無論是沙皇政權或是蘇維埃政權，都會在侵略併吞而來的土地上實行俄化或是蘇維埃化的政策，希望能建立一個大一統的國家，創造一個享有共同文化、共同語言、甚至是有共同認同的民族。但是，1991年蘇聯的解體，不只打破了蘇共創造「蘇維埃民族」的美夢，還證明了蘇聯民族政策的嚴重錯誤。 19世紀以前，進入波海地區的俄羅斯人數量並不多。19世紀之後，沙皇政府開始在此區實行大規模的俄化，並開始將大批的俄羅斯人遷移至此。從第一次世界大戰以後到第二次世界大戰這段期間，波海三國享有了一段短暫的獨立國家時期。這個時期，基本上，波海三國對其境內的俄羅斯人是採取尊重的態度。第二次世界大戰爆發，因為德蘇密約的簽訂，使波海三國再次地被蘇聯併吞。史達林佔領波海三國之後，立刻大規模地流放波海三國的人民，並將大批的俄羅斯人引進，使愛沙尼亞與拉脫維亞兩國在人口統計學上的俄化情形十分嚴重。 1985年戈巴契夫上台以後，波海三國利用改革的機會，追求獨立，最後，以非暴力的方式獲得成功，重建獨立國家。波海三國獨立以後，俄羅斯人的地位有了很大的改變，一下子從優勢的統治地位變成弱勢的少數民族。愛沙尼亞與拉脫維亞因為懷疑俄羅斯人的忠誠度以及擔心會被滅族，所以採取了排外的公民權法，使大部分的俄羅斯人都無法獲得公民權。另外，因為大部分的俄羅斯人都不會說愛沙尼亞語或拉脫維亞語，所以不僅在取得公民權上有困難，在經濟與社會處境上也變得比較差。至於俄羅斯人的認同，可以說是複雜的。大多數的俄羅斯人在政治上是對所居住的共和國忠誠，在文化上還是認為自己是屬於俄羅斯文化的一部份。至於立陶宛，賦予境內大部分的俄羅斯人公民權，因此，立陶宛的族群關係較緩和。 俄羅斯政府自認為是境外俄羅斯人權益的捍衛者，但是，對於波海三國的少數民族政策所能造成的影響並不大。相反地，西方政府的批評與建議常常能成功地影響波海三國的決策。主要的原因在於波海三國急切地想回歸歐洲、西方政府與組織能提供援助、滿足國家安全需求與歐安組織派遣使節到愛、拉兩國。 / No matter what it was the Czar’s regime or the Soviet government, it would always implement a policy of Russification or Sovietization on invaded lands, in order to establish a united nation with common culture, shared the same language and national identity. However, since the breaking down of the Soviet Union in 1991, not only the dream of the ‘Soviet People’ broke down, but it also suggested a misleading of ethnic-national policy. Before the 19th century, there were not many Russians in the Baltic area. After the 19th century, the Czar’s regime started to implement the policy of Russification on a large scale, and it also moved many Russians to settle there. During the period of the First World War and the Second World War, the Baltic States had enjoyed a short period as independent nations. In this period, the Baltic States basically treated the Russians within their states with respect. Because Germany and Russia had signed a treaty before the Second World War, therefore, when the war erupted, the Baltic States were once again occupied by the Russia. After Stalin took over the Baltic States, he exiles people from the Baltic States on a large scale, while moving many Russians into these countries. As a result, Estonia and Latvia were seriously Russificated demogranphically. In 1985, Gorbachev gained the power. While the Russia government was reforming its political entity, the Baltic States seized the opportunity to go independent. They successfully gained their independence through non-violent method and rebuild themselves as independent states. Ever since the Baltic States became independent, the status of the Russians within their regions had changed rapidly. The Russians were once the dominant ruling class and suddenly became the ruled minority. Estonia and Latvia are concerned with the issues of royalty of the Russian people, also they were worried that they would become extinct as an ethnic group, therefore, they adopted an exclusive citizenship laws. Because most of the Russians could not speak Estonian and Latvian languages, therefore, they had difficulties to acquire the citizenship and they also did poorly financially and politically within these two nations. As for the notion of the Russian identity, it was a very complicated issue. Most Russians are politically royal to the Republics they reside, but culturally they still considered themselves as part of the Russian culture. In Lithuania, it granted most of the Russians that reside in its nation the citizenship; therefore, the ethnic relationship within the country was less tense comparatively. Russian government always views itself as the protector of the rights of its people that reside in other countries. However, this does not affect the policies regarding the minority in the Baltic States. On the other hand, the criticism and suggestions from the western governments can often affect the process of the policy-making in the Baltic States. The main reason is that the Baltic States are eager to return to Europe, and they can acquire aids from the western governments and organizations, securing their nations. Another reason is Estonia and Latvia hopefully get rid of the representatives from OSCE as soon as possible.

Panapanayan 是位於台灣東南海岸的地點，至少有阿美、卑南、排灣及魯凱 等鄰近四族群的祖源傳說與該地有關，文化現象亦有許多相似之處，形成一個可 資觀察的「文化圈」區域。 該文化圈內之文化現象除了具有空間的關聯性之外，亦具有時間深度，其關 聯與互動可以延伸到史前時代，尤以文化圈內之舊香蘭遺址所發掘出土的文物， 有石刀、陶片上吐信蛇紋的應用，與現生族群間沿用之圖紋習慣似乎具有傳承關 係。文化圈內核心區域太麻里、知本部落流傳的生命儀禮中，文身（口傳及文獻 記錄）及使用琉璃珠（佩戴珠飾、陪葬）的習慣，是當地整體生命認知的價值體 系一環，與而舊香蘭遺址亦發現大量之琉璃珠，古今相疊的地緣空間中相似的文 化現象，不免引人注目。 此外，本地區(太麻里部落祖靈屋)發現的吐舌和大塊面雕刻人像，為台灣原 住民木雕圖紋表現習慣中少見的形式，卻與境外南太平洋文化的表現具有類緣的 關係，在在凸顯了本地除具有獨特的藝術表現外，又具有與分佈廣大的南島語族 間文化相連的多元關係。因此，似可以從物質文化中之藝術表現做為媒介觀察整 體社會文化變遷，與人群表達集體情感與識別作用的文化認同現象。 受國家政治現代化政策的影響，本地區百年來沐浴在現代化影響下，傳統生 活與文化產生了很大的變遷，但是在晚近族群運動與強調在地化文化資產發掘的 文化政策影響下，促進了民族風潮與部落主體意識的覺醒，太麻里、知本部落透 過重建palakuwan、恢復祭儀、傳統歌謠及工藝美感經驗的傳承等，紛紛進行文 化復振工作。各部落為尋找歷史記憶，熱絡進行祭儀交流、尋根溯源及跨部落結 盟等活動，使文化圈內人群緊密互動的現象，有促進區域生成共同體的趨勢。 太麻里、知本部落的社會環境，也在全球化和商業化、觀光化影響下變遷， 藝術表現由傳統制式的風格，漸轉化為多樣取向的個人性創作，這種轉變衝擊了 在地文化的傳承，以及部落主體性的維繫，為了凝聚族人共識，有心者於是透過 藝術媒介塑造部落文化特徵，強化為部落象徵，使藝術表現再度成為扮演彰顯族 群（部落）認同的重要功能。 本研究透過物質文化的表現，特別是所謂「藝術」（原始藝術或民族藝術） 的生成與顯現過程，觀察Panapanayan 當地多元視覺藝術要素與歷史傳統、社會 生活祭儀、象徵認同之間的關係，以瞭解藝術表現的脈絡與部落主體意識、民族 認同之間的互動關係。 / Panapanayan is located on the southeast coast of Taiwan. The ancestral origin stories of at least four ethnic groups, including the Amis, Puyuma, Paiwan and Rukai, can be traced back to this place. The many similar cultural phenomena demonstrated by these various groups suggest the formation of a culture circle. The relations between the cultural phenomena within this culture circle are not only based on space, but also on time. The relations and interactions between them can be traced back to prehistoric times. For example, snake tongue patterns seen on artifacts like stone blades and pieces of pottery uncovered at the Jiuxianglan Site are still seen in the patterns used by these ethnic groups to this day. The life-cycle rituals, tattooing (described by the oral tradition and written records) and use of ceremonial glass beads (used for both decretive purposes and buried with the deceased) found in the villages of Taimali and Zhiben, which are at the center of this culture circle, represent local values and beliefs about life and death. Many glass beads were also uncovered at the Jiuxianglan Site. The number of similar cultural phenomena occurring within this region from ancient times to present day is truly striking. In addition, the tongue-like patterns and large carvings of human figures found in this region (at the ancestral shrine in Taimali) have rarely been seen among the wood-carving patterns of Taiwan’s aboriginal people. However, these patterns are related to those found within Austronesian culture outside Taiwan. This finding further highlights the uniqueness of the artistic expressions found in this area and points to diverse ties with the widespread Austronesian peoples. As a result, the artistic expressions found within the material culture in this area can be used to trace social and cultural change. These artistic expressions can also help us to better understand collective emotions and cultural identities. With the emergence of modern national politics, the traditional life and culture of this region have been strongly influenced by the onslaught of modernization. However, the rise of the ethnic movement in Taiwan and the emphasis on cultural heritage within political policy has inspired a new awakening of tribal consciousness. By rebuilding Palakuwan and restoring traditional rituals, songs and artistic aesthetics, the people in Taimali and Zhiben have begun to engage in the process of cultural restoration. To rediscover their historical memory, various villages have worked together by exchanging rituals, tracing their roots and creating alliances. The close interactions between people living within the culture circle have led to the formation of community within this region. The social environment in Taimali and Zhiben has also been influenced by globalization, commercialization and tourism. Artistic expression has graduallyshifted from a structured traditional style to more diverse forms of individualized production. This transformation has greatly affected the transmission of local culture, as well as the maintenance of tribal subjectivity. In order to promote consensus among tribal members, concerned individuals have used the media to shape cultural characteristics and strengthen tribal symbols. As a result, artistic expression once again is playing an important role in shaping ethnic (tribal) identity. By exploring material culture, in particular the process of producing and displaying “art” (primitive art or ethnic art), this study investigates the relations between the diverse artistic elements, historical tradition, social rituals and symbolic identity in Panapanayan. The purpose of this study is to further understand the interaction between artistic expression, tribal subjective consciousness and ethnic identity.