Moters tapatumo galimybės ir ribos Sofijos Čiurlionienės-Kymantaitės kultūros koncepcijoje

LTStraipsnyje analizuojant vienus pirmųjų Sofijos Čiurlionienės tekstų, publikuotų X X amžiaus pradžioje rinktinėje „Gabija" ir lietuviškoje spaudoje, siekiama atskleisti, kaip moteris ateina į viešąją erdvę, kokias strategijas pasirenka įtvirtinti save kaip viešumos subjektą. Straipsnyje pristatomas bendras XIX amžiaus pabaigos-XX amžiaus pradžios visuomeninis-kultūrinis kontekstas, besiformuojanti lietuviška viešoji erdvė ir naujai atsivėrusios moterų galimybės. Čiurlionienė pirmaisiais tekstais įtvirtinusi autonomišką, savarankišką moters laikyseną, žengia dar toliau - imasi aiškinti meno prigimtį, jo reikšmę asmens ir tautos gyvenime. Jos tekstai liudija pastangas asmens tapatumą mąstyti Vakarų kultūros tradicijoje, tiesiogiai susiejant jį su kultūra. Meno patirtis ir meninė raiška šios autorės tekstuose iškyla kaip būtina iki galo realizuoto tapatumo sąlyga. Savojo „Aš" paieškos mąstomos bendražmogiškoje perspektyvoje, tačiau subendrinta kalba rodosi nepajėgi perteikti specifinę moterišką patirtį. Nors šioje žiūros perspektyvoje moteris, kaip ir vyras, traktuojami vienodai pajėgūs išreikšti savąjį genialumą, tačiau visi Čiurlionienės minimi genijai yra vyrai. [Iš leidinio]Reikšminiai žodžiai: Kultūra; Sofija Čiurlionienė- Kymantaitė; Tapatumas; Viešoji erdvė; Čiurlionienė-Kymantaitė; Culture; Identity; Public space; Sofija Čiurlionienė-Kymantaitė; Čiurlionienė-Kymantaitė.

ENSofija's -Čiurlionienė-Kymantaitė's creative writings and first impressions were published in the "Gabija" almanac. The article analyses these texts, along with her essay „Dailės prasmė gyvenime"(The Meaning of Art in Life) and sociocultural critical essay „Lietuvoje" (In Lithuania) as a realization of the female identity as a public figure, established in the late 19th century - early 20th century society. This authors' creative writing marks the modernizing culture of the early 20th century with its modem aestheticism and its cultivation of personal self-perception that recognizes itself in folk art and professional art, as well as in a unique experience of the natural environment and national language. Sofija Čiurlionienė-Kymantaitė came into public by publishing her first texts in "Gabija" almanac along with a group of "writing sons" ("sūnūs-rašėjai"), who offered a poetic national renovation program based on romanticist traditions. The quest for a new sociality, inspired by romanticist tradition, was an imperative for all Sofija Čiurlionienė- Kymantaitė's public activities. In the impressions published in "Gabija" almanac, she described a female version of genius as a basis enabling a woman to go further in an independent attempt to use philosophical categories for outlining a person/woman's fundamental dependence on culture, i.e. perceive culture as a basis for a personality and a newly established sociality. Sofija Čiurlionienė-Kymantaitė's fiction and journalistic texts may serve as a continuation and a summary of Maironis' question of (and answer to) how a person can experience sociality and in how the social concerns of public life become a part of individual person's history. In Sofija Čiurlionienė-Kymantaitė's impression „Klaidžiojau po didžią žalią girę..." (/ Was Wandering In Great Green Woods) a woman hears.She finds herself in the same situation as the subject of Maironis' "Thro 'Pains to Honor", she has to decide on her reaction to a waking historical consciousness, and to find out how one can use his/her life and a consciously shaped cultural position in order to re/construct the course of history. The speakers in Maironis' poem felt the affinity of young people educated in science, so they used separation from a natural rural environment to set up and establish the new identity forms. Still, Sofija Čiurlionienė goes even further: in her cultural philosophy, identity appears as a part of the history of Western culture, imprinted in the experience of everyone belonging to that tradition. A person feels a natural tendency to experience him/herself through the forms of culture: without this experience, i.e. without meeting the great works of art and their authors, the perception of one's "I" is impossible. However, the impression speaker's special intimate relationship with her environment suggests Sofija Čiurlionienė's particular closeness to Žemaitė and her concept of person. Even though the younger generation of Lithuanian female writers was mostly under the influence of Maironis' interpretation of a person - when the individual identity structure is bom in a separation from one's family and primal community - Sofija Čiurlionienė, in her attempt to see an individual person as a part of the Western culture, displays a reiteration of Žemaitė's typical worldview. For the Lithuanian women of the early 20l h century, with their goal to establish themselves in the public space and defend the status of a grown-up equal member of society, Žemaitė's way of thinking and story-telling was too limited and insufficient. Sofija Čiurlionienė's creative writing and life position lead a woman out of her private space to a universal world of culture with historical past: here she is looking fo.