This is an archive of the second half of the Twitter feed @RodionTweets, which tweeted Dostoevsky’s novel Crime and Punishment from its protagonist’s perspective from 2016-2018. @RodionTweets is part of the SSHRC-funded project “Crime and Punishment at 150” by Katherine Bowers and Kate Holland. The text has been adapted from Oliver Ready’s…[Read more]

This is an archive of the first half of the Twitter feed @RodionTweets, which tweeted Dostoevsky’s novel Crime and Punishment from its protagonist’s perspective from 2016-2018. @RodionTweets is part of the SSHRC-funded project “Crime and Punishment at 150” by Katherine Bowers and Kate Holland. The text has been adapted from Oliver Ready’s…[Read more]

This article considers a unified polar Gothic as a way of examining texts set in Arctic and Antarctic space. Through analysis of Coleridge’s’ The Rime of the Ancient Mariner’, Shelley’s Frankenstein, and Poe’s The Narrative of Arthur Gordon Pym of Nantucket , the author creates a framework for understanding polar Gothic, which includes liminal…[Read more]

This article explores the image of the khalat, or dressing gown, in and around Petr Viazemskii’s 1817 poem “Proshchanie s khalatom” (Farewell to My Dressing Gown). As the poem circulated during the period between its creation and printing, its central image—the khalat—became enshrined as a symbol for early nineteenth-century literary culture…[Read more]

This book chapter examines the Gothic trope of the “fall of the house” across the Russian long nineteenth-century canon, focusing on Aksakov’s A Family Chronicle, Saltykov-Shchedrin’s The Family Golovlyov, and Bunin’s Dry Valley.

This chapter examines nineteenth-century Russian writers who drew on the Gothic in order to explore the experience of death, existential terror, and the possibility of an afterlife within the bounds of literary realism. In Turgenev’s story ‘Bezhin Meadow’ and Chekhov’s sketch ‘A Dead Body’, Gothic language and imagery create a narrative f…[Read more]

This article reads Chekhov’s play Three Sisters as a response to Ibsen’s Hedda Gabler through an examination of the plays’ possible intertextual relationship. The author discusses the historical context of both plays as well as their textology and staging directions.