle,” how all of Europe inwardly wanted Nazi German to attack the USSR, and how war is the normal human state.
It’s like additional dialog by Julius Evola. “The blood of the heroes is closer to God than the ink of the philosophers and the prayers of the faithful” — that kind of thing.
Considering that this is a Russian movie, it is the kind of twist that makes me wonder sometimes that although Germany lost the physical-plane war against the USSR, if it did not win on some other plane of existence. Eternal struggle . . .
Caroline Tully is an Australian scholar of Classics, archaeology, and esotericism with a background in fine arts:
I am an Honorary Fellow in the School of Historical and Philosophical Studies at the University of Melbourne. I have a Bachelor of Arts in Fine Art from Monash University, Graduate and Postgraduate Diplomas in Classics and Archaeology and a PhD in Aegean Archaeology from the University of Melbourne. From 1996 to 2010 I worked as a professional tapestry weaver at the Australian Tapestry Workshop, during which (from 1999 to 2005) I also worked as a feature writer, reviewer and news and events editor at Australia’s Witchcraft Magazine. I returned to university study in 2004, started PhD research in 2009 and was awarded my Doctorate in 2017. My PhD, which is on tree worship in the Late Bronze Age Aegean and East Mediterranean (primarily Crete and mainland Greece, with comparative material from Cyprus, the Levant and Egypt), is currently in press with Peeters Publishers and due out this year. I also work on the reception of the ancient world, particularly the ways in which ancient Egyptian and Minoan (Bronze Age Crete) religions have been interpreted by late nineteenth century British magicians such as the Hermetic Order of the Golden Dawn and their spiritual heirs, the 20th and 21st century ceremonial magicians, witches and Pagans.
Last year she waded into the job of guest-editing an issue of The Pomegranate: The International Journal of Pagan Studies on Pagan art and fashion, which she is now assembling.
The Wild Hunt had a short interview with her last year, but here is a long version of her interview by Rick de Yampert.
I think Paganism is inherently creative because of its this-worldly, rather than other-worldly, focus. There is a wide spectrum of aesthetic expression that manifests in the materiality of Paganism; in the ritual objects we use, the way we design rituals, our robes (or lack thereof), direct – bodily – contact with deities, ecstatic expression, sexuality, and the general artistic legacy of all forms of ancient pagan religions that we are able to draw upon in order to create our religion and rituals. However, the initial impulse to create this special issue came from the creativity, often aligned with business savvy, of Witches on Instagram; the sex-positive feminist collective website, Slutist.com; and the fact that Witchcraft was appearing in high fashion contexts such as catwalk collections and featuring in magazines like Vogue. Witchcraft has become glamorous – and I’m not talking about its traditional faerie glamour, but fashionista glamour. Bloggers, Peg Aloi (“The Young Ones:Witchcraft’s Glamorous New Practitioners”), and Thorn Mooney (“The HipsterWitch: Aesthetics, Empowerment and Instagram”), have already noted that this is a new kind of Witchcraft, less focussed on deities, Pagan history and community, and more focussed on self-care and characterised, to quote Mooney, by “a strong entrepreneurial streak”. These Witches are also politically active, more multicultural than Paganism has traditionally been, and read magazines like Sabat and Ravenous, and books like Kristen J. Sollee’s Witches, Sluts, Feminists: Conjuring the Sex Positive. This issue of The Pomegranate is interested in research on these new slick Witches – who are they? Are they really so new after all? What does it mean for Witchcraft to be so distinctively stylish?
From Vicki Steward’s blog Normal For Glastonbury: Life in the Oddest Town in England, a list of all the novels set in Glastonbury.
There some Phil Rickman titles there that I had missed, possibly because they were categorized as YA and published under a different name.
Marion Zimmer Bradley, of course, Faye Weldon, and lots of others. And the heavyweight, John Cowper Powys’ A Glastonbury Romance. Unlike Vicki Steward, I have read it. It is odd and complex, but so was he.
A free download from the journal Temenos: “Pagans, Nazis, Gaels, and the Algiz Rune: Addressing Questions of Historical Inaccuracy, Cultural Appropriation, and the Arguable Use of Hate Symbols at the Festivals of Edinburgh’s Beltane Fire Society”
Although Beltaners – members of Edinburgh’s Beltane Fire Society (BFS) – can trace the immediate origins of their society’s festivals to the collaborative efforts of anarchist performance artists and folklorists reacting against the Thatcherite government policies of the late 1980s, the ritual celebrations they routinely re-enact in the present ultimately derive from much older traditions associated with Scotland’s highly minoritised Gaelic-speaking population, a cohort to which few modern Beltaners belong. Performers at today’s festivals often incorporate runes into their regalia – a practice which does not reflect Gaelic tradition, but which is not unknown among ideologues of the far right. This paper interrogates rune use at BFS festivals, asking whether the employment of Germanic cultural elements in Celtic festivals by non-Celtic-speakers represents a distortion of history and debasement of an embattled ethnic minority, and whether it is ethically acceptable for an explicitly anti-racist organisation to share a symbolic repertoire with representatives of known hate groups.
Based on data derived from fieldwork consisting chiefly of participant observation and on the consultation of relevant academic literature, this paper evaluates the potentially problematic nature of BFS ritual performers’ rune use and related behaviours by analysing the intentions that underlie their actions, the consequences that have resulted from them, and the historical interaction of runes, ethnonationalism, and the occult that has shaped perceptions of runic meaning among those who use runes in modern times.
The runes may be part of your spiritual practice, or maybe you enjoy their literary history, but watch out: Adam Dahmer thinks that they are “problematic.”
Stonehenge may be the most famous example, but tens of thousands of other ancient sites featuring massive, curiously arranged rocks dot Europe. A new study suggests these megaliths weren’t created independently but instead can be traced back to a single hunter-gatherer culture that started nearly 7000 years ago in what is today the Brittany region of northwestern France. The findings also indicate societies at the time were better boaters than typically believed, spreading their culture by sea.
The seafaring part is interesting. Since those people evidently did not do boat burials (on land), we have no idea what kind of vessels they had, but they had something.
This little book contains a potent emphasis on environmental awareness, incorporated with attention to structures and material culture, such as timber circles and cursus monuments of the Neolithic, as well as polished stone axe heads, before challenging the participant to enter into a Neolithic mind-set – and asks is that even possible in the modern world? That’s surprisingly deep question that most adult experimental archaeologists will sigh, shrug and smile wryly at. Not a bad idea to make kids realise that we cannot ever step in the same river twice! My personal favourite activity is the construction of a wooden circle in class. I remain slightly relieved that my own daughter is not an age where this would have caught the imagination too far, and I’d have woken up surrounded by a ritual mound of books and shoes… though you never do know! It’s an activity I could see being incredibly useful , with a few more analytical tweaks, to the average First Year undergraduate archaeology student.
Best of all, it is a free download (PDF 4.7 MB)
Add some experiential learning involving stone tools, and you are all set.
Here is a Google-translation of the article’s first paragraphs:
46 members of the Seimas [parliament] voted for the recognition of [by?] the State of Romuva on Tuesday, before 19 were abstained and 18 members abstained.
The project was mostly voted by “peasants” and “policemen”, and abstained – the conservatives and representatives of the Polish election campaign, the votes of the liberals and social democrats on both sides.
There is still one vote on the adoption of the resolution.
MEPs who voted to vote on the project stressed the role of Romuva in Soviet times, the freedom of people to confess their beliefs, argued before the speech that worldview cannot be recognized as a religion.
“I am thrilled to vote for freedom. We often talk about freedom in this room, but in some cases we do something different. Leave people free to decide for themselves, especially since the community Romuva has proven to the public for almost 30 years that it is completely harmless and, on the contrary, nurtures ethnic traditions, ”said peasant Robert Sharknick.
UPDATE: The final vote did go well. See comments for more information.
|Issue 20.2 (2018) table of contents
On the Agony of Czech Slavic Paganism and the Representation of One’s Own Funeral among Contemporary Czech Pagans
Book Reviews-open access
Jefferson F. Calico, Being Viking: Heathenry in Contemporary America
At one time, we had a book on the Sun as feminine (as in much of the old Germanic tradition) in the pipeline for the Equinox Publishing Pagan studies series. That did not work out, for complicated reasons. Meanwhile, enjoy the video, which is especially interesting if you are used to the Father Sun/Lady Moon dichotomy.
And I have been listening to Wolcensmen a lot of late. Here is their YouTube channel.