| Abstract [eng] |
In this paper attitudes of three women who created in independent Lithuania and their self-presentations are analysed. Artists‘ Domicelė Tarabildaitė-Tarabildienė, Marcė Katiliūtė and poetess‘ Salomėja Nėris egodocumentary and creative heritage are interpreted and their biographies are inquired. It especially focuses on the women‘s activities in the fourth decade of the XX century during which the women-artists reached the culmination of their self-expression by integrating into cultural life, creating intensively and seeking for public recognition. This paper analyses and compares womanly ‘ego‘ which appeared in their creative works and representation of women‘s forms from feminist point of view, styles of the artists‘ postures, their chosen attitudes which enabled them to seek for self-expression and entrenchment in the contemporary society. M.Katiliūtė‘s drastic and society-disassociated attitude, her objective to identify herself with ascetic type of an artist are discussed. The artist‘s works of art in which traditional roles of women are indicated and individual self-assured heroines are promoted are analysed in the paper as well. Self-image created by D. Tarabildaitė-Tarabildienė discloses miscellaneous, altering attitude of the artist able to improvise and play. Notably unexpected and up-to-date are the artist‘s photographic experiments, in which the woman innovatively designed and created her self-image and personated herself into roles of various characters. The artist revealed herself as a modern and emancipated personality interested in marks and symbols of modernity appearing in the Lithuanian and the European context. In S. Nėris diaries and other works the poetess‘ great desire to get in touch is represented. Allusions are found in the texts signifying ambition to unburden herself and become recognized. Plots are developed in which the Other appearing in the woman‘s world (often beloved) liberates from oppressive space. That the Other acts as a mediator, as revitalizing power equivalent of spiritual twin. In the stories of such discussed women emerges a more common drama of the woman-creator in interwar Lithuania. Analysis of creation of all the discussed women discloses their up-to-date, time exceeding and independent self-consciousness. However, the situation of the women, who created during interwar period appears to be not unambiguous. On the one hand, the women‘s self-consciousness faced suppression. It is evident that the women were thrusted into frames of patriarchal discourse and, striving to belong to the contemporary society, were forced to limit or suppress their creative ambitions. On the other hand, in such repressive atmosphere of the society different attitudes and individual and diverse models of the women‘s behaviour were developing. The women‘s histories witness their ambitions to struggle against social barriers which led them to the recognition of their self-expression and their artistic creation became a part of cultural heritage which enables to discuss peculiar story of the women-creators‘ consciousness and particular ways of their self-expression. |
