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Dead Souls is a novel by Nikolai Gogol, first published in 1842, and widely regarded as an exemplar of 19th-century Russian literature. The purpose of the novel was to demonstrate the flaws and faults of the Russian mentality and character. Gogol portrayed those defects through Pavel Ivanovich Chichikov and the people whom he encounters in his endeavours. These people are typical of the Russian middle-class of the time. Gogol himself saw it as an "epic poem in prose", and within the book as a "novel in verse". Despite supposedly completing the trilogy's second part, Gogol destroyed it shortly before his death. Although the novel ends in mid-sentence, it is usually regarded as complete in the extant form.Since its publication in 1842, Dead Souls has been celebrated as a supremely realistic portrait of provincial Russian life and as a splendidly exaggerated tale; as a paean to the Russian spirit and as a remorseless satire of imperial Russian venality, vulgarity, and pomp. As Gogol's wily antihero, Chichikov, combs the back country wheeling and dealing for "dead souls"--deceased serfs who still represent money to anyone sharp enough to trade in them--we are introduced to a Dickensian cast of peasants, landowners, and conniving petty officials, few of whom can resist the seductive illogic of Chichikov's proposition.

Dead Souls is a novel by Nikolai Gogol, first published in 1842, and widely regarded as an exemplar of 19th-century Russian literature. The purpose of the novel was to demonstrate the flaws and faults of the Russian mentality and character. Gogol portrayed those defects through Pavel Ivanovich Chichikov and the people whom he encounters in his endeavours. These people are typical of the Russian middle-class of the time. Gogol himself saw it as an "epic poem in prose", and within the book as a "novel in verse". Despite supposedly completing the trilogy's second part, Gogol destroyed it shortly before his death. Although the novel ends in mid-sentence, it is usually regarded as complete in the extant form.Since its publication in 1842, Dead Souls has been celebrated as a supremely realistic portrait of provincial Russian life and as a splendidly exaggerated tale; as a paean to the Russian spirit and as a remorseless satire of imperial Russian venality, vulgarity, and pomp. As Gogol's wily antihero, Chichikov, combs the back country wheeling and dealing for "dead souls"--deceased serfs who still represent money to anyone sharp enough to trade in them--we are introduced to a Dickensian cast of peasants, landowners, and conniving petty officials, few of whom can resist the seductive illogic of Chichikov's proposition.

Volume 2 of The Complete Tales includes Gogol's Mirgorod stories—among them that masterpiece of grotesque comedy, "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich," the wonderfully satiric "Old World Landowners," and the Cossak epic "Taras Bulba." Here also is "The Nose," Gogol's final effort in the realm of the fantastic, as well as "The Coach," "The Portrait" (in its final version), and the most influential of his Petersburg stories, "The Overcoat."

In the first new translation of the Russian writer's short fiction in twenty-five years, an award-winning pair of translators presents his satirical and fantastic tales of downtrodden characters who are set upon by the powers that be.

After disappearing from the Deputy Inspector's face, his nose shows up around town before returning to its proper place.

Nikolai Gogol was an artist who, like Rabelais, Cervantes, Swift, and Sterne, "knew how to walk upside down in our valley of sorrows so as to make it to a merry place." This two-volume edition at last brings all of Gogol's fiction (except his novel Dead Souls) together in paperback. Volume 1 includes Evenings on a Farm near Dikanka, the early Ukrainian folktales that first brought Gogol fame, as well as "Nevsky Prospekt" and "Diary of a Madman." "It is good to have a complete collection of Gogol's tales in paperback. . . . Professor Kent has thoroughly revised Mrs. Garnett's conscientious and skillful translation, eliminating the Victorianisms of her style, correcting mistakes and pruderies of diction, and making the whole translation sound much more contemporary and alive. But he has avoided the whimsicality and 'curliness' in which some recent translators indulged, and he has not changed or suppressed anything material. He has also supplied helpful notes which are often the first annotation in English, and he has written an introduction which steers the correct middle course between making Gogol an irresponsible artist of the grotesque and proving him a documentary historian of backward Russia."—René Wellek, Yale University

Nikolai Gogol, Russia's greatest comic writer, is a literary enigma. His masterworks--"The Nose," "The Overcoat," The Inspector General, Dead Souls--have attracted contradictory labels over the years, even as the originality of his achievement continues to defy exact explanation. Donald Fanger's superb new book begins by considering why this should be so, and goes onto survey what Gogol created, step by step: an extraordinary body of writing, a model for the writer in Russian society, a textual identity that eclipses his scanty biography, and a kind of fiction unique in its time. Drawing on a wealth of contemporary sources, as well as on everything Gogol wrote, including journal articles, letters, drafts, and variants, Fanger explains Gogol's eccentric genius and makes clear how it opened the way to the great age of Russian fiction. The method is an innovative mixture of literary history and literary sociology with textual criticism and structural interrogation. What emerges is not only a framework for understanding Gogol's writing as a whole, but fresh and original interpretation of individual works. A concluding section, "The Surviving Presence," probes the fundamental nature of Gogol's creation to explain its astonishing vitality. In the process a major contribution is made to our understanding of comedy, irony, and satire, and ultimately to the theory of fiction itself.

Unread book in perfect condition.

Nikolai Gogol occupies an unassailable position in Russian and world literature as one of the nineteenth-century's greatest writers. Nikolai Gogol and the Baroque Cultural Heritage considers Gogol's entire oeuvre, including his letters, notebooks, and drawings, as well as all relevant secondary literature, and exhaustively examines sources of Baroque influence on him, tracing them back to the oeuvre itself. This study draws on the most recent achievements of interdisciplinary scholarship, paying special attention to the interaction of the visual and the verbal and of high and popular cultural strata, so characteristic of the Baroque and at the same time so important to the understanding of Gogol's poetics. In spite of an enormous corpus of already existing Gogol scholarship, this book sheds new light on our understanding of this writer's poetics and opens new vistas in the study of cultural continuity.

Collected here are Gogol's finest tales - stories which combine the wide-eyed, credulous imagination of the peasant with the sardonic social criticism of the city dweller - allowing readers to experience anew the unmistakable genius of a writer who paved the way of Dostoevsky and Kakfa. All of Gogol's most memorable creations are here: the minor official who misplaces his nose, the downtrodden clerk whose life is changed by the acquisition of a splendid new overcoat, the wily madman who becomes convinced that a dog can tell him everything he needs to know. The wholly unique blend of satire and realism that Gogol crafted established his reputation as one of the most daring and inventive writers of his time.

Through careful textual readings of Gogol's most famous works, Karlinsky argues that Gogol's homosexual orientation—which Gogol himself could not accept or forgive in himself—may provide the missing key to the riddle of Gogol's personality. "A brilliant new biography that will long be prized for its illuminating psychological insights into Gogol's actions, its informative readings of his fiction and drama, and its own stylistic grace and vivacity."—Edmund White, Washington Post Book World

El protagonista de esta historia descubre un buen dia con gran preocupacion que ha perdido su nariz, hasta que la encuentra casualmente por la calle y con vida propia... La nariz es un relato fantastico, humoristico, disparatado y muy divertido, que combina esa fantasia con un marco de personajes y ambientes muy reales, los de la Rusia en la que vivio Gogol. Es una critica a la vanidad humana, a la ambicion de poder y a la excesiva preocupacion por las convenciones sociales. Una excelente forma de conocer a Gogol.

Composed between 1927-1928 and based on Nikolai Gogol's story 'The Nose'.Features:HardcoverInstrumentation: Orchestra

The Diary of a Madman and Other Stories is a bizarre and colorful collection containing the finest short stories by the iconic Russian writer Nikolai Gogol. From the witty and Kafkaesque The Nose, where a civil servant wakes up one day to find his nose missing, to the moving and evocative The Overcoat, about a reclusive man whose only ambition is to replace his old, threadbare coat, Gogol gives us a unique take on the absurd. Gogol's tales of inconsequential civil servants, mixing the everyday w

Book by Gogol, Nikolai Vasilevich

Nikolai Gogol’s short story is a sublime work of tragi-comedy. In it, he brilliantly ridicules the Ukrainian passion for litigation and reveals life as something really rather absurd. Ivan Ivanovich and Ivan Nikiforovich are the greatest of friends—until the day they begin a foolish quarrel that culminates in that very worst of insults: “And you, Ivan Ivanovich, are a goose.” From that moment on, not another word is spoken between them as they choose instead to fight out their differences in the courts. But it seems theirs is a lawsuit that is set to run for years and years.

Few literary works have been so variously interpreted as Nikolai Gogol’s enduring comic masterpiece, Dead Souls. This Norton Critical Edition reprints the text of the acclaimed George Reavey translation, which has been fully annotated for undergraduate readers. "Backgrounds" contains not only Gogol’s correspondence relevant to the novel but also the four formal letters that set forth his views on the work. The editor has also included a useful chronology of Gogol’s life and an invaluable table of ranks in czarist Russia. A wide range of criticism includes Robert Maguire’s general overview of Gogol’s criticism; two nineteenth-century Russian appraisals; Donald Fanger’s brilliant essay; and a broad spectrum of twentieth-century Russian critical opinion. It features, as well, essays by Vladimir Nabokov and Edmund Wilson. The Russian essays have been translated specially for this Norton Critical Edition. A Selected Bibliography directs readers to resources for further study.

This early work by Nikolai Gogol was originally published in 1835 and we are now republishing it with a brand new introductory biography. 'The Viy' is a short story in which a philosophy student is terrorised by a witch as he holds a vigil over the the dead body of a beautiful girl. Nikolai Vasilievich Gogol was born in Sorochintsi, Ukraine in 1809. In 1831, Gogol brought out the first volume of his Ukrainian stories, 'Evenings on a Farm Near Dikanka'. It met with immediate success, and he followed it a year later with a second volume. ‘The Nose’ is regarded as a masterwork of comic short fiction, and ‘The Overcoat’ is now seen as one of the greatest short stories ever written; some years later, Dostoyevsky famously stated “We all come out from Gogol's 'Overcoat'.” He is seen by many contemporary critics as one of the greatest short story writers who has ever lived, and the Father of Russia's Golden Age of Realism.

Prisoners of Fame: Interviewing Spirits of Leslie Flint, Cary Grant, Marlene Dietrich, Ruth Montgomery, Nikolai Gogol, Andrei Tarkovsky, Humphrey Bogart, Bette Davis, Myrna Loy, William Powell, Vladimir Vysotsky, Elvis Presley and Paramahansa Yogananda -- is a collection of unique spirit messages. Former celebrities introduce us to afterlife problems not known to general public. They speak about enormous impact of our thoughts on life on both sides of the veil, on earth and in afterlife. Barbara Brennan wrote about it in the 80's, David Icke is lecturing about it, Annie Besant wrote about it about hundred years ago. Now celebrities made it their business to share their first hand experiences how hard it is to get rid of traces of negativity in spirit's subtle bodies and what did happen, if negativity, the stuff, is clogging human energy channels during the stay on earth. The consequences in afterlife are worse, and they may determine the quality of the next incarnation. However is there something that we can do about it, can we cleanse our subtle bodies while we stay on earth? Paramahansa Yogananda spirit messages list both outer and inner tools of cleansing outlining the path of the growth. There is always hope. There is no eternal damnation. On the contrary, a person can do a great deal for himself, especially, if he knows what to do, and has clear picture of real consequences of negativity.

Moscow's Novodevichy Cemetery is the final resting place of some of Russia's most celebrated figures, from Khrushchev and Yeltsin to Anton Chekhov, Sergei Eisenstein, Nikolai Gogol, and Mikhail Bulgakov. Using this famed cemetery as symbolic starting point, Buried Glory profiles a dozen eminent Soviet scientists-nine of whom are buried at Novodevichy-men who illustrate both the glorious heights of Soviet research as well as the eclipse of science since the collapse of the USSR.Drawing on extensive archival research and his own personal memories, renowned chemist Istvan Hargittai bring these figures back to life, placing their remarkable scientific achievements against the tense political backdrop of the Cold War. Among the eminent scientists profiled here are Petr L. Kapitza, one of the most brilliant representatives of the great generation of Soviet physicists, a Nobel-Prize winner who risked his career-and his life-standing up for fellow scientists against Stalin. Yulii B. Khariton, who ran the highly secretive Soviet nuclear weapons laboratory, Arzamas-16, despite being Jewish and despite the fact that his father Boris had been sent to the labor camps. And Andrei D. Sakharov, the "father of the Soviet hydrogen bomb" and a brilliant fighter for human rights, for which he won the Nobel Peace Prize. Along the way, Hargittai shines a light on the harrowing conditions under which these brilliant researchers excelled. Indeed, in the post-war period, Stalin's anti-Semitism and ongoing anti-science measures devastated biology, damaged chemistry, and nearly destroyed physics. The latter was saved only because Stalin realized that without physics and physicists there could be no nuclear weapons.The extraordinary scientific talent nurtured by the Soviet regime belongs almost entirely to the past. Buried Glory is both a fitting tribute to these great scientists and a fascinating account of scientific work behind the Iron Curtain.