当前位置: X-MOL 学术Modern Asian Studies › 论文详情
Our official English website, www.x-mol.net, welcomes your feedback! (Note: you will need to create a separate account there.)
The Roots of Comparative Alterity in Siam: Depicting, describing, and defining the peoples of the world, 1830s–1850s
Modern Asian Studies ( IF 1.0 ) Pub Date : 2020-08-18 , DOI: 10.1017/s0026749x20000207
MATTHEW REEDER

This article identifies a moment of conceptual innovation—the 1830s to the 1850s—in which everyday artists and writers in Siam were tasked with creating comparative representations of the peoples of the world. Although their compositions took a variety of formats, they departed from earlier representations of alterity by devoting equal attention to each ‘type’, including the Thai themselves. This approach is best exemplified in three mid-nineteenth-century works: (1) a set of archetypal portraits of about 20 peoples painted on the shutters of a major Buddhist monastery, (2) sculptures of 32 peoples at the same monastery with a short poem describing each one, and (3) entries defining terms for peoples in an early Thai–Thai dictionary. The systematic formatting of these works drew on similar compositions circulating across the nineteenth-century globe. Yet, despite the presence in Bangkok of foreign interlocutors and imported books and prints, the mid-nineteenth-century compositions preserve ethnic tropes and practices of expression specific to Siam. In addition, the agents of intellectual innovation were not restricted to the usual princely or missionary protagonists. It was a motley cast of anonymous artists, local scholars, and middling officials who tapped traditional genres of composition and local markers of differentiation to render the peoples of the world as comparable, generic, and fixed.

中文翻译:

暹罗比较另类的根源:描绘、描述和定义世界人民,1830 年代至 1850 年代

这篇文章确定了一个概念创新的时刻——从 1830 年代到 1850 年代——暹罗的日常艺术家和作家的任务是创造世界人民的比较表现。尽管他们的作品采用了多种形式,但他们通过对包括泰国人自己在内的每一种“类型”给予同等关注,从而脱离了早期的异质性表现。这种方法在 19 世纪中叶的三部作品中得到了最好的例证:(1) 一组约 20 人的原型肖像画在一座主要佛教寺院的百叶窗上,(2) 同一寺院的 32 人雕塑,短描述每一个的诗,以及 (3) 早期泰泰词典中定义民族术语的条目。这些作品的系统格式借鉴了 19 世纪全球流传的类似作品。然而,尽管在曼谷有外国对话者和进口书籍和印刷品,19 世纪中叶的作品仍保留了暹罗特有的民族比喻和表达方式。此外,智力创新的推动者并不局限于通常的王子或传教士主角。这是一个由匿名艺术家、当地学者和中层官员组成的杂乱无章的演员阵容,他们利用传统的作曲流派和当地的差异化标志,使世界人民具有可比性、通用性和固定性。十九世纪中叶的作品保留了暹罗特有的种族比喻和表达方式。此外,智力创新的推动者并不局限于通常的王子或传教士主角。这是一个由匿名艺术家、当地学者和中层官员组成的杂乱无章的演员阵容,他们利用传统的作曲流派和当地的差异化标志,使世界人民具有可比性、通用性和固定性。十九世纪中叶的作品保留了暹罗特有的种族比喻和表达方式。此外,智力创新的推动者并不局限于通常的王子或传教士主角。这是一个由匿名艺术家、当地学者和中层官员组成的杂乱无章的演员阵容,他们利用传统的作曲流派和当地的差异化标志,使世界人民具有可比性、通用性和固定性。
更新日期:2020-08-18
down
wechat
bug