19世纪下半叶俄罗斯文化视觉文本中乌克兰人(小俄罗斯人)和白俄罗斯人(白俄罗斯人)的种族刻板印象:解释问题

M. Leskinen
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引用次数: 0

摘要

本文分析了“小俄罗斯人”/“Malorusy”(乌克兰人)和“白俄罗斯人”(“白俄罗斯人”/“白俄人”)的一些视觉表现,这些表现针对19世纪60年代至20世纪俄罗斯社会的广泛群体,并在文学,科学和流行的民族志描述和教科书的影响下形成。这些视觉文本在俄罗斯帝国的大众意识中创造了人民/国家(俄罗斯人民)的刻板形象。主要由大众观众访问的作品(类型画布,书籍插图,杂志平版印刷,广告,海报,明信片等)在种族刻板印象(“小俄罗斯人”/“Malorusy”(乌克兰人)和“白俄罗斯人”/“白俄人”(白俄罗斯人))的背景下进行分析。作者认为,在帝国国家建设过程中,“俄罗斯人民”作为大俄罗斯人、小俄罗斯人和白俄人的统一的认同领域的刻板印象研究中存在一些方法论问题。解释视觉民族形象的复杂性也源于19世纪俄罗斯帝国乌克兰和白俄罗斯身份、历史和民族运动的话语差异。特别是,乌克兰苏维埃和现代史学认为许多艺术家是民族文化的万神殿。但如果我们接受这样的归因,事实证明,对“他人”的刻板印象(小俄罗斯人/乌克兰人的异性刻板印象)原来是他们自己的刻板印象。如果我们从这些图像的创造者属于俄罗斯(“全俄罗斯”)文化的假设出发,那么问题就出现了,他们是将这些图像解释为特定的民族,还是作为地区/性别的体现,还是仅仅是社会(农民)的变化?
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Ethnic stereotypes of the Ukrainians (Little Russians) and Belarusians (Belorussians) in the visual texts in Russian culture in the second half of the 19th century: Issues of interpretations
The article analyzes a number of visual representations of «Little Russians» / «Malorusy» (Ukrainians) and Belarusians («Belorussians» / «White Russians»), which were addressed to a wide range of Russian society in the 1860s – 1900s and which were formed under the influence of literature, scientific and popular ethnographies descriptions and text-books. These visual texts were creating the stereotypical images of peoples / nations (so as of the Russian people) in mass consciousness the Russian Empire. The works that are accessible primarily by the mass audience (genre canvases, book illustrations, magazine lithographs, advertisements, posters, postcards etc) are analyzed in context of ethnic stereotypes (of «Little Russians» / «Malorusy» (Ukrainians) and of «Belorussians» / «White Russians» (Belarusians)) reflections. The author is considered some methodological problems deals with stereotypes’ researching in the field of the identification of «the Russian people» as the unity of Great Russians, Little Russians and White Russians during imperial nation-building. Complications of interpreting visual ethnic images are also due to the differences of discourse of the Ukrainian and Belarusian identities history and national movements in the Russian Empire of the 19th century. In particular, Ukrainian Soviet and modern historiography considers many artists to the pantheon of national culture. But if we accept such attributions, it turns out that stereotypes of the «others» (the heterostereotypes of Little Russians / Ukrainians) turns out to be their auto stereotypes. If we proceed from the assumptions that the creators of the images belonged to the Russian («all-Russian») culture, the questions arise did they interpret them as specifically ethnic, or as the embodiment of regional / gender or only the social (the peasant) variations?
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