Female Roles in La Cinta Dorada by María Manuela Reina and Models of the World

Our model of the world that we perceive within ourselves, our conscience, in short, our psychological balance is influenced by our surroundings. Part of the input to which we are exposed in this immediate environment is related to texts, self-managed discourse, which can also influence our internal model of the world; hence they are deserving of our attention. In the same way as the models of the world that we construct throughout our lives, reality is not static and also changes as time goes by. From a social point of view, we can see that the roles of women in modern-day society and the ways that those roles can be perceived today are a consequence of changes initiated in the past within different areas and in a prolonged process over time up until our day. With the aim of evaluating whether female drama has contributed to that change, we present an analysis in this paper of the play La Cinta Dorada [The Golden Ribbon] by María Manuela Reina, written and set in the 1980s, a decade that for Spain implied a more obvious abandonment of the most traditional conceptions of the role of women. In the analysis of the play, we see how the models of the world of the older people are counterposed with those of the younger people, a generational divide that is enriched with the gender difference, as we also analyze how the psychological structures of the female and male characters confront the clichés pertaining to another era in reference to such topics as success, infidelity, matrimony, and gender. The results of our analysis demonstrate how Reina responds to archaic conceptions, thereby inciting the audiences of the day to question their respective models of the world, especially, with regard to the role of the woman in society.

KOMI FEMALE DRAMA: SOME ASPECTS OF STUDYING THE QUESTION

The beginning of the 21st century opened a new page in the development of Komi literature connected with the activity of female authors earlier unprecedented on a dramatic field. In the 2000s Nina Kuratova, Elena Kozlova and Nina Obrezkova addressed dramaturgic genres. By this time they had already been popular writers. Having addressed a dramaturgic genre, new to itself, each writer introduced organic features in a palette of dramaturgic poetics, enriching and updating national culture. We devoted this work to research the specifics of Komi female dramatic art. Gender approach and method of the comparative analysis allowed us to reveal features of Komi female dramatic art. The Komi female dramatic art is not stereotypical and cliched, there is no similarity in the creation of plots and the features of characters in plays by the playwrights. N. Kuratova's, E. Kozlova's and N. Obrezkova's plays differ on the one hand from each other, on the other hand from plays by male Komi playwrights. It is not only about female playwrights reproducing in plays the female character and especially female household reality, but also about reproduction of how women feel and understand the world. In the Komi female drama we see the desire of the woman to live in harmony with the world, to constantly feel safe, to arrange family cosiness, to keep and transfer to the subsequent generations family values, love and respect (Kuratova). Also female drama transmits that pain which is felt by the woman, building relations with men, feeling their pressure and even violence (Kozlova). The female drama reveals changes the woman in modern society experiences, her finding new social roles, finding male features against the background of spiritual weakening of men (Obrezkova). So, the female consciousness gets into Komi dramaturgic space, opening new ways in an artistic judgment of reality, enriching an aesthetic paradigm.