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Abstract <p>The images of the German cities Lübeck and Hamburg, represented in the travel notes <i>Real Journey to Germany in 1835</i> by N.I.&#xa0;Gretsch, are considered. The connection between these images and the tradition of describing Germany as an idyll in the Russian literature of the late 18th–the first half of the 19th&#xa0;centuries is stated. Lübeck and Hamburg in Gretsch’s text are marked in an idyllic spirit but of varying degrees. The locus of Lübeck is a homogenous ‘patriarchal’ achronic idyll, a static space, which seems to the narrator to be fixed in the Middle Ages. In contrast to Lübeck, Hamburg is presented as a modern dynamic city, i.e., a modernized idyll. Furthermore, its orderliness goes beyond an idyll and is caused by a rational organization of space, marked with heterogeneity. First, idyllic subloci are determined. The main of them are deminatural images of garden, park, promenade. Second, the utilitarian–rational subloci of exchange, river harbor, and the channel are characterized. There are also loci in the text that are marked with both idyllic character and rationality (e.g. orphan’s home, alms house). Finally, the third type of Hamburg space is formed by marginal locations for mariners, connected with the motifs of disorder—drunkenness, lewdness, etc.</p>

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Idyll, History, Rationality: City Images in Real Journey to Germany in 1835 by N.I. Gretsch

  • 期刊论文

  • 发表日期：

    2025年2月1日

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  • S. S. Zhdanov

摘要

Abstract

The images of the German cities Lübeck and Hamburg, represented in the travel notes Real Journey to Germany in 1835 by N.I. Gretsch, are considered. The connection between these images and the tradition of describing Germany as an idyll in the Russian literature of the late 18th–the first half of the 19th centuries is stated. Lübeck and Hamburg in Gretsch’s text are marked in an idyllic spirit but of varying degrees. The locus of Lübeck is a homogenous ‘patriarchal’ achronic idyll, a static space, which seems to the narrator to be fixed in the Middle Ages. In contrast to Lübeck, Hamburg is presented as a modern dynamic city, i.e., a modernized idyll. Furthermore, its orderliness goes beyond an idyll and is caused by a rational organization of space, marked with heterogeneity. First, idyllic subloci are determined. The main of them are deminatural images of garden, park, promenade. Second, the utilitarian–rational subloci of exchange, river harbor, and the channel are characterized. There are also loci in the text that are marked with both idyllic character and rationality (e.g. orphan’s home, alms house). Finally, the third type of Hamburg space is formed by marginal locations for mariners, connected with the motifs of disorder—drunkenness, lewdness, etc.