Image studies in examining shared perceptions of the past: two Russian cases

Consideration case studies concerning the formation of national narratives in Russian historiography. Characteristics and features of the main methods of imagology. The formation of the image of Valaam, the creation of the image of the Battle of Kulikovo.

Рубрика История и исторические личности
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When it comes to the context of the battle certain new developments took place. Whilst the battle had previously been used to refer to the competitive setting between Christianity and Islam (or, further, Europe and Asia), it was now applied to different kinds of contemporary conflicts. For instance, the Napoleonic Wars inspired National Romanticist writers to compare the deeds of Tsar Alexander I to those of his predecessors, including Grand Prince Dmitriy. A play called Dmitriy Donskoy had been written by V. Ozerov (1769-1816), and received with patriotic enthusiasm in 1807 Озеров В. А. Димитрий Донской II Сочинения В. А. Озерова. СПб., 1807.. In a work published in 1827, A. V. Kazadaev (1781-1854) announced about Alexander and Dmitriy that the «two men of those periods are also very alike; both were significant afflicted heroes, both served until the feast of victory» Казадаев А. В. Историческое похвальное слово Димитрию Донскому. СПб., 1827. С. 125..

During the 1880-90s the amount of popular publications concerning the battle of Kulikovo peaked, catalysed by the 500 years anniversary of the event. The efforts of Russian Empire to assist Serbia and Bulgaria under the Ottoman rule in 1870s were also reflected in some of the texts, once again emphasizing the Slavic Orthodox resistance towards Islam See, forinstance: Тихомиров Е. Куликовская битва. Исторический очерк. К 500-летней годовщине Куликовской битвы (8 Сентября 1380 года - 8 Сентября 1880 года). М., 1880.. Thus the battle of Kulikovo served as a convenient «template» for further hostile encounters with any Islamic enemies.

«Contemporary Kulikovo fields»

School textbooks on national history have been an especially effective device in distributing the images and perceptions concerning the collective past. During the 19th century, basic schooling in Russia was arranged by several organisations. Certain curriculum guidelines were drawn by the state and the Church officials. On the curricula on teaching history, the battle of Kulikovo was often explicitly mentioned Brooks J.When Russia Learned to Read. Literacy and Popular Literature, 1861-1917. Evanston, 2003.P. 35-43, 50-51..

In the textbooks, the established imagery and plot-structure were faithfully reproduced, often depicted in a dramatic way that must have created strong images on pupils' minds. Details highlighting the courage of Dmitriy Donskoy and his troops were emphasised. One of them was a scene of crossing the River Don prior to the battle: the grand prince encourages his troops to move forward by saying «an honorable death is better than a miserable life» See, forinstance: Острогорский M. Я. Учебник русской истории: Элементарный курс с рисунками, картами, таблицами и вопросами для повторения. СПб., 1898. С. 36-37.. This emphasis may have been chosen on purpose: many of the pupils ended up in military service, and deeply imprinted images of exemplary bravery were undoubtedly seen beneficial for serving the empire.

During the 19th century, also oral tradition concerning the battle of Kulikovo, such as stories and fairytales, were collected. Some researchers have proposed that the preserved textual sources would initially have been based on those oral accounts; however, due to their late collection period (popular textual accounts were already widely available) it is more likely that the oral versions were loosely based on textual imagery instead See, forinstance: Азбелев С. Н. Куликовская победа в народной памяти. СПб., 2011. -- In this article it is not possible to examine the popular presentations of the battle in detail -- for instance, poetry, stories, and plays -- but the author has addressed the issue in the monograph (Parppei K. The Battle of Kulikovo Refought... P. 137-214)..

Concrete images depicting the events connected to the Kulikovo battle emerged, too, between the 18th and 20th centuries. Especially scenes such as the duel between warrior monk Peresvet and the Tatar, and Dmitriy receiving a blessing from Igumen Sergey prior to the battle, were turned into paintings. Also a monument -- a granite column with a cross on top -- was erected in Tula region to mark the presumed site of the battle in contemporary landscape in 1850 See, forinstance: Амелькин А. О., Селезнев Ю. В. Куликовская битва. С. 344-345. -- For a summary, see: Parppei K. The Battle of Kulikovo Refought. P. 203-214..

During the Soviet time the imagery concerning the battle was maintained in school textbooks and other representations in its established form. In World War II it had yet anotherof its «high seasons», once again proving its applicability to many situations involving external threat. A propaganda poster was printed, depicting contemporary soldiers attacking the enemy, supported by Dmitriy Donskoy and his troops in medieval harness. The sentence «Better an honorable death than a shameful life» was attached to the scene, the words depicted as a quote by Dmitriy, completed with Iosif Stalin's notion: «Let the heroic image of our great ancestors inspire you in this war» Parppei K. The Battle of Kulikovo Refought... P. 217, 220.. Already in 1939 Red Army had printed a booklet about the battle of Kulikovo, announcing the greatness of Soviet Union and calling its military challenges «contemporary Kulikovo fields» КучинП.Куликовскаябитва. Библиотекакрасноармейца. М., 1939. С. 30..

Around 1980s, the new anniversary of the battle produced a huge amount of publications, seminars and events concerning the issue. In 1988, Dmitriy Donskoy was proclaimed a saint in connection with the thousandth anniversary of the Christianization of Rus'. Patriarch Kirill, in his speech in 2000, explained the background of the «canonization» by saying that «raising the level of national awareness» with regard to the battle had demanded remarkable spiritual resources, and that this had been taken into account while making the decision Rock S. Rasputin the New -- Mythologies of Sanctity in Post-Soviet Russia // Nationalist myths and modern media: Contested identities in the age of globalization / Ed. by J. H. Brinks, E. Timms and S. Rock. London, 2005.P. 258-259..

In the post-Soviet Russia, the battle of Kulikovo has been «refought» numerous times in textbooks, popular historical works, internet discussions, and so forth. Despite of some critical voices, the established imagery of the battle and its hero, Grand Prince Dmitriy, has been reproduced quite uncompromisingly in the context of national unity and Russia's honorable history See, forinstance: Ростовцев Е. А., Сосницкий Д. А. «Куликовский плен»... С. 1155-1158. -- The Russian national narrative and imagery concerning the battle have been challenged by, for instance, Tatar scholars, who have presented their own views on the events (on the issue see, for instance: Halperin C. A Tatar Interpretation of the Battle of Kulikovo Field, 1380: Rustam Nabiev // Nationalities Papers. 2016. Vol. 44 (1). P. 4-19; Sperling V. Making the Public Patriotic: Militarism and Anti-Militarism in Russia // Russian Nationalism and National Reassertion of Russia / Ed. by M. Laruelle. New York, 2009. P. 44-45..

Conclusion

These two cases, both examining the formation of historical imagery or collective perceptions concerning a certain phenomenon -- a place, and an event -- have certain differences as well as similarities, when probed with tools of historical image research.

Pierre Nora has noted that «memory attaches itself to sites, whereas history attaches itself into events» Nora PBetween Memory and History // Les Lieux de Mйmoire. Representations.Vol. 26. Spring, 1989. P. 22.. The imagery of Valaam's past can indeed be seen as essentially spatial, local, and -- once formed -- quite stable and unchanged, also in the sphere of meanings. Its primary context has been an ecclesiastic one, and its formation has been firmly based on Orthodox monastic culture and traditions. Indeed, as noted above, «monastery's tradition» has offered a convenient explanation for many shady sketches of Valaam's past. Perhaps the idea of local tradition can here be loosely aligned with Nora's notion of memory, which also applies tothe distribution and maintenance of the shared imagery through collective efforts by visitors, along with the monastery's own publishing activities.

However, the formation process of the imagery of Valaam's early history had points of contact with contemporary political issues, too. Ideas such as connecting the foundation of monastery temporally to the mythical Christianisation of Rus', strongly resonated with national history writing and intertwined the history of the monastery to that of the empire, or rather, to the Russian mythscape. The same holds true to the borderland issues. The idea of contested frontier can be said to have been in the core of the formation of the imagery of the monastery located in the turbulent frontier area Hastings A.The Construction of Nationhood.Ethnicity, Religion and Nationalism. Cambridge,

P 190-191..

The shared imagery formed on the battle of Kulikovo can be described, in turn, primarily -- but not exclusively -- temporal and national (the concept used here in contrast with local, and referring to the imagery from the 19th century onwards) in nature. The basic plot-structure gained its established form already in the 16th century, but the meanings have been in fluctuation. The ideas of unity and strong central power have been applicable to numerous political situations, especially any involving external threat, and they have been useful in indoctrination of large numbers of people.

Whilst the formation of the images of Valaam's past has a primarily religious and only secondarily political context -- as far as these two can be separated -- in the case of Kulikovo the setting can be said to be reciprocal. When it comes to the medieval context, the two were firmly intertwined, but from the 18th century onwards the political meanings of the battle began to dominate the shared imagery.

In both cases the formation and distribution of the imagery had -- and still has -- the full support of power structures. This means that the idea of an ancient spiritual center on the borderland, as well as the idea of a crucial battle that steered the development of the nation, have both been aligned with the interests of power circles of each given time.

What is common for both Valaam and Kulikovo, is also the importance of Nationalistic and National Romanticist thinking in the formation and consolidation of the imageries. It established the budding idea of national history as a continuum, on which events, figures and even places could be attached to form a coherent image of the collective past.

It is important to note that the formation of this collective mythscape has been a profoundly anachronistic process. Of course, hindsight -- perception of the significance of events after they have occurred -- lies in the very core of history writing as such As David Lowenthal has put it: «Historical hindsight tidies chaos into order, often into predestined sequence, as though things could not have happened otherwise» (Lowenthal D. Heritage Crusade and the Spoils of History. Cambridge, 2009. P. 115). Hindsight is also connected to the issue of narrativity: how single points are arranged into coherent wholes (Topolski J. The Role of Logic and Aesthetics in Constructing Narrative Wholes in Historiography // History and Theory.

Vol. 38. No 2. P. 201).. Especially in the case of Kulikovo this phenomenon has a central role: the idea of the medieval battle as a crucial turning point -- «the first national victory» -- is a prime example of explaining history in the light of contemporary knowledge and the prevailing ideological undercurrents.

In the case of Valaam, more details and colour were added to the sketch along with the rising of the monastery's contemporary status. A good example is the constant expansionof Valaam's «saintly pantheon»; as Valaam's fame grew, more and more local saints and monastery founders were added into the group of holy men that were said to have resided in ancient Valaam. This anachronistic process added the prestige to both Valaam and the smaller monasteries in the area of Karelia and Olonets.

Using imagological approach as a tool to examine perceptions concerning the past of a place, or a historical event, has demanded certain adaptations. In both cases, there are actually many simultaneous images that can be represented either as a whole or independently. For instance, the duel between the monk and a Tatar on the field of Kulikovo has been turned into visual art numerous times. In the same way, the story of Apostle Andrew's visit in Valaam, or the legend of King Magnus, can be reproduced separately of the other details of the foundation narrative of Valaam.

The context of these separate images, nevertheless, is the same, and the individual images can only be fully understood in the context of the whole. In the two cases examined here there are actually images in an image, which is why I have found the concept imagery useful to refer to the whole of the images; the body of collective, established perceptions concerning the issue. Applying imagological approach to these kinds of cases demands, therefore, operating on two concurrent levels. First, each separate claim and detail -- the image in the image -- and its formation and development has to be analysed separately: when did it emerge, by whom, in what circumstances, and so on. Second, these details have to be examined and contextualised as a whole, studying the contemporary roles and functions of the imagery at each given time.

The role of researcher has to be taken carefully into account, too. The images of the researcher tend to intertwine with those that are being studied, as noted above. While this is to some extent inevitable, one has to be aware of the issue. There is also the question of choices in defining the research topic, the time period examined, arranging the source material -- thematically or chronologically -- and defining the relevant context. For instance, in the research about the imagery concerning Kulikovo the division of the examined timeline into periods and categorizing of the sources are not devoid of the problems of subjectivity, hindsight or narrativity. These problems are not, of course, exclusive to historical image research, but operating on long timelines and issues concerning mind and mentality rather than more concrete information do increase the risk of the researcher's voice being heard louder in the findings, than the voice of those he or she is aiming to understand.

Nevertheless, these two case studies, very briefly presented in this article, indicate that despite of certain problems and risks -- which should always be surveyed, considered and finally discussed along the research process -- the imagological approach offers a worthy pragmatic tool also to operate on complex sets of established claims, ideas and images, such as national narratives, formed -- or forged! -- during a long time period under various circumstances.

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