and Historical Memory
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Most people invoke memories of their past as a way of stating their ideals, justifying the present, or perhaps drawing attention away from unpleasant realities. All too often, historical realities are irrelevant - the past is imagined in ways that it never knew. Such imagined histories may take many forms, among them museum displays, public ceremonies and public monuments. Examples from recent years in the United States show how controversial such invocations of the past can be, witness the disputes over the 1492 exhibit at the National Gallery, the Enola Gay exhibit at the Smithsonian and the architecture of the various war memorials in Washington, D. C. On the whole though, it is probably safe to venture that public statuary in the United States has a less prominent place in popular memory than it does in Russia. Imagine St. Petersburg, and immediately one thinks of the famous "Bronze Horseman" - the statue erected to commemorate Peter the Great by Catherine the Great in her effort to identify herself with the Petrine legacy. Peter is depicted as a heroic figure, pointing to the future and whose horse is trampling the serpent of ignorance. Emblematic of the city, the statue was invoked both in Pushkin's famous poem "Mednyi vsadnik" and in Belyi's modernist take on Petersburg in his novel of the same name. |
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Aleksandr Nevskii. One of the heroes of Russian history, as anyone who has seen Sergei Eisenstein's film will know, was Prince Aleksandr Nevskii. The son and eventual successor to Grand Prince Iaroslav of Vladimir, he followed a typical career pattern in first being assigned the principality of Novgorod - for all their vaunted independence, the Novgorodians were very much dependent on the powerful princes to their south who could inderdict trade routes and food supplies. So the tendency was that the eldest son of the prince in Kiev, and later, after Kiev's decline, the prince in Vladimir-Suzdal, would be sent to occupy the Novgorod princely seat. Even though the monuments today (see below) glorify Novgorod's prowess in battle, in fact it was outside military specialists who were needed to lead the often ineffective novgorodian armies. Aleksandr acquired his nickname for defeating the Swedish knights on the river Neva in 1240 (hence, Aleksandr "of the Neva" - see the picture on the left), and two years later he defeated the Teutonic knights on the ice of Lake Peipus near Pskov, the battle depicted so memorably in Eisenstein's contribution to anti-German polemics in the late 1930s. The Russians have a tendency to canonize their princes, or at least venerate them as saintly. As the father of Daniil, the first prince of Moscow, Nevskii was one of the few to be formally canonized. The shroud on the left depicts him as a monastic saint. In the 1660s an icon (on the left, with detail on right) painted by Simeon Ushakov showing the holy connections of the Muscovite state depicts Aleksandr Nevskii as the first in the right branch of the tree growing out of the Cathedral of the Dormition in the Kremlin. |