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The Formation of a New Female Identity in the Russian

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The Formation of a New Female Identity in the Russian Abstract of the Thesis The Early Women’s Emancipation Movement: Formation of a New Female Identity in the Russian and Late-Victorian Novel by Elena V. Shabliy Thesis Director: Professor Raymond C. Taras Women's emancipation altered the course of Victorian and Russian literature by challenging the literary conventions that governed the portrayal of women and women's experience at the fin de siècle. Emancipationist writing either explicitly advocated social change or embodied a feminist impulse in their treatment of particular themes and questions. The second half of the nineteenth century was marked by the emergence of the women’s movement; this focused primarily on women’s social and moral emancipation. In the 1830s and 1850s, in the German Federation of States, Denmark, England, France, Poland, Russia, and Spain women began to mobilize under the influence of emancipationist novels, discussing the role of women and shifting gender relations. This dissertation The Early Women’s Emancipation Movement: The Formation of a New Female Identity in the Russian and Late-Victorian Novel is comprised of two parts. The first part focuses on the women’s liberation movement in Russia and literary responses to the social change. The second part is dedicated to the women’s movement in Victorian England and its feminist literary discourse. Relatively little research exists on the Russian women’s movement in the nineteenth century, while there is a vast scholarship on the early women’s movement in England. To date, there is no scholarship that treats Russian and Victorian emancipationist work comparatively. The choice of female (S. V. Kovalevskaya, E. N. Vodovozova, E. A. Gan, Sarah Grand, Ella Hepworth Dixon, N. D. Khvoshinskaya) and male (Grant Allen, Thomas Hardy, George Gissing, A. I. Herzen, N. G. Chernyshevsky, F. M. Dostoevsky) writers is representative, but by no means exhaustive. In addition to literary texts, this dissertation also offers a close reading of women’s emancipationist reminiscent writing. It scrutinizes women’s memoirs of S. V. Kovalevskaya and E. N. Vodovozova. Sofia Kovalevskaya has been underappreciated by literary scholars, since she is considered as a European female scientist. The phenomenon of the new femininity in literature is not limited to the Russian or British context, but it is interesting to study it from a comparative angle, since these politically and culturally different landscapes have similar formations of emancipationist thought. As this dissertation suggests, the new femininity is part of vaguely hostile "others" (de Beauvoir), the abject (Kristeva), and an autonomous subject (Bakhtin, de Beauvoir). The ambiguity and volatility of the fictional New Woman characters reflect the prevalent artistic, social, and moral confusion into which Russian and Victorian societies were suddenly thrown at the fin de siècle. However, it is evident that the literary form and the social movement existed in closeness in Russia and England, and that the literature of the time was influenced considerably by new developments. Feminist writer Sarah Grand (1854-1943) is considered to be the first to have coined the term “New Woman” in 1894 in England. New Woman writers (in Victorian literature the New Woman novel forms a separate genre) participated in the feminist debate. Whereas the New Woman novel genre in England was predominantly occupied by women, the theme of female emancipation as well as the image of the New Woman in Russian literature was often featured by male writers. Herzen (1812-1870) and Chernyshevsky (1828-1889) are considered to be the ideological leaders of the early Russian women’s movement. The Russian and British women’s movement intersect by many means, including John Stuart Mill’s work that influenced and inspired Russian women. This work attempts to identify some important links between Russian and late- Victorian novels as well as the diversity of literary responses to the social movement. The theme involving women’s subjection to their husbands or parents, criticism of the institution of marriage, and double moral standards in patriarchal societies is central to works of the emancipationist writers. Most writers fictionalizing new female identities attempt to deconstruct the traditional marriage plot and explore new possible alternatives. Contents Acknowledgements . i Dedication . iv A Note on Translation and Transliteration . vi Introduction: En Route to the New Womanhood and the New Woman as European Phenomenon . 1 Part I: The Women’s Liberation Movement in Russia Chapter 1: Women’s Emancipation and the “Woman Question” in Russian Literature and Society . .36 1.1 The Emergence of the Women’s Movement . 36 1.2 Per Aspera ad Astra, or From Terems to Palaces. .47 1.3 The First Architects of the “Woman Question” . 52 1.4 Educational Achievements: From Nadezhda Suslova to Women’s Higher Education. .64 Chapter 2: Who Is To Blame? and What Is To Be Done?: Male Advocates of the “Woman Question”. .80 2.1 The Apotheosis of the Russian Woman. 80 2.2 Herzen’s Who is To Blame? as One of the First Serious Literary Discussions of the “Woman Question” . .87 2.3 What is To Be Done, or the Eulogy of the New Woman . 100 Chapter 3: Reading Emancipationist Writing of Two New Women. .125 3.1 Women’s Contribution to the “Woman Question” . .125 3.2 Sofia Kovalevskaya’s A Russian Childhood . .137 3.3 Elizaveta Vodovozova’s A Russian Childhood . 162 3.4 Sofia Kovalevskaya’s A Nihilist Girl . 169 Part II: From a Victorian Angel in the House to the Female Savior . .188 Chapter 4: The Women’s Movement in England . .189 4.1 The Emergence of the Women’s Rights Movement . .189 4.2 Women’s Educational Struggles in England . 202 4.3 Women and Philanthropy . .207 Chapter 5: The New Woman Through the Male Gaze . .214 5.1 The Woman Who Did? Or the Woman Who Did Not? . 214 5.2 Thomas Hardy’s New Woman . 225 Chapter 6: The New Woman Through the Female Gaze . 242 6.1 Sarah Grand’s Ideala and Elena Gan’s The Ideal . .242 6.2 Hepworth Dixon’s The Story of a Modern Woman . 258 Conclusion . 271 Bibliography . .278 Vita . 293 Acknowledgments Thanks are due to more people than I can name individually. I am indebted to my advisor Professor Raymond Taras and Professor J. Celeste Lay. This work would not have been written without my advisor’s help, inspiration, and encouragement. I benefited immensely, both academically and personally, from the insightful guidance I received from Professor Taras. I feel extremely fortunate to have been able to study under his supervision. I also feel fortunate that I could attend his seminar; I was exposed to very interesting ideas. I would like to thank Professor J. Celeste Lay for helping me at the critical juncture. I also would like to thank all the committee members. I was delighted to work with such professors at Tulane as Sarudzayi Matambanadzo, Dauphine Sloan, Ronna Burger, and Katie Acosta. I am thankful to Professor Sloan that she agreed to serve on the committee. I am also grateful to Professor Matambanadzo for all her support and encouragements and for being a real inspiration. Professor Ronna Burger made it possible for me to earn Master of Liberal Arts degree from Tulane. A very special thank you goes to Professor Martin Thompson for his teaching. I would like to express my sincere thanks to the Tulane Interlibrary Loan. Particularly, I also would like to thank Anquienetta Dickerson for her assistance at the Howard-Tilton Library. I would like to say thank you to all my friends, colleagues from Moscow State University and the University of Rostock. I would like to express my gratitude to Berta Semenovna Piloyan (and her husband Grachiy Velikhanovich), my teacher of the German language and Tatyana Semenovna Andreeva, my dear teacher of Russian and Literature. I’d like to thank all my professors at M.V. Lomonosov Moscow State University. Special thanks to my classmates and friends. I would like to thank Tulane Karate Club, especially i Kyriakos Popadopolous. I would like to thank my friend Tatyana Zaroslova (Maksimova), her husband Yuriy, and their children. Thank you very much Fathers Alexander and Lubomir. I especially am thankful to my grandmother Valentina, who constantly prayed for me to the Virgin Mary. Very many thanks to my cousin Alexey Grotte. I am so happy for my uncle Taras Shabliy. Also many thanks to my grandfather Ivan, as well as his brother Anatoly. Also, I am appreciative to Tel François Bailliet, Tulane Russian Club’s advisor who supported me in exciting process of running Tulane Russian Club. I am grateful to my husband Dmitry who always was there for me and our little Daniel. Thank very much to Dmitry’s parents for a constant support. I was lucky to meet Yingzhi Zhao at the American Comparative Literature Association at the Brown University meeting and Professor Nalini Natarajan. Thanks to Liyan Shen who along with Professor Eugene Eoyang organized a wonderful panel on “Women and Historical Transitions” at American Comparative Literature Association. I am happy that I was surrounded by many enthusiastic people at Tulane University. I learned eagerly from everyone – consciously or unconsciously. The dissertation writing workshop at Tulane University was very helpful in finishing this work. A very special thank you goes to my parents, my grandparents, and my grandmother Yanina, who received her degree in medicine, my great-grandmother Nina who worked as director of women’s high school in St. Petersburg (then Leningrad), and my aunt Oksana Ivanovna Shabliy. I would like to thank Dean of School of Liberal Arts Carol Haber and Ann Schumacher. I was glad to receive the Dean’s Summer Merit Fellowship at Tulane University to finalize this dissertation.
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