| This analysis explores Nikolai Gogol's utilization of spatial models in his short story "The Carriage" and his epic novel Dead Souls in an attempt to deduce a connection between a character's physical environment and his potential for redemption. These works are unique in that they reflect two distinct periods of a highly formative time in Gogol's theological development. "The Carriage," the earlier published of the two, represents this period's point of departure, whereas Dead Souls conveys the output of Gogol's complex journey.;Employing the insight of Iurii Lotman, this study examines first the dominance of evil in the "static" environments of these two works and then its subordination to "boundless" space in Dead Souls . To replace his dominant model of evil even temporarily, though, Gogol was forced to extend his vision limitlessly, a task that was ultimately more than he could bear. |
