Mythopoetics of the Siberian Garden in the Literature of the 19th — Early 20th Centuries

Tyumen State University Herald. Humanities Research. Humanitates


2018, Vol. 4. №2

Mythopoetics of the Siberian Garden in the Literature of the 19th — Early 20th Centuries

For citation: Ertner E. N., Ertner D. E. 2018. “Mythopoetics of the Siberian Garden in the Literature of the 19th — Early 20th Centuries”. Tyumen State University Herald. Humanities Research. Humanitates, vol. 4, no 2, pp. 95-105. DOI: 10.21684/2411-197X-2018-4-2-95-105

About the authors:

Elena N. Ertner, Dr. Sci. (Philol.), Professor, The Russian and Foreign Literature Department, University of Tyumen;; ORCID: 0000-0003-1523-6561

Daria E. Ertner, Cand. Sci. (Philol.), Associate Professor, Department of English Philology and Translation Studies, University of Tyumen; eLibrary AuthorID,


This article deals with the spatial image of the garden in the Russian literature of the 19th — early 20th centuries. This study aims to identify the landscape peculiarities of the provincial town and analyze spatial vectors of the literary image in the regional discourse. The special dominants of Siberia are the locations of the House and Garden, the spaces, which are closed to the outside world and at the same time open and interpenetrating — to those, who view them from inside.

Semantic oppositions of the Siberian House and Garden allow forming the spatial fragment of the Russian language world view. It can be concluded that the semantic field of spatial relations in the Tyumen region literature of the 19th century is heterogeneous. The image of the Garden is opposed to dominant for both geographical and symbolic spaces image of Siberia as a fortress house: “the barbarian country” (Abbacum), “the Kingdom of blizzard and frost, where there is no life” (K. F. Ryleev), “the place of exile and hard labor” (G.  A. Machtet). Meanwhile, it can be viewed as a Paradise found by those in exile, created by them in exchange for the lost Paradise, the Russian “promised land”. The semiotics of the garden is formed by the transformation of phytomorphic images of house plants. Thus, the concept “the House — Garden” can be approached from a new perspective: not a bounded space, being small and enclosed, but rather spacious, where people feel free and easy.


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