Perception plays a significant role in Gogol's <i>"St Petersburg Tales"</i> written in 1830s. All five senses, and their organs, are invoked--and, most famously, <i>"The Nose"</i> (Hoc) takes centre stage as it detatches itself from poor Kovalyov's face. We present a perceptuo-literary comparative analysis of these Tales, embarking, as did Gogol, from <i>"The Nevsky Prospekt"</i>. Our current study focuses mainly upon the eye. We meet Petrovich, the one-eyed tailor of <i>"The Overcoat"</i>, threading his needle, assisted by motion-parallax. We witness the visual processes of Tchartkoff's colleague in the <i>"The Portrait"</i> where "It was plainly visible how the artist, having imbibed it all from the external world, had first stored it in his mind, and then drawn it thence, as from a spiritual source, into one harmonious, triumphant song." Combining the spirit of both conference and venue, we aim to offer further insights to complement those of our fellow experimentalists and theorists
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