Explore the vast range of titles available.

This article examines Ukrainian folkloric parallels to Viy, a character in the horror novella of the same name by Nikolai Gogol. It is a formidable chthonic, demonic creature whose eyelids cover the eyes and need to be lifted, and the gaze sees what is hidden from others. Although the writer claimed that this character, like the entire plot of the story, was taken from Ukrainian folklore, some modern researchers claim that Viy is the author’s own invention. This is contradicted by folkloric data, primarily Ukrainian lore. Demonic characters with different names but with the same appearance and very similar functions as Viy appear in Ukrainian folk tales, legends and beliefs recorded in the 19th and 20th centuries. The plots have various degrees of closeness to the plot of Gogol’s story, showing that Viy is an authentic figure from Ukrainian folklore.

This literary guide leads students with advanced knowledge of Russian as well as experienced scholars through the text of Nikolai Gogol's absurdist masterpiece \"The Nose\". Part I focuses on numerous instances of the writer's wordplay, which is meant to surprise and delight the reader, but which often is lost in English translations. It traces Gogol's descriptions of St. Petersburg everyday life, familiar to the writer's contemporaries and fellow citizens but hidden from the modern Western reader. Part II presents an overview of major critical approaches to the story in Gogol scholarship.

A bold attempt at solving the riddle of Gogol's novel Dead Souls. Gogol constructed the novel strictly according to a moral pattern. The novel thus proves to be a true descendant of medieval romance with its inseparable interrelation between ethics and epics.

This monograph is nothing less than a bold attempt at solving the riddle of Gogol's novel Dead Souls that even inspired a staging of Dead Souls at Schauspiel Stuttgart. Heftrich gives a comprehensive, coherent answer to the question of the novel's meaning by meticulously laying bare its structure. The first part of the monograph is dedicated to one section of Gogol's novel that has been neglected by virtually all critics - a clue that leads to a strictly ethical reading of Gogol's epic. Gogol, as it emerges, constructed Dead Souls strictly according to a moral pattern. It is amazing to discover how flawlessly Dead Souls is built in this regard. The novel thus proves to be a true descendant of medieval romance with its inseparable interrelation between ethics and epics.

This essay investigates the geopoetic strategies through which Muslim writers contributed to as well as undermined the consolidation of the Russian literary canon. Its central focus is the Azeri writer Celil Memmedquluzade’s translation of Gogol’’s work, revealing the politicization of Gogol”s poetics in the Muslim south Caucasus in 1905. Drawing upon Gogol’’s prose about the Russian provinces, its translation in the Caucasus, and its resurrection in literary theory, I illustrate the ways in which the poetics of the imperial provinces intersected with the Russian and Soviet imperial gaze, highlighting the internalizing force of imperial expansion as well as the radical alterity of the colonial experience. The early twentieth century was marked by a series of revolutionary upheavals in the imperial capital and periphery, as well as a Bolshevik ideological campaign to envision literature as an enlightened enterprise, that is, one characterized by both its scientific and political power. In dialectical fashion, the creation of a revolutionary poetics involved a repetition of Gogol’’s prose in order to reconcile and thus transcend the series of binaries associated with nineteenth century literature: center/periphery, oral/written, self/other. Gogol’’s resurrection in Memmedquluzade’s translations and in the hands of his Formalist and postcolonial critics highlights the role of Russian imperial geopoetics in simultaneously sustaining and subverting a revolutionary literary culture

[IMAGE REMOVED.] Constantine (Koko) Roinishvili graduated from the Georgia State University of Theatre and Film, with a B.A. degree in Acting, and later completed the M.A. training program in Drama Directing. [...]for you, as the third generation, theatre is a given in your family history, something that has been accessible to and embodied in your sensory perceptions and physical surroundings from the moment you were born. [...]I had to experience for myself what it means to perform a role on stage as an actor. First of all, I think about how the text delivered and the ideas expressed by the actors will be perceived by the audience. [...]I try to work on the text, to make the phrases understandable, to match them to modern speech but at the same time, I try not to lose the essence of Shakespeare.

I am of a generation of scholars educated in a Russia-centric view of the Slavic world. My work curating an international project exploring drama in Belarus and Ukraine corrected this flaw. My views first began changing in 2000 as I observed Ukrainian-born playwright Maksym Kurochkin in Moscow. They continued evolving as I worked with Belarusian playwright Andrei Kureichik, author of two plays about the stalled 2020 revolution in Minsk. The 2022 war in Ukraine, reflected in texts by Ukrainian writers, clearly showed me a nation seeking to define itself and its basic myths fully independent of Russia.

This literary guide leads students with advanced knowledge of Russian as well as experienced scholars through the text of Nikolai Gogol's absurdist masterpiece \"The Nose.\" Part I focuses on numerous instances of the writer's wordplay, which is meant to surprise and delight the reader, but which often is lost in English translations. It traces Gogol's descriptions of everyday life in St. Petersburg, familiar to the writer's contemporaries and fellow citizens but hidden from the modern Western reader. Part II presents an overview of major critical interpretations of the story in Gogol scholarship from the time of its publication to the present, as well as its connections to the works of Shostakovich, Kafka, Dalí, and Kharms.