Title: toward the problem of narrative performance in nikolai gogol’s vechera na khutore bliz dikanki (evenings on a farm near dikanka).

Content Provider	CiteSeerX
Author	Ilchuk, Yuliya
Abstract	In recent studies of Gogol, the narrative structure of Vechera (1831-1832) has been analyzed in terms of the opposition between its two main narrators, Makar Nazarovich, the gentleman (“panich”) who represents a Russified Ukrainian, and Foma Grigorievich, the local Dikan’ka sexton who has been described as the personification of “unadulterated and self-confident Ukrainianness ” (Bojanowska 47). The persona of Rudy Panko has been interpreted within this scheme as a kind of superstructure that cements the heterogeneous stories and mediates between the two conflicting viewpoints. However, this interpretation cannot be applied to Book Two because neither this opposition nor Panko’s narrative voice appears there. The fact that Panko had announced that he himself would become a “thing of the past ” in the preface to Book Two has been taken as Gogol’s pronouncement of the unviability of the Ukrainian culture and, consequently, as marking the author’s own ritual “Russianization ” (Grabovych, Koropeckyj & Romanchuk). In contrast, this paper considers the narrative act in Gogol’s Vechera as being culturally performative, that is, as one that does not presuppose a subject, but rather constitutes it through the very act of narrating. In particular, I will focus on the narrative performance in “The Terrible
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Subject Keyword	Narrative Performance Bliz Dikanki Nikolai Gogol Recent Study Koropeckyj Romanchuk Makar Nazarovich Rudy Panko Narrative Voice Self-confident Ukrainianness Foma Grigorievich Heterogeneous Story Narrative Structure Ukrainian Culture Narrative Act Gogol Vechera Local Dikan Ka Sexton Main Narrator Russified Ukrainian Conflicting Viewpoint Interpretation Cannot Ritual Russianization
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