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.
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 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 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 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».
The article considers Gogol’s letters of his school years in which the German topic is mentioned, as well as contemporaries’ reminiscences complementing the picture with the biographical facts of the future author.
The artistic functions of the rumor motives in the plot of the St Petersburg
novels by N. V. Gogol and their link to the chronotopos of the
Russian capital are studied. Analogies are drawn with the texts of the
journal Biblioteka dlya chteniya (Library for reading).
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.
The article researches how Khlestakov’s image that has become a household name has impacted the oeuvre of the later play writers. The images of the so-called Khlestakov-like characters are considered in the works of Gogol himself, of Sukhovo-Kobylin, Saltykov-Shchedrin, Ostrovsky.
The article analyzes the features of the historic memory functioning in the creative world of the Little Russia texts of the Arabesques and fragments relative to them. The necessary condition of retaining the memory of the past in these works is the existence of a material object related to the historic events and its commentator.
