Monuments to Freedom, Monuments to Nation: The Politics of Emancipation and Remembrance in the Eastern Caribbean
Monuments to Freedom, Monuments to Nation: The Politics of Emancipation and Remembrance in the Eastern Caribbean
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自由纪念碑，国家纪念碑：东加勒比地区的解放和纪念政治
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发表时间：
2002
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通讯作者：
L. Brown
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作者：
L. Brown
石头或金属纪念碑的创造者原本打算赋予它们固定的含义，但人们对它们不变的物理形式的反应不断变化，表明人们对加勒比海过去的看法一直是不稳定的、分裂的和有争议的。马提尼克岛、安提瓜岛和巴巴多斯废除奴隶制的雕像不仅描绘了一个单一的历史事件，而且仍然是目前关于这种自由的意义的辩论的焦点。在这三个岛屿上，法律解放以截然不同的形式出现--在民众起义中(马提尼克岛，1848年)，作为帝国法令的立即颁布(安提瓜岛，1834年)，或在四年的学徒期(巴巴多斯，1838年)之后--但在每个社会，它都被认为是国家身份和公民身份的创始时刻。解放与国家地位之间的这种联系对于马提尼克岛、安提瓜岛和巴巴多斯的殖民和殖民后纪念碑来说都是至关重要的；然而，殖民主义的结束也在新纪念碑的建造和对现有历史形式和艺术形象的重新诠释方面产生了重大变化。本文试图探索这些纪念碑建造背后的不同愿景，特别是艺术家、国家赞助、当代政治辩论和公众看法之间的互动。纵观东加勒比海地区的帝国边界--在英国和法国废除奴隶制的建筑之间，以及殖民和后殖民政治之间--这些雕像引人注目，不仅是因为它们激发了当地辩论的多样性，而且因为它们在物理上将奴隶制的结束定义为一个国家的诞生的方式有着深刻的相似之处。
Monuments cast in stone or metal were intended by their creators to have a fixed meaning, yet the shifting reactions to their unchanging physical forms reveal that perceptions of the Caribbean past have always been fluid, divisive and contested. Statues to the abolition of slavery in Martinique, Antigua and Barbados depict not simply a single historical event, but have remained focal points for present debates on the meaning of that freedom. Legal emancipation arrived in very different forms in these three islands – in the midst of popular revolt (Martinique, 1848), as the immediate enactment of an imperial decree (Antigua, 1834) or after a four year period of ‘apprenticeship’ (Barbados, 1838) – but in each society it has been remembered as the founding moment of national identity and citizenship. This connection between emancipation and nationhood is central to both colonial and post-colonial monuments in Martinique, Antigua and Barbados; however, the end of colonialism also produced significant changes in the creation of new monuments and the reinterpretation of existing historical forms and artistic imagery. This article seeks to explore the different visions underlying the construction of these monuments, and particularly the interactions between artists, state sponsorship, contemporary political debates and popular perceptions. Looking across imperial boundaries in the Eastern Caribbean – between constructions of British and French abolition, and between colonial and post-colonial politics – these statues are striking, not simply for the diversity of local debates which they have inspired, but for the profound similarities in the ways they physically define the end of slavery as marking the birth of a nation.