Ukraine in Blackface: Performance and Representation in Gogol'’s Dikan'ka Tales, Book 1

In this article, Roman Koropeckyj and Robert Romanchuk present a Lacanian reading of the preface and “The Fair at Sorochintsy” from Nikolai Gogol’s Evenings on a Farm near Dikan'ka, vol. 1 (1831), viewed through the prism of American blackface minstrelsy. They trace representations of ethnicity and class in Gogol'’s “performance” of Ukraine. Their analysis of the preface demonstrates how Pan'ko’s Ukraine reaches a Russian lowerclass audience through the intervention of the gaze of an Other, an elite nonreader. The self-absenting of this Other opens a space for the audience’s imaginary identification with the Ukrainian minstrel, while structuring this space symbolically. Their analysis of “The Fair” demonstrates how this “opening” creates a fantasy of Ukraine as a world of unbridled sexuality, simultaneously repressed and re-presented by the story’s Russian- language fabula and elegiac “bookends.” The repressed Ukrainian content irrupts, symptomatically, in the story’s epigraphs. Akin to minstrelsy’s “blackening” of American popular culture, the tension between the repressed and the expressed adumbrates the “Ukrainianization” of Russian national culture.