ɌȼɈɊɑȿɋɌȼɈ ɆȺɊɂɇɕ ɐȼȿɌȺȿȼɈɃ ȼ ɄɈɇɌȿɄɋɌȿ ȽȿɇȾȿɊɇɕɏ ɂɋɋɅȿȾɈȼȺɇɂɃ
MARINA TSVETAEVA’S OEUVRE IN THE CONTEXT OF GENDER STUDIES
ȺȽɇȿɒɄȺ ɏɊɕɇɕɄ
ABSTRACT. This article is an attempt to look at Marina Tsvetaeva’s literary output in the context of gender studies. The following aspects are briefly discussed: a woman as a writer, a woman-artist defending her right to create, a woman telling/writing her story, gender performance, contravention of the gender role, and the apocryphal writing strategy. The basic material for the text are: On a Red Steed (1921), The Tsar-Maiden (1922), A Hero of Labour (1925).
Agnieszka Hrynyk, Uniwersytet im. Adama Mickiewicza w Poznaniu, PoznaĔ – Polska.
Ɋɭɛɟɠ XIX ɢ XX ɜɟɤɨɜ, ɚɫɫɨɰɢɢɪɭɸɳɢɣɫɹ ɫ ɜɫɩɥɟɫɤɨɦ ɤɚɤ ɪɭɫɫɤɨɣ ɥɢɬɟ-ɪɚɬɭɪɵ, ɬɚɤ ɢ ɤɭɥɶɬɭɪɵ ɜ ɰɟɥɨɦ, ɡɚɧɢɦɚɟɬ ɨɫɨɛɨɟ ɦɟɫɬɨ ɜ ɪɚɡɜɢɬɢɢ ɠɟɧɫɤɨɝɨ ɬɜɨɪɱɟɫɬɜɚ, ɱɬɨ – ɧɟɫɨɦɧɟɧɧɨ – ɫɜɹɡɚɧɨ ɫ ɢɧɬɟɧɫɢɜɧɵɦɪɚɡɜɢɬɢɟɦ ɠɟɧɫɤɨɝɨ ɞɜɢɠɟɧɢɹ ɧɚ ɜɫɟɯ ɭɪɨɜɧɹɯ. Ɇɚɫɫɨɜɵɣ ɩɪɢɯɨɞ ɜ ɥɢɬɟɪɚɬɭɪɭ ɠɟɧɳɢɧ (ɜ ɬɨɦ ɱɢɫɥɟ ɧɟ ɬɨɥɶɤɨ ɩɢɫɚɬɟɥɶɧɢɰ, ɧɨ ɬɚɤɠɟ ɢɡɞɚɬɟɥɟɣ, ɩɟɪɟɜɨɞɱɢɤɨɜ, ɤɪɢɬɢɤɨɜ), ɨɬɤɪɵɬɨ ɡɚɹɜɢɜɲɢɯ ɨ ɫɜɨɟɦ ɩɪɚɜɟ ɞɚɜɚɬɶ „ɠɟɧɫɤɢɟ ɨɩɪɟɞɟɥɟɧɢɹ ɠɢɡɧɢ”, ɝɨɜɨ-ɪɢɬɶ ɨɬ ɥɢɰɚ ɠɟɧɳɢɧ, „ɛɪɨɫɢɥ ɜɵɡɨɜ ɩɚɬɪɢɚɪɯɚɥɶɧɨɣ ɤɭɥɶɬɭɪɟ, ɨɛɪɟɤɚɸɳɟɣ ɠɟɧɳɢɧ ɧɚ ɬɜɨɪɱɟɫɤɨɟ ɛɟɡɦɨɥɜɢɟ”1 . ȼɵɞɜɢɧɭɜ ɡɧɚɱɢɬɟɥɶɧɨɟ ɤɨɥɢɱɟɫɬɜɨ ɩɢ-ɫɚɬɟɥɶɧɢɰ ɫɦɟɥɨ ɜɨɲɟɞɲɢɯ ɜ ɫɮɟɪɭ, ɤɨɬɨɪɚɹ ɞɨ ɫɢɯ ɩɨɪ ɫɱɢɬɚɥɚɫɶ ɢɫɤɥɸɱɢ-ɬɟɥɶɧɨ ɦɭɠɫɤɨɣ, ɥɢɬɟɪɚɬɭɪɚ ɋɟɪɟɛɪɹɧɨɝɨ ɜɟɤɚ ɩɪɟɞɫɬɚɜɥɹɟɬ ɫɨɛɨɣ ɮɟɧɨɦɟɧ, ɤɨɬɨɪɵɣ ɡɚɫɥɭɠɢɜɚɟɬ ɜɧɢɦɚɧɢɹ. ɉɨɜɵɲɟɧɢɸ ɢɧɬɟɪɟɫɚ ɫɨɜɪɟɦɟɧɧɵɯ ɢɫɫɥɟɞɨɜɚɬɟɥɟɣ ɤ ɫɨɡɧɚɬɟɥɶɧɨɦɭ ɜɨɫ-ɩɪɢɹɬɢɸ ɠɟɧɫɤɨɣ ɥɢɬɟɪɚɬɭɪɧɨɣ ɬɪɚɞɢɰɢɢ, ɜ ɪɚɦɤɚɯ ɢɯ ɫɨɛɫɬɜɟɧɧɵɯ ɤɭɥɶɬɭɪ, ɫɩɨɫɨɛɫɬɜɭɟɬ ɢ ɫɨɜɪɟɦɟɧɧɚɹ ɢɡɞɚɬɟɥɶɫɤɚɹ ɢ ɩɟɪɟɜɨɞɱɟɫɤɚɹ ɩɪɚɤɬɢɤɚ, ɨɫɭɳɟɫɬ-ɜɥɹɸɳɚɹ ɩɟɪɟɢɡɞɚɧɢɹ ɩɪɨɢɡɜɟɞɟɧɢɣ ɚɜɬɨɪɨɜ-ɠɟɧɳɢɧ ɪɭɛɟɠɚ XIX–XX ɜɜ.2 ________________ 1Ɇ.ȼ. Ɇ ɢ ɯ ɚ ɣ ɥ ɨ ɜ ɚ, ɉɢɫɚɬɟɥɶɧɢɰɵ ɋɟɪɟɛɪɹɧɨɝɨ ɜɟɤɚ ɜ ɥɢɬɟɪɚɬɭɪɧɨɦ ɤɨɧɬɟɤɫɬɟ ɷɩɨɯɢ, „ȼɟɫɬɧɢɤ Ɇɨɫɤɨɜɫɤɨɝɨ ɍɧɢɜɟɪɫɢɬɟɬɚ”, cɟɪ. 9: „Ɏɢɥɨɥɨɝɢɹ” 2001, ʋ 1, ɫ. 43. 2Ʉɪɨɦɟ ɪɭɫɫɤɢɯ ɢɡɞɚɧɢɣ ɫɬɨɢɬ ɬɚɤɠɟ ɨɛɪɚɬɢɬɶ ɜɧɢɦɚɧɢɟ ɧɚ ɩɨɜɵɲɟɧɧɵɣ ɢɧɬɟɪɟɫ ɤ ɬɜɨɪɱɟɫɬɜɭ ɐɜɟɬɚɟɜɨɣ ɧɚ ɚɧɝɥɨɹɡɵɱɧɨɦ ɢɡɞɚɬɟɥɶɫɤɨɦ ɪɵɧɤɟ. ɋɪɟɞɢ ɦɧɨɝɢɯ ɩɟɪɟɜɨɞɱɟɫɤɢɯ ɬɪɭɞɨɜ ɫɬɨɢɬ ɧɚɡɜɚɬɶ ɮɚɦɢɥɢɸ ɗ. Ɏɟɣɧɲɬɚɣɧ, ɤɨɬɨɪɚɹ ɜ 2009 ɝ. ɢɡɞɚɥɚ ɫɥɟɞɭɸɳɟɟ ɫɨɛɪɚ-ɧɢɟ ɫɬɢɯɨɬɜɨɪɟɧɢɣ ɐɜɟɬɚɟɜɨɣ (ɩɟɪɜɨɟ – ɨɬ 1961 ɝ., ɞɜɚɠɞɵ ɢɡɞɚɜɚɥɨɫɶ ɜ 1971 ɢ 1987,
ɜɬɨ-ɋɜɨɟ ɜɥɢɹɧɢɟ ɨɤɚɡɚɥɨɫɶ ɬɨɠɟ ɩɨɹɜɥɟɧɢɟ ɢ ɲɢɪɨɤɨɟ ɪɚɫɩɪɨɫɬɪɚɧɟɧɢɟ ɧɨɜɵɯ ɦɟɬɨɞɨɥɨɝɢɱɟɫɤɢɯ ɧɚɩɪɚɜɥɟɧɢɣ, ɬɚɤɢɯ ɤɚɤ ɮɟɦɢɧɢɫɬɫɤɚɹ ɥɢɬɟɪɚɬɭɪɧɚɹ ɤɪɢɬɢ-ɤɚ, ɬɟɨɪɢɹ ɝɟɧɞɟɪ ɢ ɤɜɢɪ ɢ ɩɨɫɬɤɨɥɨɧɢɚɥɶɧɵɟ ɢɫɫɥɟɞɨɜɚɧɢɹ. ɉɪɟɞɥɚɝɚɟɦɵɣ ɜ ɧɚɫɬɨɹɳɟɣ ɫɬɚɬɶɟ ɩɨɞɯɨɞ ɡɚɤɥɸɱɚɟɬɫɹ ɜ ɨɛɪɚɳɟɧɢɢ ɤ ɥɢ-ɬɟɪɚɬɭɪɟ ɧɚɱɚɥɚ XX ɫɬɨɥɟɬɢɹ – ɚ ɢɦɟɧɧɨ ɤ ɯɭɞɨɠɟɫɬɜɟɧɧɨɦɭ ɧɚɫɥɟɞɢɸ Ɇɚɪɢ-ɧɵ ɂɜɚɧɨɜɆɚɪɢ-ɧɵ ɐɜɟɬɚɟɜɨɣ – ɜ ɤɨɧɬɟɤɫɬɟ ɝɟɧɞɟɪɨɥɨɝɢɢ, ɬ.ɟ. ɦɟɬɨɞɨɥɨɝɢɱɟɫɤɨɝɨ ɧɚɩɪɚɜɥɟɧɢɹ, ɜɨɡɧɢɤɲɟɝɨ ɜ ɝɭɦɚɧɢɬɚɪɧɵɯ ɧɚɭɤɚɯ ɧɚ ɩɪɨɬɹɠɟɧɢɢ ɬɪɟɯ ɩɨɫɥɟɞ-ɧɢɯ ɞɟɫɹɬɢɥɟɬɢɣ XX ɜɟɤɚ3 . ɏɨɬɹ ɩɨɩɵɬɤɢ ɨɫɨɡɧɚɬɶ ɬɜɨɪɱɟɫɬɜɨ ɚɜɬɨɪɚ ɉɢɫɶɦɚ ɤ Ⱥɦɚɡɨɧɤɟ ɫ ɜɵɲɟɭɩɨɦɹɧɭɬɵɯ ɩɨɡɢɰɢɣ ɭɠɟ ɩɪɟɞɩɪɢɧɢɦɚɥɢɫɶ ɫɨɜɪɟɦɟɧɧɵɦɢ ɢɫɫɥɟɞɨɜɚɬɟɥɹɦɢ, ɩɨɡɜɨɥɹɹ ɜ ɪɹɞɟ ɫɥɭɱɚɟɜ ɩɨɥɭɱɢɬɶ ɨɱɟɧɶ ɢɧɬɟɪɟɫɧɵɟ ɢɬɨɝɢ, ɨɧɢ, ɬɟɦ ɧɟ ɦɟɧɟɟ, ɢɦɟɸɬ ɮɪɚɝɦɟɧɬɚɪɧɵɣ ɯɚɪɚɤɬɟɪ4 . ȼ ɪɟɡɭɥɶɬɚɬɟ ɜɨɩɪɨɫ ɨ ɜɨɡ-ɦɨɠɧɨɫɬɢ ɢɡɭɱɟɧɢɹ ɝɟɧɞɟɪɧɨɣ ɩɪɨɛɥɟɦɚɬɢɤɢ ɜ ɯɭɞɨɠɟɫɬɜɟɧɧɵɯ ɬɟɤɫɬɚɯ ɐɜɟɬɚ-ɟɜɨɣ ɧɟ ɞɨɠɞɚɥɫɹ ɤɨɦɩɥɟɤɫɧɨɝɨ ɨɛɫɭɠɞɟɧɢɹ. ɉɨɷɬɨɦɭ ɫɱɢɬɚɸ ɰɟɥɟɫɨɨɛɪɚɡɧɵɦ ɧɚɱɟɪɬɢɬɶ ɫɨɜɨɤɭɩɧɨɫɬɶ ɫɜɨɣɫɬɜ ɢ ɨɫɨɛɟɧɧɨɫɬɟɣ oeuvre ɐɜɟɬɚɟɜɨɣ, ɫɩɨɫɨɛ-ɫɬɜɭɸɳɢɯ ɜɵɹɜɥɟɧɢɸ ɢɧɬɟɪɟɫɭɸɳɟɣ ɦɟɧɹ ɩɪɨɛɥɟɦɚɬɢɤɢ5 . ɂɬɚɤ, ɦɨɟ ɜɧɢɦɚ-ɧɢɟ ɛɭɞɟɬ ɚɤɰɟɧɬɢɪɨɜɚɬɶɫɹ ɧɚ ɫɥɟɞɭɸɳɢɯ ɜɨɩɪɨɫɚɯ: • ɠɟɧɳɢɧɚ-ɩɢɫɚɬɟɥɶɧɢɰɚ; • ɯɭɞɨɠɧɢɰɚ, ɫɬɪɟɦɹɳɚɹɫɹ ɡɚɳɢɬɢɬɶ ɫɜɨɟ ɩɪɚɜɨ ɧɚ ɬɜɨɪɱɟɫɬɜɨ; • ɠɟɧɳɢɧɚ, ɩɢɲɭɳɚɹ ɚɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɢɣ ɬɟɤɫɬ; • ɩɟɪɮɨɪɦɚɬɢɜɧɨɫɬɶ ɝɟɧɞɟɪɚ; • ɩɨɷɬɟɫɫɚ, ɧɚɪɭɲɚɸɳɚɹ ɧɨɪɦɭ, ɝɟɧɞɟɪɧɭɸ ɪɨɥɶ; • ɫɬɪɚɬɟɝɢɢ ɩɢɫɶɦɚ – ɚɩɨɤɪɢɮɚ. ________________
ɪɨɟ – ɨɬ 1976 ɝ.): M. T s v e t a e v a, Bride of Ice. New Selected Poems, ɩɟɪ. E. Feinstein, Manchester 2009. Ⱥɧɚɥɨɝɢɱɧɚɹ ɩɟɪɟɜɨɞɱɟɫɤɚɹ ɢɥɢ ɢɡɞɚɬɟɥɶɫɤɚɹ ɩɪɚɤɬɢɤɚ ɧɟ ɨɫɭɳɟɫɬɜɥɹɟɬɫɹ ɜ ɉɨɥɶɲɟ.
3Ɉɩɪɟɞɟɥɹɸɳɢɦɢ ɛɭɞɭɬ ɡɧɚɤɨɜɵɟ ɹɜɥɟɧɢɹ: ɜɵɫɬɭɩɥɟɧɢɟ ɧɚ ɩɫɢɯɨɚɧɚɥɢɬɢɱɟɫɤɨɦ
ɤɨɧ-ɝɪɟɫɫɟ Ɋ. ɋɬɨɥɥɟɪɚ ɜ 1964 ɝ. ɢ ɜɵɩɭɫɤ ɟɝɨ ɤɧɢɝɢ Sex and Gender: On the Development of
Masculinity and Femininity (1968); ɜɵɩɭɫɤ ɤɧɢɝ: K. Millet, Sexual Politics (1970), A. Oakley,
Sex, Gender and Society (1972), M. Foucault, The History of Sexuality (1976), N. Chodorow The
Reproducing of Mothering: Psychoanalysis and Sociology of Gender (1978), J. Butler, Gender
Trouble: Feminism and the Subversion of Identity (1990). ȼ 1991 ɝ. Ɍ. De Lauretis ɜɜɨɞɢɬ ɜ ɞɢɫ-ɤɭɪɫ ɩɨɧɹɬɢɟ „ɤɜɢɪ”. ɉɨɞɪɨɛɧɟɟ ɫɦ.: H. ɉ ɭ ɲ ɤ ɚ ɪ ɟ ɜ ɚ, Ƚɟɧɞɟɪɧɚɹ ɬɟɨɪɢɹ ɢ ɢɫɬɨɪɢɱɟɫɤɨɟ ɡɧɚɧɢɟ, ɋɚɧɤɬ-ɉɟɬɟɪɛɭɪɝ 2007; A. B u r z y Ĕ s k a, FEMINIZM, GENDER i QUERR, [w:]
Teo-rie literatury XX wieku, red. A. BurzyĔska, M.P. Markiewicz, Kraków 2006, ɫ. 389–473.
4ɋɪ.: A.W. D i n e g a, A Russian Psyche. The Poetic Mind of Marina Tsvetaeva, Wisconsin 2001; L. F e i l e r, Marina Tsvetaeva. The Double Beat of Heaven and Hell, Durham–London 1994; M. S t a d t e r F o x, The Troubling Play of Gender. The Phædra Dramas of Tsvetaeva, Yourcenar, and H.D., Susquehanna–London 2001; ɂ.ɉ. Ɂ ɚ ɣ ɰ ɟ ɜ ɚ, Ƚɟɧɞɟɪɧɨɟ ɫɜɨɟɨɛɪɚɡɢɟ ɢɧɞɢɜɢɞɭɚɥɶɧɵɯ ɞɢɫɤɭɪɫɨɜ ɝɟɪɨɟɜ ɬɪɚɝɟɞɢɢ Ɇɚɪɢɧɵ ɐɜɟɬɚɟɜɨɣ „Ⱥɪɢɚɞɧɚ”, [ɜ:] Ʌɢɤɢ Ɇɚ-ɪɢɧɵ ɐɜɟɬɚɟɜɨɣ, ɪɟɞ. ɂ.ɘ. Ȼɟɥɹɤɨɜɚ, Ɇɨɫɤɜɚ 2006, ɫ. 265–280. 5ɉɨɫɤɨɥɶɤɭ ɦɨɢ ɡɚɦɟɱɚɧɢɹ ɨɬɧɨɫɹɬɫɹ ɧɟ ɬɨɥɶɤɨ ɤ ɬɟɨɪɢɢ ɝɟɧɞɟɪɚ, ɧɨ ɢ ɤ ɮɟɦɢɧɢɫɬ-ɫɤɨɣ ɥɢɬɟɪɚɬɭɪɧɨɣ ɤɪɢɬɢɤɟ, ɚ ɬɚɤɠɟ ɤ ɬɟɨɪɢɢ ɤɜɢɪ (ɬɚɤ ɤɚɤ ɜɫɟ ɷɬɢ ɧɚɩɪɚɜɥɟɧɢɹ ɫɜɹɡɚɧɵ ɞɪɭɝ ɫ ɞɪɭɝɨɦ), ɜ ɪɚɦɤɚɯ ɧɚɫɬɨɹɳɟɣ ɫɬɚɬɶɢ ɹ ɪɟɲɢɥɚ – ɧɟɦɧɨɝɨ ɢɫɤɭɫɫɬɜɟɧɧɨ – ɨɝɪɚɧɢɱɢɬɶ-ɫɹ ɨɛɫɭɠɞɟɧɢɟɦ ɩɪɨɛɥɟɦɵ ɜ ɤɨɧɬɟɤɫɬɟ ɝɟɧɞɟɪɨɥɨɝɢɢ.
ɇɟɤɨɬɨɪɵɟ ɢɡ ɧɢɯ ɹ ɪɟɲɢɥɚ ɨɛɫɭɞɢɬɶ ɛɨɥɟɟ ɩɨɞɪɨɛɧɨ, ɨɫɬɚɥɶɧɵɟ ɬɨɥɶɤɨ ɡɚɬɪɨɧɭɬɶ ɢ ɨɬɦɟɬɢɬɶ ɢɯ ɡɧɚɱɢɦɨɫɬɶ ɢ ɩɥɨɞɨɬɜɨɪɧɵɣ, ɫ ɬɨɱɤɢ ɡɪɟɧɢɹ ɝɟɧɞɟɪɨ-ɥɨɝɢɢ, ɯɚɪɚɤɬɟɪ. ɉɨɹɜɥɟɧɢɟ ɧɚ ɪɭɛɟɠɟ XIX ɢ XX ɜɟɤɨɜ – ɩɪɢɱɟɦ ɫɪɚɡɭ ɢ ɜ ɦɚɫɫɤɭɥɶɬɭɪ-ɧɨɦ ɢ ɷɥɢɬɚɪɦɚɫɫɤɭɥɶɬɭɪ-ɧɨɦ ɫɥɨɹɯ ɤɭɥɶɬɭɪɵ – „ɩɪɨɮɟɫɫɢɨɧɚɥɶɧɵɯ ɥɢɬɟɪɚɬɨɪɨɜ-ɠɟɧɳɢɧ” ɜ ɧɚɫɬɨɹɳɟɣ ɥɢɬɟɪɚɬɭɪɟ Ɋɨɫɫɢɢ ɨɛɵɱɧɨ ɫɜɹɡɵɜɚɟɬɫɹ ɫ ɢɦɟɧɚɦɢ Ɇɚɪɢɧɵ ɐɜɟ-ɬɚɟɜɨɣ ɢ Ⱥɧɧɵ Ⱥɯɦɚɬɨɜɨɣ. ɋɬɨɢɬ ɨɞɧɚɤɨ ɩɨɦɧɢɬɶ, ɱɬɨ ɨɛɟ ɩɨɷɬɟɫɫɵ ɛɵɥɢ ɞɚ-ɥɟɤɨ ɧɟ ɩɟɪɜɵɦɢ ɠɟɧɳɢɧɚɦɢ ɜ ɢɫɬɨɪɢɢ ɪɭɫɫɤɨɣ ɥɢɬɟɪɚɬɭɪɵ. ɗɬɨ ɫɬɟɪɟɨɬɢɩ-ɧɨɟ ɭɛɟɠɞɟɧɢɟ ɩɨɞɞɟɪɠɢɜɚɟɬɫɹ ɡɚɦɚɥɱɢɜɚɧɢɟɦ ɨ ɬɜɨɪɱɟɫɬɜɟ ɯɨɬɹ ɛɵ Ⱥɧɧɵ Ȼɭɧɢɧɨɣ ɢɥɢ Ʉɚɪɨɥɢɧɵ ɉɚɜɥɨɜɨɣ6 , ɱɶɢ ɩɪɨɢɡɜɟɞɟɧɢɹ ɧɟ ɬɨɥɶɤɨ ɯɪɨɧɨɥɨɝɢ-ɱɟɫɤɢ ɩɪɟɞɲɟɫɬɜɨɜɚɥɢ ɰɜɟɬɚɟɜɫɤɢɦ ɢ ɚɯɦɚɬɨɜɫɤɢɦ, ɧɨ ɬɚɤɠɟ ɹɜɥɹɥɢɫɶ ɫɜɨɟɝɨ ɪɨɞɚ ɨɪɢɟɧɬɢɪɨɦ ɞɥɹ ɩɢɲɭɳɢɯ ɠɟɧɳɢɧ. Ɍɟɦ ɧɟ ɦɟɧɟɟ, ɜɩɨɥɧɟ ɩɪɚɜɨɦɟɪɧɨ ɭɬɜɟɪɠɞɚɬɶ, ɱɬɨ ɞɨ ɬɨɝɨ ɩɟɪɟɥɨɦɧɨɝɨ ɦɨɦɟɧɬɚ ɫɭɳɟɫɬɜɨɜɚɜɲɚɹ ɫ ɜɨɫɟɦɧɚɞɰɚ-ɬɨɝɨ ɜɟɤɚ ɠɟɧɫɤɚɹ ɥɢɬɟɪɚɬɭɪɚ ɫɱɢɬɚɥɚɫɶ ɩɪɟɢɦɭɳɟɫɬɜɟɧɧɨ ɫɚɥɨɧɧɨɣ ɢ ɧɢɤɬɨ ɧɟ ɪɚɫɫɦɚɬɪɢɜɚɥ ɟɟ ɜɫɟɪɶɟɡ, ɚ „ɥɢɲɶ ɤɚɤ ɢɡɹɳɧɨɟ ɡɚɧɹɬɢɟ ɞɥɹ ɨɛɪɚɡɨɜɚɧɧɵɯ ɠɟɧɳɢɧ, ɧɚɪɹɞɭ ɫ ɦɭɡɢɰɢɪɨɜɚɧɢɟɦ ɢ ɜɵɲɢɜɚɧɢɟɦ”7 . ɐɜɟɬɚɟɜɚ, ɜɨɲɟɞɲɚɹ ɜ ɪɭɫɫɤɭɸ ɥɢɬɟɪɚɬɭɪɭ ɜ ɜɨɡɪɚɫɬɟ 17 ɥɟɬ ɫɛɨɪɧɢɤɨɦ ɫɬɢɯɨɬɜɨɪɟɧɢɣ ȼɟɱɟɪɧɢɣ ɚɥɶɛɨɦ (1910), ɫ ɦɨɦɟɧɬɚ ɫɜɨɟɝɨ ɞɟɛɸɬɚ ɩɨɥɧɨɫɬɶɸ ɩɪɨɬɢɜɨɪɟɱɢɥɚ ɬɚɤɨɣ ɦɨɞɟɥɢ. ɋɛɨɪɧɢɤ, ɢɡɞɚɧɧɵɣ ɫɨɛɫɬɜɟɧɧɵɦ ɫɱɟɬɨɦ, ɜɬɚɣ-ɧɟ ɨɬ ɪɨɞɢɬɟɥɟɣ, ɨɱɟɧɶ ɩɨɥɨɠɢɬɟɥɶɧɨ ɩɪɢɜɟɬɫɬɜɨɜɚɥɚ „ɦɭɠɫɤɚɹ” ɤɪɢɬɢɤɚ8 , ɚ ɬɟɦɚɬɢɤɚ ɩɪɨɢɡɜɟɞɟɧɢɣ ɪɚɡɪɭɲɚɥɚ ɫɬɟɪɟɨɬɢɩɧɵɟ ɩɪɟɞɫɬɚɜɥɟɧɢɹ ɨ ɩɪɢɪɨɞɟ „ɠɟɧɫɤɨɝɨ ɬɜɨɪɱɟɫɬɜɚ”9, ɦɟɧɹɹ ɢɯ ɤɨɪɟɧɧɵɦ ɨɛɪɚɡɨɦ. Ɉɞɧɚɤɨ ɜɟɫɶɦɚ ɩɨɤɚɡɚ-ɬɟɥɶɧɵɦ ɩɪɟɞɫɬɚɜɥɹɟɬɫɹ ɮɚɤɬ, ɱɬɨ Ɇɚɪɢɧɭ ɂɜɚɧɨɜɧɭ, ɧɚɪɹɞɭ ɫɨ ɫɬɪɟɦɥɟɧɢɟɦ ɝɪɨɦɤɨ ɢ ɨɬɱɟɬɥɢɜɨ ɜɵɫɤɚɡɚɬɶ ɫɜɨɟ ɋɥɨɜɨ, ɫ ɫɚɦɨɝɨ ɧɚɱɚɥɚ ɩɨɫɬɨɹɧɧɨ ɛɟɫɩɨ-ɤɨɢɥ ɜɨɩɪɨɫ ɨɛ ɢɞɟɧɬɢɱɧɨɫɬɢ: ɟɟ ɫɚɦɨɣ ɤɚɤ ɯɭɞɨɠɧɢɤɚ, ɚ ɬɚɤɠɟ ɩɪɢɪɨɞɵ ɟɟ ɩɨɷɬɢɱɟɫɤɨɝɨ ɜɞɨɯɧɨɜɟɧɢɹ. ɉɨɫɤɨɥɶɤɭ ɬɪɚɞɢɰɢɟɣ ɭɬɜɟɪɠɞɟɧɨ, ɱɬɨ ɦɭɡɚ ɩɨɷ-ɬɨɜ ɹɜɥɹɟɬɫɹ ɠɟɧɫɤɨɣ10 , ɱɬɨ ɫɥɭɱɚɟɬɫɹ, ɤɨɝɞɚ ɩɨɷɬ – ɷɬɨ ɠɟɧɳɢɧɚ?11. ɐɜɟɬɚɟɜɚ ________________
6ɉɨɞɪɨɛɧɨ ɨ Ⱥ. Ȼɭɧɢɧɨɣ ɢ Ʉ. ɉɚɜɥɨɜɨɣ ɫɦ., ɧɚɩɪɢɦɟɪ: Dictionary of Russian Women
Writers, ɪɟɞ. M. Ledkovsky, Ch. Rosenthal, M. Zirin, London 1994.
7ɂ. Ɍ ɚ ɪ ɬ ɚ ɤ ɨ ɜ ɫ ɤ ɚ ɹ, Ɋɟɩɪɟɡɟɧɬɚɰɢɹ ɩɨɥɚ ɜ ɬɪɚɞɢɰɢɨɧɧɨɣ ɢ ɫɨɜɪɟɦɟɧɧɨɣ ɪɭɫɫɤɨɣ ɤɭɥɶɬɭɪɟ. ɋɨɰɢɨɥɨɝɢɹ ɩɨɥɚ ɢ ɫɟɦɶɢ, ɋɚɦɚɪɚ 1997. 8ɋɪɟɞɢ ɷɬɢɯ ɤɪɢɬɢɤɨɜ ɧɚɯɨɞɢɥɫɹ, ɦɟɠɞɭ ɩɪɨɱɢɦ, Ɇɚɤɫɢɦɢɥɢɚɧ ȼɨɥɨɲɢɧ, ɩɨɷɬ ɢ ɯɭ-ɞɨɠɧɢɤ, ɫ ɤɨɬɨɪɵɦ Ɇɚɪɢɧɚ ɐɜɟɬɚɟɜɚ ɞɪɭɠɢɥɚ ɦɧɨɝɨ ɥɟɬ ɢ ɤɨɬɨɪɨɦɭ ɩɨɫɜɹɬɢɥɚ ɷɫɫɟ ɀɢɜɨɟ ɨ ɠɢɜɨɦ (1932). 9ɋɬɟɪɟɨɬɢɩɧɨɟ ɦɧɟɧɢɟ ɧɚ ɬɟɦɭ ɩɪɢɪɨɞɵ ɠɟɧɫɤɨɝɨ ɬɜɨɪɱɟɫɬɜɚ, ɜɵɫɤɚɡɚɧɧɨɟ ɩɨɷɬɨɦ ȼ. Ȼɪɸɫɨɜɵɦ, ɩɨɦɟɫɬɢɥɚ ɐɜɟɬɚɟɜɚ ɜ Ƚɟɪɨɟ ɬɪɭɞɚ: ɀɟɧɳɢɧɚ. Ʌɸɛɨɜɶ. ɋɬɪɚɫɬɶ. ɀɟɧɳɢɧɚ, ɫ ɧɚɱɚɥɚ ɜɟɤɨɜ, ɭɦɟɥɚ ɩɟɬɶ ɬɨɥɶɤɨ ɨ ɥɸɛɜɢ ɢ ɫɬɪɚɫɬɢ. ȿɞɢɧɫɬɜɟɧɧɚɹ ɫɬɪɚɫɬɶ ɠɟɧɳɢɧɵ – ɥɸɛɨɜɶ. Ʉɚɠɞɚɹ ɥɸɛɨɜɶ ɠɟɧɳɢɧɵ – ɫɬɪɚɫɬɶ. ȼɧɟ ɥɸɛɜɢ ɠɟɧɳɢɧɚ, ɜ ɬɜɨɪɱɟɫɬɜɟ, ɧɢɱɬɨ. Ɉɬɧɢɦɢɬɟ ɭ ɠɟɧɳɢɧɵ ɫɬɪɚɫɬɶ... ɀɟɧɳɢɧɚ... Ʌɸɛɨɜɶ... ɋɬɪɚɫɬɶ... Ɇ. ɐ ɜ ɟ ɬ ɚ ɟ ɜ ɚ, Ƚɟɪɨɣ ɬɪɭɞɚ, [ɜ:] ɟɟ ɠɟ, Ƚɨɫɩɨɞɢɧ ɦɨɣ – ȼɊȿɆə, Ɇɨɫɤɜɚ 2002, ɫ. 141. 10Ⱥɯɦɚɬɨɜɚ, ɧɚɩɪɢɦɟɪ, ɭɬɜɟɪɠɞɚɥɚ, ɱɬɨ ɟɟ ɜɞɨɯɧɨɜɟɧɢɟ ɩɪɟɨɛɪɚɠɚɟɬɫɹ ɜ ɦɨɥɨɞɨɝɨ ɦɭɠ-ɱɢɧɭ. 11ɗɬɨɬ ɜɨɩɪɨɫ ɨɛɫɭɠɞɚɟɬɫɹ Ⱥ. Ⱦɢɧɟɝɨɣ ɜ ɭɩɨɦɹɧɭɬɨɣ ɦɨɧɨɝɪɚɮɢɢ, ɩɨɫɜɹɳɟɧɧɨɣ Ɇ. ɐɜɟɬɚɟɜɨɣ. ɋɦ.: A.W. D i n e g a, A Russian Psyche..., ɭɤɚɡ. ɫɨɱ.
ɩɨ-ɪɚɡɧɨɦɭ ɫɬɚɪɚɥɚɫɶ ɪɟɲɢɬɶ ɷɬɭ ɩɪɨɛɥɟɦɭ. Ɍɚɤ, ɧɚɩɪɢɦɟɪ, ɜ ɩɨɷɦɟ ɇɚ ɤɪɚɫ-ɧɨɦ ɤɨɧɟ (1921), ɩɨɫɜɹɳɟɧɧɨɣ Ⱥɯɦɚɬɨɜɨɣ, ɰɜɟɬɚɟɜɫɤɚɹ ɦɭɡɚ ɩɪɟɨɛɪɚɠɚɟɬɫɹ ɜɨ ɜɫɚɞɧɢɤɚ ɧɚ ɤɪɚɫɧɨɦ ɤɨɧɟ, ɧɨ – ɩɚɪɚɞɨɤɫɚɥɶɧɨ – ɢɦɹ ɤɨɧɹ (ɉɟɝɚɫ – ɫɢɦɜɨɥ ɬɜɨɪɱɟɫɤɨɣ ɨɞɚɪɟɧɧɨɫɬɢ) ɧɟ ɩɪɨɢɡɧɨɫɢɬɫɹ. ɉɨɷɦɚ ɧɚɱɢɧɚɟɬɫɹ ɢ ɡɚɤɚɧɱɢɜɚɟɬɫɹ ɨɬɜɟɪɠɟɧɢɟɦ ɠɟɧɫɤɨɣ ɦɭɡɵ, ɤɨɬɨɪɚɹ ɨɩɪɟɞɟɥɹɟɬɫɹ ɤɚɤ ɠɟɫɬɨɤɚɹ: ɇɟ Ɇɭɡɚ, ɧɟ Ɇɭɡɚ ɇɚɞ ɛɟɞɧɨɸ ɥɸɥɶɤɨɣ Ɇɧɟ ɩɟɥɚ, ɡɚ ɪɭɱɤɭ ɜɨɞɢɥɚ. ɇɟ Ɇɭɡɚ ɯɨɥɨɞɧɵɟ ɪɭɤɢ ɦɧɟ ɝɪɟɥɚ, Ƚɨɪɹɱɢɟ ɜɟɤɢ ɫɬɭɞɢɥɚ. ȼɢɯɨɪ ɨɬɨ ɥɛɚ ɨɬɜɨɞɢɥɚ – ɧɟ Ɇɭɡɚ, ȼ ɛɨɥɶɲɢɟ ɩɨɥɹ ɭɜɨɞɢɥɚ – ɧɟ Ɇɭɡɚ. ɇɟ Ɇɭɡɚ, ɧɟ Ɇɭɡɚ, – ɧɟ ɛɪɟɧɧɵɟ ɭɡɵ Ɋɨɞɫɬɜɚ, – ɧɟ ɬɜɨɢ ɩɭɬɵ, Ɉ Ⱦɪɭɠɛɚ! – ɇɟ ɠɟɧɫɤɨɣ ɪɭɤɨɣ, – ɥɸɬɨɣ, Ɂɚɬɹɧɭɬ ɧɚ ɦɧɟ – ɍɡɟɥ12. ɉɪɚɜɨɦɟɪɧɨ ɩɨɥɚɝɚɬɶ, ɱɬɨ ɬɚɤɨɟ ɪɟɲɟɧɢɟ ɩɪɢɜɟɥɨ ɐɜɟɬɚɟɜɭ ɤ ɩɨɫɬɨɹɧ-ɧɨɦɭ ɢɫɩɵɬɚɧɢɸ ɦɭɱɢɬɟɥɶɧɨɝɨ ɩɪɨɬɢɜɨɪɟɱɢɹ. ɋ ɨɞɧɨɣ ɫɬɨɪɨɧɵ, ɫɬɚɜɹ ɜɨɩɪɨɫ ɨ ɩɪɢɪɨɞɟ ɩɨɷɬɢɱɟɫɤɨɝɨ ɜɞɨɯɧɨɜɟɧɢɹ, ɐɜɟɬɚɟɜɚ ɩɨɫɬɚɜɢɥɚ ɩɨɞ ɫɨɦɧɟɧɢɟ ɭɤɨɪɟ-ɧɢɜɲɟɟɫɹ ɜ ɬɪɚɞɢɰɢɢ ɧɚ ɩɪɨɬɹɠɟɧɢɢ ɜɟɤɨɜ ɭɬɜɟɪɠɞɟɧɢɟ ɨ ɩɪɢɫɭɳɢɯ ɢɫɤɥɸɱɢ-ɬɟɥɶɧɨ ɦɭɠɱɢɧɚɦ ɬɜɨɪɱɟɫɤɢɯ ɫɩɨɫɨɛɧɨɫɬɹɯ (ɛɭɞɬɨ ɝɟɧɟɬɢɱɟɫɤɢ ɡɚɤɪɟɩɥɟɧɧɵɯ). Ɍɚ ɠɟ ɬɪɚɞɢɰɢɹ ɩɪɢɩɢɫɚɥɚ ɠɟɧɳɢɧɟ ɪɨɥɶ ɦɭɡɵ, ɧɨ ɧɟ ɬɜɨɪɹɳɟɝɨ13 ɫɭɛɴɟɤɬɚ. Ɋɚɡɪɭɲɚɹ ɯɪɚɦ ɬɪɚɞɢɰɢɨɧɧɨɝɨ ɢɫɤɭɫɫɬɜɚ14 , ɐɜɟɬɚɟɜɚ ɧɚɩɨɦɢɧɚɟɬ ɨ ɜɨɡɜɪɚɳɟ-ɧɢɢ ɠɟɧɳɢɧɚɦ ɞɨɥɠɧɨɝɨ, ɪɚɜɧɨɩɪɚɜɧɨɝɨ (ɦɭɠɫɤɨɦɭ) ɦɟɫɬɚ ɜ ɫɮɟɪɟ ɯɭɞɨ-ɠɟɫɬɜɟɧɧɨɣ ɞɟɹɬɟɥɶɧɨɫɬɢ. ɋ ɞɪɭɝɨɣ – ɨɬɪɢɰɚɹ ɠɟɧɫɤɭɸ ɦɭɡɭ, ɨɧɚ ɩɨɥɧɨɫɬɶɸ ɢɫɤɥɸɱɚɟɬ ɠɟɧɫɤɨɟ ɧɚɱɚɥɨ ɢɡ ɬɜɨɪɱɟɫɤɨɝɨ ɩɪɨɰɟɫɫɚ15 . Ɍɟɦ ɫɚɦɵɦ ɭɬɜɟɪɠɞɚ-ɥɚɫɶ ɦɵɫɥɶ, ɱɬɨ ɯɭɞɨɠɟɫɬɜɟɧɧɨɟ ɬɜɨɪɱɟɫɬɜɨ – ɞɟɥɨ ɧɟ ɠɟɧɫɤɨɟ ɢ ɭɫɩɟɯ ɜɨɡ-ɦɨɠɟɧ ɥɢɲɶ ɧɚ ɩɭɬɹɯ ɩɪɢɫɜɨɟɧɢɹ ɦɭɠɫɤɨɣ ɢɞɟɧɬɢɱɧɨɫɬɢ. Ɍɚɤɨɣ ɩɨɞɯɨɞ ɨɛɴɹɫɧɹɟɬɫɹ ɬɟɦ, ɱɬɨ ɞɨɥɝɨɟ ɜɪɟɦɹ ɨɩɪɟɞɟɥɟɧɢɟ „ɠɟɧɫɤɚɹ” ɩɨ ɨɬɧɨɲɟɧɢɸ ɤ „ɥɢɬɟɪɚɬɭɪɟ” ɜɨɫɩɪɢɧɢɦɚɥɨɫɶ ɧɟɝɚɬɢɜɧɨ, ɛɵɥɨ ɢɪɨɧɢɱɟɫɤɢɦ ɹɪɥɵɤɨɦ, ɫɱɢɬɚɥɨɫɶ ɨɬɤɥɨɧɟɧɢɟɦ ɨɬ ɧɨɪɦɵ, ɩɪɢɨɛɪɟɬɚɹ ɤɨɧɧɨɬɚɰɢɸ „ɜɬɨɪɢɱ-________________ 12Ɇ. ɐ ɜ ɟ ɬ ɚ ɟ ɜ ɚ, ɇɚ ɤɪɚɫɧɨɦ ɤɨɧɟ, http://www.tsvetayeva.com/big_poems/po_na_ krasnom_kone.php (03.04.2012). 13Ƚɨɜɨɪɹɳɟɝɨ ɫɨɛɫɬɜɟɧɧɵɦ ɝɨɥɨɫɨɦ – ɢɫɩɨɥɶɡɭɹ ɨɩɪɟɞɟɥɟɧɢɟ ɗɥɟɧ ɋɢɤɫɭ, ɚɜɬɨɪɚ ɫɬɚɜ-ɲɟɣ ɡɧɚɤɨɜɨɣ ɫɬɚɬɶɢ ɏɨɯɨɬ ɦɟɞɭɡɵ. ɋɦ. H. C i x o u s, ĝmiech Meduzy, przekł. A. Nasiłowska, [ɜ:] Ciało i tekst. Feminizm w literaturoznawstwie – antologia szkiców, red. A. Nasiłowska, War-szawa 2001.
14 Ɇɟɬɚɮɨɪɚ ɨɬɧɨɫɢɬɫɹ ɤ ɬɟɤɫɬɭ: „Ʉɚɤ ɛɭɞɬɨ ɛɵ ɜɶɸɝɨɣ ɜɡɞɵɛɥɟɧ||ɋɬɨɝɥɚɜɵɣ ɯɪɚɦ. [...] ɒɚɬɚɟɬɫɹ ɤɭɩɨɥ. – Ɋɭɯɚɣ,||ɋɨɧɦ ɫɢɥ ɢ ɫɥɚɜ!” http://www.tsvetayeva.com/big_poems/po_ na_krasnom_kone.php (03.04.2012).
ɧɨɝɨ”, „ɯɭɞɲɟɝɨ”, „ɩɪɨɢɡɜɨɞɧɨɝɨ ɨɬ ɱɟɝɨ-ɬɨ”. ȼ ɫɜɨɸ ɨɱɟɪɟɞɶ ɧɨɪɦɨɣ, ɬɨɱɤɨɣ ɨɬɫɱɟɬɚ ɜɫɟɝɞɚ ɹɜɥɹɥɨɫɶ ɦɭɠɫɤɨɟ ɩɟɪɨ, ɦɭɠɫɤɨɣ ɜɡɝɥɹɞ, ɚ ɧɟɞɨɫɬɚɬɤɢ ɢ ɞɨɫɬɨ-ɢɧɫɬɜɚ „ɠɟɧɫɤɨɣ ɥɢɬɟɪɚɬɭɪɵ” ɨɩɪɟɞɟɥɹɥɢɫɶ ɩɨ ɫɪɚɜɧɟɧɢɸ ɫ ɥɭɱɲɢɦɢ ɨɛɪɚɡ-ɰɚɦɢ ɬɚɤ ɧɚɡɵɜɚɟɦɨɣ „ɦɭɠɫɤɨɣ” ɥɢɬɟɪɚɬɭɪɵ16 . ɉɨɷɬɨɦɭ ɡɜɭɱɚɜɲɢɟ ɨɫɤɨɪɛɢ-ɬɟɥɶɧɨ ɫɥɨɜɚ „ɩɢɫɚɬɟɥɶɧɢɰɚ”, „ɩɨɷɬɟɫɫɚ” ɧɟ ɭɩɨɬɪɟɛɥɹɥɢɫɶ, ɢ „ɧɟɭɞɢɜɢɬɟɥɶ-ɧɨ, ɱɬɨ ɬɚɥɚɧɬɥɢɜɵɟ ɪɭɫɫɤɢɟ ɠɟɧɳɢɧɵ-ɩɨɷɬɟɫɫɵ ɜɨɨɛɳɟ ɨɬɤɚɡɵɜɚɥɢɫɶ ɞɭɦɚɬɶ ɢ ɝɨɜɨɪɢɬɶ ɨ ɫɟɛɟ ɤɚɤ ɨ ɩɨɷɬɟɫɫɚɯ ɢ ɯɨɬɟɥɢ, ɱɬɨɛɵ ɢɯ ɜɨɫɩɪɢɧɢɦɚɥɢ ɤɚɤ ɩɨɷɬɨɜ”17 . Ɍɨɝɞɚ ɫɬɚɧɨɜɢɬɫɹ ɜɩɨɥɧɟ ɩɨɧɹɬɧɵɦ ɪɟɡɤɨɟ ɨɬɪɟɱɟɧɢɟ ɐɜɟɬɚɟɜɨɣ ɨɬ ɹɪɥɵ-ɤɚ ɮɟɦɢɧɢɡɦɚ, ɚ ɬɨɱɧɟɟ – ɠɟɧɫɬɜɟɧɧɨɫɬɢ, ɩɪɨɡɜɭɱɚɜɲɟɟ ɜ ɜɨɫɩɨɦɢɧɚɧɢɹɯ ɨ ɜɟɱɟɪɟ ɩɨɷɬɟɫɫ, ɨɪɝɚɧɢɡɨɜɚɧɧɨɦ Ȼɪɸɫɨɜɵɦ: [...] ɟɫɬɶ ɜ ɩɨɷɡɢɢ ɩɪɢɡɧɚɤɢ ɞɟɥɟɧɢɹ ɛɨɥɟɟ ɫɭɳɟɫɬɜɟɧɧɵɟ, ɱɟɦ ɩɪɢɧɚɞɥɟɠɧɨɫɬɶ ɤ ɦɭɠ-ɫɤɨɦɭ ɢɥɢ ɠɟɧɦɭɠ-ɫɤɨɦɭ ɩɨɥɭ, ɢ ɨɬɪɨɞɹɫɶ ɛɪɟɡɝɭɹ ɜɫɟɦ, ɧɨɫɹɳɢɦ ɤɚɤɨɟ-ɥɢɛɨ ɤɥɟɣɦɨ ɠɟɧɫɤɨɣ (ɦɚɫɫɨɜɨɣ) ɨɬɞɟɥɶɧɨɫɬɢ, ɤɚɤ-ɬɨ: ɠɟɧɫɤɢɦ ɤɭɪɫɚɦ, ɫɭɮɪɚɠɢɡɦɨɦ, ɮɟɦɢɧɢɡɦɨɦ, ɚɪɦɢɟɣ ɫɩɚ-ɫɟɧɢɹ, ɜɫɟɦ ɩɪɟɫɥɨɜɭɬɵɦ ɠɟɧɫɤɢɦ ɜɨɩɪɨɫɨɦ [...]. ɀɟɧɫɤɨɝɨ ɜɨɩɪɨɫɚ ɜ ɬɜɨɪɱɟɫɬɜɟ ɧɟɬ: ɟɫɬɶ ɠɟɧɫɤɢɟ, ɧɚ ɱɟɥɨɜɟɱɟɫɤɢɣ ɜɨɩɪɨɫ, ɨɬɜɟɬɵ, ɤɚɤ-ɬɨ: ɋɚɮɨ – ɂɨɚɧɧɚ ɞ′Ⱥɪɤ – ɋɜ. Ɍɟɪɟɡɚ – Ȼɟɬ-ɬɢɧɚ Ȼɪɟɧɬɚɧɨ18. Ɉɞɧɚɤɨ ɜɧɢɦɚɬɟɥɶɧɨɟ ɩɪɨɱɬɟɧɢɟ ɰɢɬɢɪɭɟɦɨɝɨ ɨɬɪɵɜɤɚ ɜɵɹɜɥɹɟɬ ɩɨɩɵɬɤɭ ɐɜɟɬɚɟɜɨɣ ɩɪɟɨɞɨɥɟɬɶ ɬɪɚɞɢɰɢɨɧɧɭɸ ɛɢɧɚɪɧɭɸ ɨɩɩɨɡɢɰɢɸ „ɠɟɧɫɤɨɟ” versus „ɦɭɠɫɤɨɟ” ɢ ɦɚɪɤɢɪɨɜɚɧɧɵɣ ɷɬɨɣ ɞɢɯɨɬɨɦɢɟɣ ɩɨɥɨɜɨɣ ɫɢɦɜɨɥɢɡɦ ɤɭɥɶɬɭ-ɪɵ19 . ɉɨɞɱɟɪɤɢɜɚɹ ɨɛɳɟɱɟɥɨɜɟɱɟɫɤɢɣ ɯɚɪɚɤɬɟɪ ɬɜɨɪɱɟɫɬɜɚ, ɩɨɷɬɟɫɫɚ ɩɪɢɛɥɢ-ɠɚɟɬɫɹ ɤ ɞɟɤɨɧɫɬɪɭɤɰɢɢ ɩɨɧɹɬɢɹ „ɠɟɧɫɤɨɟ” ɜ ɨɛɳɟɤɭɥɶɬɭɪɧɨɦ ɤɨɧɬɟɤɫɬɟ. ɇɚ ɫɦɟɧɭ ɤɚɬɟɝɨɪɢɹɦ „ɠɟɧɫɤɨɝɨ” ɢ „ɦɭɠɫɤɨɝɨ” ɩɪɢɯɨɞɹɬ ɩɨɧɹɬɢɹ „ɮɟɦɢɧɢɧɧɨ-ɝɨ” ɢ „ɦɚɫɤɭɥɢɧɧɨ„ɮɟɦɢɧɢɧɧɨ-ɝɨ”, ɧɟ ɫɜɹɡɚɧɧɵɟ ɢɫɤɥɸɱɢɬɟɥɶɧɨ ɫ ɩɨɥɨɜɨɣ ɩɪɢɧɚɞɥɟɠ-ɧɨɫɬɶɸ. Ɍɚɤɢɦ ɨɛɪɚɡɨɦ, ɯɭɞɨɠɟɫɬɜɟɧɧɚɹ ɞɟɹɬɟɥɶɧɨɫɬɶ ɫɬɚɧɨɜɢɬɫɹ ɫɩɨɫɨɛɨɦ ɫɚɦɨɜɵɪɚɠɟɧɢɹ, ɫɜɨɛɨɞɧɵɦ ɨɬ ɨɝɪɚɧɢɱɟɧɢɣ ɛɢɨɥɨɝɢɱɟɫɤɢɯ ɤɚɬɟɝɨɪɢɣ, ɧɨ ɫɩɨ-ɫɨɛɫɬɜɭɸɳɢɦ ɜɵɪɚɠɟɧɢɸ ɫɨɰɢɨ-ɤɭɥɶɬɭɪɧɵɯ (ɢ ɫɟɤɫɭɚɥɶɧɵɯ, ɫɨɝɥɚɫɧɨ ɬɟɨ-ɪɢɢ ɤɜɢɪ) ɪɚɡɥɢɱɢɣ. ɉɨɢɫɤɢ ɝɟɧɞɟɪɧɨɣ ɫɚɦɨɢɞɟɧɬɢɮɢɤɚɰɢɢ ɐɜɟɬɚɟɜɚ ɩɪɨɞɨɥɠɚɥɚ ɜɫɸ ɫɜɨɸ ɠɢɡɧɶ, ɩɪɟɜɪɚɳɚɹ ɟɟ ɜ ɠɢɡɧɟɬɜɨɪɱɟɫɬɜɨ. ɇɟɩɪɟɤɪɚɳɚɸɳɟɟɫɹ ɠɟɥɚɧɢɟ, ɩɨɬɪɟɛ-ɧɨɫɬɶ ɩɨɡɧɚɬɶ ɫɟɛɹ, ɨɩɪɟɞɟɥɢɥɨ ɚɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɢɣ ɯɚɪɚɤɬɟɪ ɰɜɟɬɚɟɜɫɤɢɯ ɩɪɨ-ɢɡɜɟɞɟɧɢɣ. ɇɟɡɚɜɢɫɢɦɨ ɨɬ ɥɢɬɟɪɚɬɭɪɧɨɝɨ ɠɚɧɪɚ20 Ɇɚɪɢɧɚ ɂɜɚɧɨɜɧɚ ɜɫɟɝɞɚ ________________ 16ȼ ɩɚɬɪɢɚɪɯɚɥɶɧɨɣ ɤɭɥɶɬɭɪɟ ɫɥɨɜɚ „ɠɟɧɫɤɨɟ” ɢ „ɦɭɠɫɤɨɟ” ɞɚɸɬ ɧɟ ɬɨɥɶɤɨ ɛɢɨɥɨɝɢ-ɱɟɫɤɨɟ ɨɩɪɟɞɟɥɟɧɢɟ, ɧɨ ɢ ɹɜɥɹɸɬ ɫɨɛɨɣ ɨɰɟɧɨɱɧɭɸ ɤɚɬɟɝɨɪɢɸ. Ɏɨɪɦɢɪɭɸɳɢɟɫɹ ɫɨɰɢɭɦɨɦ, ɨɧɢ ɡɚɤɪɟɩɥɹɸɬɫɹ ɩɨɫɪɟɞɫɬɜɨɦ ɹɡɵɤɚ ɜ ɫɨɡɧɚɧɢɢ – ɤɚɤ ɨɛɳɟɫɬɜɟɧɧɨɦ, ɬɚɤ ɢ ɨɬɞɟɥɶɧɨɣ ɥɢɱ-ɧɨɫɬɢ. 17ȿ.ɂ. Ɍ ɪ ɨ ɮ ɢ ɦ ɨ ɜ ɚ, Ʌɟɬɧɹɹ ɲɤɨɥɚ „Ɉɛɳɟɫɬɜɨ ɢ ɝɟɧɞɟɪ”, Ɋɹɡɚɧɶ 2003. 18Ɇ. ɐ ɜ ɟ ɬ ɚ ɟ ɜ ɚ, Ƚɟɪɨɣ ɬɪɭɞɚ..., ɭɤɚɡ. ɫɨɱ., ɫ. 137. 19ɋɥɨɜɚɪɶ ɝɟɧɞɟɪɧɵɯ ɬɟɪɦɢɧɨɜ, http://www.owl.ru/gender/010.htm (ɨɬ 25.08.2009). 20ɇɚɩɨɦɧɸ, ɱɬɨ ɯɭɞɨɠɧɢɰɚ – ɢɡɜɟɫɬɧɚɹ ɜ ɦɢɪɟ ɤɚɤ ɩɨɷɬɟɫɫɚ – ɧɟ ɢɡɛɟɝɚɥɚ ɩɪɨɡɚɬɨɪ-ɫɤɢɯ ɢ ɞɪɚɦɚɬɢɱɟɩɪɨɡɚɬɨɪ-ɫɤɢɯ ɮɨɪɦ.
ɨɩɢɫɵɜɚɥɚ ɥɸɞɟɣ, ɦɟɫɬɚ ɢ ɹɜɥɟɧɢɹ ɫɤɜɨɡɶ ɩɪɢɡɦɭ ɫɜɨɢɯ ɫ ɧɢɦɢ ɨɬɧɨɲɟɧɢɣ. ɋɬɨɢɬ ɡɞɟɫɶ ɭɩɨɦɹɧɭɬɶ ɯɨɬɹ ɛɵ ɥɢɬɟɪɚɬɭɪɧɵɟ ɩɨɪɬɪɟɬɵ ɫɨɜɪɟɦɟɧɧɢɤɨɜ: ɀɢ-ɜɨɟ ɨ ɠɢɜɨɦ (ɨ Ɇɚɤɫɢɦɢɥɢɚɧɟ ȼɨɥɨɲɢɧɟ), ɉɥɟɧɧɵɣ ɞɭɯ (Ɇɨɹ ɜɫɬɪɟɱɚ ɫ Ⱥɧɞɪɟ-ɟɦ Ȼɟɥɵɦ), ɂɫɬɨɪɢɹ ɨɞɧɨɝɨ ɩɨɫɜɹɳɟɧɢɹ (Ɉɫɢɩɭ Ɇɚɧɞɟɥɶɲɬɚɦɭ), ɤɚɠɞɵɣ ɪɚɡ ɩɪɢɨɛɪɟɬɚɜɲɢɟ ɧɟ ɫɬɨɥɶɤɨ ɮɨɪɦɭ ɜɨɫɩɨɦɢɧɚɧɢɣ, ɫɤɨɥɶɤɨ ɩɨɪɬɪɟɬɚ ɨɬɧɨɲɟ-ɧɢɣ, ɜ ɤɨɬɨɪɨɦ ɝɥɚɜɧɭɸ ɪɨɥɶ ɢɝɪɚɥɚ ɐɜɟɬɚɟɜɚ. Ɍɟɦ ɧɟ ɦɟɧɟɟ, ɡɚɦɟɱɟɧɧɵɣ ɦɧɨɝɢɦɢ ɢɫɫɥɟɞɨɜɚɬɟɥɹɦɢ ɚɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɢɣ ɯɚɪɚɤɬɟɪ ɰɜɟɬɚɟɜɫɤɨɣ ɩɪɨɡɵ ɩɪɚɤɬɢɱɟɫɤɢ ɧɢɤɨɝɞɚ ɧɟ ɨɫɦɵɫɥɹɥɫɹ ɫ ɩɟɪɫɩɟɤɬɢɜɵ ɬɚɤ ɧɚɡɵɜɚɟɦɨɣ „ɠɟɧɫɤɨɣ ɚɜɬɨɛɢɨɝɪɚɮɢɢ”21 . ɀɚɧɪ, ɜɵɞɟɥɹɟɦɵɣ ɜ ɮɟɦɢɧɢɫɬɫɤɨɣ ɥɢɬɟɪɚɬɭɪɧɨɣ ɤɪɢɬɢɤɟ, ɦɟɧɹɟɬ ɬɪɚɞɢɰɢɨɧɧɨɟ ɩɨɧɹɬɢɟ auto-bio-graphy ɧɚ auto-gyno-graphy22 , ɚɤɰɟɧɬɢ-ɪɭɹ ɢɦɟɧɧɨ ɠɟɧɫɤɭɸ ɫɩɟɰɢɮɢɱɟɫɤɭɸ ɫɭɛɴɟɤɬɢɜɧɨɫɬɶ ɜ ɚɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɨɦ ɩɢɫɶɦɟ23 . ɍɝɥɭɛɥɟɧɧɨɟ ɨɡɧɚɤɨɦɥɟɧɢɟ ɫ ɩɪɨɢɡɜɟɞɟɧɢɹɦɢ Ɇɚɪɢɧɵ ɂɜɚɧɨɜɧɵ ɨɛɧɚɪɭɠɢɜɚɟɬ ɤɪɚɣɧɸɸ ɫɭɛɴɟɤɬɢɜɧɨɫɬɶ ɩɟɪɫɩɟɤɬɢɜɵ: ɫɦɟɥɨ ɢ ɹɪɤɨ ɜɨɫɫɨɡɞɚ-ɸɬɫɹ ɫɨɛɵɬɢɹ ɢ ɫɢɬɭɚɰɢɢ ɠɟɧɫɤɨɣ ɠɢɡɧɢ, ɪɚɫɤɪɵɜɚɟɬɫɹ ɫɩɟɰɢɮɢɱɟɫɤɢɣ ɠɟɧ-ɫɤɢɣ ɨɩɵɬ, ɚ ɬɚɤɠɟ ɪɚɧɟɟ ɬɚɛɭɢɪɨɜɚɧɧɵɟ ɬɟɦɵ, ɧɚɩɪɢɦɟɪ ɠɟɧɫɤɚɹ ɫɟɤɫɭɚɥɶ-ɧɨɫɬɶ ɢ ɬɟɥɟɫɫɟɤɫɭɚɥɶ-ɧɨɫɬɶ. ɋɨɨɬɜɟɬɫɬɜɟɧɧɨ ɫɤɚɡɚɧɧɨɦɭ, ɭ ɐɜɟɬɚɟɜɨɣ ɞɟɥɚɟɬɫɹ ɚɤɰɟɧɬ ɧɚ „ɬɟɥɟɫɧɭɸ ɩɪɢɪɨɞɭ ɠɟɧɫɤɨɝɨ ɦɢɪɨɜɨɫɩɪɢɹɬɢɹ” (Ⱦɠɨɧ Ʉɭɩɮɟɪɦɚɧ), ɱɬɨ ɜɩɨɥɧɟ ɫɨɜɩɚɞɚɟɬ ɫ ɩɪɢɡɵɜɨɦ ɮɪɚɧɰɭɡɫɤɨɣ ɮɟɦɢɧɢɫɬɤɢ ɗɥɟɧ ɋɢɤɫɭ: „ɉɢɲɢ-ɬɟ! ȼɚɲɟ ɬɟɥɨ ɞɨɥɠɧɨ ɛɵɬɶ ɭɫɥɵɲɚɧɨ”. ɋɬɨɢɬ ɩɪɢ ɷɬɨɦ ɨɬɦɟɬɢɬɶ, ɱɬɨ ɩɪɨ-ɰɟɫɫ ɬɚɛɭɢɪɨɜɚɧɢɹ ɠɟɧɫɤɨɝɨ ɬɟɥɚ ɢ ɫɟɤɫɭɚɥɶɧɨɫɬɢ ɧɟ ɤɚɫɚɥɫɹ ɥɢɬɟɪɚɬɭɪɵ ɤɚɤ ɬɚɤɨɜɨɣ, ɜ ɰɟɥɨɦ, ɩɨɫɤɨɥɶɤɭ ɭɩɨɦɹɧɭɬɵɟ ɬɟɦɵ ɧɟɪɟɞɤɨ ɜɫɬɪɟɱɚɥɢɫɶ ɜ ɦɭɠ-ɫɤɨɣ (ɬ.ɟ. ɧɚɩɢɫɚɧɧɨɣ ɦɭɠɱɢɧɚɦɢ) ɥɢɬɟɪɚɬɭɪɟ. ɋɥɨɠɧɨɫɬɶ ɩɪɨɛɥɟɦɵ ɫɨɫɬɨɢɬ ɜ ɩɪɟɨɞɨɥɟɧɢɢ ɩɨɷɬɟɫɫɨɣ ɫɭɳɟɫɬɜɭɸɳɟɝɨ ɜ ɤɭɥɶɬɭɪɟ ɨɬɨɠɞɟɫɬɜɥɟɧɢɹ ɠɟɧ-ɳɢɧɵ ɤɚɤ ɬɟɥɟɫɧɨɝɨ ɨɛɴɟɤɬɚ ɢɫɤɭɫɫɬɜɚ, ɚɜɬɨɪɨɦ ɤɨɬɨɪɨɝɨ ɜɫɟɝɞɚ ɹɜɥɹɟɬɫɹ ɦɭɠɱɢɧɚ24 . ɋɬɪɟɦɹɫɶ ɨɫɜɨɛɨɞɢɬɶ ɠɟɧɫɤɨɟ ɬɟɥɨ ɢ ɢɫɤɭɫɫɬɜɨ ɨɬ ɦɭɠɫɤɨɝɨ ɤɨɧ-ɬɟɤɫɬɚ, ɯɭɞɨɠɧɢɰɚ ɭɫɬɚɧɚɜɥɢɜɚɟɬ ɫɜɨɸ ɚɜɬɨɧɨɦɢɸ ɢ ɤɪɟɚɬɢɜɧɨɫɬɶ ɤɚɤ ɬɜɨɪɹ-ɳɟɝɨ ɫɭɛɴɟɤɬɚ. Ɉɞɧɨɜɪɟɦɟɧɧɨ ɫɩɨɫɨɛɧɨɫɬɶ „ɦɵɫɥɢɬɶ ɱɟɪɟɡ ɬɟɥɨ” (ɩɨ ɫɥɨɜɚɦ Ⱥ. Ɋɢɱ) ɜɨɩɥɨɳɚɟɬɫɹ ɜ ɪɚɡɧɨɨɛɪɚɡɧɵɟ, ɢɡɦɟɧɹɸɳɢɟɫɹ ɬɢɩɵ „ɚɜɬɨɪɫɤɨɝɨ ɹ” ________________ 21ɂɧɬɟɪɟɫɧɨɣ ɩɨɩɵɬɤɨɣ ɜ ɷɬɨɣ ɨɛɥɚɫɬɢ ɹɜɥɹɟɬɫɹ ɪɚɛɨɬɚ Ɇ.ɇ. Ʉɢɫɬɨɜɫɤɨɣ: M.N. K i s -t o w s k a, Parler femme w -twórczoĞci Mariny Cwie-tajewej i Tamary Łempickiej. Rewindykacja, PoznaĔ 2011.
22ɇɚ ɬɟɦɭ ɝɢɧɨɤɪɢɬɢɤɢ ɩɨɞɪɨɛɧɨ ɫɦ.: A. B u r z y Ĕ s k a, FEMINIZM..., ɭɤɚɡ. ɫɨɱ., ɫ. 401– 409; E. S h o w a l t e r, Feminist Criticism in the Wilderness, [ɜ:] The New Feminism Criticism. Essays on Women. Literature and Theory, red. E. Showalter, New York 1985, ɫ. 243–270.
23ɇɚ ɬɟɦɭ ɨɫɧɨɜɧɵɯ ɩɚɪɚɦɟɬɪɨɜ ɠɟɧɫɤɨɣ ɚɜɬɨɛɢɨɝɪɚɮɢɢ ɤɚɤ ɠɚɧɪɚ ɫɦ., ɧɚɩɪɢɦɟɪ: B. G a u t i e r, ZaklĊcia czarodziejki Vivien, czyli o autobiografii kobiecej, [ɜ:] Krytyka femini-styczna. Siostra teorii i historii literatury, red. G. Borkowska, L. Sikorska, Warszawa 2002, ɫ. 152–158. E. K r a s k o w s k a, O tak zwanej kobiecoĞci jako konwencji literackiej, [ɜ:] Krytyka feministyczna..., ɭɤɚɡ. ɫɨɱ., ɫ. 187–212. ɋɦ. ɬɚɤɠɟ ɋɥɨɜɚɪɶ ɝɟɧɞɟɪɧɵɯ ɬɟɪɦɢɧɨɜ, ɪɟɞ. Ⱥ. Ⱦɟ-ɧɢɫɨɜɚ, Ɇɨɫɤɜɚ 2002, http://www.owl.ru/gender/067.htm
24ɒɢɪɟ ɫɦ.: S. G u b a r, “The Blank Page” and the Issues of Female Creativity, [ɜ:] The New
– ɛɭɞɬɨ ɨɫɜɨɛɨɠɞɚɹ „ɫɟɛɹ”, Ɇɚɪɢɧɚ ɂɜɚɧɨɜɧɚ ɩɨɫɬɨɹɧɧɨ ɢɫɤɚɥɚ ɫɨɨɬɜɟɬɫɬɜɭ-ɸɳɟɝɨ ɫɩɨɫɨɛɚ ɫɚɦɨɜɵɪɚɠɟɧɢɹ ɢ ɫɚɦɨɨɩɪɟɞɟɥɟɧɢɹ. ɗɬɨɬ ɩɪɢɟɦ ɩɨɡɜɨɥɹɟɬ ɜɫɤɪɵɬɶ ɜ ɪɹɞɟ ɩɪɨɢɡɜɟɞɟɧɢɣ (ɧɚɡɨɜɭ ɡɞɟɫɶ ɧɟɫɤɨɥɶɤɨ: ɉɨɜɟɫɬɶ ɨ ɋɨɧɟɱɤɟ, ɉɢɫɶɦɨ ɤ Ⱥɦɚɡɨɧɤɟ, ɰɢɤɥ ɫɬɢɯɨɬɜɨɪɟɧɢɣ ɉɨɞɪɭɝɚ, ɒɚɪɥɨɬɬɟɧɛɭɪɝ, ɰɢɤɥ ɫɬɢ-ɯɨɬɜɨɪɟɧɢɣ ɍɱɟɧɢɤ) ɩɪɨɛɥɟɦɚɬɢɤɭ ɝɟɧɞɟɪɧɨɣ ɫɚɦɨɢɞɟɧɬɢɮɢɤɚɰɢɢ ɝɟɪɨɢɧɢ ɢ ɩɟɪɮɨɪɦɚɬɢɜɧɨɫɬɢ ɝɟɧɞɟɪɚ. ɂɬɚɤ, ɫɦɟɳɟɧɢɟ ɝɟɧɞɟɪɧɵɯ ɪɨɥɟɣ ɜ ɩɨɷɦɟ-ɫɤɚɡɤɟ ɐɚɪɶ-Ⱦɟɜɢɰɚ (1920) (ɩɨ ɦɨɬɢɜɚɦ ɨɞɧɨɢɦɟɧɧɨɣ ɫɤɚɡɤɢ Ⱥ. Ⱥɮɚɧɚɫɶɟɜɚ) ɫɥɟɞɭɟɬ, ɜɟɪɨɹɬɧɨ, ɪɚɫɰɟɧɢɜɚɬɶ ɤɚɤ ɚɜɬɨɪɫɤɨɟ ɫɬɪɟɦɥɟɧɢɟ ɨɫɨɛɨ ɩɨɞɱɟɪɤɧɭɬɶ ɪɟɥɟɜɚɧɬɧɨɫɬɶ ɯɚɪɚɤɬɟɪɢɫɬɢɤ (ɩɨɜɟɞɟɧɢɹ, ɜɧɟɲɧɨɫɬɢ), ɩɪɢɩɢɫɵɜɚɟɦɵɯ ɠɟɧɳɢɧɚɦ ɢ ɦɭɠɱɢɧɚɦ ɨɛɳɟɫɬɜɨɦ. ɐɚɪɶ-Ⱦɟɜɢɰɚ ɞɚɧɚ ɝɢɩɟɪɛɨɥɢɱɟɫɤɢ, ɧɚɩɨɞɨɛɢɟ ɬɨɝɨ, ɤɚɤ ɨɩɢɫɵɜɚɥɢɫɶ ɜ ɛɵɥɢ-ɧɚɯ ɪɭɫɫɤɢɟ ɛɨɝɚɬɵɪɢ25 : ɫɢɥɶɧɚɹ, ɪɟɲɢɬɟɥɶɧɚɹ ɝɟɪɨɢɧɹ ɹɜɥɹɟɬɫɹ ɚɤɬɢɜɧɵɦ ɫɭɛɴɟɤɬɨɦ ɞɟɣɫɬɜɢɣ, ɤɨɬɨɪɨɦɭ ɩɪɨɬɢɜɨɩɨɫɬɚɜɥɹɟɬɫɹ ɩɚɫɫɢɜɧɵɣ ɰɚɪɟɜɢɱ. ɋɥɚ-ɛɵɣ ɢ ɛɟɡɜɨɥɶɧɵɣ ɝɟɪɨɣ ɨɫɬɚɟɬɫɹ ɪɚɜɧɨɞɭɲɧɵɦ ɤ ɫɬɪɚɫɬɹɦ ɥɸɛɹɳɢɯ ɟɝɨ ɠɟɧ-ɳɢɧ (ɤɪɨɦɟ ɐɚɪɶ-Ⱦɟɜɢɰɵ ɰɚɪɟɜɢɱɚ ɥɸɛɢɬ ɬɨɠɟ ɟɝɨ ɦɚɱɟɯɚ), ɥɸɛɹ ɬɨɥɶɤɨ ɫɜɨɢ ɝɭɫɥɢ26 . ɉɪɨɞɨɥɠɚɹ ɢ ɪɚɡɜɢɜɚɹ ɡɚɦɟɱɚɧɢɹ ɢɫɫɥɟɞɨɜɚɬɟɥɟɣ ɬɜɨɪɱɟɫɬɜɚ ɐɜɟɬɚɟ-ɜɨɣ, ɦɨɠɧɨ ɫɤɚɡɚɬɶ, ɱɬɨ ɐɚɪɶ-Ⱦɟɜɢɰɚ ɢ ɰɚɪɟɜɢɱ-ɦɭɡɵɤɚɧɬ – ɩɟɪɫɨɧɚɠɢ ɛɨɥɟɟ ɚɧɞɪɨɝɢɧɧɵɟ, ɱɟɦ ɚɮɚɧɚɫɶɟɜɫɤɢɟ ɝɟɪɨɢ27 . Ɂɚɫɥɭɠɢɜɚɟɬ ɜɧɢɦɚɧɢɹ ɮɚɤɬ, ɱɬɨ ɫɦɟɳɟɧɢɟ ɝɟɧɞɟɪɧɵɯ ɪɨɥɟɣ ɧɚɛɥɸɞɚɟɬɫɹ ɜɨ ɜɫɟɦ ɬɜɨɪɱɟɫɬɜɟ Ɇɚɪɢɧɵ ɂɜɚɧɨɜ-ɧɵ, ɹɜɥɹɹɫɶ ɟɝɨ ɧɟɢɡɦɟɧɧɨɣ ɬɟɦɨɣ. Ʉɪɨɦɟ ɜɵɲɟɭɩɨɦɹɧɭɬɵɯ ɩɪɨɢɡɜɟɞɟɧɢɣ ɷɬɨɬ ɚɜɬɨɪɫɤɢɣ ɩɪɢɟɦ ɜɵɫɬɭɩɚɟɬ ɜ ɰɢɤɥɟ ɫɬɢɯɨɬɜɨɪɟɧɢɣ ɉɨɞɪɭɝɟ, ɩɶɟɫɚɯ Ʉɨ-ɦɟɞɢɚɧɬ ɢ ɉɪɢɤɥɸɱɟɧɢɟ, ɚ ɬɚɤɠɟ ɜ ɪɚɧɧɢɯ ɫɬɢɯɨɬɜɨɪɟɧɢɹɯ ɢ ɫɬɢɯɨɬɜɨɪɟɧɢɹɯ ɰɢɤɥɚ Ɉɮɟɥɢɹ – Ƚɚɦɥɟɬɭ ɢ ȿɜɪɢɞɢɤɚ – Ɉɪɮɟɸ. ɇɚɤɨɧɟɰ ɫɥɟɞɭɟɬ ɨɛɪɚɬɢɬɶ ɜɧɢɦɚɧɢɟ ɧɚ ɚɜɬɨɪɫɤɨɟ ɩɟɪɟɨɫɦɵɫɥɟɧɢɟ ɐɜɟ-ɬɚɟɜɨɣ ɦɢɮɨɥɨɝɢɱɟɫɤɢɯ ɢ ɤɭɥɶɬɭɪɧɵɯ ɨɛɳɟɢɡɜɟɫɬɧɵɯ ɫɸɠɟɬɨɜ. ə ɢɦɟɸ ɜ ɜɢ-ɞɭ ɬɨɥɶɤɨ ɱɬɨ ɧɚɡɜɚɧɧɵɟ ɫɬɢɯɢ Ɉɮɟɥɢɹ – Ƚɚɦɥɟɬɭ ɢ ȿɜɪɢɞɢɤɚ – Ɉɪɮɟɸ, ɚ ɬɚɤ-ɠɟ ɬɪɚɝɟɞɢɢ Ⱥɪɢɚɞɧɚ ɢ Ɏɟɞɪɚ ɢɡ ɧɟ ɫɨɫɬɨɹɜɲɟɣɫɹ ɬɪɢɥɨɝɢɢ. ɉɪɟɞɨɫɬɚɜɥɹɹ ɫɥɨɜɨ ɝɟɪɨɢɧɹɦ, ɫɭɳɟɫɬɜɭɸɳɢɦ ɜ ɤɭɥɶɬɭɪɟ ɞɨ ɫɢɯ ɩɨɪ ɛɟɡɦɨɥɜɧɨ (ɢɥɢ ɩɪɚɤ-ɬɢɱɟɫɤɢ ɛɟɡɦɨɥɜɧɨ), ɯɭɞɨɠɧɢɰɚ ɞɟɥɚɟɬ ɚɤɰɟɧɬ ɧɚ ɢɯ ɭɱɚɫɬɢɢ ɜ ɫɨɡɞɚɧɢɢ ɢɫɬɨ-ɪɢɣ, ɜɨɫɩɪɢɧɢɦɚɸɳɢɯɫɹ ɤɚɤ „ɦɭɠɫɤɢɟ ɫɸɠɟɬɵ”. Ɍɚɤɢɦ ɨɛɪɚɡɨɦ ȿɜɪɢɞɢɤɚ, Ɉɮɟɥɢɹ, Ⱥɪɢɚɞɧɚ, Ɏɟɞɪɚ, ɚ ɬɚɤɠɟ ɋɢɜɢɥɥɚ, ɉɫɢɯɟɹ ɢ ȿɜɚ ɪɚɫɫɤɚɡɵɜɚɸɬ ɫɜɨɸ ɢɫɬɨɪɢɸ, ɢɫɬɨɪɢɸ ɨɬ ɫɜɨɟɝɨ ɢɦɟɧɢ. Ɍɚɤɚɹ ɫɬɪɚɬɟɝɢɹ, ɨɩɪɟɞɟɥɟɧɧɚɹ ɮɟɦɢɧɢɫɬ-ɫɤɨɣ ɥɢɬɟɪɚɬɭɪɧɨɣ ɤɪɢɬɢɤɨɣ ɫɬɪɚɬɟɝɢɟɣ ɚɩɨɤɪɢɮɚ, ɧɟ ɦɨɠɟɬ ɨɫɬɚɬɶɫɹ ɜɧɟ ɩɨ-ɥɹ ɡɪɟɧɢɹ ɜɧɢɦɚɬɟɥɶɧɨɝɨ ɱɢɬɚɬɟɩɨ-ɥɹ, ɞɚɠɟ ɩɪɢ ɩɟɪɜɨɦ ɨɡɧɚɤɨɦɥɟɧɢɢ ɫ ɬɟɤɫɬɨɦ. ɋɚɦɢ ɡɚɝɥɚɜɢɹ ɩɪɨɢɡɜɟɞɟɧɢɣ, ɹɜɥɹɸɳɢɟɫɹ – ɦɨɠɧɨ ɫɤɚɡɚɬɶ – ɧɚɜɹɡɱɢɜɵɦɢ, ɩɨɞɫɤɚɡɵɜɚɸɬ ɭɫɬɚɧɨɜɤɭ ɧɚ ɝɟɧɞɟɪɧɵɣ ɚɧɚɥɢɡ ɯɭɞɨɠɟɫɬɜɟɧɧɨɝɨ ɬɟɤɫɬɚ. ɉɪɢ-________________ 25Ⱥ. ɋ ɚ ɚ ɤ ɹ ɧ ɰ, Ɇɚɪɢɧɚ ɐɜɟɬɚɟɜɚ. ɋɬɪɚɧɢɰɵ ɠɢɡɧɢ ɢ ɬɜɨɪɱɟɫɬɜɚ (1910–1922), Ɇɨɫɤɜɚ 1986, ɫ. 242. 26Ɍɚɤɨɣ ɠɟ ɨɛɪɚɡɟɰ ɪɟɚɥɢɡɭɟɬ ɐɜɟɬɚɟɜɚ, ɧɚɩɪɢɦɟɪ, ɜ ɬɪɚɝɟɞɢɢ Ɏɟɞɪɚ, ɝɞɟ ɜɨɡɥɸɛɥɟɧ-ɧɵɣ ɦɚɱɟɯɨɣ-Ɏɟɞɪɨɣ ɂɩɩɨɥɢɬ ɩɨɥɧɨɫɬɶɸ ɩɪɟɞɚɧ ɫɥɭɠɛɟ Ⱥɪɬɟɦɢɞɟ.
27ɋɪ.: S. K a r l i n s k y, Marina Tsvetaeva. The Woman, Her World and Her Poetry, New York 1986, ɫ. 99–100; L. F e i l e r, Marina Tsvetaeva..., ɭɤɚɡ. ɫɨɱ., ɫ. 106–108.
ɱɟɦ ɚɜɬɨɪɫɤɨɟ ɫɬɪɟɦɥɟɧɢɟ ɡɚɨɫɬɪɢɬɶ ɩɪɨɬɢɜɨɪɟɱɢɹ ɦɟɠɞɭ ɝɟɪɨɹɦɢ, ɱɬɨɛɵ ɩɨ-ɫɬɚɜɢɬɶ ɩɨɞ ɫɨɦɧɟɧɢɟ ɢ ɩɨɤɨɧɱɢɬɶ ɫ ɡɚɤɪɟɩɢɜɲɢɦɫɹ ɜ ɤɭɥɶɬɭɪɟ ɜɨɫɩɪɢɹɬɢɟɦ ɨɩɪɟɞɟɥɟɧɧɵɯ ɩɟɪɫɨɧɚɠɟɣ ɢ ɫɸɠɟɬɨɜ, ɨɱɟɜɢɞɧɨ ɧɟ ɬɨɥɶɤɨ ɜ ɫɚɦɨɦ ɩɨɞɯɨɞɟ ɤ ɢɯ ɨɫɦɵɫɥɟɧɢɸ. Ⱥɤɰɟɧɬ ɧɚ ɠɟɧɫɤɨɟ ɧɚɱɚɥɨ – ɡɚɮɢɤɫɢɪɨɜɚɧɧɵɣ ɜ ɡɚɝɥɚɜɢɢ28 – ɩɨɡɜɨɥɹɟɬ ɩɪɟɞɩɨɥɨɠɢɬɶ ɬɚɤɠɟ ɢ ɪɚɡɥɢɱɢɹ ɜ ɜɵɛɨɪɟ ɢ ɨɪɝɚɧɢɡɚɰɢɢ ɜɵɪɚɡɢ-ɬɟɥɶɧɨ-ɢɡɨɛɪɚɡɢɬɟɥɶɧɵɯ ɹɡɵɤɨɜɵɯ ɫɪɟɞɫɬɜ, ɩɨɫɪɟɞɫɬɜɨɦ ɤɨɬɨɪɵɯ ɜɨɩɥɨɳɚ-ɸɬɫɹ ɜ ɩɪɨɢɡɜɟɞɟɧɢɹɯ ɨɛɪɚɡɵ ɝɥɚɜɧɵɯ ɞɟɣɫɬɜɭɸɳɢɯ ɥɢɰ29 . ɉɨɞɵɬɨɠɢɜɚɹ, ɯɨɱɭ ɨɬɦɟɬɢɬɶ, ɱɬɨ ɝɟɧɞɟɪɧɨɟ „ɢɡɦɟɪɟɧɢɟ” ɫɩɨɫɨɛɫɬɜɭɟɬ ɮɨɪɦɢɪɨɜɚɧɢɸ ɧɨɜɨɝɨ ɜɡɝɥɹɞɚ ɧɚ ɥɢɬɟɪɚɬɭɪɧɨɟ ɩɪɨɢɡɜɟɞɟɧɢɟ, ɚ ɢɧɬɟɪɩɪɟɬɚ-ɰɢɹ ɫ ɭɱɟɬɨɦ ɝɟɧɞɟɪɧɨɣ ɞɢɮɮɟɪɟɧɰɢɚɰɢɢ ɩɨɡɜɨɥɹɟɬ ɧɚɣɬɢ ɮɨɪɦɵ, ɨɬɪɚɠɚ-ɸɳɢɟ ɫɢɦɜɨɥɵ ɠɟɧɫɤɨɝɨ ɨɩɵɬɚ, ɮɨɪɦɢɪɭɹ ɬɟɦ ɫɚɦɵɦ ɝɟɧɞɟɪɧɭɸ ɩɨɷɬɢɤɭ. Ɉɛɴɟɤɬɨɦ ɝɟɧɞɟɪɧɨɝɨ ɥɢɬɟɪɚɬɭɪɨɜɟɞɟɧɢɹ ɫɱɢɬɚɟɬɫɹ ɝɟɧɞɟɪɧɚɹ ɤɚɪɬɢɧɚ ɦɢɪɚ, ɨɫɧɨɜɚɧɧɚɹ ɧɚ ɫɬɟɪɟɨɬɢɩɚɯ ɦɚɫɤɭɥɢɧɧɨɫɬɢ ɢ ɮɟɦɢɧɢɧɧɨɫɬɢ, ɫɩɟɰɢɮɢɤɚ ɚɜ-ɬɨɪɫɤɨɝɨ ɫɨɡɧɚɧɢɹ, ɨɩɪɟɞɟɥɹɟɦɨɝɨ ɝɟɧɞɟɪɧɨɣ ɢɞɟɧɬɢɱɧɨɫɬɶɸ, ɨɫɨɛɚɹ ɬɨɱɤɚ ɡɪɟɧɢɹ ɚɜɬɨɪɚ-ɦɭɠɱɢɧɵ ɢɥɢ ɠɟɧɳɢɧɵ – ɢ ɟɟ/ɟɝɨ ɝɟɪɨɟɜ, ɠɚɧɪɨɜɚɹ ɫɢɫɬɟɦɚ, ɬɚɤɠɟ ɢɦɟɸɳɚɹ ɝɟɧɞɟɪɧɨɟ ɢɡɦɟɪɟɧɢɟ. Ɂɞɟɫɶ ɪɟɱɶ ɢɞɟɬ ɧɟ ɨ ɫɨɡɞɚɧɢɢ ɧɨɜɵɯ ɠɚɧɪɨɜ, ɚ ɨɛ ɷɜɨɥɸɰɢɢ ɢ ɬɪɚɧɫɮɨɪɦɚɰɢɢ ɫɭɳɟɫɬɜɭɸɳɟɣ ɠɚɧɪɨɜɨɣ ɫɢɫɬɟɦɵ. Ɍɚɤɨɣ ɩɨɞɯɨɞ ɨɩɪɨɜɟɪɝɚɟɬ ɬɟɡɢɫ, ɱɬɨ „ɥɢɬɟɪɚɬɭɪɚ ɦɨɠɟɬ ɛɵɬɶ ɥɢɲɶ ɯɨɪɨɲɟɣ ɢɥɢ ɩɥɨɯɨɣ, ɢ ɧɢɤɚɤɢɯ ɞɪɭɝɢɯ ɚɫɩɟɤɬɨɜ ɪɚɫɫɦɨɬɪɟɧɢɹ ɢ ɚɧɚɥɢɡɚ ɬɟɤɫɬɚ ɛɵɬɶ ɧɟ ɦɨɠɟɬ”30 . ȼ ɫɜɨɸ ɨɱɟɪɟɞɶ, ɨɛɪɚɳɟɧɢɟ ɤ ɠɟɧɫɤɨɦɭ ɬɜɨɪɱɟɫɬɜɭ ɷɩɨɯɢ ɋɟɪɟɛɪɹɧɨɝɨ ɜɟɤɚ ɫ ɭɱɟɬɨɦ ɝɟɧɞɟɪɧɨɣ ɭɫɬɚɧɨɜɤɢ ɨɛɨɡɧɚɱɚɟɬ ɩɪɨɪɵɜ ɜ ɩɨɧɢɦɚɧɢɢ ɷɬɨɝɨ ɮɟɧɨɦɟɧɚ ɢ ɫɬɪɟɦɥɟɧɢɟ ɜɤɥɸɱɢɬɶ ɩɨɷɬɟɫɫ, ɠɟɧɳɢɧ-ɩɪɨɡɚɢɤɨɜ ɢ ɞɪɚɦɚɬɭɪɝɨɜ ɜ ɥɢɬɟɪɚɬɭɪɧɭɸ ɬɪɚɞɢɰɢɸ, ɩɨ ɞɨɫɬɨɢɧɫɬɜɭ ɨɰɟɧɢɜɚɹ ɢɯ ɜɤɥɚɞ ɜ ɟɟ ɪɚɡɜɢɬɢɟ. ɉɪɢɡɧɚɧɢɟ ɷɬɨɝɨ ɮɚɤɬɚ ɜɟɞɟɬ ɤ ɩɨɬɪɟɛɧɨɫɬɢ ɪɚɡɪɚɛɚɬɵɜɚɬɶ ɧɨɜɵɟ ɤɪɢɬɟɪɢɢ, ɤɨɬɨɪɵɟ ɛɭɞɭɬ ɨɬɥɢɱɚɬɶɫɹ ɨɬ ɩɪɢɧɹɬɵɯ ɞɨ ɫɢɯ ɩɨɪ ɜ ɥɢɬɟɪɚɬɭɪɨɜɟɞɟɧɢɢ ɢ ɬɟɪɚɬɭɪɧɨɣ ɤɪɢɬɢɤɟ. ɇɟɫɨɦɧɟɧɧɨ, ɷɬɨ ɜɚɠɧɵɣ ɲɚɝ ɧɚ ɩɭɬɢ ɤ ɜɨɫɫɨɡɞɚɧɢɸ ɥɢ-ɬɟɪɚɬɭɪɧɨɣ ɤɚɪɬɢɧɵ ɦɢɪɚ ɢ ɩɪɢɬɨɦ ɨɞɧɚ ɢɡ ɧɚɢɛɨɥɟɟ ɩɟɪɫɩɟɤɬɢɜɧɵɯ ɢ ɩɪɢɨ-ɪɢɬɟɬɧɵɯ ɨɛɥɚɫɬɟɣ ɥɢɬɟɪɚɬɭɪɨɜɟɞɟɧɢɹ XXI ɜɟɤɚ. ________________ 28ɋɬɨɢɬ ɜɫɩɨɦɧɢɬɶ, ɱɬɨ ɭɩɨɦɹɧɭɬɵɣ ɚɤɰɟɧɬ ɧɚ ɠɟɧɫɤɨɟ ɧɚɱɚɥɨ ɮɢɤɫɢɪɭɟɬɫɹ ɐɜɟɬɚɟ-ɜɨɣ ɜ ɨɤɨɧɱɚɬɟɥɶɧɨɦ ɡɚɝɥɚɜɢɢ ɬɪɚɝɟɞɢɢ – Ⱥɪɢɚɞɧɚ (Ƚɧɟɜ Ⱥɮɪɨɞɢɬɵ) – ɩɨɹɜɢɥɫɹ ɩɨɡɠɟ, ɜ ɫɨɨɬɜɟɬɫɬɜɢɢ ɫ ɢɡɦɟɧɢɜɲɢɦɫɹ ɡɚɦɵɫɥɨɦ ɐɜɟɬɚɟɜɨɣ. 29ɉɨɷɬɨɦɭ ɰɟɥɶɸ ɝɥɭɛɢɧɧɨɝɨ ɢɫɫɥɟɞɨɜɚɧɢɹ ɦɨɠɟɬ ɹɜɥɹɬɶɫɹ – ɨɬɧɨɫɢɬɟɥɶɧɨ ɞɪɚɦɚɬɭɪ-ɝɢɱɟɫɤɨɝɨ ɞɢɫɤɭɪɫɚ – ɢɡɭɱɟɧɢɟ ɪɟɱɟɜɵɯ ɩɨɪɬɪɟɬɨɜ ɝɟɪɨɟɜ, ɜ ɤɨɬɨɪɵɯ ɧɚɢɛɨɥɟɟ ɝɥɭɛɨɤɨ ɢ ɪɚɡɧɨɨɛɪɚɡɧɨ ɩɪɨɹɜɹɬɫɹ ɨɬɥɢɱɢɹ. ɋɪ.: ɂ.ɉ. Ɂ ɚ ɣ ɰ ɟ ɜ ɚ, Ƚɟɧɞɟɪɧɨɟ ɫɜɨɟɨɛɪɚɡɢɟ ɢɧɞɢɜɢ-ɞɭɚɥɶɧɵɯ ɞɢɫɤɭɪɫɨɜ ɝɟɪɨɟɜ ɬɪɚɝɟɞɢɢ Ɇɚɪɢɧɵ ɐɜɟɬɚɟɜɨɣ „Ⱥɪɢɚɞɧɚ”, [ɜ:] Ʌɢɤɢ Ɇɚɪɢɧɵ ɐɜɟ-ɬɚɟɜɨɣ, Ɇɨɫɤɜɚ 2006, ɫ. 265–280. 30ȿ. Ɍ ɪ ɨ ɮ ɢ ɦ ɨ ɜ ɚ, ɀɟɧɫɤɚɹ ɥɢɬɟɪɚɬɭɪɚ ɢ ɤɧɢɝɨɢɡɞɚɧɢɟ ɜ ɫɨɜɪɟɦɟɧɧɨɣ Ɋɨɫɫɢɢ, http://www.a-z.ru/women_cd1/html/trofimovar.htm (10.09.2009).
