How has the concept of ‘others’ evolved?

KIM SEUNG-JUNG
The author is a professor of archaeology at the University of Toronto.

As we enter the global society of the 21st century, we can no longer adhere to the mindset of a nation with a single ethnic group. In the undergraduate course I teach, 20 to 30 percent of the students are East Asian, while 10 to 20 percent are of South Asian and Middle Eastern origins. There are many other foreign students from South America and Europe, too.

As I teach the exclusive concept of “others” inherent in ancient Greek and Roman arts to students with various cultural and ethnic backgrounds, I can’t help questioning the concept itself.

Ancient Greeks’ national pride and xenophobic attitude toward foreigners are notorious. The English word “barbaric” comes from the Greek word “barbaros,” which refers to foreigners. However, after Alexander the Great’s eastern expedition in late 4th century BC, various cultures became integrated in Hellenism, and the concept of “others” deviated from the narrow meaning of foreigner and came to have a universal implication of “other people.”

The characteristics of art also changed in a unique way. Famous and unique sculptures of an old fisherman, Eros depicted as a chubby baby, old ladies, and an old boxer with a bloody face were all created during this period in addition to young and beautiful male and female figures.

One of the cases of applying the concept of “others” to a foreigner is the victory monument erected by Attalus I in Pergamum. It is not an exaggeration to say that the concept of “noble savage” originates from here. The sculpture that depicts the death of enemies in a beautiful and dramatic way intentionally omits the winners, allowing the viewer to take the role of the winner. The Gallic warrior who kills his wife and himself describes the extreme valor of “choosing the oath of death rather than becoming enslaved.” Various concepts of others were integrated into the self.