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Journal articles on the topic 'Gogols work'

Author: Grafiati

Published: 28 May 2022

Last updated: 31 July 2025

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1

Koltsova, Natalia Z., and Miaowen Liu. "Gogol’s traditions in V. Kaverin’s novel “The Troublemaker, or Evenings on Vasilyevsky Island”." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (2020): 434–46. http://dx.doi.org/10.22363/2312-9220-2020-25-3-434-446.

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The novel The Troublemaker, or Evenings on Vasilyevsky Island by V. Kaverin is one of the most representative manifestations of the Russian Hoffmanian of the 1920s, as evidenced by the grotesque imagery of the novel. The very understanding of the grotesque is not limited to the Bakhtin theory, but implies a reference to the works of V. Kaiser and V. Shklovsky. Besides, it is suggested that the Saint Petersburg theme, which is relevant to the writer, is being developed under the banner of the formalist concept of literary life, as well as other ideas and theories of Russian formalism (including

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2

Mildon, Valery I. "Involuntary Behavior of Gogol’s Heroes." Journal of Flm Arts and Film Studies 10, no. 4 (2018): 54–61. http://dx.doi.org/10.17816/vgik10454-61.

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Taking Nikolai Gogols work as an example, the article searches into literary characters, points out to the difficulties of translating literature to screen, reveals the aesthetic incompatibility of literature and cinema. Special attention is paid to the psychological and behavioral motivation of the characters, which is particularly vital for the work of the script-writer and director working with literary source material.

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3

Paderina, Ekaterina G. "Nikolay Gogol's work with “a modest titleˮ: “Selected Passages from Correspondence with Friendsˮ". Vestnik of Kostroma State University 28, № 2 (2022): 93–98. http://dx.doi.org/10.34216/1998-0817-2022-28-2-93-98.

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For the first time, scientific attention has been paid to the title of Nikolai Gogol’s book “Selected Passages from Correspondence with Friends”. The article examines the author's paradoxical choice of the word “correspondenceˮ, although the book includes only Gogol’s letters to friends. The author of the article attempts to explain the noted contradiction. It is emphasised that Gogol was going to give the book a name familiar to the reader (a “not noisyˮ one). Special attention is paid to the perception of Gogol's book title by the first readers of Correspondence with Friends in 1847–1848. Pr

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4

Vinogradov, Igor A. "N.V. Gogol’s Works and Censorship." Literary Fact, no. 20 (2021): 238–56. http://dx.doi.org/10.22455/2541-8297-2021-20-238-256.

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For the first time, an analytical review of all, without exception, censorship stories of N.V. Gogol’s works is presented. An objective picture of Gogol's relationship with the censorship is being recreated. The findings of the study allow, with good reason, to judge about the interference of censors in the writer's works in a fundamentally different way, in comparison with the ideas offered by literary criticism of the previous period without solid evidence. Based on a thorough analysis, involving numerous archival sources, the common, stereotypical opinions about the extremely negative role

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5

Sholokhova, Anna S. "Gogol, N.V. “The Old World Landowners.” Autograph, text prep. and comment. by A.S. Sholokhova." Literary Fact, no. 24 (2022): 8–36. http://dx.doi.org/10.22455/2541-8297-2022-24-8-36.

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The author of the article publishes autograph of N.V. Gogol’s story “The Old World Landowners” — the earliest edition of the text — for the first time. This is the only handwritten source, which is different mainly stylistically from the printed version of “Mirgorod” (1835). At the same time, numerous amendments, corrections and additions made in the process of text transformation clearly demonstrate the nature of Gogol's work. The footnotes show the revision canceled by Gogol in the manuscript.

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6

Parnis, Aleksandr Efimovič. "О Гоголевском мифе Хлебникова. К прочтению стихотворения «Замороженный Озирис...»". Modernités Russes 8, № 1 (2009): 53–85. http://dx.doi.org/10.3406/modru.2009.1455.

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1. For some strange reason Gogol was not numbered among the classic writers, who the Futurists proposed to cast overboard from the “Steamship of modernity”. Although struggle against the “classics” was part of the Futurists’ esthetic program, Gogol’s exclusion from this group was neither an accident, nor the result of his being overlooked : rather, this was a purposeful decision. The Futurists had a very definite cult of Gogol. As Andrei Belyi noted in his book Masterstvo Gogolia (Gogol’s Craft, 1935), “Gogol’s sentence begins a period, the fruits of which we too enjoy : in Mayakovsky, in Khle

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7

Schukov, Denis. "The Influence of V.A. Zhukovsky’s Works on the Concept of N.V. Gogol’s Novella “Taras Bulba”." Philology & Human, no. 1 (March 5, 2023): 129–38. http://dx.doi.org/10.14258/filichel(2023)1-09.

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The article reveals the influence of V.A. Zhukovsky’s works on the concept of N.V. Gogol’s novella “Taras Bulba”, which could have arisen as a result of the writer’s reception of the poet’s work. The analysis made it possible to detect a significant influence of V.A. Zhukovsky the concept of N.V. Gogol’s novella “Taras Bulba”. A number of similar points were highlighted in Gogol's novella “Taras Bulba” and Zhukovsky's dramatic poem “The Maid of Orleans”: civil issues, the image of a people's leader, and so on. Writers are equally interested in the end of the country's turning point, as well as

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8

Gorodnicheva, Marina A. "GENRE OF THEATRICAL REVIEW IN THE WORK OF N. V. GOGOL." Sign problematic field in mediaeducation 49, no. 3 (2023): 68–75. http://dx.doi.org/10.47475/2070-0695-2023-49-3-68-75.

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The purpose of the article is to consider the ideological, thematic and genre features of the theater review in the works of Nikolay V. Gogol, as well as to identify the writer’s views on the development of the theater in the mid-1830s. Based on the analysis of the texts «Petersburg Notes for 1836» and «The Petersburg stage in 1835/36», the patterns of development of the Gogol’s aesthetic concept are determined. The writer perceives the theater as the center of the cultural life of St. Petersburg society, sees in theatrical art a huge potential for moral improvement and social transformation.I

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Sartakov, Egor V. "The first translations of Gogol’s works in Serbia (1849–1860)." Vestnik of Saint Petersburg University. Language and Literature 21, no. 3 (2024): 566–80. https://doi.org/10.21638/spbu09.2024.303.

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The article deals with the all early translations of Gogol’s works into Serbian (1849–1860). The lower chronological limit is explained by the discovery of the first known translation of Gogol into Serbian, the upper one by the release of the first Serbian realistic novel by Yakov Ignatovich, focused on “Dead Souls”, which indicated the transition of Gogol’s influence to a qualitatively new level. The article also establishes the precedent texts of translations, since the first translations were made from intermediary languages, primarily German. The names of the first translators of Gogol’s s

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10

Karpa, Romana. "The Works of Gogol in the Interpretation of the French New Critic Jean-Paul Weber." LITERARY PROCESS: methodology, names, trends, no. 24 (2024): 60–65. https://doi.org/10.28925/2412-2475.2024.24.5.

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The article aims to research Jean-Paul Weber’s interpretation of M. Gogol’s works. Besides, it aims to rethink the main themes of this writer, but precisely in the interpretation of thematic criticism, which is fundamentally different from the representation of themes by classical thematology. Jean-Paul Weber, as a representative of one of the streams of French new criticism — thematic criticism, devoted an entire chapter to Gogol in his work “Thematic Domains” (“Domaines thématiques”) (1963). This is a rather unique case, since literary critics of this stream studied only French writers, with

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11

Voropaev, Vladimir A. "“Even So, Come, Lord Jesus”, or the Mystery of Gogol’s Death: To the 170th Anniversary of His Death." Two centuries of the Russian classics 4, no. 2 (2022): 6–17. http://dx.doi.org/10.22455/2686-7494-2022-4-2-6-17.

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The author of the article addresses the issue of N. V. Gogol’s death, analyzes his last words, behind which one can clearly hear the well-known saying of the saint close to Gogol’s soul Apostle Paul. The work shows that the righteous Christian death of Gogol became the pinnacle of his spiritual path, the last step of the ladder built in his soul which he climbed all his life. The Church Slavonic semantics of the word “requirement” is explained on the margins of Gogol’s Bible, it is assumed that the word “requirement” is used by the writer as Church Slavonic in the meaning: “need, necessity.” S

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12

Toichkina, Alexandra V. "N. V. Gogol as an Artist and Thinker in the Works." Two centuries of the Russian classics 6, no. 2 (2024): 202–23. http://dx.doi.org/10.22455/2686-7494-2024-6-2-202-223.

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N. V. Gogol was the favorite writer of D. I. Chizhevsky, whose articles have a significant place in the history of Gogol studies. It is known that Chizhevsky worked on a book about Gogol, which he never completed. The proposed research examines the issue of the concept of the writer’s personality and creativity, developed by Chizhevsky in his works about Gogol. Thus, Chizhevsky wrote about the need to create an “internal biography” of Gogol and proved the integrity of the writer’s creative personality. He explored how the writer’s religious worldview was refracted in the artistic style of his

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13

Voropaev, V. A. "N. V. Gogol's eschatology." Язык и текст 3, no. 4 (2016): 9–24. http://dx.doi.org/10.17759/langt.2016030402.

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Eschatological issues were Gogol’s problems throughout his life. Almost all of his work, both artistic and journalistic, were imbued with Apocalyptic mood. Being an Orthodox, Gogol built his life in accordance to the church calendar which includes the annual charter of holidays and worship when the cycle of readings of the Gospel is repeated for the teachings of spiritual growth of a man. Gogol’s Eschatology rooted in apocalyptic New Testament and patristic heritage. His notes on the margins in the Bible testify his steadfast and abiding interest to eschatological matters of Scripture. The wor

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Gracheva, Alla Mikhailovna. "N. V. GOGOL AND A. M. REMIZOV: AESTHETIC CONSTANT AND ANNIVERSARY VARIABLES." Russkaya literatura 4 (2022): 58–71. http://dx.doi.org/10.31860/0131-6095-2022-4-58-71.

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The article analyzes the evolution of the Gogol theme in the writer’s work. In the mid-1900s — early 1920s, Remizov followed in Gogol’s footsteps, creating his own version of the «Petersburg text». From the late 1920s and into the 1930s, he mythologized the personality of the author of the Dead Souls, treating him as a half-demon, «stuck» between the two circles of a mystical universe, and as a prophetic writer who could share his «insights» with the readers. For Remizov, Gogol was one of the writers who subscribed to the «Russian mode theory». In the late 1940s and 1950s, Remizov plunged into

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15

Zaitseva, Irina A. "On the Sources of Some N.V. Gogol’s Records in the “Tarnovsky Notebook”." Studia Litterarum 7, no. 4 (2022): 276–91. http://dx.doi.org/10.22455/2500-4247-2022-7-4-276-291.

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The presented work is directly related to the ongoing at the Institute of World Literature of the Russian Academy of Sciences preparation of the academic Complete Works of N.V. Gogol in 23 volumes. The article is devoted to the problem of establishing the sources of a number of texts introduced by Gogol’s hand in one of his notebooks, the so-called “Tarnovsky notebook” (1830–1834). The author of the article examines thematic intersections of part of these records with fragments of the Gogol letter dated April 2, 1830. The first of the records, indicating the author (K. Shtisser) and the title

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Rozin, Vadim Markovich. "Understanding Gogol’s life and actions." Uchenyy Sovet (Academic Council), no. 6 (May 30, 2024): 345–58. http://dx.doi.org/10.33920/nik02-2406-02.

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Paraphrasing Martin Heidegger, who repeatedly stated that “we are still not thinking”, it can be said that we still do not understand Gogol well. The article contains a reconstruction of the creative image of N.V. Gogol, which acts as a methodological basis for analyzing the personality of a writer or scientist. A hermeneutical analysis of the ideas in the book by Aleksey Davydov, published on the occasion of the anniversary of the great Russian writer, as well as the work “Gogol’s Disease” by the famous Russian psychiatrist and writer V.F. Chizh, which appeared at the very beginning of the tw

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17

Grishchenko, N. A., E. O. Ershova, V. V. Kornienko, and M. A. Starsheva. "THE FIRST ACQUAINTANCE OF THE ENGLISH-SPEAKING WORLD WITH THE WORKS OF NIKOLAY GOGOL." Siberian Philological Forum 20, no. 3 (2022): 109–25. http://dx.doi.org/10.25146/2587-7844-2022-20-3-128.

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Statement of the problem. This article is the contribution to the research of the English-speaking world perception and understanding of the Russian literature. The aim of the article is to reveal a certain attention to Gogol’s works of the English-speaking audience even before 1886, (the year when Isabel F. Hapgood’s translations initiated British awareness of the works of the Russian writer). The material for this study includes articles about Russian literature and Russia, published in English-speaking periodicals, prefaces to the first translations of Gogol’s novels, notes from diaries, wr

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18

Kravchenko, Oksana A., and Zeinab Sadeghi Sahlabad. "The Immanent Critique of Yuly Aikhenvald: Silhouettes of Gogol and Dostoyevsky." Studia Litterarum 7, no. 3 (2022): 242–57. http://dx.doi.org/10.22455/2500-4247-2022-7-3-242-257.

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The article is devoted to the study of the key motifs of the essays “Gogol” and “Dostoevsky” in the collection “Silhouettes of Russian Writers” by Yu. Aikhenvald. The Author analyzes the receptive attitudes of immanent criticism, which presupposes a superhistorical existence of artistic meanings. The article proposes to extend the system of Russian literature concentres developed by Aikhenvald by a methodologically significant opposition between Pushkin’s and Gogol’s traditions. In the context of this opposition the article describes the line of continuity between Gogol and Dostoevsky, and sho

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Vinogradskaya, Natalia L. "Gogol and the School of Cavalry Junkers (From the Commentary on Gogol’s Letters to A.S. Danilevsky)." Studia Litterarum 7, no. 3 (2022): 340–63. http://dx.doi.org/10.22455/2500-4247-2022-7-3-340-363.

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The article provides new information on Gogol’s biography in his early years in St. Petersburg (1829–1831). In particular, it gives new facts and hypotheses concerning Gogol’s social circle, interests and plans during this period. The author of the article carries out a detailed analysis of Gogol’s letters to his closest friend A.S. Danilevsky. Alexander Danilevsky arrived in the capital together with Gogol and entered the School of Cavalry Junkers and Ensigns of the Guard in the spring of 1829. Some names and circumstances mentioned in Gogol’s letters to Danilevsky have so far remained unclea

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Yurchenko, Tatiana. "I.A. VINOGRADOV'S ARTICLES ABOUT GOGOL IN THE JOURNAL "PROBLEMY ISTORICHESKOY POETIKI"." RZ-Literaturovedenie, no. 2 (2021): 36–51. http://dx.doi.org/10.31249/lit/2021.02.03.

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The review concerns the I.A. Vinogradov's articles on different aspects of Gogol's creative work united by the idea of indissoluble integrity of the writer's legacy. Basing on a lot of facts (including those presented for the first time) the scholar suggests a new approach according to which the late works of Gogol and the early ones do not differ in their meaning that much as it is usually considered. Vinogradov also rejects some Gogol's biographical myths.

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Vinogradov, Igor’ A. "N.V. Gogol and K.N. Leontiev: Recurrence of Westernism in “Conservative” Criticism." Studia Litterarum 7, no. 2 (2022): 120–43. http://dx.doi.org/10.22455/2500-4247-2022-7-2-120-143.

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The article covers the problem of K.N. Leontiev’s perception of the N.V. Gogol’s heritage. They were close in worldview but divided by a misunderstanding based on the interpretation of Gogol’s legacy in radical criticism. As the student Leontiev experienced the influence of Western ideology, which led to his negative attitude towards Gogol’s satire. Decisive for him was the opinion of A.I. Herzen about Gogol as an “unconscious revolutionary,” reported to Leontiev by I.S. Turgenev. After the ideological “breakthrough” that followed, when the critic began to adhere to conservative views, his und

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Seryagin, Sergey N. "Nikolai Gogol and Dmitriy Valuyev." Two centuries of the Russian classics 2, no. 4 (2020): 86–93. http://dx.doi.org/10.22455/2686-7494-2020-2-4-86-93.

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This work reveals the relationship between Nikolai Gogol and Dmitriy Valuyev, it introduces previously unexplored sources into scientific circulation. The personality of Nikolai Gogol cannot but attracts the broadest attention; not only creative work, but also the facts of his biography are of interest. The main source here, in addition to documents belonging to Nikolai Gogol proper, are the memoirs of contemporaries, reviews, mentions in correspondence. Materials of this kind have been published and republished many times, but it is extremely difficult to cover all possible sources, and the p

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Salih Al Qaysi, Ayat Yousuf. "Gogol's Best Comic Works." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 3 (2019): 1–18. http://dx.doi.org/10.36473/ujhss.v58i3.908.

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This study discusses the most famous works of Gogol and uncovers the problem of representing the comic as an artistic category in these works. The comic techniques with which the author achieves the laughter effect are considered, the notion of comic and tragicomic is considered, and how the author in his works of different years uses various techniques that create this artistic effect. The study also reveals the problem of the evolution of Gogol's creativity and the general trends in the attitude of the writer to the category of the comic. The study consists of three parts: the first one reve

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Sun, Wenjun. "The Borderline Chronotope in Nikolai Gogol’s “Evenings on a Farm Near Dikanka” and Pu Songling’s “Strange Tales from Chinese Studio”." Russian Studies in Philology, no. 2 (May 23, 2024): 20–28. https://doi.org/10.18384/2949-5008-2024-2-20-28.

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Aim. The aim of the work is to identify the semantic commonality of the borderline chronotope in the early prose of Gogol and the collection of short stories by Pu Songling.Methodology. The work undertakes a consistent and comprehensive analysis of border chronotopes in the prose of Gogol and Pu Songling to identify common motifs and their subsequent comparative study and interpretation. The main research methods were analysis and subsequent synthesis and the comparative method in literary criticism.Results. Analyzing various borderline chronotopes characteristic of Gogol’s and Pu Songling’s f

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Makaryan, Albert A., and Astghik V. Soghoyan. "The Image of Chichikov in the Works of Raphael Patkanyan." Vestnik of Saint Petersburg University. Asian and African Studies 15, no. 2 (2023): 275–87. http://dx.doi.org/10.21638/spbu13.2023.204.

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The article examines the influence of the famous Russian writer N. V. Gogol on the prose of the Armenian writer R. G. Patkanyan. The subject of the research are Gogol’s poem “Dead Souls”, Patkanian’s novel “Ambitious”, the play “Pampulius” and the story “Armenian Chichikov”. One of the key issues is the study of Armenian transformations of the Chichikov type, its similarities and differences in comparison with the Russian prototype. Historical-comparative, comparative, structural-morphological methods are used as the methodological basis of the study: the works were considered according to the

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Riasov, D. L. "GERMAN THEME IN THE WORKS Of A.S. PUSHKIN AND N.V. GOGOL: TO THE QUESTION ABOUT PROBABlE PARALLELS." Culture and Text, no. 45 (2021): 40–46. http://dx.doi.org/10.37386/2305-4077-2021-2-40-46.

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The article provides a detailed comparison of episodes from the works of N. V. Gogol and A. S. Pushkin, where characters of German origin appear. It is shown that Gogol to a great instant followed the Pushkinian tradition of depicting German types. Thus, the presence of the dream motif, the author’s irony and the destruction of illusions make the novels “The Undertaker” and “Nevsky Prospect” related, but in Gogol’s depiction it is a caricature of the Germans. The similarity can be explained at the typological and poetic levels. The images deduced by the authors largely predetermined the furthe

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Тоichkina, A. V. "AXIOLOGICAL FOUNDATIONS OF D. ČYŽEVSKY’S SCIENTIFIC METHOD IN HIS WORKS ON SKOVORODA AND GOGOL." Memoirs of NovSU, no. 2 (2024): 234–41. http://dx.doi.org/10.34680/2411-7951.2024.2(53).234-241.

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In 1920s, D. Čyževsky developed his methodology under the influence of German phenomenology (E.Husserl) and Russian religious philosophy (S.Frank).The scientist was engaged in the study of Skovoroda’s and Gogol’s works practically all his life. Čyževsky’s book about Skovoroda (“Philosophy of Scovoroda”, 1934) and his works about Gogol still retain scientific value. Submitted article discusses the problem of Čyževsky’s methodology, how Čyževsky analyzes the religious issues of work of art. We explore Čyževsky’s works on Skovoroda and Gogol. In addition, the study shows that Čyževsky’s “history

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Korshunkov, Vladimir A. "The Dog Who Tells Lies in Nikolai Gogol’s Comedy “Marriage”." Russkaia rech, no. 6 (December 6, 2024): 99–114. https://doi.org/10.31857/s0131611724060074.

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This article draws attention to the expression pyos vryot ‘dog tells lies’ found in the matchmaker’s line from the comedy “Marriage” by Nikolai Gogol. Researchers have already studied the peculiarities of women’s speech in this comedy and the “linguistics of lying” in Gogol’s texts but the phrase “lying dog” was hardly noticed by them. The word dog addressed to a person have long been considered an obscene word which correlated with the disdainful attitude towards these animals. The East Slavic word brekhat’ possesses two meanings ‘to bark’ and ‘to tell lies’. The main meaning of brekhat’ in R

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Khvorova, Liudmila E. "Genius of poetic expression. Part one (Based on the publicistic article by S.N. Sergeev-Tsensky “Gogol as an artist of the word”)." Neophilology, no. 3 (2023): 561–72. http://dx.doi.org/10.20310/2587-6953-2023-9-3-561-572.

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In the aspect of the “scientific-research dialogue” of the author of this study with the writer of the twentieth century Sergei Nikolaevich Sergeev-Tsensky, his publicistic miniatures “Gogol as an artist of the word” (1952), “Talent and genius” (1957), included in the collection “Work hard and joyfully”. It is emphasized that the writer’s work the of the twentieth century Sergeev-Tsensky was written as a pedagogical parting word to future generations and as a call to cherish and study their native Russian language, to cherish the Russian word on the material of the “genius of artistic expressi

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Sahrasad, Herdi, and Muhammad Ridwan. "Nikolai Gogol’s Literary Works, Tsar's Absolutism and Russian Cutural Life in the 19th Century: A Preliminary Note." Britain International of Linguistics Arts and Education (BIoLAE) Journal 1, no. 2 (2019): 24–32. http://dx.doi.org/10.33258/biolae.v1i2.57.

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This paper is to study and understand the work of Nikolai Gogol, and to learn what and to what extent Tsar's absolutism in Russia under the old regime, has influenced his work, as well as its impact on the social, cultural, political, and economic realities of Russia under the Emperor's powerful rule in 19th century. Here also revealed, to what extent the tragic human life in Gogol's work and how the efforts of the author to uphold the existence and dignity of themselves and their society are revealed in the story "TarasBulba" and examine the tragic human life that experiences injustice and de

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Dolgikh, Arkady N. "THE AUTOCRACY, ORTHODOXY AND SERFDOM ISSUE IN NIKOLAI V. GOGOL'S SOCIO-POLITICAL VIEWS." TULA SCIENTIFIC BULLETIN. HISTORY. LINGUISTICS, no. 1(17) (May 20, 2024): 78–89. https://doi.org/10.22405/2712-8407-2024-1-78-89.

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This article attempts to analyze the socio-political views of Nikolai Vasilyevich Gogol (1809 – 1852), the great Russian writer, gives a brief overview of the historiography of the issue, and identifies the main knots of contradictions in the literature on this issue. It is also worth noting the periodic changes in approaches in literature to the N. V. Gogol’s work. In Soviet times, however, emphasis was placed on the critical aspects of Gogol's satire in The Inspector and Dead Souls, while his passages about serfdom in Selected Passages from Correspondence with Friends were often left aside.

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Voropaev, V. A. ""HOW SWEET IT IS TO DIE!" The death of Gogol as a testament to his descendants. Article 3." Язык и текст 4, no. 4 (2017): 55–77. http://dx.doi.org/10.17759/langt.2017040405.

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The article examines the events of the last days of Gogol's life, the circumstances of the burning of manuscripts, as well as the version of the causes of the death of the writer, in particular, the widespread belief that he starved himself to death. Fortieth day after the death of Gogol in the cemetery of the St. Daniel Monastery. The words "She, come, Lord Jesus" (Revelation 22:20), carved on the tombstone of Gogol, undoubtedly express the most important thing in his life and work: the desire to acquire the Holy Spirit and prepare the soul for a meeting with the Lord.

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Wang, Jingshu. "Произведения Н. В. Гоголя в китайской аудитории: история переводческой деятельности и особенности изучения творчества". Oriental studies 16, № 6 (2023): 1611–22. http://dx.doi.org/10.22162/2619-0990-2023-70-6-1611-1622.

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Introduction. The early twentieth century reforms in China gave rise to the issue of renovating fiction that profoundly influences collective consciousness. Chinese translators started actively addressing foreign fiction, including classic Russian literature. Goals. The study attempts an insight how Chinese reading audience’s interest in Russian classics — and particularly in the works of Nikolai V. Gogol — would take form and develop. Results. As for the reasons behind the Chinese translators’ appeal to Russian classical literature, the paper notes those are associated with the huge political

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Bogdanova, Olga V., and Elizaveta A. Vlasova. "Gogol’s "personality anatomy" in Abram Tertz’s narrative In the Shadow of Gogol." Vestnik Tomskogo gosudarstvennogo universiteta, no. 483 (2022): 5–15. http://dx.doi.org/10.17223/15617793/483/1.

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The article aims to analyze the content and narrative systems of Andrei Sinyavsky’s “philological prose” based on the material of Abram Tertz’s narrative In the Shadow of Gogol and to prove the involvement of his “literary essay” in modern Gogol studies. The authors explore the little-studied text of Sinyavsky-Tertz, trace the history of the perception of In the Shadow of Gogol by modern Gogoliade, review a number of critical provisions of modern science about the Russian comedian, and on this foundation to justify the scholarly potential of the neotraditionalist researcher. The main methods t

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Golikova, Guzel, and Irina Khairova. "The “little man” in Tatyana Tolstayas prose." Przegląd Wschodnioeuropejski 8, no. 1 (2017): 289–99. http://dx.doi.org/10.31648/pw.3620.

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The aim of the article is to reveal peculiarities of implementation of the theme and the image of the “little” person in the stories by Tatyana Tolstaya, show artistic form of interaction with Gogol and Gogol’s images according to the particular aesthetics of the writer. Playing with Gogol’s characters – Bashmachkin, old-world landowners, using Gogol’s chronotope, the composition, the writer translates the classic theme in ironic-parody plan. Neo-romantic orientation of Tolstaya’s texts leads to the existence of a particular philosophical component. Postmodern dominant determines the game with

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Bulavina, Maria O. "Nikolai Gogol in silent films." Vestnik of Kostroma State University 27, no. 1 (2021): 179–84. http://dx.doi.org/10.34216/1998-0817-2021-27-1-179-184.

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The article is devoted to the problem of Nikolai Gogol's interpretation on Russian screen. The problem of interaction between literature and cinematography is considered in a concrete historical plan, that is connected with the features of the time in which Gogol`s film adaptations were created. At the same time, the level of technical equipment of cinematography and other inherent qualities of it, that are largely determined the approach of the first directors to specific Gogol material, were taken into account. Cinema interpretations like «Dead Souls» by Pyotr Chardynin, «Taras Bulba» by Ale

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Vinogradov, Igor’ A. "Psychology of Nikolai Gogol." Two centuries of the Russian classics 2, no. 4 (2020): 6–73. http://dx.doi.org/10.22455/2686-7494-2020-2-4-6-73.

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The article first considers the heritage specifics of Nikolai Gogol as a satirist from the point of view of the writer’s psychology. The close connection of psychology and satire in Nikolai Gogol’s creative work is explained by the Christian understanding of the fall of human nature. According to Nikolai Gogol, a spiritual assessment of an imperfect state of the soul inevitably leads the artist to critical pathos — a state of mind far from ideal cannot be the subject of poetic approval under any pretext, but has the right to claim only a satirical image. The guarantee of the realism of the art

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Sun', Ven'tszyun'. "Reflection of the author's Religious Views in fantastic images and folk demonology in N. V. Gogol's Early Prose and Pu Songling's Short stories: typological aspect of description." Litera, no. 2 (February 2025): 167–75. https://doi.org/10.25136/2409-8698.2025.2.73479.

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This article is devoted to a typological analysis of the reflection of the author's religious views in fantastic images and folk demonology in the early prose of the Russian writer N. V. Gogol "Evenings on a farm near Dikanka" and the classic work of Chinese literature by the short story writer Pu Songling "Strange Tales from a Chinese Studio". The article focuses on the moral and religious pursuits of both authors, as well as the artistic functions of their religious and ethical beliefs in the early fantasy cycle of Gogol's novels and the collection of short stories by Pu Songling. The analys

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Vinogradov, Igor. "From “The Carriage” to "Dead Souls": the Transformation of Two “Poems” by N. V. Gogol." Проблемы исторической поэтики 23, no. 2 (2025): 51–117. https://doi.org/10.15393/j9.art.2025.15043.

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The article discusses numerous interpretative problems related to the short novel “The Carriage” (1835‒1836) by Nikolai Gogol. It is proposed to solve the problem of an adequate reading of the short novel by identifying the maximum possible number of “end-to-end” and nodal themes and motifs that are constant in all of Gogol’s work. Numerous reminiscences of “The Carriage” are noted with other works of the writer, i.e., the short novels “The Night Before Christmas,” “Ivan Fedorovich Shponka...,” “Old World Landowners,” “Taras Bulba,” “The Story of How Ivan Ivanovich Quarreled with Ivan Nikiforo

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Andreeva, Valeria G. "N. V. Gogol and L. N. Tolstoy: the Continuity of the Epic Tradition." Two centuries of the Russian classics 4, no. 1 (2022): 118–65. http://dx.doi.org/10.22455/2686-7494-2022-4-1-118-165.

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The article raises the issue of L. N. Tolstoy’s creative assimilation of the themes, discoveries and artistic images of N. V. Gogol. Referring mainly to the late period of the writers’ work, the author indicates the parallelism of their path. Tolstoy felt the similarity of philosophical and artistic complexities that confronted him and his predecessor, at a certain moment he admitted that he was following Gogol, “our Pascal.” It is noted that Tolstoy’s great interest in “Selected Passages from Correspondence with Friends” in the late 1880s forced him to rethink Gogol’s work, and turn to the po

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Annenkova, E. I. "«...EVERYTHING IS NOT ONLY THE MOST TRUTH, BUT EVEN BETTER THAN IT» (THE SECRET OF THE UNITY OF ETHICAL AND AESTHETIC IN СREATIVE MINDS Of PUSHKIN AND GOGOL)". Culture and Text, № 45 (2021): 09–20. http://dx.doi.org/10.37386/2305-4077-2021-2-9-20.

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The article provides a comparative analysis of the reflections of Pushkin and Gogol on the nature of the relationship between ethical and aesthetic principles in the creative process. Based on the late lyric poetry of Pushkin, Gogol’s epistolary legacy of the early 1840s and a historical and literary excursion in «Selected Passages from Correspondence with Friends», both rapprochements and fundamental differences in the positions of the two authors are revealed. Gogol’s judgments about the mystery of Pushkin’s personality and about «The Captain’s Daughter» as «the best Russian work in a narrat

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Томачинский, Симеон. "Gogol’s «Dead Souls» and Dante's «Divine Comedy»: Connections." Theological Herald, no. 4(39) (December 15, 2020): 252–62. http://dx.doi.org/10.31802/gb.2020.39.4.014.

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Гоголь создавал центральное произведение своего творчества главным образом в Риме. К Италии писатель испытывал особенную любовь. Гоголь прекрасно владел итальянским языком, писал на нём письма, переводил с него и на него. При создании «Мёртвых душ», которые он назвал поэмой, Гоголь ориентировался, в том числе, на «Божественную комедию» Данте. Это проявилось в разных аспектах: в композиции произведения, в сюжете, в идейном содержании и мелких деталях. Гоголевская поэма по замыслу должна была состоять из трёх частей, условно соотносящихся с Адом, Чистилищем и Раем. В итоге завершённой оказалась

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Rebel, G. M. "TURGENEV, GOGOL AND “NATURAL SCHOOL”." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (2019): 1005–11. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1005-1011.

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The article is devoted to the problem of correlation of Turgenev and Gogol's creativity in the context of the aesthetic program of the “natural school”. The issue of the nature of Gogol's influence on Turgenev is still debatable, as well as the issue of the involvement of both writers in the “natural school”. Belinsky's definition of the “natural school”, on the one hand, was based on limited literary material, on the other - was extremely broad and as a result is equally suited to the work of such different authors as Gogol, Turgenev, Tolstoy, Dostoevsky, Goncharov, etc. An analysis of Turgen

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Yuliya, Meladshina. "The Theme of Old Believers in the Works of N.V. Gogol and V.A. Sharov." TECHNOLOGOS, no. 1 (2023): 93–100. http://dx.doi.org/10.15593/perm.kipf/2023.1.07.

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This article attempts to discover and analyze the role of the ideas of the Old Believers in the work of N.V. Gogol (the idea of continuing the poem "Dead Souls") and V.A. Sharov (based on the novel "Return to Egypt"). This will allow for revealing the development of the philosophical, ethical and ideological views of the above writers. The relevance of the work is due to the appeal to the topic, which has recently been of interest to researchers, that is the connection between the work of N.V. Gogol with the Christian ideology of the Old Believers. In addition, the relevance determines the sci

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Demidov, Nikita M., and Oleg A. Kling. "Parable in Nikolai Gogol’s works: specifics of the author's presentation." RUDN Journal of Studies in Literature and Journalism 28, no. 2 (2023): 199–209. http://dx.doi.org/10.22363/2312-9220-2023-28-2-199-209.

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The parable of the works of N.V. Gogol as one of the most important elements of the writer's strategy is analyzed. Emphasis is placed both on its formal and content embodiment in the author's works. The formal part shows the important connection between the parable and the artistic detail of the literary work and the composition on the whole. The content part deals with the writer, who builds a complex system of conflicts and their role in the plot scheme. For the study, researchers consider it necessary to warn against a shallow analysis of Gogol's parable as a kind of vulgar form of reasonab

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Khomyakova, Olga R. "Path to Viy: features of the artistic conflict." RUDN Journal of Studies in Literature and Journalism 28, no. 1 (2023): 7–20. http://dx.doi.org/10.22363/2312-9220-2023-28-1-7-20.

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The author undertakes a study of the symbolic-religious conflict, a man and Viy, as a structural and content basis for the integrity of the novella Viy . In Gogol's “paradoxical negative realism”, the “squabbling of life” is depicted from an eschatological perspective. The heterogeneity of the conflict is predetermined by the heterogeneity of Gogol's vision of life: behind the vulgar relations of vulgar people, an existential world, invisible to the characters, shines through, in which an irreal enemy awaits a person in order not to allow this person to avoid meeting with himself. The basis of

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Kondratieva, Tatyana S., and Irina M. Lyubina. "PRECEDENT PHENOMENA IN MODERN MEDIA TEXTS (ON THE EXAMPLE OF N. V. GOGOL’S WORKS)." Proceedings of Southern Federal University. Philology 28, no. 2 (2024): 31–40. http://dx.doi.org/10.18522/1995-0640-2024-2-31-40.

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This study is devoted to examining the texts of modern mass communication that contain elements of intertextuality in the form of precedent phenomena. Using the example of N.V. Gogol’s work precedent names, situations, statements were identified, and we analyzed their semantic and grammatical features established in the current media space. The material for the study were precedent units identified by the method of continuous sampling from modern media texts of various directions. As a result of the study, it was proved that journalists give preference to precedent phenomena associated with cl

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Tingting, Bao. "The poetics of color in the works of Nikolai Gogol and Mikhail Zoshchenko." Professor’s Journal. Series: Russian and Literature: studying and teaching 3 (December 21, 2021): 31–38. http://dx.doi.org/10.18572/2687-0339-2021-3-31-38.

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In Zoshchenko’s early stories and short stories, Gogol’s traditions are felt clearly and many of their points of convergence are revealed: the image of the “little man”, the fantastic manner, the specifics of the plot, the motivational and plot roll calls, the nature of the comic. It is worth noting that in the context of literary work, color carries an important semantic load, and the coloristic art of Zoshchenko and Gogol is also close to each other in symbolic complexity. So, in this article, we will try to analyze the uniqueness of the color palette of writers.

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Larocca, G. "INSIDE AND OUTSIDE GOGOL. LEV PUMPYANSKY AND MIKHAIL BAKHTIN." Literaturovedcheskii Zhurnal, no. 4 (2021): 60–78. http://dx.doi.org/10.31249/litzhur/2021.54.04.

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The present article examines the main works by Lev Pumpyansky and Mikhail Bakhtin which are devoted to Gogol's opus. It explores the theory of laughter and the ensuing literary genres through the lens of the common experience which the authors shared in Nevel (1919-1920) within the so-called “Nevel School of Philosophy”. By analysing “An attempt at constructing a relativistic reality on the basis of the ‘Inspector'” (1919), the incomplete book “Gogol” (1922-1925) by Pumpyansky, and Bakhtin's work on Rabelais, the paper aims to shed some light on how these authors conceived and elaborated the p

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Paderina, Ekaterina G. "On the dialogism of genre nature of the concept of “Selected passages from correspondence with friends”: notes on the margins of the book by Iu. V. Mann “In search of a living soul...”." Izvestiia Rossiiskoi akademii nauk Seriia literatury i iazyka 83, no. 2 (2024): 5–21. http://dx.doi.org/10.31857/s1605788024020018.

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The issue of the genre nature of “Selected passages from correspondence with friends” is one of the oldest, most significant and yet actual problems of studying Gogol’s latest book. The first readers and critics faced this problem in 1847. Since then, interest in the genre of the book has been followed by special attention to its creative history. At the same time, it is well known that the book was created during Gogol’s work on the second volume of “Dead Souls” and that Gogol involved a wide range of close and distant readers in this process. This was discussed by Yu.V. Mann in his book “In

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