Analysis of information sources in references of the Wikipedia article "Nikolaj Vasiljevič Gogolj" in Croatian language version.
Romantic theory exalted ethnography and folk poetry as expressions of the Volksgeist, and the Ukraine was particularly appealing to a Russian audience in this respect, being, as Gippius observes, a country both '"ours" and "not ours," neighboring, related, and yet lending itself to presentation in the light of a semi-realistic romanticism, a sort of Slavic Ausonia.' Gogol capitalized on this appeal as a mediator; by embracing his Ukrainian heritage, he became a Russian writer.
Gogol is the one great Russian writer who has most puzzled English-speaking readers.
He was to remain the least educated of all great Russian writers.
Gogol left Russian literature on the brink of that golden age of fiction which many deemed him to have originated, and to which he did, very clearly, open the way. The literary situation he entered, however, was very different, and one cannot understand the shape and sense of Gogol's career--the peripeties of his lifelong devotion to being a Russian writer, the singularity and depth of his achievement--without knowing something of that situation.
In 1847 Gogol wrote that Russian literature would call forth a truly 'Russian Russia.' The clarity of this image would unite the country 'in one voice' to proclaim its long-awaited homecoming. '[Our literature] will call forth our Russia for us--our Russian Russia[...] It will elicit [Russia] from us and thus show that all of us to a man, no matter that we be of different minds, upbringing, and opinions, will say in one voice "This is our Russia; we are comfortable [priiutno] and warm here, and now we are truly at home [u sebia doma], under our native roof, and not in a foreign land."'
Ukrainian-born humorist, dramatist, and novelist whose works, written in Russian, significantly influenced the direction of Russian literature. His novel Myortvye dushi (1842; Dead Souls) and his short story "Shinel" (1842; "The Overcoat") are considered the foundations of the great 19th-century tradition of Russian realism . . . member of the petty Ukrainian gentry and a subject of the Russian Empire
Natasha Drubek-Meyer applies this reconstructive approach (mostly in its psychological version) to a widely known yet barely explained phenomenon of Russian culture -- the retreat of the main Russian writers (Gogol, Tolstoy, Dostoevsky) from literature.Provjerite vrijednost datuma u parametru:
|date= (pomoć)Natasha Drubek-Meyer applies this reconstructive approach (mostly in its psychological version) to a widely known yet barely explained phenomenon of Russian culture -- the retreat of the main Russian writers (Gogol, Tolstoy, Dostoevsky) from literature.Provjerite vrijednost datuma u parametru:
|date= (pomoć)Il ne faut pas diviser Gogol. Il appartient en même temps à deux cultures, russe et ukrainienne...Gogol se percevait lui-même comme russe, mêlé à la grande culture russe...En outre, à son époque, les mots "Ukraine" et "ukrainien" avaient un sens administratif et territorial, mais pas national. Le terme "ukrainien" n'était presque pas employé. Au XIXe siècle, l'empire de Russie réunissait la Russie, la Malorossia (la petite Russie) et la Biélorussie. Toute la population de ses régions se nommait et se percevait comme russe.[We must not divide Gogol. He belongs at the same time to two cultures, Russian and Ukrainian...Gogol perceived himself as Russian, mingled with the great Russian culture...Furthermore, in his era, the words "Ukraine" and "Ukrainian" had an administrative and territorial meaning, but not national. The term "Ukrainian" was almost never used. In the nineteenth century, the Russian Empire comprised Russia, Malorossia (Little Russia) and Byelorussia. The whole population of these regions called themselves, and perceived themselves as, Russian.]
|journal= (pomoć)|journal= (pomoć)