Background of Russian Imagology: Tradition as an Indication of Target

Focusing on the history of Russian imagology, the article aims at identifying the origins of the imagological interests in research and public thought in Russia in the first and second thirds of the 20th century as well as research approaches of that time that may be required by modern imagology. This analytical insight arises from the endeavor of contemporary scholars to update and develop the imagology paradigm. The Patriotic War of 1812 and the entry of Russian troops into Paris in 1814 gave a powerful impulse to the imagological interests in Russian society. These events highlighted the irrational nature of European stereotypes and provided an opportunity for the Russian intellectual elite to observe how the European image of Russia evolves depending on the historical situation, which, in its turn, induced the Russians to collect and conceptualise the information about the image of Russia in European texts of different epochs. The Rossica Department in the Imperial Public Library was opened for the scholars to do bibliographic research of foreign publications about Russia. Commenting foreign essays about Russia was an important part of Russian academic and journalistic activity. Such publications regularly appeared in Syn Otechestva, Otechestvennye zapiski, Severnyy Arkhiv, Sovremennik, Biblioteka dlya chteniya, Russkiy vestnik, and Zhurnal Ministerstva narodnogo prosveshcheniya. The first imagological research proper was V.A. Klyuchevsky’s Skazaniya inostrantsev o Moskovskom gosudarstve [Legends of Foreigners about the Moscow State, 1866]. Without a critical analysis of foreign sources, the historian uses excerpts from different foreign texts to reconstruct an integral image of the Moscow state in the European consciousness. Although the first Russian imagological researches appeared in history, they laid the basis for the development of literary criticism. The book collection “Rossica” allowed Russian and foreign scholars (M.P. Alekseev, B.L. Modzalevsky, E.V. Tarle, M. Kadot) to study the Western literary opinion about Russia. Yu.M. Lotman relied on the imagological observations made by V.A. Klyuchevsky and his followers. Methodology of Soviet imagological research in literary criticism (M.P. Alekseev, B.G. Reizov, A.K. Vinogradov) was guided by the principles of history. These facts give grounds to speak about the formation of the Russian tradition of imagological researches, which has two characteristics: 1) following the principle of historicity and 2) focus on the functioning of the image of Russia in European literature of different epochs. In this context, it seems relevant for the Russian imagological works to focus on the phenomenon of “reverse reception” in Russian literature of the 19th century, that is on the Russian writers’ endeavor to comprehend the European image of Russia (to create a “meta-image”) and to oppose this image with their own holistic idea of Russia and its national features.