In the following essay, Debreczeny discusses innovative developments in the narrative technique of Pushkin's prose fiction.

In the following essay, Briggs presents a critical survey of Pushkin's works, concentrating on Pushkin's relation to romanticism.

In the following essay, Debreczeny explores early commentary on Pushkin's works in relation to the evolution of Russian literary criticism.

In the following essay, Grossman views the centrality of the anecdote to Pushkin's prose and poetry.

In the following essay, Karlinsky characterizes Pushkin's works as "the culmination of Russian eighteenth-century neoclassicism."

In the following essay, Bayley places Pushkin's tales within a biographical context and explains the difficulty Westerners often have in detecting the originality of his works.

In the following excerpt, Vickery studies Pushkin's mature lyric poetry.

In the following essay, Emerson deploys Freudian analysis to interpret and explore the thematic significance of Grinev's dream in The Captain's Daughter.

In the following essay, Sandier analyzes Pushkin's "André Chénier, " and observes that the poem is indicative of a significant development in Pushkin's authorial voice.

In the following essay, Shaw argues that "The Shot" offers two points of view—youth and maturity—and that Pushkin does not choose a privileged vantage for the reader.

In the following essay, Mersereau analyzes Pushkin's prose fiction—particularly the Tales of Belkin—tracing influences of the tales and viewing them as part of a story cycle.

In the following essay, Bocharov examines Pushkin's narrative technique and use of differing modes of speech in The Queen of Spades.

In the following essay, Debreczeny considers the place of Captain Mironov's tragic execution in the otherwise comic The Captain's Daughter.

In the following essay, Karpiak surveys twentieth-century thematic criticism of Pushkin's dramas The Covetous Knight, Mozart and Salieri, and The Stone Guest.

In the following essay, Shklovski praises Pushkin's prose and describes his historical narratives of Russian life.

In the following essay, originally published in 1972, Monter probes the thematic unity of Pushkin's "Little Tragedies" in their concern with "the recognition of love and the recognition of death."

In the following excerpt, Vickery presents an overview of Pushkin's short fiction and concludes that his integral contribution to the Russian short story lies in his use of narrative technique rather than in the content of his writings.

In the following essay, Barker argues that Hermann's actions in The Queen of Spades are the result of an unresolved Oedipal fixation.

In the following essay, Debreczeny places Pushkin's prose within the context of European-influenced Russian fiction and suggests that even Pushkin's incomplete prose fragments were influential.

In the following essay, originally published in 1832, Gogol lauds Pushkin as Russia's national poet.

In the following essay, originally published in 1984, Pritchett briefly surveys developments in Pushkin 's short fiction, characterizing his early prose style as "expository" and "scholarly," but praising his later works, especially The Queen of Spades.

In the following essay, Gide notes that the "clarity, balance, [and harmony" of Pushkin's prose works set them apart from other Russian fiction of the same period.]

In the following review, Conquest observes that Pushkin "did not produce a literature of extreme situations, " but rather explored "the circumstances of man as a passive object. "