2003/12/01 by Grigory Ioffe · 1 citation
Social Sciences · #Eastern European Communism and Reforms #Polish Historical and Cultural Studies #Historical Geopolitical and Social Dynamics #Expansionism #Ethnic group #National identity #Identity (music) #Nationalism #Kinship #Prism #Gender studies #Sociology #Political science #Law #History #Media studies #Aesthetics #Politics #Art
paper · doi:10.1080/0966813032000141105
openalex publication_date 2003/12/01 · openalex created_date 2025/10/10 · openalex updated_date 2026/07/29
In the first of this three-part series of articles the linguistic situation in Belarus was analysed. The research questions that inform this second article are: 1) What kind of ethnic identity evolved in Belarus that makes most Belarusians insensitive to ‘their own’ national symbols and attached to those embodying their kinship with neighbouring countries? 2) What is the status of the Belarusian national movement when viewed through the prism of the most reputable theories of ethnic nationalism? My attempt to respond to these questions stems from my field observations and familiarity with scholarly studies and other material. Anthony David Smith's classic volume on ethnic origins of nations and Miroslav Hroch's perceptive book on national movements in Europe's ‘small nations’ are of special importance. A quintessential piece on Belarusian identity is Yanka Kupala's play ‘Tuteishiya’; written in 1922 and published in 1924, it was banned by the Soviet authorities primarily because Russian expansionism in regard to Belarus was painted by Kupala as a mirror image of Polish expansionism. The play is every bit as topical today as in the 1920s.