Двоякая событийность и двоякая поэтика в «страшных» историях А.С. Пушкина. Готическое как объект пародирования

Abstract

The article examines the role of the Gothic as parody in A.S. Pushkin’s poetics, particularly within the “terrifying stories” genre. Through works like “Hussar”, “The Drowned Man”, “Marko Yakubovich”, and “The Wurdalak”, the study highlights Pushkin’s departure from Western European Romanticism and his engagement with Orthodox Christian cosmology. The concept of dual eventfulness is emphasized, reflecting a narrative structure that merges the real and the irrational. Pushkin blends comedic and dramatic modes with mythopoetic and literary codes, creating a complex, ironic style. Typological analysis reveals conflicts between hero and fate, the transformation of belief, and the role of religious imagination. The parody draws on Orthodox folklore and theological discourse, using rhetorical strategies and intertextual links. Motifs of fear, madness, and humor form a distinctive Gothic parody, enriched by carnival imagery and symbolic reversals. These elements enable a multilayered narrative space where tradition and disbelief interact. Pushkin reinterprets the Gothic through Orthodox realism and literary play, producing an aesthetic of both spiritual depth and formal innovation. Ultimately, his Gothic texts construct a poetic landscape where canonical forms are reshaped through parody, irony, and faith-infused symbolism.