European International Journal of Multidisciplinary Research
and Management Studies
48
https://eipublication.com/index.php/eijmrms
TYPE
Original Research
PAGE NO.
48-50
DOI
OPEN ACCESS
SUBMITED
14 December 2024
ACCEPTED
16 January 2025
PUBLISHED
18 February 2025
VOLUME
Vol.05 Issue02 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Artistic Picture of The
World in Anthropocentric
Aspect
Obidova Farangiz Akmalovna
Teacher of the Department of Russian Language and Literature of the
Termez State Pedagogical Institute, Uzbekistan
Abstract:
This article examines the artistic picture of the
world, in an anthropocentric aspect, as one of the
components that determine the specifics of "women's
prose", the emergence and existence of which are
dictated by time and space, the special gender and
social role of women, and the originality is determined
by a special "feminine" worldview, a feminine view of
traditional universal problems. The study of the artistic
picture of the world of women's prose will allow us to
reach the level of axiological analysis of the text, which
involves identifying the values that are actualized in the
texts of women's prose, modeling the value hierarchies
of writers representing this literary phenomenon, their
integral system of knowledge and ideas about the
world.
Keywords:
Women's prose, artistic worldview, socio-
cultural phenomenon, female perspective, catharsis,
conceptual sphere, gender worldview, female destiny.
Introduction:
Modern literary criticism believes that the
image of a woman was first mentioned in the
Renaissance in the works of Italian writers Isotta
Nogarola, Laura Cereta and Christina of Pisan. In her
works, Christina of Pisan talks about the inequality of
men to women, where the latter takes part in the
"dispute about women". Christina of Pisan reveals the
world of dangers, intrigues that await in the meticulous
male world, where a woman survives. Thus, one after
another, the works of this normative construction are
published by G. Boccaccio "On 104 Famous Women",
Cornelius Agrippa "Declaration on the Nobility and
Superiority of the Female Sex over the Male", Poulain de
la Bar "On the Equality of Both Sexes". In other words,
the main marker of the image of a woman in these
works is the right to equality with men who fought for
European International Journal of Multidisciplinary Research
and Management Studies
49
https://eipublication.com/index.php/eijmrms
European International Journal of Multidisciplinary Research and Management Studies
the provision of voting rights "the tyranny of men
deprives a woman of the freedom she received at
birth." The above-mentioned works clearly express the
development of initial feminism.
Thus, in Western European literature, the image of a
woman until the second half of the 20th century
advocates the right to gain a voice in the economic and
legal spheres, and an intensive study of the role of
women begins. In the book "The Political Economy of
Women's Liberation" by Margaret Bexton, the image
of a woman is shown in domestic, unpaid life. This is a
wife, mother, worker who faces various problems and
does not have property rights.
It can be noted that the works of Western literature
ultimately lead us back to the origins of feminism,
where a woman wages a constant struggle, suppressed
by men. Thus, the works of Western European
literature vary in two directions: a woman-slave and a
woman-fighter.
In Russian literary criticism, the concept of the
image of a woman appeared later in the 12th
–
13th
centuries. In the works of Ancient Rus, one can find
works that pay attention to female characters: "The
Tale of Peter and Fevronia of Murom", "The Life of
Juliania Lazarevskaya", "The Tale of Karp Sutulov",
"The Tale of Bygone Years", "The Tale of Igor's
Campaign", "The Tale of Savva Grudtsyn". In this
society, a woman was compared to the position of a
father and husband. "Old Russian writers rarely turned
their gaze to the daughters, wives and mothers of their
heroes," says D.S. Likhachev. - However, in all the few
mentions, a woman invariably appears in the charm of
tender care, heartfelt understanding of state concerns
and the worries of her husbands and brothers. ... Love
for a husband, father or son does not dull their love for
the Motherland, hatred of enemies, confidence in the
rightness of the cause of a loved one." It should be
noted that in Russian literary criticism there are a
number of studies that touch upon the terminological
characteristics of this concept, so S.M. Solovyov notes
that "... in the Middle Ages, women of the upper
classes took an active part in the political life of
principalities and lands." The researcher claims that
many of them had utensils, and often had the right to
independently choose grooms. Women do not often
appear in chronicle sources. An example is the "Tale of
Bygone Years", where the image of the fair sex is
mentioned several times. Women were assessed in
relation to men. The image of Princess Olga appears
before us from the first pages of the "Tale of Bygone
Years". Princess Olga appears in the work as an activist,
defender of the Russian land. Thanks to the reforms of
Princess Olga, the political life of Kievan Rus is
strengthened in international relations. During her
reign, there were no internecine and feudal strife on the
territory of Rus. In the work "The Tale of Peter and
Fevronia of Murom" the main character is not the
prince, but Fevronia, who solves difficulties without
panic. The image of Fevronia contains the beautiful
features of an ancient Russian woman. The role of a
woman has a great impact on the formation and
development of Russian statehood. Fevronia carries
love, devotion to her neighbor. The author adds
truthfulness and a sincere attitude to the prince, ready
to ease the suffering of her beloved. The author notes
the individuality of the image of Fevronia in relation to
other girls. From this it follows that "in ancient Russian
culture and literature, a woman personifies the highest
human values." In ancient Russian literature, the image
of the fair sex absorbs positive motives, bright national
features, uniqueness and originality of these characters.
The formation of the literature of the 18th century was
greatly influenced by the reform of Peter the Great. This
period of literature combines elements of Old Russian
literature and innovation. The 18th century saw huge
changes not only in public social life, but also in the
cultural world. In literature, new plots and artistic
elements are observed that were oriented and imitated
the Western tradition. In the literature of the 18th
century, the system of female images has a certain
structure. As was stated earlier, this period of Russian
literature has not been studied in sufficient volume. If
the image of a Russian woman in Old Russian literature
has a collective image, where they were revealed either
positively or negatively, since the literature of this
period was noted for the absence of authorial fiction.
Yu. M. Lotman, characterizing the term we are studying,
concludes that it was the era of Peter the Great that
“involved women in the world of literature” (p. 450). It
follows from this that Empress Elizabeth was not only
the founder of universities in Moscow, but was also a
Russian female poetess, who freely expressed her
thoughts and feelings in poetry.
G.A. Gukovsky, V.V. Sipovsky, P.N. Berkov, L.V.
Pumpyansky tried to characterize the term of fiction we
are studying. In particular, the scientist A.G. Maslova,
speaking about the odes of G.R. Derzhavin, notes
several female images, namely: "another aspect of state
ideology: Russia, she is Catherine, is the mother of all
peoples, she gathers them under her wing, where they
strive with desire and hope."
It follows from this that the image of the Russian
empress combines courage and beauty. Elizabeth
appears as "the beauty of sovereigns of the state!", in
which "true kindness, heroism, beauty, generosity are
seen." V.K. Trediakovsky uses similar images in his work
“Stanzas of Praise to the Life of a Villager.” The writer
embodies the image of a modern wife:
European International Journal of Multidisciplinary Research
and Management Studies
50
https://eipublication.com/index.php/eijmrms
European International Journal of Multidisciplinary Research and Management Studies
Буде ж весь толь постоянна
Дом жена благословенный с ним,
Сарра коль была или Сусанна,
-
То спокойства нет сравненна с сим
In the typology of female images, social status is of
great importance, that is, the works of this period were
dedicated to Russian empresses.
I.V. Lomonosov depicts the image of a strong woman
"Ode on the day of accession to the All-Russian throne
of Her Majesty Empress Elizabeth Petrovna in 1747". It
is impossible not to mention the ode of G.R. Derzhavin
"Felitsa", since women were proclaimed to the Russian
throne. In the diary notes of G.R. Derzhavin, the image
of Felitsa is shown not as a young woman, but as a tired
empress who does not want to deal with the problems
in her empire. The typology of female images of the
18th century can serve as a topic for another scientific
study. A review of the works of this period shows the
following types of female images: the image of a great
ruler and a simple-minded woman from the people. In
other words, considering the conditions of the
emergence and evolution of female images in
literature, each period has its own new characteristic
traditions that meet the demands of the new century
REFERENCES
Феминизм (Энциклопедия «Кругосвет»)
\\ http://
www.krugosvet.ru
Лихачев Д.С. Человек в литературе Древней Руси –
М.1993.С.70
Соловьёв С.М. Сочинения:В 18 кн. Кн.2:История
России с древнейших времен.Т.3
-4
–
М.,1993.С.23
Шоре Э. Феминистское литературоведение на
пороге XXI века
\\
Литературоведение на пороге XXI
века
\
Материалы
Международной
научной
конференции (МГУ,май 1997) М.,1998,С.99
Ю.М.Лотман Беседы о русской культуре. Быт и
традиции русского дворянства (XVIII —
начало XIX
века). М.:1993,С.60
Маслова А.Г. Жанровая система поэзии начала
1760-
х гг.: поэтика пространства и времени
\\
Вестник ВятГУ.2013.
Ломоносов М.В. Сочинения
\
М.В.Ломоносов. –
М.:
Гослитиздат,1957.
-
576 с.
Trediakovskii V.K. Izbrannye proizvedeniia [Selected
Works]. Moscow, Leningrad, Sovetskii pisatel`
Publ.,1963.577P.
