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Death By Delusion: Representations Of Mental Illness In Gogol, Dostoevsky, And Nabokov, Bryan Reed

Senior Projects Spring 2023

This paper is dedicated to an analysis of representation of mental illness in 19th-20th century works of Russian writers: Fyodor Dostoevsky (The Double), Nikolai Gogol (“Nevsky Prospect”, “The Overcoat”, and “The Diary of a Madman”), and Vladimir Nabokov (Despair). My analysis is primarily focused on the approaches these authors employ to represent mental illness. When I began my research, I also set out to trace the evolution of portrayals of mental illness in Russian literature, from one of its founders, Alexander Pushkin, to Nabokov as an émigré writer living in Germany during the 1930s and representing the literary tradition in …

Understanding The Devil: A Comparative Examination Of Dead Souls, The Master And Margarita, And Revelation 12-3, Thomas "Tj" Kennedy

LMU/LLS Theses and Dissertations

This thesis examines how the devil is depcicted and characterized in Nikolai Gogol's Dead Souls, Mikhail Bulgakov's The Master and Margarita, and Revelation 12-13. By exploring their respective historical situations, I connect how all three depictions are linked to satire; however, I reflect upon the differences between the literary and religious, most notably the grotesque physical portrayals and allusory nature of Revelation. The three texts are given their own sections, each divided into three parts: historical situation, textual analysis, and literary commentary. From this analysis, it is shown that the devil carries with them a history of sins within great …

Title., Douglas Miller

Electronic Theses and Dissertations

Title is a series of drawings that explores the aspects of failed projects and the complications of representation within literary and visual practices. This series is informed by preliminary drawings, marginalia, and written notations that are inherent in the formulation processes of both visual and literary compositions. Through an investigation of the 19th Century Russian author Nikolai Gogol’s unfinished novel Dead Souls, I situate this series of drawings as a means to conflate literary theories with visual representation. In this way, the Title series presents fragmentary images, texts, and digressive narratives that demonstrate intermediaries between propositional states and reconciled …

Tim Key And Gogol's Overcoat: Review 2, Kari Hesthamar

RadioDoc Review

The documentary Tim Key and Gogol’s Overcoat is based on the short story The Overcoat by Nikolai Vasilievich Gogol. The Ukrainian-born Russian was one of the major authors of the 19th century, who tried to demonstrate what Tsarist Russia entailed. The Overcoat, published in 1842, is a satire of the civil service and petty officialdom. It is about how an external object transforms a person's self-esteem and others' opinions of a man of low rank.

As the program unfolds, the boundaries between fact and fiction become more blurred, and the weave between St Petersburg and London, between Akaky Akakievich (protagonist …

Tim Key And Gogol's Overcoat: Review 1, Michelle Rayner

RadioDoc Review

This finely wrought fusion of fiction and realism is an illuminating, enchanting, listening experience. On one level it can be heard as a playful riff on absurdism, on art, by a clever comedian (Tim Key) who harbours an obsession with one book and its author: Gogol’s The Overcoat. And yet on another level it offers a wry and gentle insight into, among other things, the nature of the human condition. Key's tone is intimate and confessional as he attempts to deconstruct the meaning (or meaninglessness) of Gogol’s story. The program wears its structural architecture lightly, combining the element of …

Nabokov's Amphiphorical Gestures , S. E. Sweeney

Studies in 20th & 21st Century Literature

In addition to using two primary kinds of metaphors (those that clarify descriptions, and those that develop into leitmotifs), Nabokov's fiction demonstrates a third kind that is characterized by extended analogies, baroque, seemingly uncontrolled imagery and rhetoric, and, most importantly, fundamental ambiguity. Although this inherent ambiguity is developed throughout the comparison, it is never resolved. Because of this distinguishing characteristic, I have named such metaphors "amphiphors," after one of Nabokov's own neologisms. Nabokov's comments in Nikolai Gogol and Lectures on Russian Literature, as well as direct allusions to Gogol embedded in a few amphiphors, suggest that this device evolved …

Gogol: An Overview, David Paul Allen

Undergraduate Honors Thesis Collection

No abstract provided.