Perverted Heroism: Story 4

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Partho Burman spoke to the man. There are tears running smoothly down his cheeks, but he feels an overwhelming sense of hope despite the tears. He sits up, closes his eyes, and clenches his fists, trying to remember what he has been dreaming. There had been a tree—no, a cross—and it had been talking to him. As he continues to remember the dream, a beautiful poem begins to take shape in his mind. He realizes that he will not soon forget this dream. He is right. He will never forget it, and many others will have the chance to experience it as well.

The cross describes Jesus as a hero approaching an enemy.

Transcending Human Imagination: The Embodiment of Heroism Manifest in Christ By Bailey Vaughn

Fast-forward more than a thousand years: a ten-year-old boy pulls the sheet over his head and turns on a flashlight. The beam of light lands on a comic book filled with stories about superheroes.

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Almost every night, after his parents head to bed, he turns on this flashlight and reads just one more story. Twenty minutes later, he yawns, rubs his eyes, and closes the book. As he hides the flashlight, rolls over, and closes his eyes, he hopes that tonight his dreams might be filled with images of his heroes. There seems to be a striking difference between these two ideas of heroism.

The Prophet Perverted

But, if the hero of the poet and the heroes of the little boy can share the title of hero, then there must be some link between Christ and Superman. So who exactly is a hero? And what actions should be viewed as heroic? In fact, the Bible, specifically the person of Christ, provides a metanarrative for heroism.

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The Bible, in short, provides a standard for all of literature. The old myth of the dying god, without ceasing to be myth, comes down from the heaven of legend and imagination to the earth of history. If Christ is to be considered a metanarrative for heroism, He must first be proven a hero Himself. To believers, Jesus is Savior and, as such, an obvious hero-figure. He is not just another hero but the ultimate hero. He simultaneously defines and transcends the concept of human heroism.

Thus, it can be said that, though Christ was Messiah, He does not qualify as a traditional hero.

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However, Leon J. Podles explains that of all the images used to describe Jesus, the image of hero is the most accurate. One of the divine attributes of God is immutability.

Perverted Heroism

His nature is unchanging; His character consistent. Most ancient epics begin in the heat of battle or with a conflict already in full swing. The need for a hero to appear is obvious in the opening lines. Perhaps man begins stories with an obvious need for a hero because he cannot comprehend the idea of a hero without a need for a hero. When the world was created, it was perfect.

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But Christ was still Christ; He was still a hero. Man cannot fathom the idea of a savior before someone is in need of saving, but God did. Even modern heroic ideals are derived from the biblical precedent of God calling on one person to save many. In this way, God makes it clear that He is the one providing victory. For example, Samson accomplishes his greatest feat after he is stripped of his strength Judg.

Although there are many examples of God calling on an individual to save His people, Christ serves as the greatest model of this heroic standard. Jesus fits the traditional standard of heroism in which heroes follow a set journey in order to complete the task given them and become truly heroic. It is nearly impossible to separate any story from the only original story God wrote through creation. If all heroism ultimately culminates in the person of Jesus Christ, it is logical that He would be able not only to fit but also have influence over all heroic standards.

He displays a divine pedigree as well as a supernatural conception because He is the Son of God born of a virgin; He displays supernatural power when He performs miracles; He was tested by the Devil himself in the wilderness; and, finally, He fought a final, climactic battle on the cross.

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His victory took the form of resurrection. In the context of the fantastical stories of ancient epics, heroes can accomplish amazing things. It is history. It is fact. Again, violence to the Jews is depicted as self-inflicted, holding traditional Russian society as blameless. In other words, Trotsky can only be Trotsky by killing that part of himself that remains authentic and traditional — and selling out his community in the process.

Their options are either internal or external exile. Internally, they find themselves totally subordinate and meek, and on the lowest rung of society. Externally, ambitious Jews may try to find their way in the world, but only by turning their back on organic Russian culture and their historic place in it. The Jew is either dirt or deracinated. The archetypical, rootless Jew in this miniseries is actually not Trotsky himself. Revealingly, it is Alexander Parvus, a socialist theoretician and financier. In the hands of the filmmakers, Parvus is transformed into the ultimate Judeo-phobic cartoon.

He is a Svengali, manipulating geopolitics from behind the scenes. He is at once an arch-capitalist speculator and at the same time the patron of Marxist revolt; he rubs shoulders with German politicians in his fur-coat, and simultaneously whips the guileless Russian populace into frenzy with his machinations. The opposite of Parvus in this film is Joseph Stalin. Early on, Stalin is shown being snubbed by the arrogant Trotsky, who ignores his outstretched hand.

In fact, he is the exact opposite of Trotsky and Parvus in every way.

While Trotsky wants to stack the army with experts and former Tsarist officers, Stalin balks at this, insisting that the Bolsheviks do not need the aid of their upper-class enemies. While Trotsky and Parvus are meticulous in their dress and florid in their speech, Stalin is described as boorish, rude, and even a bit dull.

But this mediocrity is no insult: It is a sign of authenticity, making Stalin closer to the common folk. Here the filmmakers tip their hand. In valorizing Stalin, they admit that the line between virtue and vice, authenticity and inauthenticity, runs across the historical contests for political power.

The former Tsarist officers and Stalin are each heroes in their own ways, evincing a masculinity and sense of patriotism absent from Trotsky and Parvus. The latter pair ultimately represents modernity itself; they reduce human endeavor to money, power, and sex. They desacralize the world, replacing heroic masculinity with subterfuge and speculation.

Perverted Heroism: Story 4 Perverted Heroism: Story 4
Perverted Heroism: Story 4 Perverted Heroism: Story 4
Perverted Heroism: Story 4 Perverted Heroism: Story 4
Perverted Heroism: Story 4 Perverted Heroism: Story 4
Perverted Heroism: Story 4 Perverted Heroism: Story 4
Perverted Heroism: Story 4 Perverted Heroism: Story 4
Perverted Heroism: Story 4 Perverted Heroism: Story 4
Perverted Heroism: Story 4 Perverted Heroism: Story 4
Perverted Heroism: Story 4

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