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- W2493651831 abstract "Beginning with Struys’s departure from Amsterdam in 1668, with which its third act opens, Reysen’s protagonist’s adventures acquire a greater verisimilitude (and are often borne out by other sources) than its previous parts. Struys’s oral recollections of recent events were obviously shaped through the editing process that human memory exerts, suppressing moral ambiguities and ordering them into a pattern.1 Walter Benjamin has argued that traditionally in Europe ‘seamen were… masters of storytelling’, with a knack for ‘practical interests’.2 This predilection surfaces in Reysen on occasion indeed, betraying in such moments the presence in the text of the historical Jan Struys (the accurate listing of his or his fellows’ wages are instances of this). Many of the anecdotes rendered in Reysen, such as the skating forays or the tobacco quarrel on the way from Riga to Moscow, seem infused by Jan Struys’s vivid personal recollections. But the book is not a diary and Struys’s narrative leaves yawning gaps. His group’s pause at Moscow during the winter of 1668–69 gave Reysen’s ghostwriter an interlude to present a chorography of Muscovy. It was patterned after the standard view of the tsar’s empire rendered in various previous texts published in Western and Central Europe, especially in the work by Adam Olearius.3 KeywordsDiscursive FormationMoral AmbiguityAccurate ListingDutch ReformMinimize Labour CostThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves." @default.
- W2493651831 created "2016-08-23" @default.
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- W2493651831 date "2008-01-01" @default.
- W2493651831 modified "2023-10-07" @default.
- W2493651831 title "Reysen’s Muscovy and Struys’s Muscovy" @default.
- W2493651831 cites W1687990786 @default.
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- W2493651831 doi "https://doi.org/10.1057/9780230583658_8" @default.
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