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EN
The work attempts at defining the category of “literary generation” from the standpoint of literary criticism and sociology of literature. The author summarizes the theses of Kazimierz Wyka’s Pokolenia literackie [Literary Generations] and shows how the notion itself lost its interpretative potential. Later on, he focuses on such notions as “generational experience” and “humanist rightness.” By analysing the notion of “identity” in post-modern discourse, in turn, he shows that in fact it impossible today to think about generations in a way proposed by Wyka. Finally, a conclusion is presented regarding “generation” as still viable analytical category, but only when treated as a conscious self-proclamation of writing projecting themselves as such. 
EN
The work attempts at defining the category of “literary generation” from the standpoint of literary criticism and sociology of literature. The author summarizes the theses of Kazimierz Wyka’s Pokolenia literackie [Literary Generations] and shows how the notion itself lost its interpretative potential. Later on, he focuses on such notions as “generational experience” and “humanist rightness.” By analysing the notion of “identity” in post-modern discourse, in turn, he shows that in fact it impossible today to think about generations in a way proposed by Wyka. Finally, a conclusion is presented regarding “generation” as still viable analytical category, but only when treated as a conscious self-proclamation of writing projecting themselves as such. 
RU
В данной статье предпринята попытка представить изменения в литературном подходе к женственности, которые произошли в русской женской прозеза два десятилетия (1990-е годы XX века - нулевые годы XXI века). Условно именуемое «материнское поколение» (группа Новые Амазонки, Людмила Улицкая, Людмила Петрушевская), появившееся в литературе на закате существования Советского Союза, разработало особую стратегию представления женственности. Творчество женщин в 90-х годах фокусируется на подавлении женского субъекта, специфическом понятии жертвы,  искалеченной телесности и поиске собственной идентичности. «Поколение дочерей» (Екатерина Садур, Ирина Денежкина), чьи дебюты состоялись в начале этого века, порывают с традиционным для их предшественниц восприятием женственности как травмы. Вместо боли женского существования появ-ляется синдром «потерянного поколения», подвешенного в вакууме между советской эпохой и периодом трансформации.
EN
This article aims to present the evolution of the literary approach to womanhood which took place in the prose of women writers in Russia over the course of two decades (the 1990s of the twentieth century through the 2000s of the twenty-first century). The so-called ‘Mother Generation’ of the nineties (the New Amazons Group, Lyudmila Ulitskaya, Lyudmila Petrushevskaya), which appeared in literature during the decline of the Soviet Union, developed previously unknown strategies for the representation of womanhood, with a focus on the repressed female subject, a distinct conception of victimhood, mutilated corporeality, and the search for self-identity. The ‘Daughter Generation’ (Ekaterina Sadur, Irina Denezhkina), whose first works appeared in the early twenty-first century, broke with the traditional representation of womanhood as trauma. Instead of describing the pain of female existence, these writers adopted the language of ‘the lost generation’, as if suspended in a vacuum between the Soviet era and the age of transformation.
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