A. STRINDBERG AND THE "WOMEN'S QUESTION" IN RUSSIA AT THE TURN OF THE 20TH CENTURY: ON VARIATIONS OF THE PLOT OF "FROKEN JULIE". ARTICLE ONE: INTRODUCTION

Articles one and two are devoted to the analysis of the role of A. Strind-berg's works in the discussion about the "new woman" in Russia at the turn of the 19(th)-20(th) centuries. The interest of Russian authors of this period in the work of the Swedish writer was repeatedly noted in the scientific research. However unexplored areas remain in the issue of the reception of Strindberg's views on women. The discussion of the new role of women in the era of active social changes in Russia turned out to be a counter current, which determined special attention to certain works of Strindberg, in particular the play "Miss Julie". The first article examines the views of Strindberg's Russian contemporaries on the portrayal of women in his work, touch-es on the history of translations and productions of the play "Miss Julie" in Russia and its influence on the images of the plays "The Cherry Orchard" by A.P. Chekhov and "Zhan Ermolaev" by G. Ge. In the second article we focus on A.V. Amfiteatrov's story "Nelly Raintseva" (later turned into a screenplay by the author and into a film by E. Bauer). The plot of the story, as it is first shown in the article, is a variation of the plot of Strindberg's "Miss Julie". As evidence, fragments of a discussion about Strindberg's misogyny among Amfiteatrov's contemporaries are given, in particular Gorky's letter to Am-fiteatrov, and Amfiteatrov's reflections on women's rights in journalism. The changes introduced by Amfiteatrov to Strindberg's plot and characters are analyzed, and it is concluded that Amfiteatrov justifies the "fallen" female aristocrat, including by giving the floor to herself with the help of a diary form, often used in the literature and cinema of that time about new women. It is concluded how the plot and characters of the play "Miss Julie" were transformed in Russian culture.