title: Why is it so difficult to film Gogol’s Overcoat
metadata.name: dc.contributor.author
metadata.value: Weisskopf, Mikhail Ja.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2023-02-07T19:27:51Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2023-02-07T19:27:51Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2022-09
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Weisskopf M. Ja. Why is it so difficult to film Gogol’s Overcoat. Vestnik of Saint Petersburg University. Language and Literature. 2022, 19 (3): 533–545. https://doi.org/10.21638/spbu09.2022.308 (In Russian)
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu09.2022.308
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/39056
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: Nikolai Gogol’s prose conceals semantic hidden agenda safely disguised by grotesque fabula
  and metaphorics. We can find the phenomena in Gogol’s early works but this multilevel approach
  is even more elaborately designed in his later period when his attention was occupied
  with St Petersburg material. The Overcoat contains a complex system of codes. Unless a reader
  is aware of them the story may produces on him an illusory impression of a realistic composition
  (indeed, it was even mistaken for a kind of manifesto of Russian realism). Its symbolism
  is hidden, but amenable to reconstruction. The whole plot of Gogol’s story is a woeful parody
  on Christianity. Gogol’s Petersburg here is intentionally presented as a city inhabited by the
  dead. A special place in The Overcoat is occupied by the figure of the tailor Petrovich: it contains
  both a demonic component, supported by many signs of the devil, and an indication of
  the name of the founder of St Petersburg, Peter the Great. A significant role in The Overcoat is
  played by connections with E. T. A. Hoffmann’s Golden Pot and F. M. Dostoevsky’s The Idiot: as
  a copyist, Akakii Akakievich Bashmachkin is involved in mysticism. The deep plan of the story
  is connected with the transition from sign to meaning. But the acquired meaning turns into
  a temptation for the hero: the overcoat leads Akakii into the realm of temptations, awakening
  a previously unknown attraction to external reality. All of this makes it extremely problematic
  to make an adequate film adaptation of The Overcoat.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Language and Literature;Volume 19; Issue 3
metadata.lang: -
metadata.name: dc.subject
metadata.value: N. V. Gogol
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Petersburg Tales
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: film adaptation
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: E. T. A. Hoffmann
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: F. M. Dostoevsky
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Why is it so difficult to film Gogol’s Overcoat
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 14891-Текст статьи-49495-1-10-20221206.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/39056/1/14891-%d0%a2%d0%b5%d0%ba%d1%81%d1%82%20%d1%81%d1%82%d0%b0%d1%82%d1%8c%d0%b8-49495-1-10-20221206.pdf
resources.format: Adobe PDF
resources.size: 659,65 kB