ABSTRACT This article discusses photographs of Sámi people produced in 1883 and 1884 by the Danish-Norwegian scholar and photographer Sophus Tromholt (1851–1896) and G. Roche, the expedition photographer of the French prince, Roland Bonaparte (1858–1924). While Tromholt’s photographs have been understood as an example of how Sámi people were portrayed as individuals, and how they adapted the medium of photography for their own purposes, Roche/Bonaparte’s anthropometric photographs are seen as the opposite, an attempt to document the typical, racial features of the Sámi population. Contrary to such an understanding, the article argues that there are more common features between these portraits and their contexts of production than earlier suggested. Inspired by Ali Behdad’s discussions on the nature of orientalist photography, it neither sees Roche’s/Bonaparte’s nor Tromholt’s photographic representations as entailing a binary visual structure between the Europeans as active agents, nor Sámi people as passive objects of representation. Furthermore, it suggests that there are common features to be observed in relation to their respective contexts of production, stressing how both Tromholt’s and Roche’s/Bonaparte’s photographs of Sámi people and northern landscapes must be understood not only in the context of the photographic identity performances of the academic male subjects who represented them, but also in relation to the visual economy in which these representations were embedded. This involves a consideration of how travel narratives from pre-photographic Arctic expeditions played a mediating role for the later photographic practices in the Sámi areas.

中文翻译：

---

在北极表演学术男子气概：Sophus Tromholt和Roland Bonaparte对萨米人和北部景观的摄影记录

摘要本文讨论了由丹麦-挪威学者兼摄影师Sophus Tromholt（1851–1896）和法国王子罗兰·波拿巴（Roland Bonaparte（1858–1924））的探险摄影师G. Roche于1883年和1884年拍摄的萨米人照片。特罗姆霍特的照片被理解为一个例子，说明了萨米人如何被描绘成个人，以及他们如何为自己的目的改写摄影媒介，但罗氏/波拿巴的人体测量照片却被视为相反，试图记录典型的种族萨米人的特征。与这种理解相反，本文认为这些肖像及其生产环境之间的共同特征要比早先提出的要多。受阿里·贝达（Ali Behdad）关于东方摄影本质的讨论的启发，它既不认为罗氏（Roche）/波那巴德（Bonaparte）或特罗姆霍特（Tromholt）的摄影作品在欧洲人之间没有作为积极的主体，而在萨米人之间则没有二元视觉结构。此外，它暗示了在观察它们各自的生产环境时要观察到的共同特征，强调了不仅必须从托马霍尔特和罗氏/波拿巴的萨米人和北部风景的照片中都必须理解它们的摄影身份表现，代表他们的学术男性主体，也与嵌入这些表现形式的视觉经济有关。这涉及对北极前摄影探险的旅行叙述如何在萨米地区后来的摄影实践中起中介作用的考虑。