Titlebook: Nikolay Gogol; Text And Context Jane Grayson (Lecturer in Russian Language and Lit Book 1989 Palgrave Macmillan, a division of Macmillan Pu

Genome

,Gogol’s , or the Devil in the Works,ll have become a proof text for deconstructive exegesis. Constructed on a pun, replete with paradoxes, illogicalities, games and mystifications with the reader, the tale is ‘unreadable’ in the sense that it resists any single definitive reading or ‘univocal’ meaning; and indeed, to use deconstructio

browbeat

憲法沒有

The Unwelcome Tradition: Bely, Gogol and Metafictional Narration,ters and critics over the last hundred and fifty years. ‘I am a writer,’ said Gogol, ‘a(chǎn)nd the duty of a writer is not to furnish pleasant pursuits for the mind and taste; he will be held accountable if things useful to the soul are not disseminated by his works and if nothing remains after him as a

amplitude

Gogol and Mikhail Bulgakov,the Russians don’t have to know they know Pushkin: he is in their blood.. The same statement could with equal justice be made of the Russians and three of Pushkin’s contemporaries — not only Pushkin but also Griboyedov, Lermontov and Gogol, the classic beginnings of the classic century. A Russian do

不可侵犯

,Gogol’s , or the Devil in the Works,a play with words, a paronomasia, a textual joke, as the more linguistically orientated critics have noted. For Roman Jakobson, for instance, the story demonstrated the purely verbal nature of the ‘realized oxymoron’, a figure which has meaning but no object: ‘Such is Gogol’s “Nose” which Kovalyov r

剝削

: Without Naming Names,black humour in Part 1 expresses any idea of harmony, negatively or otherwise. In fact, the Gogolian narrator (.) constantly asserts a spurious idea of harmony, inserting it into the narrative with the calculated effect of enhancing the reader’s disbelief in any such concept. The rhetorical passages

travail

妨礙

使?jié)M足

Condescending