«Молодий вчений» • № 11 (99) • , 2021 р. 80 ФІЛОЛОГІЧНІ НАУКИ ©  І.В., 2021 DOI: https://doi.org/10.32839/2304-5809/2021-11-99-18 ДК 821.161.2  І.В. І  К   Б Г ОСОБЛИВОСІ ГЕНДЕРНОЇ ПСИОЛОГІЇ ЖІНОИ ОБРАЗІВ  «НАРОДНИ» ОПОВІДАНН МАРІЇ ГРІНЕНКО А.         «  » М Г (З)     «З », «Н  …»  . Г                 , -           . Д    ,         ,        .       М Г     Б Г- ,     ,      . В- ,           . К : М Г, М З, Б Г, ,  ,   , . Yakovleva Iryna Institute of Philology of Borys Grinchenko Kyiv University GENDER-TERM PSYCHOLOGY FEATURES OF WOMEN'S IMAGES IN MARIA GRINCHENKO’S "FOLK" STORIES Summary. In the article the gender-term psychology of Maria Grinchenko's (pen name – Maria Zagirnia) stories “for public reading” are analyzed. The analysis based on the previously unpublished novels “Zarob- lene shchastia” (“Earned happiness”), “Naplakalas ya sohodni…” (“I cried today…”) and other materials. The analysis is carried out in a comparative aspect. The gender approach is used to supplement the tradition- al interpretation of the Maria Grinchenko's works by disclosing other levels of creation its women's images. The article makes an attempt to explore the features of Maria Grinchenko's creative evolution as an aes- thetically refection of her life story. These unpublished stories were chosen for analyzing because of need to include it into scientifc circulation as unfairly forgotten. At the same time elected autographic texts shows us, that newly discovered archival documents may be used to complete and clarify various aspects of Ukrainian intelligent families activity in the global context of the Ukrainian literary process at the end of XIX – begin- ning of the XX century. The article investigates these documents and some other materials to reveal the main points Maria Grinchenko's cooperation with Boris Grinchenko. It hightlights relationship between both parts of Grinchenko’s family and their mutual infuence while their work as partners for the goals of national educa- tion and modernizing Ukrainian culture. It is established that we can call these materials of Grinchenko’s fam- ily creative and documentary heritage a valuable sourse for understanding Maria Grinchenko's evolution as a writer. In addition, Maria Grinchenko theoretically interpreted the treatment of a woman in Ukrainian society due to the "women's question". The hypothesis about these views as criterion of choosing themes of stories is put forward. Analyzed works presents the importance of performing the traditional for married couples’ roles of the Husband and Wife, understanding of the complexity of the process of formation of these images-archetypes, as well as their awareness in the described social conditions. Keywords: Maria Grinchenko, Maria Zagirnia, Boris Grinchenko, gender, gender interpretation, gender psychology of characters, psychoanalysis, archetypes. П  .   - ,    -  Г, М Г         , «           » – ,          -  [8, . 213]. М Г – «   -      Б Г», , « ,  -    » [8, . 213]  «-       - , ,    » [10; 13]. Д   -   М Г  ,  «» Б Д      , ,      ,     -     - ,       , ,   ,    «,    -  Б Г» [12]. А    - . П    М. Г    Д. Д- , С. Є, С. Р;   -        – «Л-    М З» Л. Н (2001)  «П    М Г» М. Л (2017). В      . О  -   Г    -