The article studies inter-textual links of comediography of A. V. Sukhovo- Kobylin with N. V. Gogol’s literary legacy, the functions of Gogol’s allusions used by Sukhovo-Kobylin in the context of the formation of Russian realistic drama are being researched.
In the article Gogol’s image of the blacksmith Vakula is studied as one of the so-called «liminal beings», typical for the writer’s works. In the nature of such creatures there is a transition from the supernatural world into the real one, which allows them to act as mediators.
The article dwells on the artistic functions of hearsay and fame in the plot of N. V. Gogol’s novel Taras Bulba, on their internal link with the folklore tradition. The cultural and historic essence of Zaporozhye Rada is considered; the analogies with the text of the novel are drawn.
In the article different implementations of thoughts about Gogol in the novel The Raven written by O. Forsch are considered. The part of the chapter from The Raven excluded from the canonical text is analyzed as well. The issue is raised why this part did not appear in the final version of the novel.
In the article Petersburg stories are analyzed in terms of the motive of the steadfast gaze. The process of visual «completion» of reality by Gogol’s characters is described.
The article regards different occurrences of Germans and Germany in Gogol’s poem Dead Souls and, consequently, the author’s own perception of German mentality during the time when he was working on the poem.
The article considers the motive of rumor in its spatial and time expression based on the cycle of «Evenings on a Farm Near Dikanka» by N. V. Gogol. The stylistic functions of the rumor motive in the novels’ plots and the internal link with the folk tradition are researched.
The article deals with different instances of Germany being mentioned in Gogol’s cycle «Evenings on a Farm Near Dikanka», as well as the issue of the author’s understanding of the word «German» while working on his stories, and some parallels with the works of other writers.
The article discusses the literary fate of M. A. Tarlovsky, his place in the Russian poetry, as well as some peculiarities of his perception of the characters of the comedy «Auditor».
In the article the point of Podkolesin’s implicit victimization is questioned. The dynamic equilibrium of forces between Kochkarev and Podkolesin is analyzed. This marks gaming possibilities in a human, oppositely directed, but similarly powerful.
