Dead Souls Online

Total Page:16

File Type:pdf, Size:1020Kb

Dead Souls Online HI6qS (Online library) Dead Souls Online [HI6qS.ebook] Dead Souls Pdf Free Nikolai Gogol ebooks | Download PDF | *ePub | DOC | audiobook Gogol Nikolai 2016-06-21Original language:English 9.00 x .69 x 6.00l, .91 #File Name: 1534806385306 pagesDead Souls | File size: 73.Mb Nikolai Gogol : Dead Souls before purchasing it in order to gage whether or not it would be worth my time, and all praised Dead Souls: 3 of 3 people found the following review helpful. one of the best examples of Russian literatureBy snoozerClassic story, one of the best examples of Russian literature, multilayered, funny, smart.4 of 4 people found the following review helpful. Greatly doneBy N. YablonkoGreat classic book. Actually, finally managed to read it till the end, mostly because of how it's easy to read and navigate. Definitely recommend this Kindle Edition and publisher. 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 unanimously considered one of the greatest novels in the Russian language for its characterizations, satiric humor, and style. The plot is not complex a scheme to buy, from landlords, serfs who have died since the last census, in order to perpetrate the hero s own real-estate deal in eastern Russia. The length of the novel is accounted for by numerous digressions adding up to a rich picture of provincial Russia. Whether Gogol s fiction is reality or fantasy, a topic much debated, he uses characterization, extravagant imagery, and hyperbolic language to color intensely his work. --Masterpieces of World LiteratureConsidered one of the world s finest satires, this picaresque work traces the adventures of the social-climbing Pavel Ivanovich Chichikov, a dismissed civil servant out to seek his fortune. It is admired not only for its enduring comic portraits but also for its sense of moral purpose. --Merriam Webster s Encyclopedia of LiteratureOne of the greatest novels in world literature.... --Chambers Biographical DictionaryAbout the AuthorNikolai Vasilievich Gogol , dramatist, novelist and short story writer of Ukrainian ethnicity. Russian and Ukrainian scholars debate whether or not Gogol was of their respective nationalities. Considered by his contemporaries one of the preeminent figures of the natural school of Russian literary realism, later critics have found in Gogol's work a fundamentally romantic sensibility, with strains of Surrealism and the grotesque ("The Nose", "Viy", "The Overcoat," "Nevsky Prospekt"). His early works, such as Evenings on a Farm Near Dikanka, were influenced by his Ukrainian upbringing, Ukrainian culture and folklore. His later writing satirised political corruption in the Russian Empire (The Government Inspector, Dead Souls), leading to his eventual exile. The novel Taras Bulba (1835) and the play Marriage (1842), along with the short stories "Diary of a Madman", "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich", "The Portrait" and "The Carriage", round out the tally of his best-known works.From AudioFileConsidered one of the great novels in the Russian canon, this book is a symbolic snapshot of nineteenth-century Russian life, and an intense literary experience. The story revolves around Chichikov, a man who comes to a Russian town to buy the souls of dead peasants who are still listed on the census, setting in motion a story of greed and distrust. Narrator Tom Weiner has a deep, robust, nasally tinged voice that captures the tone of the book at the beginning, but he doesn't vary his pitch and characters enough to keep the work moving. He also reads a bit too quickly; slowing down would allow us to more easily digest the philosophical aspects of the story. R.I.G. copy; AudioFile 2010, Portland, Maine [HI6qS.ebook] Dead Souls By Nikolai Gogol PDF [HI6qS.ebook] Dead Souls By Nikolai Gogol Epub [HI6qS.ebook] Dead Souls By Nikolai Gogol Ebook [HI6qS.ebook] Dead Souls By Nikolai Gogol Rar [HI6qS.ebook] Dead Souls By Nikolai Gogol Zip [HI6qS.ebook] Dead Souls By Nikolai Gogol Read Online.
Recommended publications
  • The Petersburg Text in Russian Literature of the 1990 S
    THE PETERSBURG TEXT IN RUSSIAN LITERATURE OF THE 1990 S by DARIA S. SMIRNOVA A THESIS Presented to the Russian, East European, and Eurasian Studies Program and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts September 2012 THESIS APPROVAL PAGE Student: Daria S. Smirnova Title: The Petersburg Text in Russian Literature of the 1990s This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Russian, East European, and Eurasian Studies Program by: Dr. Katya Hokanson Chairperson Dr. Jenifer Presto Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2012 ii © 2012 Daria S. Smirnova iii THESIS ABSTRACT Daria S. Smirnova Master of Arts Russian, East European, and Eurasian Studies Program September 2012 Title: The Petersburg Text in Russian Literature of the 1990s The image of Saint Petersburg has influenced the imagination of Russian writers since the establishment of this city in 1703. Today, it is common to speak about the Petersburg Text in Russian literature that has its own mythology, imagery, and stylistics. However, the research in this sphere is predominately concentrated on works written before the second half of the 20th century. This thesis addresses the revival of the Petersburg mythology in the 1990s in works by such authors as Mikhail Veller, Andrei Konstantinov, and Marusia Klimova. It illustrates how the reinvention of traditional Petersburg themes contributed to the representation of the “wild 1990s” reality.
    [Show full text]
  • Olga Zaitseva: Every Woman Is a Witch…
    We have only fresh and savory news! December 2013 | № 12 (123) DO NOT MISS: December 8 – Korchma on Borovskoye Highway December 22 — Korchma in Sadovo-Samotochnaya Street December 29 — Korchma in Pyatnitskaya Street December 29 — Korchma in Bochkova Street More news and photos at www.tarasbulba.us e U v o [email protected] k l r a h Project manager – Yuri Beloyvan i it n [email protected] i w an e c ad uisine – m OLGA ZAITSEVA: EVERY WOMAN IS A WITCH… VIY: RETURNING PREMIERE 30 january in 3D INCREDIBLE ASIA: Blood, sacrifices and cremation in Nepal THE NEW YEAR: tar barrels, flower offerings and mass spam DELIVERY OF HOMEMADE UKRAINIAN FOOD AND HOTLINE 6+ www.tarasbulba.us (212) 510-75-10 2 | GUEST SHE BROUGHT TOGETHER THE OPPOSITE FEATURES OF A BEAUTY AND A WICKED WITCH IN THE ROLE OF GOGOL’S PANNOCHKA FROM THE HORROR STORY VIY, IN SEARCH OF THE BEST ANGLE SHE COULD LIE IN A COFFIN FOR HOURS … SHE WAS CHOSEN FOR THE PART FROM AMONG THOUSANDS OF CANDIDATES AND THE RESULT SURPASSED ALL EXPECTATIONS… THE NEW 3D VERSION OF VIY COMES TO THEATERS ON JANUARY 30; MEANWHILE BULBA NEWS TALKED TO OLGA ZAYTSEVA WHO PORTRAYED THE LEGENDARY PANNOCHKA IN THE MOVIE. OLGA ZAITSEVA: “EVERY WOMAN IS A WITCH…” – Olga, how did you start your work with the film creators? What is your secret? – It’s not a secret, really. We have been working together for long time, and working well. It all started at casting, like with all actors. I came in, and what followed next was ridiculous.
    [Show full text]
  • Magical Realism in the Tales of Nikolai Gogol
    Magical Realism in the Tales of Nikolai Gogol James D. Hardy, Jr. Leonard Stanton Louisiana State University There is a story about St. Serafim of Sarov (1759-1833). One day, four sisters from the Diveyevo Convent saw him across a field of ripe, brown grain. The sisters were on a road through the field, and their feet were on the ground. But as Serafim approached, they suddenly realized that the saint was “walking two foot above the ground, not even touching the grass.” Well attested by four nuns of unimpeachable character and faith, the event was duly recorded in the annals of St. Serafim and the convent; the truth it conveys is therefore beyond doubt. But walking above the grass, even by a saint of such holiness that the Tsar and Auto- crat of All the Russias sought him out as a confidant and spiritual father, is not encountered every day, and, it might even be suggested, cannot occur at all.1 This incident of faith illustrates both the nature of magical realism generally – the realistic and quotidian consequences of an impossible action – and the two varieties of magical realism employed in the tales of Nikolai Gogol. The first involves the direct and physical intervention of the divine or the demonic in an otherwise unexceptional flow of events. The second characteristic of Gogol’s magical realism implies the unex- pected violation of the laws of nature without a divine or demonic expla- nation. Gogol treated the divine, the demonic, or the supernatural event as entirely real, in a context no less Aristotelian than Platonic.
    [Show full text]
  • The Slavic Vampire Myth in Russian Literature
    From Upyr’ to Vampir: The Slavic Vampire Myth in Russian Literature Dorian Townsend Thesis submitted for the degree of Doctor of Philosophy School of Languages and Linguistics Faculty of Arts and Social Sciences The University of New South Wales May 2011 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Townsend First name: Dorian Other name/s: Aleksandra PhD, Russian Studies Abbreviation for degree as given in the University calendar: School: Languages and Linguistics Faculty: Arts and Social Sciences Title: From Upyr’ to Vampir: The Slavic Vampire Myth in Russian Literature Abstract 350 words maximum: (PLEASE TYPE) The Slavic vampire myth traces back to pre-Orthodox folk belief, serving both as an explanation of death and as the physical embodiment of the tragedies exacted on the community. The symbol’s broad ability to personify tragic events created a versatile system of imagery that transcended its folkloric derivations into the realm of Russian literature, becoming a constant literary device from eighteenth century to post-Soviet fiction. The vampire’s literary usage arose during and after the reign of Catherine the Great and continued into each politically turbulent time that followed. The authors examined in this thesis, Afanasiev, Gogol, Bulgakov, and Lukyanenko, each depicted the issues and internal turmoil experienced in Russia during their respective times. By employing the common mythos of the vampire, the issues suggested within the literature are presented indirectly to the readers giving literary life to pressing societal dilemmas. The purpose of this thesis is to ascertain the vampire’s function within Russian literary societal criticism by first identifying the shifts in imagery in the selected Russian vampiric works, then examining how the shifts relate to the societal changes of the different time periods.
    [Show full text]
  • Multilingual Discourses Vol. 2.1-2. (Summer 2015)
    141 Multilingual Discourses Vol. 2.1-2. (Summer 2015) Silvia Sgaramella Rome and its Ukrainian Soul: Fragments of Ukraine in Gogol’s Rim ogol’s persona remains at the center of a debate, which aims to place him either within the Russian or Ukrainian borders. His G Russian contemporary scholars – such as Belinsky – while building a national literature, placed Gogol’ into their literary canon. Today, instead, scholars such as Bojanowska are trying to deconstruct the Russian imperialist discourse, in order to affirm a new awareness on Gogol’s writings and personal inclinations. Although the two main currents appear to exclude one another, they both trace a moment in Gogol’s production when the author seems to detach himself from his Ukrainianness, his cultural background. While on the one hand Belinsky’s appropriation of the author as exclusively Russian diminishes and almost denies his Ukrainian heritage, on the other hand Bojanowska’s postcolonial interpretation implies Gogol’s intention of replacing his Ukrainian identity with a Russian one, therefore betraying his roots. In so doing, both schools of thought limit their analysis of the issue in order to serve the purposes of their imperialist or postcolonial discourses. Silvia Sgaramella 142 Nevertheless, the debate on Gogol’s persona does not end in the Russian, Ukrainian, and North American context. Further studies, perhaps less concerned about nationalistic discourses or postcolonial theories, provide other interpretations of the matter. For instance, in her preface to the Italian translation of Rome, Giuliani traces a topographic triangle in the Gogolian literature. The summits represent three main places and their correspondent literary works: Ukraine (Mirgorod, 1835), Saint Petersburg (Nevsky Prospekt, 1835), and Rome (Rim, 1842).
    [Show full text]
  • Horror Genre in National Cinemas of East Slavic Countries
    Studia Filmoznawcze 35 Wroc³aw 2014 Volha Isakava University of Ottawa, Canada HORROR GENRE IN NATIONAL CINEMAS OF EAST SLAVIC COUNTRIES In this essay I would like to outline several tendencies one can observe in con- temporary horror fi lms from three former Soviet republics: Belarus, Russia and Ukraine. These observations are meant to chart the recent (2000-onwards) de- velopment of horror as a genre of mainstream cinema, and what cultural, social and political forces shape its development. Horror fi lm is of particular interest to me because it is a popular genre known for a long and interesting history in American cinema. In addition, horror is one of transnational genres that infuse Hollywood formula with particularities of national cinematic traditions (most no- table example is East Asian horror cinema, namely “J-horror,” Japanese horror). To understand the peculiarity of the newly emerged horror genre in the cinemas of East Slavic countries, I propose two venues of exploration, or two perspectives. The fi rst one could be called the global perspective: horror fi lm, as it exists today in post-Soviet space, is profoundly infl uenced by Hollywood. Domestic produc- tions compete with American fi lms at the box offi ce and strive to emulate genre structures of Hollywood to attract viewers, whose tastes are largely shaped by American fi lms. This is especially true for horror, which has almost no reference point in national cinematic traditions in question. The second vantage point is local: the local specifi city of these horror narratives, how the fi lms refl ect their own cultural condition, shaped by today’s globalized cinema market, Hollywood hegemony and local sensibilities of distinct cinematic and pop-culture traditions.
    [Show full text]
  • GOGOLIAN SPATIAL MODELS and MANKIND's POTENTIAL for REDEMPTION: a COMPARISON of “THE CARRIAGE” and DEAD SOULS Maxwell O
    GOGOLIAN SPATIAL MOD ELS AND MANKIND’S PO TENTIAL FOR REDEMPTION: A COMPARISON OF “THE CARRIAGE” AND DEAD SOULS Maxwell O. Mason A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the req uirements for the degree of Master of Arts in the Department of Slavic Languages and Literatures. Chapel Hill 2006 Approved by Advisor: Christopher Putney Reader: Beth Holmgren Reader: Ivana Vuletic ABSTRACT MAXWELL O. MASON: Gogolian Spatial Models and Mankind’s Potential for Redemption: A Comparison of “The Carriage” and Dead Souls (Under the direction of Christopher Putney) This analysis explores Nikolai Gogol’s utilization of spatial models in his short story “The Carr iage” and his epic novel Dead Souls in an attempt to deduce a connection between a character’s physical environment and his potential for redemption. These works are unique in that they reflect two distinct periods of a highly formative time in Gogol’s th eological development. “The Carriage,” the earlier published of the two, represents th is period’s point of departure, whereas Dead Souls conveys the output of Gogol’s complex journey. Employing the insight of Iurii Lotman, this study examines first the dominance of evil in the “static” environments of these two works and then its subordination to “boundless” space in Dead Souls . To replace his dominant model of evil even temporarily, though, Gogol was forced to extend his vision limitlessly, a task that w as ultimately more than he could bear. ii TABLE OF CONTENTS Page
    [Show full text]
  • NIKOLAI GOGOL's COMMEDIA DEL DEMONIO by ANN ELIZABETH
    NIKOLAI GOGOL'S COMMEDIA DEL DEMONIO by ANN ELIZABETH BORDA B.A., University of British Columbia, 1986 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Slavonic Studies We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1987 © Ann Elizabeth Borda, 1987 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Slavonic Studies The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date 30 0^ 87? ii ABSTRACT Though it is not certain to what extent Gogol was familiar with Dante, it appears he may have regarded Dead Souls I (1842) as the first part of a tripartite scheme in light of La Divina Commedia. Interestingly, the foundations for such a scheme can be found in Gogol's first major publication, Evenings on a Farm near Dikanka (1831-1832) and, in the prose fiction and plays of 1835-1836, a definite pattern is revealed. The pattern that evolved in the works of this period involves the emergence of a demonic element which shatters any illusion of a Paradise which may have been established previously.
    [Show full text]
  • The Overcoat”, Benedetti’S the Truce and Melville’S “Bartleby, the Scrivener”
    An Account of Common Motifs in Gogol’s “The Overcoat”, Benedetti’s The Truce and Melville’s “Bartleby, the Scrivener” Augusto Pérez Romero Master’s Degree Thesis Department of Literature, Area Studies and European Languages Faculty of Humanities UNIVERSITY OF OSLO th Oslo, May 16 , 2001 An Account of Common Motifs in Gogol’s “The Overcoat”, Benedetti’s The Truce and Melville’s “Bartleby, the Scrivener” Augusto Pérez Romero II © Augusto Pérez Romero © Cover Picture taken from Bureaucratics by Jan Banning, used with permission of the author. 2011 An Account of Common Motifs in Gogol‘s ―The Overcoat‖, Benedetti‘s The Truce and Melville‘s ―Bartleby, the Scrivener‖ Forfatter http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo III Acknowledgments Thanks to my thesis tutor Audun Mørch. Thanks to all my culture, language and literature teachers in Mexico City, Tromsø, Oslo, York and Saint Petersburg. Thanks to my family and friends for their support. Thanks to Tanja Christiansen, Matthew Frear, Claire Baron, Omar Einaudi, Jodi Sher and Jan Thomas Lerstein for proofreading. Thanks to Saint Petersburg for inspiring me. IV Content 1 Introduction ........................................................................................................................ 1 2 Conceptual Framework ...................................................................................................... 3 2.1 Thematics..................................................................................................................... 3 2.1.1 Definition
    [Show full text]
  • A Comparative Study of the Literary Output of Nikolai Gogol
    The Aesthetics of Effacement: A Comparative Study of the Literary Output of Nikolai Gogol and Oscar Wilde PhD Thesis 2019 Brigit Katharine McCone Student no. 09129731 1 I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the Library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. Signed ___________________________________________________ 2 SUMMARY This thesis marks the first comprehensive comparative study of the literary output of Nikolai Gogol and Oscar Wilde, from an intersectional perspective blending genre theory, queer theory, postcolonial theory and Jungian psychoanalysis, to examine the authors as sexually and ethnically closeted while estimating the impact of this closeting on their fiction. The thesis concludes that Nikolai Gogol and Oscar Wilde have significant parallels in their conception of the artistic process, explicable by a shared exposure anxiety, significant stylistic parallels, explicable by a shared imperative to generate interpretative suspense and facilitate plausibly deniable self-expression, and significant thematic parallels in their treatment of sexuality, ethnicity and identity, explicable by a shared experience of sexual and ethnic closeting. By establishing that all major sexual themes in the fiction of Nikolai Gogol have direct parallels in the fiction of Oscar Wilde, this thesis contributes to the contextualization of Gogol as a closeted writer, while proposing new aesthetic frameworks for the evaluation of Oscar Wilde. 3 ACKNOWLEDGEMENT I am grateful for the advice and encouragement of my supervisor, Dr Sarah Smyth, of the Department of Russian and Slavonic Studies of Trinity College Dublin, and my co-supervisor, Dr Paul Delaney of the School of English, and my two examiners Jarlath Killeen and Claire Whitehead.
    [Show full text]
  • Diary of a Madman, the Government Inspector, and Selected Stories Pdf
    FREE DIARY OF A MADMAN, THE GOVERNMENT INSPECTOR, AND SELECTED STORIES PDF Nikolai Vasilievich Gogol,Ronald Wilks,Robert Maguire | 368 pages | 25 Apr 2006 | Penguin Books Ltd | 9780140449075 | English | London, United Kingdom Diary of a Madman, The Government Inspector, Selected Stories by Nikolai Gogol Author, dramatist and satirist, Nikolai Gogol deeply influenced later Russian literature with his powerful depictions of a society dominated by petty bureaucracy and base corruption. This volume includes both his most admired short fiction and his most famous drama. The stories gathered here, meanwhile, range from comic to tragic and describe the isolated lives of low-ranking clerks, lunatics and swindlers. For more than seventy years, Penguin has been Diary of a Madman leading publisher of classic literature in the English-speaking world. When you buy a book, we Diary of a Madman a book. Sign in. Category: Fiction Fiction Classics. Apr 25, ISBN Add to Cart. Also available from:. Paperback —. About The Diary of a Madman, the Government Inspector, and Selected Stories Author, dramatist and satirist, Nikolai Gogol deeply influenced later Russian literature with his powerful depictions of a society dominated by petty bureaucracy and base corruption. Also by Nikolai Gogol. And Selected Stories Details. Inspired by Your Browsing History. Johann Wolfgang von Goethe. The Age of Innocence. Edith Wharton. The Idiot. Fyodor Dostoevsky. The Brothers Karamazov. Fyodor The Government Inspector. Tom Jones. Henry Fielding. The Castle of Otranto. Michael Gamer and Horace Walpole. The Complete Saki. The Yellow Wallpaper and Other Writings. Charlotte Perkins Gilman. The Tempest. William Shakespeare. Philosophy in the Boudoir. Marquis de Sade.
    [Show full text]
  • And Spiritual Dis-Tune in N.V. Gogol's Works
    ISSN 2222-551Х. ВІСНИК ДНІПРОПЕТРОВСЬКОГО УНІВЕРСИТЕТУ ІМЕНІ АЛЬФРЕДА НОБЕЛЯ. Серія «ФІЛОЛОГІЧНІ НАУКИ». 2012. № 1 (3) УДК 821.161.1 – 3.09Г58 V. LUBETSKAYA, PhD in Philology, Lecturer of Russian philology and World literature department of Krivorozhsky pedagogical institute of state higher educational institution «Krivorozhsky National University» «THE WHOLE WORLD» AND SPIRITUAL DIS-TUNE IN N.V. GOGOL’S WORKS The article investigates N.V. Gogol's artistic work which is primordially characterized by accord revealing the essence of the «whole world». Accord is opposed to discord (existence – non-existence). The author considers the key word for understanding of creative work of different writers – the «whole world». The article points out that where the essence of the «whole world» is exposed to a creator, it is possible to speak about the presence of accord. But where the «whole world» does not continue and even its memory is gone – the ontological accord is lost, which indicates ruination of co-presence of the divine and the human, and it further results in distortion of the divine and the human, and in consequence gives only a caricature of the whole, that is discord. Key words: poetics, the «whole world», accord, discord. une, which opens the essence of «the whole world» is inherent in N.V. Gogol’s artistic creativity from time immemorial; the tune is opposed to dis­tune (existence- Tnonexistence). «The germ that is named «Tune» now, which is manifested whether in music or in poetry, is concealing in the depths of the sacral name, by which the «Holy silence» (Dionysius the Areopagite) of divine completeness was broken for the first time» [1, p.
    [Show full text]