ABSTRACT

Serious monuments to the tragic past and whimsical representations of the everyday reflect the structural realities of a new Russian memorial culture. Structural pluralism provides space for expressions of cultural conservatism and Soviet nostalgia, but it also encourages monument builders to address broad audiences and avoid political polarization. Moreover, it allows local authorities to experiment with new forms of representation in efforts to appeal to local constituencies. The commemoration of tragedy has entered Russian public space, shaped by the contours of its pluralist public, new need for public relations, and fractious political culture. Humour was also not a great hallmark of Soviet monumental art, but public space in post-Soviet Russia has plenty of room for the humorous, the fantastic, and the whimsical. The presence of the whimsical and the tragic in sculptural form is enabled by pluralist institutions, civic boosterism, and critical public discourse in a context much different from monument building in the Soviet era.

摘要

对悲惨过去的严肃纪念碑和对日常生活的异想天开的表现反映了新的俄罗斯纪念文化的结构现实。结构多元化为文化保守主义和苏联怀旧的表达提供了空间，但它也鼓励纪念碑建造者面向广泛的受众并避免政治两极分化。此外，它允许地方当局尝试新的代表形式，以吸引当地选民。对悲剧的纪念已进入俄罗斯公共空间，由其多元公众的轮廓、对公共关系的新需求和易怒的政治文化塑造。幽默也不是苏联纪念性艺术的重要标志，但后苏联时代的俄罗斯的公共空间有足够的空间容纳幽默、奇幻和异想天开的东西。