“The broken rose”: archetypes of femeninity in N. Lvova’s lyrics. Article 1

The poetic heritage of Nadezhda L’vova is not large, but it is of considerable interest in the aspect of understanding the process of formation of female author subjectivity in the literature of Russian modernism. L’vova’s reflections on the problem of the embodiment of the feminine in the culture of past epochs and modernity are realized in a number of archetypal pan-European images of her poems in the collection “Old Fairy Tale” and her posthumously published works adjoining to it. These archetypes can also be called projections of femininity. She tries on some of them for herself: fairy bride (princess), dreamer, Beautiful Lady, Stranger, Muse, Eurydice, Francesca, warrior maiden, harbinger (forerunner). And some roles arise as an object of cultural and philosophical reflection: Madonna (saint), harlot (sinner), Eternal Femininity. The article examines the evolution of L’vova’s searches in the field of constructing the image of the author in the text. From the traditional gender roles of the ever-waiting and submissive femininity, she moves to the denial of this model and attempts to gain independence, to appear as a Poet, not a Muse. The article traces the connections of the archetypes of femininity in her lyrics with the models proposed in the male poetry of the modernist era, primarily in the poems of A. Blok and V. Bryusov, which she rewrites from the point of view of the female subject. L’vova’s critical article “The Cold of the Morning”, devoted to the problem of female authorship, is also involved in the analysis to reconstruct the poetess’s view on the issue of female self-realization.