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Journal articles on the topic 'Evenings on a farm near Dikanka'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

Ryasov, Daniil Leonidovich. "German Theme in N. V. Gogol’s Cycle «Evenings on a Farm Near Dikanka»." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 14, no. 4 (2014): 74–78. http://dx.doi.org/10.18500/1817-7115-2014-14-4-74-78.

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2

Ivanitskiy, А. I. "SPACE EVOLUTION IN GOGOL’S WORKS: MORPHOLOGICAL ORIGINS." Culture and Text, no. 45 (2021): 65–73. http://dx.doi.org/10.37386/2305-4077-2021-2-65-73.

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In the poem “Dead Souls” Gogol reproduced the archaic polycentral structure of the space from the first cycle “Evenings on a farm near Dikanka”, where the way into the distance was transformed in its culmination into the way into deep. The radial- ray axis “Empire center - province” in “Revisor” and in “Petersburg’s novels” comes out as the intermediate space model between “Evenings…” and “Dead Souls”. But in the same works it was exposed because of the daemonic meanings of Petersburg, that came from “Evenings…”. In “Dead Souls”, however, the poles of the terrestrial-underground vertical were

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3

Savchuk, Irina P. "ON FACTORS HINDERING THE DEVELOPMENT OF RESEARCH SKILLS OF FUTURE TEACHERS-PSYCHOLOGISTS." Yugra State University Bulletin 13, no. 1-2 (2017): 29–33. http://dx.doi.org/10.17816/byusu2017131-229-33.

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The article gives an interpretation of «Evenings on a Farm Near Dikanka» tales by N. Gogol. They are described in the context of genre poetics and include legend genre. In response to its flexibility and portability, legend genre can express an author’s ideas, thus the purpose of the article is to define the legend genre types, their development and functionality in N. Gogol prose and revealing legend’s role in a literary text.

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4

Gorbatskaya, O. Y. "THE MOTIVE OF THE MARRIAGE IN N.V. GOGOL'S NOVELS «EVENINGS ON A FARM NEAR DIKANKA»." Scholarly Notes of Komsomolsk-na-Amure State Technical University 2, no. 28 (2016): 32–37. http://dx.doi.org/10.17084/2016.iv-2(28).7.

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5

Bolotnikova, Olesya N. "HOUSE, DOOR AND WINDOW IN GOGOL’S EVENINGS ON A FARM NEAR DIKANKA AND SEMIOTICS OF THE EASTERN SLAVIC HOUSE." Imagologiya i komparativistika, no. 5(1) (June 1, 2016): 153–76. http://dx.doi.org/10.17223/24099554/5/9.

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6

Kovaleva, Tatyana Mikhailovna. "Diegetical projections of the reception in the stories of the cycle «Evenings on a farm near Dikanka» by N.V. Gogol." Sibirskiy filologicheskiy zhurnal, no. 3 (September 1, 2012): 49–53. http://dx.doi.org/10.17223/18137083/40/7.

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7

SINENKO, Oksana. "Specificity of the compositor’s style of Kostiantin Meladze (on the example of the musical “Evenings on the farm near Dikanka”)." Humanities science current issues 4, no. 47 (2022): 17–21. http://dx.doi.org/10.24919/2308-4863/47-4-3.

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8

MATVIEIEVA, T. "MODEL OF THE UNIVERSE: GOGOL’S INTERPRETATION (ON THE MATERIAL OF THE COLLECTION OF SHORT STORIES «EVENINGS ON A FARM NEAR DIKANKA»)." Philological Studies, no. 30 (December 21, 2019): 9–14. http://dx.doi.org/10.33989/2524-2490.2019.30.188728.

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9

Vaulina, S. S., and E. V. Bulataya. "Mechanisms of Ironic Meaning Formation in Literary Text (by Example of N. V. Gogol’s Novels “Evenings on a Farm near Dikanka”)." Nauchnyy dialog, no. 7 (2019): 56–69. http://dx.doi.org/10.24224/2227-1295-2019-7-56-69.

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10

Yefremycheva, Larisa Alexandrovna. "The Motive of Extemporaneous Rumor in the Chronotope of the Cycle by N. V. Gogol «Evenings on a Farm Near Dikanka»." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 14, no. 3 (2014): 68–73. http://dx.doi.org/10.18500/1817-7115-2014-14-3-68-73.

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11

Prins, Marieclair. "The translation of Ukrainian vocabulaire in Gogol’s Evening on a farm near Dikanka into Dutch." Scandinavian Philology 14, no. 1 (2016): 137–48. http://dx.doi.org/10.21638/11701/spbu21.2016.112.

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12

Vaulina, Svetlana, and Elena Bulataya. "Irony as a Means of Character Description in the Works by N.V. Gogol." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 4 (December 2019): 200–209. http://dx.doi.org/10.15688/jvolsu2.2019.4.15.

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The article considers irony as a conceptual category of the literary text, that contains author's assessment in the implicit form. The ironic meaning as an integral component of the literary text is an evaluative and emotional way to represent the author's worldview and values. The means of expressing irony in N.V. Gogol's works of different genres (epos, lyrico-epic genre and drama) are determined. The similarities and differences in the author's use of irony expression means in the poem Dead Souls, series of tales Evenings on a Farm near Dikanka, Mirgorod, Petersburg Tales, comedy The Inspec

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13

Koropeckyj, Roman, and Robert Romanchuk. "Ukraine in Blackface: Performance and Representation in Gogol'’s Dikan'ka Tales, Book 1." Slavic Review 62, no. 3 (2003): 525–47. http://dx.doi.org/10.2307/3185805.

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In this article, Roman Koropeckyj and Robert Romanchuk present a Lacanian reading of the preface and “The Fair at Sorochintsy” from Nikolai Gogol’s Evenings on a Farm near Dikan'ka, vol. 1 (1831), viewed through the prism of American blackface minstrelsy. They trace representations of ethnicity and class in Gogol'’s “performance” of Ukraine. Their analysis of the preface demonstrates how Pan'ko’s Ukraine reaches a Russian lowerclass audience through the intervention of the gaze of an Other, an elite nonreader. The self-absenting of this Other opens a space for the audience’s imaginary identifi

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14

Dukkon, Ágnes. "The Poetics of Nocturnal Landscapes in Gogol’s Early Works." Проблемы исторической поэтики 18, no. 2 (2020): 87–108. http://dx.doi.org/10.15393/j9.art.2020.8082.

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<p>In the present article the nocturnal landscapes of some of the short stories from the <em>Evenings on a Farm near Dikanka</em> and <em>Viy</em> from the <em>Mirgorod</em> cycle, are reconsidered, thus analysis is focused on the depiction of the Evil and the author&rsquo;s attitude to the metaphysical background of this problem. The scrutiny is prompted by a few groups of questions: 1.&nbsp;what sort of poetic principles regulate the depictions of Ukrainian landscapes and the relationship between man and the &rsquo;scenery including him&a

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15

Rdeev, A. V. "The specifics of the light and sound picture of the world (on the example of the first part of the collection of stories by N. V. Gogol "Evenings on a farm near Dikanka")." Art Logos, no. 3 (2021): 17–34. http://dx.doi.org/10.35231/25419803_2021_3_17.

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16

Vinogradov, Igor' A. "The Concept of Law in the Works of Nikolay Gogol." Проблемы исторической поэтики 18, no. 2 (2020): 64–86. http://dx.doi.org/10.15393/j9.art.2020.7942.

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<p>The article for the first time raises a question about one of the profiles of Gogol&rsquo;s activity as a &ldquo;satirist&rdquo;, a denouncer of morals. In his writings the author inevitably follows the laws of the Russian Empire, more than a&nbsp;hundred of volumes of which were published during his lifetime. It is emphasized that Gogol's desire to devote himself to justice, dated back to his school days, he carried through all his whole life. He considered his writings, as well as the legacy of Homer, Derzhavin, Fonvizin and Griboedov, as educational, &ldquo;legi

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17

Ivanits, Linda. "Russian Devils and Diabolic Conditionality in Nikolai Gogol's Evenings on a Farm near Dikanka. By Christopher Putney. Middlebury Studies in Russian Language and Literature, vol. 15. New York: Peter Lang, 1999. xii, 250 pp. Notes. Bibliography. Index. $51.95, hardbound." Slavic Review 59, no. 4 (2000): 934. http://dx.doi.org/10.2307/2697474.

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18

Prykhodko, Viktoriia. "LAUGHTER CULTURE IN “EVENINGS NEAR THE VILLAGE OF DIKANKA” BY M. HOHOL THROUGH FOREIGN LANGUAGE DISCOURSE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 1(69)/2 (2018): 115–17. http://dx.doi.org/10.25264/2519-2558-2018-1(69)/2-115-117.

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19

Kalenichenko, O. M. "Interpretation of Gogol’s works on the puppet theater stage (based on the spectacle by Oksana Dmitrieva «May night, or Moonlight Witchcraft»)." Aspects of Historical Musicology 17, no. 17 (2019): 148–62. http://dx.doi.org/10.34064/khnum2-17.10.

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Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose

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20

Bilash, Olha. "Ballet-masters` activity on the stage of National Opera of Ukraine in XXI century." National Academy of Managerial Staff of Culture and Arts Herald, no. 1 (April 20, 2021). http://dx.doi.org/10.32461/2226-3209.1.2021.229562.

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The purpose of the article is to generalize information about staffing choreographers of the National Opera of Ukraine, namely V. Yaremenko, V. Litvinova, A. Rekhviashvili, who worked there at the beginning of the XXI century. The methodology of the work includes the application of such culturological methods as general-historical, comparative-historical, analytical, etc. The scientific novelty of the publication is in the first complex research of creative work of such ballet-masters as Victor Yaremenko, Aniko Rekhviashvili, Victor Litvinov, who worked in this theater at the beginning of the

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21

Vinogradov, Igor. "TEACHING AND PREACHING IN THE FIRST PRINTED SHORT NOVEL (‘POVEST’) BY NIKOLAI GOGOL (“BISAVRYUK, OR THE EVENING ON THE EVE OF IVAN KUPALA”, 1830)." Проблемы исторической поэтики, December 2022, 54–109. http://dx.doi.org/10.15393/j9.art.2022.10402.

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One of the “key” works of Gogol's heritage is analyzed ― the first prose work that appeared in print, the short novel (‘povest’) “Bisavryuk, or The Evening on the Eve of Ivan Kupala” (1830). Gogol’s literary debut in prose is a key work in the sense that it opens the door to understanding the writer’s subsequent work. Based on numerous facts, it is established that since his very first steps in literature, Gogol played the role of a conscious spiritual mentor and preacher. His first prose work (Gogol began as the author of the poems “Italy” and “Gantz Kuchelgarten”) is a sort of literary ekphr

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22

Sgaramella, Silvia. "Rome and its Ukrainian Soul: Fragments of Ukraine in Gogol’s Rim." Multilingual Discourses 2, no. 1,2 (2015). http://dx.doi.org/10.29173/md22882.

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Gogol’s persona is still nowadays at the centre of a debate, which aims to place him either within the Russian or Ukrainian borders. His Russian contemporary scholars - such as Belinsky - while building a national literature, placed Gogol’ into their literary canon. Today, instead, scholars such as Bojanowska are trying to deconstruct the Russian imperialist discourse, in order to affirm a new awareness on Gogol’s writings and personal inclination. Although the two main currents exclude one another, they both trace a moment in Gogol’s production when the author seems to detach himself from his

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