This article explores the ideological implications of the Gothic mode in Panteleimon Kulish's first novel Mikhailo Charnyshenko, or Little Russia Eighty Years Ago (1843). I show that the multiple Gothic tropes employed in the novel—from Walter Scottian ruins and towers to exotic demonic villains, uncanny ethnic Others, and supernatural phantoms—produce an intricate play of temporalities, identities, and allegiances that ultimately create a highly ambivalent vision of the Ukrainian heroic past as both an object of Romantic nostalgia and a dark period of chaos overcome by the country's incorporation into the Russian empire. Rather than dismissing Kulish's engagement with the Gothic as a tribute to the fashionable western trend, I argue that this mode serves as a conduit to some of the work's most pressing ideological and historical concerns and ultimately yields a more nuanced insight into the author's complex position as a Ukrainian writer in the Russian empire.

中文翻译：

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八十年过去了：Panteleimon Kulish 的哥特式乌克兰

本文探讨了 Panteleimon Kulish 的第一部小说中哥特式模式的意识形态含义米哈伊洛·查尔尼申科， 要么八十年前的小俄罗斯（1843 年）。我展示了小说中使用的多种哥特式比喻——从沃尔特·斯科特的废墟和塔楼到异国情调的恶魔恶棍、不可思议的种族他人和超自然的幽灵——产生了一种错综复杂的时间、身份和忠诚，最终创造了一个高度矛盾的愿景乌克兰英雄的过去既是浪漫主义怀旧的对象，也是该国并入俄罗斯帝国所克服的黑暗混乱时期。我并没有将库利什与哥特式的接触视为对西方时尚潮流的致敬，而是认为这种模式是通向该作品中一些最紧迫的意识形态和历史问题的渠道，并最终对作者的复杂立场产生了更细致入微的见解。俄罗斯帝国的乌克兰作家。