Yevgeny Zamyatin’s “Hypertext” About the Female Warrior. Article I

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Tekst Kniga Knigoizdanie-Text Book Publishing Pub Date : 2021-01-01 DOI:10.17223/23062061/27/2
V. Zuseva-Ozkan
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Abstract

This article deals with Yevgeny Zamyatin’s “hypertext” about the female warrior, i.e. with the totality of her manifestations in the works of the writer and the semantic continuum that they form. This type of character is defined as a heroine with outstanding physical abilities (such as strength, horse-riding and shooting skills, etc. - and also great beauty), a strong, proud personality, persistence, ability to fight back, determination to gain the upper hand, to win at all costs - especially in the game of power and armed conflict with the male character that is in love with the heroine and/or is loved by her. The author identifies Zamyatin’s works in which the woman warrior appears, analyzes the plot functions and the characteristic motif complex associated with this image. The author demonstrates that the female warrior represents a very frequent type of heroine in Zamyatin’s works: the image appears at the beginning of his career as a writer, in the short story “Kryazhi” (1915), and accompanies him until the end, manifesting itself in the screenplays written in the 1930s. The author reveals that a specific variant of the plot featuring the female warrior is implemented in Zamyatin’s works: the heroine is shown as equal in strength with the male character, and the test of power happens, in particular in the form of a literal duel. Whatever its outcome is and whoever wins, the storyline usually finishes with the death of one or both characters - either during the combat or as its remote consequence. While the type of the plot is usually the same, the female character itself shows a wide variety: there are Valkyrie-like heroines (Ildegonda in the play Atilla), polenitsas from Russian bylina songs (such as Nastasya Mikulishna in the screenplay “Dobrynya” or Marya in “Kryazhi”), Mongolian women warriors (Borte, Ulek), and even contemporary heroines of this type (Zinaida in the screenplay “The God of Dance”). Usually such characters are attributed in Zamyatin to the legendary epic past or rooted in “folk archaics”; they belong to the rural world, to the Russian village. The constant topoi and the evolution of the female warrior in Zamyatin’s artistic works are revealed; in particular, such motifs as love-hate, test of strength (in the form of a duel or a competition), mutual intendedness of two “strong ones” and their tragic non-encounter are considered. The author notes that the supervalue of the female warriors in Zamyatin’s works is love, while for some other writers of the Silver Age, for instance, for Marina Tsvetaeva or Lyubov Stolitsa, such values were female agency, independence, control over one’s life, freedom, or even spiritual salvation. The play Atilla and its heroine Ildegonda are analyzed in this article in particular detail; the sources of this image are revealed.
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叶夫根尼·扎米亚京关于女战士的“超文本”。篇文章中,我
本文探讨了叶夫根尼·扎米亚京关于女战士的“超文本”,即她在作家作品中的整体表现及其所形成的语义连续体。这种类型的角色被定义为具有出色的身体能力(如力量,骑马和射击技能等-而且非常漂亮),坚强,骄傲的个性,坚持不懈,反击能力,决心占据上风,不惜一切代价赢得胜利-特别是在权力游戏和与女主角相爱或被她所爱的男性角色的武装冲突中。作者对扎米亚京作品中出现的女战士形象进行了识别,分析了与这一形象相关的情节功能和特有的母象情结。作者证明,女战士是扎米亚金作品中非常常见的女主角类型:这一形象出现在他作为作家生涯的开始,在短篇小说“Kryazhi”(1915)中,并伴随他直到最后,在20世纪30年代写的剧本中表现出来。作者揭示了扎米亚京的作品中对女战士情节的一种特殊的变体:女主与男性角色在力量上是平等的,权力的考验发生了,特别是以一场字面上的决斗的形式。无论结局是什么,谁赢了,故事情节通常以一个或两个角色的死亡结束——要么是在战斗中,要么是在遥远的后果中。虽然情节的类型通常是相同的,但女性角色本身表现出广泛的多样性:有女武神式的女主角(戏剧《阿提拉》中的Ildegonda),俄罗斯bylina歌曲中的polenitsas(如剧本《Dobrynya》中的Nastasya Mikulishna或《Kryazhi》中的maria),蒙古女战士(Borte, Ulek),甚至是这种类型的当代女主角(剧本《舞蹈之神》中的Zinaida)。在《扎米亚京》中,这些人物通常被归因于过去的传奇史诗或根植于“民间古文”;他们属于农村世界,属于俄罗斯的村庄。揭示了扎米亚京艺术作品中女性战士的不断变化和演变;特别是,这样的主题,爱恨情仇,实力的考验(以决斗或竞争的形式),两个“强者”的相互意图和他们的悲剧性相遇被考虑在内。作者指出,扎米亚金作品中女性战士的超价值是爱,而对于白银时代的其他一些作家来说,例如玛丽娜·茨维塔耶娃或柳博夫·斯托利察,这种价值是女性的代理、独立、对自己生命的控制、自由,甚至是精神上的救赎。本文对话剧《阿提拉》及其女主角伊尔德冈达进行了详细的分析;这张图片的来源被揭示。
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Tekst Kniga Knigoizdanie-Text Book Publishing
Tekst Kniga Knigoizdanie-Text Book Publishing HUMANITIES, MULTIDISCIPLINARY-
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