Nikolai Gogol in silent films

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 Alexander Drankov, «Christmas Eve» and «The Portrait» by Ladislas Starevich, «The Overcoat» by Georgi Kozintsev and Leonid Trauberg are in the centre of the article. Each of the listed film adaptations has its own specifics determined by close connection with other types of art, fragmentariness, melodramatic, an abundance of phantasmagorias, etc. «The Overcoat» stands out in the list of silent interpretations, since presents a new look at the process of Gogol's translation from the language of literature into the cinema language. Compared to previous films, the creators of the 1926 cinematic version of «The Overcoat» took into account Gogol's style, the mood of his work, recreated through the picture of the ghostly expressionist Petersburg.

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RUSSIA IN DEAD SOULS BY NIKOLAI GOGOL AS A METAPHYSICAL IMAGOLOGICAL SPACE

Imagologiya i komparativistika ◽

10.17223/24099554/13/7 ◽

2020 ◽

pp. 110-127

Author(s):

Evgeniy O. Tretyakov ◽

Keyword(s):

Nikolai Gogol ◽

Dead Souls

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THE CONCEPT ‘TEA’ IN THE POEM ‘DEAD SOULS’ BY NIKOLAI GOGOL

Вестник Пермского университета Российская и зарубежная филология ◽

10.17072/2073-6681-2021-3-79-85 ◽

2021 ◽

Vol 13 (3) ◽

pp. 79-85

Author(s):

Ivan V. Burdin ◽

Keyword(s):

Historical Context ◽

Symbolic Meaning ◽

Special Role ◽

Semantic Field ◽

Nikolai Gogol ◽

The Road ◽

Dead Souls ◽

The Government ◽

Tea Drinking

The article deals with the concept of ‘tea’ in the poem by Nikolai Gogol Dead Souls. The main representations of this concept in the poem are identified, its influence on the plot and the composition is determined, conclusions about the symbolic meaning of tea in Dead Souls are provided. Representations of the concept of ‘tea’ in the text of the poem are compared with the representations of the studied concept in other works by Gogol such as The Government Inspector, Nevsky Prospekt, The Portrait, The Nose, The Overcoat and others, which made it possible to draw a conclusion about the special role of tea in Dead Souls. The actualization of the studied concept in the text is compared with the literary and historical context, it is shown what Gogol’s innovativeness lies in, the features of the Gogol literary tea drinking are identified. In Dead Souls, the author pays special attention to treats, with the role of tea still being more significant than the role of other treats. Tea emphasizes the contrasts in the text, allows the author to make the grotesque brighter, illustrates the motive of the road, and serves as a vivid household detail. Key representations of the concept of ‘tea’ in the poem are: ‘an element of hospitality’, ‘an attribute of friendship’, ‘tea as a commodity’, ‘tea as an element of luxury’, ‘tea as part of alcohol culture’. Tea is inextricably connected with the key symbolic leitmotive of the work – the motive of the road. The representation of ‘tea as an attribute of travel’ brings the Gogol’s poem closer to other texts of Russian literature where tea is part of the semantic field ‘road’, and the path itself is endowed with a symbolic meaning.

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“Russia! What Do You Want of Me?”: The Russian Reading Public in DeadSouls

Slavic Review ◽

10.2307/2697275 ◽

2001 ◽

Vol 60 (2) ◽

pp. 367-389 ◽

Cited By ~ 1

Author(s):

Anne Lounsbery

Keyword(s):

Print Culture ◽

Periodical Literature ◽

Reading Public ◽

Nikolai Gogol ◽

Total Control ◽

Dead Souls

This article analyzes the role of Russia's changing readership and incipient print culture in Dead Souls. Though Nikolai Gogol' was received in salon society, his primary allegiance was to print and the broad (and thus unsophisticated) readership that was beginning to buy and read printed texts. Like other of Gogol“s works (“On the Development of Periodical Literature in 1834 and 1835,” “The Portrait”), Dead Souls reflects the author's awareness of the severe limitations of this audience, especially their desire for conventional plot devices and their eagerness for characters with whom to identify. Although Dead Souls invites readers' participation, it also reflects Gogol“s growing skepticism about inexperienced readers' attempts to create meaning, his disdain for their judgment, and his desire to assert total control over the meaning of his art. Lounsbery considers Dead Souls' reception and situates Gogol“s work in the context of the appearance of Library for Reading in 1834 and other writers' approaches to the problem of Russia's reading public (notably Faddei Bulgarin and Osip Senkovskii).

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LITTLE RUSSIA AND GREAT RUSSIA IN SATIRE BY NIKOLAI GOGOL

Bulletin of the Kostroma state University ◽

10.34216/1998-0817-2020-26-3-128-133 ◽

2020 ◽

pp. 128-133

Author(s):

Igor’ A. Vinogradov

Keyword(s):

Short Story ◽

Small Town ◽

Russian Empire ◽

Comprehensive Analysis ◽

Nikolai Gogol ◽

Inspector General ◽

Southern Russia ◽

The Creation ◽

Dead Souls ◽

The Russian Empire

The article first discusses the problem of the correlation in the work of Nikolai Gogol as satirist or critic of the “Little Russian” and “Great Russian” types of Russian nobility. The influence of Nikolai Gogol’s Ukraine impressions on the creation of a number of his works of an all-Russia nature is emphasised: short story “The Nose”, the comedy “The Inspector General”, and the poem “Dead Souls”. Based on a comprehensive analysis, numerous facts and various testimonies of contemporaries, a conclusion is drawn about the deep imperial consciousness of the writer, who did not distinguish representatives of the Ukraine and Great Russia in his religious, pastoral criticism. The writer always thought of the Ukraine as part of Rus’ – Russia – the Russian Empire. In contrast to the ideologists of a narrow “small-town” “patriotism”, Nikolai Gogol, being a state thinker, considered the inhabitants of Northern and Southern Russia as subjects of a single Russian power and in his convictions of unworthy employees, “malignant” people of miscellaneous ranks and of the nobility was equally strict and demanding to his countrymen as well as to the Great Russians.

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Nikolai Gogol and Alexander Andreyevich Ivanov in the work on the painting “The Apparition of the Messiah”

Literary process in Russia of the 18 th — 19 th centuries. Secular and spiritual literature - Literary process in Russia of the 18th — 19th centuries. Secular and spiritual literature ◽

10.22455/lit.pr.2020-2-159-176 ◽

2020 ◽

pp. 159-176

Author(s):

Igor’ A. Vinogradov ◽

Keyword(s):

New Testament ◽

Nikolai Gogol ◽

Works Of Art ◽

The New Testament ◽

Fruitful Cooperation ◽

Dead Souls ◽

The Temple ◽

Noah's Ark ◽

The Church

The article presents an analysis of the creative dialogueАbstract: The article presents an analysis of the creative dialogueof Nikolai Gogol and artist Alexander Andreyevich Ivanov in the processof creating of the famous painting “The Apparition of the Messiah”by the latter. As a result of comparing the preliminary sketches of theartist, interpreting one of the drawings made by Nikolai Gogol forAlexander Andreyevich, as well as studying the similar religious andpolitical views of the writer and painter, a conclusion is drawn abouttheir fruitful cooperation in developing the concept of the famous painting.The compositional motifs prompted by Nikolai Gogol to AlexanderAndreyevich Ivanov and embodied in “The Apparition of the Messiah”include a number of interconnected and complementary Christian images.Transformed in baptism, ancient and modern humanity, what was depicted by the artist in the outlines of the temple, was the reconstructeddepicted by the artist in the outlines of the temple, was the reconstructed“fall of Adam”, the New Testament Noah’s ark — the ship of the Church,the “echidna” serpent of the baptised pagans. The latter image finds itscorrespondence in a whole series of Nikolai Gogol’s works of art, from“Evenings on a Farm Near Dikanka” to “Dead Souls”. Nikolai Gogol andAlexander Andreyevich Ivanov find deep unanimity in the developmentof the main messianic content of the picture.

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Religious motifs of the comedy of Nikolai Gogol “The Gamblers”

Literary process in Russia of the 18 th — 19 th centuries. Secular and spiritual literature - Literary process in Russia of the 18th — 19th centuries. Secular and spiritual literature ◽

10.22455/lit.pr.2020-2-126-158 ◽

2020 ◽

pp. 126-158

Author(s):

Igor’ A. Vinogradov ◽

Keyword(s):

Public Life ◽

Social Institution ◽

Card Game ◽

Nikolai Gogol ◽

Technical Improvement ◽

Dead Souls ◽

The Government

The fundamental, plot-forming theme for Nikolai Gogol’s comedy «The Gamblers” (1842) is investigated, the idea that ignoring a secularised society of spiritual ideals, focusing only on «technical» improvement leads to the exhaustion of a credit of trust between people, without which the existence of any social institution is impossible. The originality of Nikolai Gogol’s plan lies in the fact that he managed to put an ordinary card game on a par with numerous phenomena of public life, in which, since the time of Peter I and Catherine II, «imaginative» values based on conditional recognition of their validity began to play a much bigger role, than in pre-Petrine Russia. The play is considered in the context of all the writer’s work; a connection is established between its content and «The Government Inspector” (1836), «Dead Souls» (1842), the book «Selected Passages from Correspondence with Friends» (1847), and other works by Nikolai Gogol.

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P. Merime’s Essay “Nikolai Gogol”

Nauchnyy dialog ◽

10.24224/2227-1295-2021-5-183-201 ◽

2021 ◽

pp. 183-201

Author(s):

T. Yu. Boyarskaya

Keyword(s):

Comparative Analysis ◽

19Th Century ◽

Nikolai Gogol ◽

Inspector General ◽

French Writer ◽

French Speaking ◽

Dead Souls ◽

Genre Preferences ◽

First Time

Merimee’s essay “Nikolai Gogol”, in which the author presented the Russian writer as an imitator of European models, a satirist who focused on portraying the flaws of Russian life, a writer who neglects the plausibility of the overall composition is considered in the article. The author of this article shows that such a superficial and biased approach to Gogol’s texts aroused indignation among Russian journalists in both 19th century capitals and continues to be criticized by Russian and French literary critics. The results of a comparative analysis of the essay “Nikolai Gogol” with reviews of French-speaking journalists who wrote about the author of “The Inspector General” and “Dead Souls” in Parisian magazines of the 1840s are presented in the article. The question is raised that the motives that prompted Merimee to turn to the work of Gogol, and the reasons for the bias in relation to his work are still unrevealed. The novelty of the research is seen in the fact that the essay by Mérimée is for the first time considered as a commentary on the stable aesthetic position of the French writer, discordant with the poetics of romanticism and realism. The author dwells on the study of a number of artistic devices of the works of Merimee in the 1820—1840s and his genre preferences in the 1850s.

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Introduction

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100070266 ◽

1978 ◽

Vol 36 (3) ◽

pp. 543-544

Author(s):

W. Bernard

Keyword(s):

Molecular Weight ◽

Electron Microscope ◽

Nucleic Acid ◽

Gene Mapping ◽

Molecular Genetics ◽

Cell Biology ◽

Gene Activity ◽

Close Connection ◽

Basic Information ◽

Simple Systems

In comparison to many other fields of ultrastructural research in Cell Biology, the successful exploration of genes and gene activity with the electron microscope in higher organisms is a late conquest. Nucleic acid molecules of Prokaryotes could be successfully visualized already since the early sixties, thanks to the Kleinschmidt spreading technique - and much basic information was obtained concerning the shape, length, molecular weight of viral, mitochondrial and chloroplast nucleic acid. Later, additonal methods revealed denaturation profiles, distinction between single and double strandedness and the use of heteroduplexes-led to gene mapping of relatively simple systems carried out in close connection with other methods of molecular genetics.

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