In the following essay, Yermakov offers a psychoanalytic interpretation of “The Nose,” asserting that Gogol's tale is an exploration of sexual desire and repression.

In the following excerpt, originally published in 1981, Woodward contends that “The Nose” describes an allegorical war between the sexes in which the masculine triumphs over the feminine.

In the following essay, Bocharov considers Gogol's concern with noses as a recurring motif in his fiction, particularly in the short story “The Nose.”

In the following essay, originally published in 1928, Bem evaluates the influence of Gogol's “The Nose” on Fyodor Dostoevsky's novella The Double.

In the following essay, Seifrid situates “The Nose” within the context of Russian history.

In the following essay, Shukman asserts that a valid interpretation of “The Nose” must take into account that which is excluded from the narrative through various omissions, digressions, and ellipses.

In the following essay, Spycher discusses sexual symbolism in “The Nose,” asserting that the loss of the nose symbolizes a loss of sexual power.

In the following excerpt, Peace discusses the element of absurdity in “The Nose.”

In the following essay, Merrill discusses elements of the comic-grotesque in both Gogol's original short story “The Nose” and the 1930 operatic adaptation, The Nose.

In the following essay, Bowman surveys the critical reaction to “The Nose” and offers his own interpretation of Gogol's story.

In the following excerpt, Brown maintains that “The Nose” should not be interpreted as a story containing a moral message, but should be understood as a tale which “exists for itself.”

In the following excerpt, Karlinsky views “The Nose” as a work of surrealist fiction.

In the following essay, Oz contends that the various distortions of logic in the telling of “The Nose” represents the garbled logic of Russian bureaucracy.

In the following excerpt, Lindstrom discusses the elements of comic-grotesque and social satire in “The Nose.”

In the following excerpt, Rowe asserts that “The Nose” represents a reversal of the realms of waking and sleeping, reality and dream.

In the following excerpt, Fanger asserts that “The Nose” is a meta-narrative that explores the creative act of fiction writing.