Емансипаційні тенденції в українській жіночій прозі кінця ХІХ – початку ХХ століть

Abstract

У дисертації на прикладі прозової, критичної та епістолярної спадщини жінок-письменниць Олени Пчілки, Наталії Кобринської, Ольги Кобилянської, Лесі Українки, Дніпрової Чайки, Уляни Кравченко та ін. розкривається соціокультурна ситуація кінця ХІХ – початку ХХ століть з гендерної перспективи. З’ясовується співвіднесеність емансипаційного руху, модернізаційних процесів у мистецтві та актуалізації жіночої творчості. Письменниці пропонують нові координати дискурсу, де жінка презентується в парадигмі “нового” героя, який є носієм авторської свідомості. На широкому текстуальному матеріалі простежується внутрішня еволюція емансипованої героїні. Такий персонаж репрезентується як дихотомічна особистість. Розроблено періодизацію феміністичної літературної традиції та виявлено специфічні риси жіночого письма.

A gender aspect of social and cultural situation at the turn of XIX and XX centuries in Ukrainian literature is determined on the materials of creative works by Olena Pchilka, Natalia Khobryns’ka, Olga Khobylyans’ka, Lesya Ukrainka, Dniprowa Chaika, Ulyana Khrawchenko and others; the investigate focus is on the phenomena of intense and broadly spreaded women creative activity. Having engaged a number of critical researches written during the long period the author analyses some characteristics of reception of women-writers works. The critical discourse of women works interprete to be an original object. Critics researching the problem of women writings put an accent on acquaintances and consonance of their activity and feminist movement, some of them consider a new heroine theme, others describe some features of women writing manner (éscriture). The noteworthy quality of creative process of the women-writers is retraced. So it is revealed that reception of their works grounds also social factors, for example public judgment of emancipation in ordinary life, and psychological non-compatibility women-authors with male-critics determines the most important parameter of negative reception of women works by contemporaries, and many women-writers become famous under male pseudonymes (pen-names). The pattern teacher-pupil for relationship of male-critic and femine-writer, as it is stated, dominates. Friendship among women-writers is compansation in such situation. The author proposes classification of native intellectual feminist tradition after famous E.Showalter’s ckheme: feminine phase – creative works of Marko Wowchok; feminist phase – works of Olena Pchilka, Natalia Khobryns’ka, Olga Khobylyans’ka, Yevgenia Yaroshyns’ka, Lyubov Yanows’ka, Ulyana Khrawchenko and others; female phase – creative works of Lesya Ukrainka. Marko Wowchok in her works tries to imitate and subordinate to dominating forms of culture. But she has shift idea of women emancipation on top of her workings. The idea gets advance continuing in activity of Olena Pchilka, Natalia Khobryns’ka and others. The feminist phase is categorized as a protest against masculine tradition, and as the struggle for equal human rights of man and female, and as formation of women organization. In dissertation thorough analyse of this phase of intellectual feminism is done on hypothetical and textual levels. The next female phase is recognized as an assertion of women value and ethics in social and cultural fields. The most serious intrinsic worth of emancipation reveal in conceptions and images of Lesya Ukrainka. It is suppose that actualization of women writings at the turn of XIX and XX centuries close relates with social and cultural situation in Ukraine and in Europe. The call to emancipate of man is the main conception in works of artists of fin de siecle. A social idea of women liberation deeply reflexes in literature and public speeches of Ukrainian women writers. The special feature of native intellectual feminism is an engagement in nationalism (the ideology of fighting for independence of the people). Women activities correlate with modernization and modernism in art. The analizing textual materials demonstrate that in their writings they try to renew aesthetic paradigme of traditinal discourse. It reveals in the idea of “new” hero, who in many cases is woman. Emancipating tendencies of that time influence and focus in conception of protagonist; she is a projection of author outlook. It could observe some traits of inner evolution of such figure in aspect of overcoming of gender stereotypes. At the beginning woman mainly conquers the male space of activities; she takes study for personal realization (“Towaryshky (Compainions)” of Olena Pchilka, “Holos sertsya (Voice of Heart)” of Ulyana Khrawchenko, “Perekhynchyky (Turncoats)” of Yevgenia Yaroshyns’ka, “Duch shasu (Zeit Geist)” of Natalia Khobryns’ka). But soon emancipation tells to become a Person and to realize as Woman. So the woman-protagonist is a dichotomous personal; it’s a main characteristic of modernist heroine (“Niobe” of Olga Khobylyans’ka, “Dwa dny z zhyttya (Two Days from the Life)” and “Tajna nashoyi pryntsesy (Our Princess’s Secret)” of Lyubov Yanows’ka, “Rozmowa (A Conversation)” of Lesya Ukrainka, “A duch peremozhe kolys’ (And the Spirit Would Win)” of Natalia Romanovych-Tkachenko). Destroying of gender stereotype and emancipation are intepreted in different ways: on the one hand the emancipation is represented to lead to women affirm as a personality; and on the other hand its result is double load of cares and duties. The author compares women-writers fiction and works of Iwan Franko, Iwan Nechuj-Levytskyj, and Osyp Makhowej about some problem with women liberation; in such a way the distinction in potraying of emancipation constitute. The character of modelling of mother figure reveals the controvercial of artists’ awareness. For modernistic heroine motherhood is not sufficiency; she tries to realize personally and in society system. Women-writers prefer heroine of elite classes (siecles), heroine-artist. As peasant heroine appears women-writers focus on tragic fate of women. Music images and allegory figures are also under the influence of emancipating ideology.

В диссертации на примере прозаического, критического и эпистолярного наследия женщин-писательниц Олены Пчилки, Натальи Кобрынской, Ольги Кобылянской, Леси Украинки, Днипровой Чайки, Ульяны Кравченко и др. раскрывается социокультурная ситуация конца ХІХ – начала ХХ веков по гендерной перспективе. Объясняется соотношение эмансипационного движения, модернистских процессов в искусстве и актуализации женской прозы. Писательницы предлагают новые координаты дискурса, где женщина презентуется в парадигме “нового” героя, который является носителем авторского сознания. На широком текстуальном материале отслеживается внутренняя эволюция эмансипированной героини. Этот персонаж репрезентируется как дихотомическая личность. Разработана периодизация феминистической литературной традиции и определены специфические черты женского письма.