| Abstract [eng] |
This thesis examines the feminine representation, which is revealed in the poetic works of the modern Lithuanian poet Giedrė Kazlauskaitė. The study aims to describe the female roles present in the author's work and the ways they are articulated across the poetry. The research method is based on a semiotic analysis of a poetic text, which aims to consistently analyze the discursive and narrative levels based on the approach of the analytical path. Feminine representation is analyzed from the narrator’s point of view (i.e. using “I“ expression), and therefore the semiotic method is supplemented by the issues of enunciation raised by the semiotic scholars Algirdas Julius Greimas and Jean-Claude Coquet. The results of this thesis indicate that Kazlauskaitė's poetry enclose various female roles: a girl, an infant, a maturing teenager, a mother, a poet, a nun, a graphomaniac, a hetaira, etc. A more comprehensive role analysis of mother and the poet revealed the problem of the mask, where the narrator sometimes tends to assume these roles as their own identity, and sometimes they act as a deception (i.e. a game). In turn, the poet’s identity / role is revealed as a double-acting mask. In some cases, the narrator takes over the voice of the creators found in the books, rewrites the works, while in other cases the mask acts as a mechanism for constructing identity. After wearing the mask composed of other fragments of the poets' work, the narrator decides to be a poet and write. Women creators often reveal themselves as being rather angry, which is not very typical picture of a woman-poet in Lithuanian literature. The role of the mother in the action of the narrator is revealed as part of the identity attributed to oneself (the narrator is indeed the mother) and as a game (the narrator pretends to be the mother). The study notices that the figures of space, specifically the room and the mirror, in which the isotope formation of the female-creator identity is developed, become rather an important cause in the expressing the feminine representation. Across these spaces, the narrator is usually alone, constructing herself through creation or art. The space of the Amber room is connected with the room of the narrator‘s father. Not only this room is forbidden to her, the identity of the narrator by entering the room is not created but rather lost. Feminine representation is also depicted in “I“ and “they“ situations, where the narrator shows both herself and others, defines the acceptable terms of femininity with regards to her subjective view. For instance, she enrolls in a women’s community that reveals the thematic roles of amazons, bees, monks, and scientists. They are all linked by the ability to act, and more specifically to create, build, fight, defend and even extend a community without the involvement of men. On the other hand, the poems also encompass the antithesis of “I“ and “they“, where the narrator does not fit in with other women, since she considers herself being different and associated with creativity, rather than the traditional female role, which encompass carrying for beauty, clothes, everyday life and children. A similar clash between “I“ and “they“ is revealed when the narrator evaluates others, where “they“ are usually described in poems as incomprehensible, primitive, and foolish, while the narrator is depicted as an omniscient, talented person who makes the right decisions in one’s life. |
