In the following excerpt, Brouwer studies elements of Romanticism and Realism in Turgenev's short stories, suggesting that the author creates a tension between the two styles in his short prose.

In the following excerpt, Worrall analyzes all of Turgenev's plays except A Month in the Country.

In the following essay, Traill discusses elements of the paranormal and the supernatural in Turgenev's fiction.

In the following essay, Frost examines the imagery in “Living Relics,” maintaining that “Turgenev's craftsmanship in weaving a complex network of subtle images merits fuller attention than it has heretofore received.”

In the following essay, Waddington investigates the possible influence of the British author Edward Bulwer-Lytton on Turgenev's fantastical fiction.

In the following essay, Seeley explores the dominant motif of the superfluous man in Turgenev's stories written from 1853 to 1862.

In the following essay, Jackson rejects the unfavorable critical reviews of “Knock … Knock … Knock! …,” calling Turgenev's story one of the strongest in Russian literature.

In the following essay, Smyrniw explores possible sources for Turgenev's representation of treacherous women in his novels.

In the following essay, originally published in 1920, Fisher discusses features found in Turgenev's short stories and novels that reveal the author's experiences and observations.

In the following essay, Briggs examines the importance of dogs in Turgenev's life and literature.

In the following essay, Allen considers Turgenev's Poems in Prose as the appropriate conclusion to a great literary career in an attempt to reassert the author's position in literary history.

In the following essay, Freeborn discusses Turgenev's literary legacy one hundred years after his death.

In the following essay, Seeley traces Turgenev's development as a short story writer through an examination of his early short stories.

In the following excerpt, Knowles discusses Turgenev's novels Smoke and Virgin Soil, both poorly received in Russia but acclaimed by critics elsewhere in the world.

In the following essay, Costlow discusses Turgenev's treatment of female characters, particularly Odintsova, in his most famous novel.

In the following essay, Barta analyzes the role of women in “Faust” and considers the story in relation to Turgenev's critical essay on Goethe's drama Faust.

In the following essay, Barta discusses Turgenev's short story “Faust” in conjunction with the author's 1856 review of a translation of Goethe's Faust.

In the following essay, Costlow explores the concept of attachment in Turgenev's “The Meeting” and Aleksandra Markelova's “In the Work Corner.”

In the following essay, Lowe provides an overview of the critical response to Turgenev's work.

In the following essay, Silbajoris discusses the ways in which the aesthetic principals of Ivan Turgenev inform the realist social critique expressed in his short story collection Sportsman's Notebook.

In the following essay, Gregg investigates the influence of Nathaniel Hawthorne on Turgenev's later short fiction.

In the following essay, Costlow explores the influence of Evgeniia Tur's Antonina on Turgenev's “Neschastnaia.”

In the following essay, Eekman discusses the recurring love theme in Turgenev's short stories as well as his repeated use of first person narrators and framed story-within-a-story structural devices.

In the following essay, Woodward discusses Turgenev's consistent treatment in his novels of characters who are powerless and unable to direct their own lives.

In the following essay, Sheidley argues that the character of Vasily in “Hamlet of the Shchigrovsky District” embodies the Hamletic type described in Turgenev's essay “Hamlet and Don Quixote.”

In the following essay, Johanson examines Turgenev's female characters as realistic representations of contemporary Russian women.

In the essay below, Sayler surveys Turgenev's dramatic output, stressing the realistic aspects of his work.

In the following essay, Dalton finds parallels between Karolina Pavlova's “A Double Life” and Turgenev's “Faust.”

In the following excerpt, Perry analyzes Turgenev's depiction of love in his plays.

In the following excerpt from a work that was first published in 1966, Valency finds Turgenev's plays a mixture of realism and idealism, noting that they demonstrate "a very different realism from the noncommital, 'scientific ' sort, in which the author pointedly refrains from making judgments and taking sides. Turgenev took sides. He left no doubt as to where his sympathies lay. "

In this review, Young offers a mixed evaluation of the Theater Guild presentation of A Month in the Country, arguing that the actors were unable to fully convey the subtleties of Turgenev's characterizations.

In the review below of the Theater Guild production of A Month in the Country, Krutch extols Turgenev 's penetrating psychological portraits of the characters.

The first American performance of A Month in the Country in English was a Theater Guild presentation that premiered on 24 March 1930. In the following assessment, Skinner praises nearly every aspect of that "excellent production."

In the review below, Wyatt declares: "For characterization and acting, A Month in the Country is unex-celled. "

In the following assessment of A Month in the Country, Hutchens argues that the Theater Guild actors significantly enlivened Turgenev's rather diffuse and vague play.