The perception of G. Yakhina's creativity in Chinese criticism and literary studies

Chai Li ORCID: 0009-0000-3178-0415 Postgraduate student, Department of Russian Language and Literature, Far Eastern Federal University 690950, Russia, Primorsky Krai, Vladivostok, Ajax str., 10 847743692@qq.com Other publications by this author

Observations of Chinese studies that began in the 80s of the twentieth century and devoted to Russian women's prose, allow us to conclude about the trend of their development from review articles to deep generalizations related to the consideration of the poetics of the work.

In 2017, G. Yakhina's book "Zuleikha Opens Her Eyes" (translated by Zhang Jie and Xie Yuncai) was published in China by the publishing house "Narodnaya Literatura". After the book was published, Chinese scientists drew attention to her work, but the number of results obtained turned out to be insignificant. Since 2019, there has been a significant increase in the results of research on G. Yakhina's work. According to the Chinese academic platform CNKI (China National Knowledge Infrastructure), 2022 was the year with the largest number of research results: a total of 10 scientific papers were published. In addition, G. Yakhina's work often becomes the object of dissertation research: in 2023, 6 out of seven works are dissertations.

With the increasing popularity of the writer in Russia and China, researchers from both countries are analyzing her work from various angles. The following figure shows the number of publications devoted to her works.:

Fig. Number of works on G. Yakhina's work in Chinese and Russian literary criticism

(Note: The data in the table is taken from the Chinese CNKI website and the Russian e-library and CyberLeninka websites, as of 03/15/2025)

Chinese scientists have adopted the research experience of their Russian colleagues, while national specifics are observed. As for the directions of these studies, they focus on the aspects outlined below.

(1) Acquaintance with the work of G. Yakhina.

The first work, representing the novel by G. Yakhina, is called "Review of Russian Literature in 2015." In the Year of Russian Literature, many authors previously unknown to Chinese literary critics came to the fore, "who formed the main core of Russian literature this year" ^{[21, p. 107]}, among whom was Guzel Yakhina. In his article, Kong Xiaway presents the main storyline of the work "Zuleikha opens her eyes", considering it as a historical, feminine and philosophical novel. Zhu Yavei, in the article "Guzel Yahina and her debut novel Zuleikha Opens her Eyes", highly appreciated this work: "This is an excellent novel, with its national flavor and unique charm" ^{[29, p. 40]}.

In addition to getting acquainted with the author's work, scientists also analyzed the process of translating this work, for example, in 2017, Jiang Shan analyzed the methods of translating the novel in the article "Translation of characteristic cultural phenomena in the novel "Zuleikha opens her eyes."

Guzel Yakhina devoted part of the novel to the way of life and customs of the Tatar family, and her works inevitably carry cultural national features that are relatively little familiar to the foreign reader. To translate characteristic cultural phenomena, such as housing arrangements, national costumes, folk beliefs, etc., it is necessary "not to follow a specific principle of translation, but to combine the specifics of translation with a specific context, emotions, rhetorical techniques and other factors" ^[20], in order to achieve the goals of artistic translation aimed at conveying deep meaning.

(2) Research on the reflection of feminist ideas in the novel "Zuleikha opens her eyes."

Since the 80s. During the 19th century, China became familiar with Western feminism, and Chinese scholars began to create their own feminist theory and analyze literary works from the point of view of feminist criticism. Chinese Russian scholars noticed the reflection of feminist ideas in G. Yakhina's work and analyzed the formation of the heroine's self-awareness in the writer's work.

As G. Yakhina said in an interview, "this book is about a woman who finds herself, it can be called dropping the burqa or even feminization" ^[13]. The study of feminist ideas in the writer's works has become an important area of research for Chinese scientists. For example, in the article "The Loss and Awakening of women's Self-awareness: about Guzel Yahina's novel "Zuleikha opens her Eyes", Hou Dan analyzes the meaning of the phrase "Zuleikha opens her eyes", which occurs only five times in the book, and concludes that with each appearance in the text this expression has different meanings. According to Hou Dan, every time this phrase appears, "new ideas replace old beliefs, and the main character overcomes all sorts of difficulties, turning from a timid and fearful "fool" into an independent and strong woman and restoring a long-lost sense of dignity" ^{[18, p. 58]}.

(3) Consideration of the image system in the novel "Zuleikha opens her eyes".

The study of character images is an important part of literary research. "We emphasize the organic connection between the image as a reproduction of the integrity of the object and its ambiguity. This is the initial objective premise of the multiplicity of interpretations of the work" ^[10].

In 2021, Wang Linlin and Liu Le published an article titled "The Transformation of Images in the novel Zuleikha Opens Her Eyes." The article analyzes the changes that have occurred in the spiritual and intellectual development of different characters. Wang Linling and Liu Le believe that due to spiritual changes, the characters in the novel gradually found their way in life ^[26].

In 2023, Nadia Hossen from East China Normal University wrote a paper titled "An analysis of the combination of femininity and masculinity in the character of the heroine in the novel Zuleikha Opens her Eyes." Nadia Hossen analyzes the appearance of masculinity in Zuleikha's character: "Her characterization has transformed from one form of femininity to the manifestation of male traits in a soft and compliant character, thereby freeing herself from traditional limitations in order to achieve self-improvement. This leads to inner balance and, consequently, to a change in the fate and destinies of others" ^{[24, p. 9]}.

(4) Studies of motifs in the works of G. Yakhina.

Determining the motives of a work can lay an important foundation for an in-depth analysis of the main idea of the works. "Understanding the complexity of the plot issues of a work is impossible without analyzing all the formal ways of designating a motif, identifying the connections that form a semantic motif complex" ^{[8, p. 32]}.

In 2021, Dong Yumeng, in his work "Analysis of motives in Guzel Yakhina's novel "Zuleikha opens her Eyes", defines the genre of the novel "Zuleikha opens her Eyes" as women's camp prose. Her research mentions Z.'s book more than once. Prilepin's "The Monastery", which is also considered an example of camp prose. Dong Yumeng believes that "the two works were published one after the other, and relate to the general theme of the camp, which continues and develops the traditions of convict prose of the XIX century and camp prose of the XX century. In comparison with previous writers who reveal the camp theme, G.S. Yakhina interprets and expands the tragic experience of numerous victims of repression in a new way. In the center of her debut novel "Zuleikha opens her eyes" is an ordinary woman living at crucial moments in the history of the Soviet Union, who survives, acquires a self and opens her eyes to a new world" ^{[17, p. 22]}.

The article "A set of motives of hell and heaven in modern Russian prose devoted to camp themes (based on the novels of Zakhar Prilepin "The Monastery" and Guzel Yakhina "Zuleikha opens her Eyes")" was also published in 2020 by A.S. Parinova. Doon and A.S. Parinova are generally similar in understanding the genre of G. Yakhina's work as camp prose. However, when it comes to a detailed study of motives, each of them approaches the study from a unique point of view and uses their own methods.

The main difference is that Dong Yumeng examines the theme of G. Yakhina's novel through the prism of the motive of survival, as well as the motive of love and death. At the same time, Parinova focuses on the central motif of hell and heaven, conducting a concomitant analysis of other motifs such as epiphany, eternity, love, and escape.

In addition, the two scientists use different approaches to research. Dong Yumeng begins by revealing the plot of the novel and then proceeds to analyze the motives, for example, to study the motive of survival in the beginning, the storyline of the life of an oppressed Zuleikha in a Tatar village was analyzed. In a remote village, a young Tatar woman named Zuleikha leads a life similar to that of her mother, grandmother, great-grandmother, and many other modest and quiet peasant women of her time: "What did your mother say? Work drives away sadness. Oh, Mother, my sadness does not obey your sayings..." ^{[14, p. 21]}. In this case, "due to the lack of individual freedom, she only exists as an animal or plant, but does not begin to live as a self-sufficient person" ^{[17, p. 30]}.·Unlike A. Parinova, the Chinese researcher focuses on the motives of oppression, ignoring the other important issues raised in the work.

Studying the content of the novel, Parinova explores biblical motifs. "Semruk himself has a name that reminds the Blacksmith of the six-winged seraphim, and the boat on which the young man departs from the camp to study painting was given to Yuzuf by Lukka, while in the Orthodox and Catholic traditions, the evangelist Luke is considered the patron saint not only of doctors, but also of painters. It is significant that the name Ignatov gives him is no longer Yuzuf, but Joseph, in the document he writes that his father is a “Red Army soldier" and his mother is a “peasant", thus freeing the young man from national identity. We have a New man in front of us, a New Adam, who is going to the mainland to build a new future" ^{[7, p. 95]}. As you can see, the article touches on the religious subtext of the novel.

Another article devoted to the analysis of motives in the novel was published in 2022. In the article "Analysis of the motives of the novel "Zuleikha opens her eyes", Zheng Hongting identifies three motives in the novel: the motive of life, the motive of suffering, and the motive of the absurdity of being. Zheng Hongting explains the subtext of the novel: "... in her work, Guzel Yakhina shows the psychological changes of characters and manifestations of human nature in extreme circumstances, explores the awakening of consciousness on the way to oneself, and shows readers an optimistic attitude towards suffering" ^{[25, p. 38]}.

Russian Russian writer Zheng Hongting studies classical images of Russian literature, which makes it possible to highlight the central idea of this novel in the context of the entire Russian literary tradition. For example, while researching the motif of suffering in the novel, Zheng Hongting highlighted the connection between female images and the female perception of suffering in Russian literature. Zheng Hongting argues that "women in Russian literature are able to perceive suffering with amazing calmness. For them, suffering is a divine chance to purify the soul, and no matter what trials they face, they accept them with equanimity" ^{[25, p. 22]}. The scientist demonstrates a deep understanding of the sufferings of the Russian people, exploring the process of self-awareness of the main character Zuleikha after her ordeals.

(5) Studies of the cinematic narrative structure of G. Yakhina's novels

Studying the narrative features in a work can provide a clearer understanding of the structure of the work, and the narrative features are also the main factors that make the work unique. "Such an analysis is an important component and method of interpreting the work as a whole, which makes it possible to better understand the images of the characters and the narrator, and to obtain a key to understanding the meaning of the work" ^{[12, p. 15]}.

Cinematic storytelling techniques in literature are becoming an increasingly relevant topic for study. "In both cases, the author / director creates "his" reality, "corrects" it depending on the creative intention, places accents, uses the entire arsenal of artistic means in order to use (film) narration not only to build a dialogue with the reader / viewer, but also to reach out to himself" ^{[11, p. 312]}. Having studied at a film school and worked as a screenwriter, G. Yakhina masterfully applies the techniques of cinematographic narration in her novels. This allows her to create works that literally capture the reader with their dynamics and visual component.

In her work "A study of the film text in the novel "Zuleikha opens her eyes", published in 2022, Hua Hao offers a detailed analysis of the cinematography of this work. He refers to an interview with G. Yakhina, in which the writer says: "Writing the script helped me to find the boundaries of the story. Before that, the story was “blurred”, I couldn't figure out where it should start and where it should end. I would really like the novel to be adapted into a movie. This story has serial potential for 4-8 episodes, it seems to me" ^[15]. Hua Hao also claims that initially G. Yakhina did not create a novel, but a script, "the cinematic narrative is the most unique part of this novel" ^{[19, p. 126]}. His proposed features of the cinematic narrative opened up a new perspective for subsequent research of the novel.

In 2018, in the article "The Poetics of Visuality in G. Yakhina's novel "My Children": on the Phenomenon of Literary Success," N.I. Pavlova notes the scenic poetics in G. Yakhina's novel. Although "the emphasis on seriality and other script writing techniques, which is noticeable in the first novel, are also evident in the second, albeit to a lesser extent and not so prominently" ^{[6, p. 55]}, Pavlova analyzed such novel narration techniques as "camera movement" (changing the object of description), alternating plans, and slow motion, reception of the use of light.

In 2024, Li Jun's article "Cinematography in G. Yakhina's novel "My Children"" was published. In his research, Li Jun relies on Hua Hao's approach and methodology, arguing that "the editing technique gives the characters greater layering and saturation; camera movement adds dynamics to the image and improves the reader's perception; and the use of sound makes the plot more believable and allows the reader to feel like a participant in what is happening" ^{[22, p. 33]}.

Both researchers, Li Jun and N.I. Pavlova, agree that cinematography is a significant characteristic of G. Yakhina's work "My Children", and both analyze the cinematic techniques of "camera movement" based on the content of the novel. However, there are differences between them. Firstly, N.I. Pavlova considers scenario poetics as one of the aspects of research from a macroscopic point of view, whereas Li Jun focuses only on the film text of the novel "My Children". Secondly, scientists approach the study from different angles. Although Pavlova does not mention sound narration in the context of the features of cinematic narration, she nevertheless considers the image of sound to be an important means for creating vivid images in the novel: "sound images in functional and semantic terms are, perhaps, one of the leading ones in the system of the author's creative worldview" ^{[6, p. 58]}. In addition to analyzing the "camera movement" technique, Pavlova also examines the alternation of plans, slow motion, and light usage techniques. Li Jun, in turn, explores the installation technique and the image of sound in the novel. The works of these two scientists complement each other, which makes it possible to more clearly define the characteristics of the film narrative in the works of G. Yakhina and expands the scope of the analysis.

(6) Research from the point of view of psychoanalysis.

Currently, the theory of psychoanalysis is actively used in various forms of art, especially in literature. The intersection of psychology and literary studies dates back to Sigmund Freud, who published The Poet and Fantasy in 1907. His research focuses on the inextricable link between psychology and literature.

Freud considers personality as a unity of three interacting spheres: id ("It"), ego ("I") and superego ("Superego"). The ID is a primitive part that obeys boundless instinctual desires, but it is largely suppressed in the process of growing up and socialization. The superego acts as a product of moral education. This is the most civilized and idealized part of the personality, which is in direct contradiction with the ego. The ego also acts as an intermediary between the id and the superego, and also connects the personality with reality. "The "I" is under pressure from the "Superego", which is trying to take the personality under the totalitarian control of the values of social institutions" ^{[2, p. 12]}.

Both Russian and Chinese researchers note the changes that the character of the main character undergoes during the trials that befell her: "If at the beginning of the novel Zuleikha is only a "shadow" of her husband, her world is limited to the family circle, her entire external life is faceless, inactive, characteristic of a "little man", a "little woman"" ^{[1, p. 164]}, then in the end she becomes "the center of the world, the center of being around which the events of the novel revolve" ^{[3, p. 125]}.

In her work "Analyzing the image of Zuleikha from the point of view of the structural model of the psyche according to Freud," scientist Zhang Yan divided the three stages of the image of Zuleikha: before exile, on the way to exile, and at the place of exile. At first, her parents, husband, and mother-in-law influenced the formation of Zuleikha's worldview. "Her husband does not enter into dialogue with her as a woman, a being of a lower order (the very word "woman" sounds condescendingly pejorative in his mouth), while her mother-in-law is not only jealous of her son, but also despises her for her weakness, "thin-bloodedness." Zuleikha's parents are portrayed by the author as part of the heroine's consciousness, remembering them at moments when she needs to explain the world to herself, to understand how to relate to a particular phenomenon" ^{[9, p. 330]}.

Meanwhile, "because of her mother's influence, Zuleikha received a religious consciousness. During her spiritual development, Zuleikha followed religious traditions: She fears God, covers her head with a headscarf, and completely obeys her husband. These traditions are not entirely correct, but they have actually become a "Super-Ego” Zuleikhi" ^{[28, p. 24]}. In such circumstances, Zuleikha is unable to distinguish between right and wrong. In reality, Zuleikha's "Ego" is experiencing chaos and does not perform the control function inherent in the "Super-Ego". Despite the humiliation and insults, Zuleikha aspired to a better life, worked hard and consoled herself with the thought that she had a good husband, even when he beat her. However, on the way to exile, when Zuleikha's life is in danger, the "Id", previously weak, is activated, making it possible to survive.

And at the place of exile, a completely new world begins to open up for her – the world of love, motherhood, independent decisions and everything that she had no idea about during the first 30 years of her life. "The Id will become much stronger and thus begin to change the dominant position of the Superego. Finally, Zuleikha can overcome the contradiction between “Id” and “Superego” and gradually form into an independent personality - to get a new “Ego” Zuleikhi" ^{[28, p. 32]}.

In the novel "Zuleikha Opens her Eyes," G. Yakhina describes in detail the inner world of the heroine, who turns from a "Wet Chicken" into a Zuleikha hunter who provides for herself.

(7) A study of the chronotope in Yakhina's Novels

The chronotope theory is gaining great importance in Chinese literary studies. "Since the late 1970s, more and more Chinese researchers have begun to focus on the study of artistic space and time" ^{[23, p. 61]}.

In the novel "My Children," the Volga acts not just as a geographical boundary, but also as an obstacle separating the real life of Bach's protagonist in Gnadental from his ideal life in a farm on the right bank.

In 2021, the work "A Letter about the Volga in the novel "My Children" in the perspective of literary Geography" was published in the journal Literary Criticism. The author of the article, Liu Qiqi, believes that the writer gives the Volga a deep meaning, making it a symbol of purity and holiness, as well as the spiritual home of heroes ^[23].

The article "Spatiotemporal images and motifs in G. Yakhina's novels "Zuleikha Opens her Eyes" and "My Children" was published in 2019. In this work, A. Nabiullina also considers the Volga as an important element of the chronotope in the novel.

In specific studies, Liu Qiqi and A. Nabiullina have very similar opinions. Firstly, the novel opens with the fact that "The Volga divided the world in two" ^{[16, p.13]}. The left bank is filled with the horrors of war and the hustle and bustle of life, while the Baha farm is secluded on the right bank. "The Volga, like a wall, protects the hero from the hardships that befell the Gnadentals during the war and famine" ^{[4, p. 35]}. Secondly, "G.S. Yakhina actualizes the ancient metaphorical connection between the concepts of "blood" and "water"" ^{[5, p. 589]}. Liu Qiqi believes that "the Volga is a source of spiritual strength and a connecting link of family ties" ^{[23, p. 62]}. The Volga symbolizes the connection between life and death, dividing the world into two parts: above the river is a bustling world in which Bach once existed, and then Bach sinks into the waters and becomes part of this majestic river. Nabiullina also argues that "Symbolizing the course of the life of the hero and the whole country, the Volga in its depths preserves the memory of the events of the past that Bach encounters when he drowns" ^{[4, p. 35]}. Thirdly, the Volga River is a reliable source of life. This river provides enough water for irrigation of agricultural lands, and also supplies water to both the population and domestic animals. For example, the novel describes that "a diligent colonist will never give an ox or camel yesterday's water from a bucket or snowmelt, but will certainly take them to the Volga to drink – first of all, before how to sit down to breakfast and start other chores" ^{[16, p. 14]}.

However, Liu Qiqi, based on the article by A. Nabiullina, considered the image of the Volga in the novel, noting the biographical background of the novel: "Kazan is one of the key cities on the Volga River, and G. Yakhina, who was born in this city and graduated from the Faculty of Foreign Languages of the Kazan Pedagogical Institute, probably had a special connection with the Volga" ^{[23, p. 61]}.

The novel features many episodes depicting German life in the Volga village of Gnadantal, and all of them are invariably associated with the Volga. In addition, the Volga River had a significant impact on the speech of local residents. If we take, for example, "dragging water into the Volga is a useless business" ^{[16, p. 171]}, and "swimming across the Volga in a basin is about someone who brags excessively" ^{[16, p. 171]}. The author repeatedly refers to the image of the Volga River, using it for figurative comparison in scenes, for example, "everything turned the same gray, the color of the Volga wave on a rainy day" ^{[16, p. 174]}. Liu Qiqi noted that "the Volga River not only supports production and people's daily lives, but also exerts a significant cultural influence that is firmly and deeply woven into their consciousness" ^{[23, p. 62]}.

Nabiullina has a broader vision. Here we consider not only the image of the Volga, but also the space of Gnadental and the farm. The Volga German town of Gnadental contrasts with the farm on the right bank, where the main character's life is organized and governed by certain rules. The house on the right bank is presented as a magical, secluded place that allows the main character to lead a self–sufficient life away from the hustle and bustle of the outside world. A. Nabiullina argued that "if the space in Gnadental has ordinary features, then the farm is a magical place in which time does not matter, there is no schedule" ^{[4, p. 35]}.

Conclusion

Since 2016, when the first study on Guzeli Yakhina's works was published in a Chinese journal, new directions of research on the writer's work have been emerging. There is a transition from acquaintance with the novel to the analysis of the artistic originality of the work (chronotope, system of images, motifs, narrative structure). The reason for such interest in the writer's works in China is both the depth of the subtext of her works and the development of Chinese literary theories.

The main content of the text was studied, that is, artistic perception and analysis of the deep meanings and subtexts of the literary work were carried out. Hou Dan, in his work "The Loss and Awakening of female Identity in Guzel Yasina's novel "Zuleikha Opens her Eyes", notes that "as long as gender inequality exists in society, such works in which the heroine strives for independence and equality will not lose their readers" ^{[18, p. 66]}.

As the presented studies demonstrate, each of the directions, for example, the analysis of the consciousness of Zuleikha by Hou Dan and Hou Yajuan, as well as the study of the image of the Volga in the novel "My Children" through the prism of the chronotope by Liu Qiqi, is based on a solid theoretical foundation. The development of the methodology of literary criticism is an important factor in the expansion and deepening of research on the work of G. Yakhina in China. Chinese scientists believe that literary theory is moving from the traditional theory of reflection to ontology and axiology. As for methodology, "the scope of traditional methods of sociological research is expanding to various perspectives, such as psychological research, structural-semiotic, historical-functional research, system analysis and comparative research" ^{[27, p. 134]}. This transition in Chinese literary criticism is also reflected in the research of G. Yakhina's work.

Consideration of the relationship between the research of Russian and Chinese scientists can be identified as an obvious prospect for further research. The prospect of studying the spread of Russian women's prose in China, including the work of G. Yakhina, seems to be more ambitious.