The article is devoted to the analysis of N.V. Gogol’s novel “Viy” as a representation of his philosophical concepts of evil, human nature and society. We analyze its main character, the only philosopher in Gogol’s works. Thomas Brutus finds himself on the intersection of real world and fantastic reality, which makes him horrified. But we can describe this situation in terms of political philosophy, like Hannah Arendt’s concept of totalitarian society. It is not the reality of horror that deprives Thomas Brutus of the speaking ability and breaks his connection with the rest of society. Instead the society itself chooses not to confront obvious evil but to exclude the hero from its own ranks and to ignore his attempts to tell what is happening.
The paper explores the history of public reception of a longstanding friendship between Ivan Andreevich Krylov and Nikolay Ivanovich Gnedich, poets, colleagues, and neighbours. It clarifies this relationship being not a real fact but a specific construct that met a public need of such constituted emotions. The article also demonstrates how Nikolay Gogol accepted and transformed this construct in his Tale of How Ivan Ivanovich Quarrelled with Ivan Nikiforovich.
The opening night of the play «Dead Souls» in the Art Theater, staged by K.S. Stanislavsky, happened on the 28th November of 1932 and became a start- ing point for discussions in several institutions, including Vserosskomdram. The pub- lication of the transcripts of Andrei Bely's lecture on «Dead Souls» (staged by the Art Theater) and the debate on this report brings to light the peculiarities of relationships within the literary community of the time. The materials presented serve to illustrate the work of the Vserosskomdram, its motives and reasonings.