1 day in the life of Oblomov. Preparing schoolchildren for research activities through the organization of a student-centered approach in literature lessons

"Goncharov's novel Oblomov" - Features of the composition. The hero died, "as if a clock that had been forgotten to start had stopped." Volkov. Patriarchal. “Stoltz does not inspire any confidence in me. Growing up. Alekseev? Compare Ilyusha at 7 years old and at 14: what changes have occurred in the hero and why? Agafya Matveevna. Criticism about Olga Ilyinskaya.

"Oblomov Goncharov" - Room (interior). From the history of the creation of the river. The frigate "Pallada" (1858) (essays on a round-the-world trip). Precipice (1868). I.A. Goncharov. A. V. Druzhinin, liberal critic. Oblomov in the system of author's reasoning. Episode analysis plan. Ordinary history (1844 - 1846). Ivan Alexandrovich Goncharov (1812 - 1891).

"Roman Oblomov" - Zakhar - A. Popov; Oblomov - O. Tabakov. Trilogy by Ivan Aleksandrovich Goncharov: S.M. Shor. A frame from the film A Few Days in the Life of I.I. Oblomov. Frame from the film. ill. Directed by N.S. Mikhalkov. 1980. Yu.Gershkovich 1982. Roman I.A.Goncharova "Oblomov" Ill. In the living room before dinner.

"Oblomov in Goncharov's novel" - No sleep, no fatigue, no boredom on his face. Stolz. One day in the life of Oblomov. The idea of ​​the novel "Oblomov" arose from I.A. Goncharov in the late 40s of the XIX century. Oblomov. In 1849 the first part of the novel was written. Oblomov on the couch. The biggest changes happen to Olga after meeting with Oblomov.

"Roman Goncharov Oblomov" - Druzhinin A.V. 1859 "Oblomov". Writes literary-critical articles, autobiographical works. Secret Committee on Peasant Affairs. 1859 1868 1869 1869 1872 1878 1879 1889. Studying at the verbal department of Moscow University. Homework. Publication of the novel "Ordinary History" in the journal "Contemporary" (conceived in 1844).

“Oblomov” - A.P. Chekhov: “Stolz does not inspire any confidence in me. I. A. Goncharov "Oblomov". M. Yu. Lermontov. Family happiness Oblomov. Complete the table with quotes from the novel. Read chapter 1 and answer the question: Portrait as a means of creating an image. Materials for lessons. Andrey Stolz (part 2, chapters 1 - 5). Olga Ilinskaya.

In total there are 8 presentations in the topic

The novel by Ivan Goncharov "Oblomov" is very instructive.

Oblomov's lifestyle is a continuous routine, and the main character does not even try to break out of it on his own. With the help of this character, the author will prove that laziness and indifference ruin people's lives.

First meeting

Ivan Goncharov introduces the reader to Ilya Ilyich Oblomov from the very first pages of the novel. A man lies in his own bed with a distant look. He tries to force himself to get up, but the attempts end in vain. Promises to get up an hour later lead to the fact that the day smoothly passes into the evening, and leaving the bed is no longer necessary.

Life in a horizontal position

Ilya thinks about the misfortunes that have befallen him. So the man calls the chores associated with the affairs of the estate, inherited from his parents, and the search for a new apartment.

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He gives orders to the old footman Zakhar in bed. Guests who often visited him, the master receives lying down, in an old darned dressing gown.

Oblomov's former colleagues also come. And he does not at all strive to appear from the best side, meeting them cheerful and in excellent health. He always complains about his health to young, handsome men.

Mess in the apartment and in the shower

Rarely leaves the house. He rejects invitations from acquaintances to attend social events. He justifies the refusal by feeling unwell, barley, drafts and dampness, which is contraindicated for him.

“When I was at home, I almost always lay down, and everything was in the same room.”

His best friend Andrei Ivanovich Stolz compares Oblomov to an animal that constantly resides in a dark lair.

“Have you really prepared yourself for such a life in order to sleep like a mole in a hole?”

Zakhar reports to Andrei that he has long polished the owner's shoes, and the boots are intact.

He wakes up late. Eating and drinking tea in bed. The lackey helps him put on his socks. Home shoes are placed near the bed, so that when lowering your legs it is easy to get into them. Oblomov is very lazy. Never pick up after himself. In his room there are mountains of dirty dishes, which are difficult for a man to carry to the kitchen. From childhood in his family it was customary to sleep during the day. Ilya still adheres to a similar routine.

“After dinner, nothing could disturb Oblomov’s sleep. He usually lay on the sofa on his back.

positive change

After meeting Olga Ilinskaya, Oblomov changes for the better. He is inspired by new feelings. Love gives him strength, inspires.

“He read several books, wrote letters to the village, changed the headman in his own estate. He didn't have supper, and for two weeks now he doesn't know what it means to lie down during the day. Gets up at seven o'clock. On the face of no sleep, no fatigue, no boredom. He is cheerful, sings.

This state of affairs did not last long. Ilya again begins to captivate the past life. He understands that he will not be able to give Olga the confidence and strength that the girl expects from him.

Life with the widow Pshenitsyna

Soon he marries the widow Agafya Matveevna Pshenitsyna, from whom he rents a room in a house on Vyborgskaya Street. This type of woman suits him much more than Ilyinskaya. Agafya is ready to fulfill all his whims, demanding nothing in return.

“Oblomov, noticing the participation of the hostess in his affairs, suggested, in the form of a joke, to take care of his food and save him from the hassle.”

Ilya Ilyich dies at the age of forty. He often compared himself to an old caftan, no longer fit to serve for good. His sedentary lifestyle led to the fact that his health deteriorated so early. A man was given a chance to change his own destiny, but laziness turned out to be stronger.

Goncharov's work "Oblomov" was written in 1858, in an era of social reforms and intense changes in Russian society. Particularly acute during this period were the issues of preserving or completely eradicating the petty-bourgeois foundations, traditional for most of the Russian nobility and landowners. One of the representatives of this social class in the work is Ilya Ilyich Oblomov - a lazy, apathetic and dreamy hero who is afraid to step over his aspirations for "Oblomovism" and illusions for the sake of a full-fledged future. It is "Oblomovism" that becomes the cause of the monotonous, half-asleep life of the hero. The tragedy of this phenomenon Goncharov reflected, first of all, in the first part of the novel, describing one day in the life of Oblomov.

Morning Oblomov

At the beginning of the work, the author depicts Oblomov's usual day before the reader - waking up, Ilya Ilyich only thinks that it is time to get out of bed, but is in no hurry to deal with urgent matters. Lying on his wide sofa in his favorite dressing gown in the room that served him as a bedroom, and a living room, and a dining room, and an office, Ilya Ilyich is bored, he is overcome by annoyance and longing. After drinking tea, he already lowered his foot to his shoes to get up, but changed his mind in time and decided to call Zakhar for help.

In the morning dispute between the servant and the master about the untidy room and the upcoming move, the characters of the characters are revealed - they are both "Oblomov". Zakhar, as a servant, nevertheless does something, but does it reluctantly - through force and only by order, while Oblomov is too lazy to even decide something himself. Ilya Ilyich is trying in every possible way to shift matters to the servant (and then to his acquaintances), if only to continue to lie on the sofa himself and only think about how and what he could do.

Visitors to Oblomov

The monotonous day of Ilya Oblomov does not change its measured course even with the arrival of numerous visitors. The first three guests - Volkov, Sudbinsky and Penkin - are simply acquaintances of Oblomov. They come to talk about their successes and invite Ilya Ilyich to go for a walk with them or to visit somewhere. The reader meets these characters only in the first chapter, they act as episodic images, which Oblomov himself perceives as passing by and insignificant - he is even too lazy to get up in bed to meet those who come, and remaining in one place. Volkov, Sudbinsky and Penkin can rightly be called representatives of a new generation of people - active, purposeful, sociable. They are somewhat similar to Stolz and in their own way they are trying to get Ilya Ilyich out of the "Oblomovism", but they are not interesting to the hero, so he communicates with them rather out of politeness, so that they leave quickly.

Completely different characters are Alekseev and Tarantiev. They are interesting to Oblomov, as they entertain him - Alekseev as a quiet, inconspicuous listener, and Tarantiev as an active principle, which, nevertheless, does not prevent Oblomov from remaining in his dreamy-appathetic state. It is precisely the loyal attitude of Alekseev and Tarantiev to the “Oblomovism” that makes them “pleasant” people to Ilya Ilyich (even despite the fact that the characters profit in every possible way on Oblomov).

However, for their sake, Oblomov does not get out of bed, still hiding behind a blanket and explaining this by the fact that the visitors came from the cold. Ilya Ilyich seems to be trying by all means to isolate himself from the surrounding, more active world, where people go to visit and go for walks. His bed and old dressing gown become a kind of "refuge", leaving which he can lose his half-asleep state, all-encompassing laziness and lack of will.

The only person who finally made him get out of bed at five o'clock was Stolz, who had just come to visit Oblomov. The active will of Andrei Ivanovich turned out to be subject not only to Zakhar, who quickly did everything that was required of him, but also Oblomov himself, who reluctantly, but obeyed the will of Stolz. It is noteworthy that if a childhood friend had not come to Ilya Ilyich, Oblomov would not have gotten out of bed all day, brushing off the visitors, whom he perceived as something secondary and unimportant in his life.

Oblomov's dream

Society and real life are perceived by Oblomov as if through the prism of a dream, as if the true reality took place on a completely different plane - in dreams and dreams of the hero's native estate - Oblomovka. It is not surprising that the dream about Oblomovka, about the hero’s childhood and family, becomes the brightest moment for the whole day of the hero’s life. Ilya Ilyich feels happy, full of strength and energy when he returns there, but does not understand that these are just illusions that have nothing to do with reality. Oblomovka is for the hero the same beautiful and unattainable fairy tale as the myths and legends that his nanny told him in childhood.

For Ilya Ilyich, his bed and dressing gown, which acquires a special symbolic, “fabulous” function of the subject of “Oblomovism” in the work, become the focus of that unreal world of sleep and dreams that the hero does not want to part with. And while Stolz literally does not force Oblomov to change clothes and get out of bed, Ilya Ilyich clings to his illusory world in every possible way - even the hero’s tastefully furnished apartment, at first glance, resembles Oblomovka with old, dilapidated things and stopped time. The dispute between Ilya Ilyich and Zakhar that the room needs to be cleaned is intended simply to keep the conversation going - after all, any activity, any change in order and the need for action could destroy the "Oblomovism" of the hero's soul, his illusory world - and Zakhar understands this.

Conclusion

Depicting in the novel "Oblomov" one day in the life of the protagonist Ilya Ilyich, Goncharov revealed the tragedy of not so much a social as a spiritual "breakdown", when a person tries in every possible way to run away and hide from the real world, holding on with all his might to his own dreams, dreams and vague memories . For Oblomov, plans and dreams did not intersect with the real world, remaining in the pantries of his consciousness, where the hero lived "a full life." Ilya Ilyich does not want to give up the “Oblomovism”, which has long been destroying his soul and plunging him into a half-asleep apathetic existence - he continues to dream of the unrealizable, ceasing to develop.

Already at the beginning of the work, it becomes clear that the destruction of the hero's personality is too strong, so even a high feeling or shock could not change Oblomov, finally pulling Oblomovism out of the swamp. In his novel, Goncharov portrayed a good, kind, but superfluous person who does not understand the values ​​of the new society, living on old, archaic foundations with a deliberately tragic fate. Ilya Ilyich Oblomov is a character that reminds modern readers of the need for constant development, intensive work on oneself and one's life.

A detailed description of Oblomov's day and an analysis of all its components will be useful to students in grade 10 when preparing materials for an essay on the topic "One day in the life of Oblomov Ilya Ilyich."

Artwork test

MKOU secondary school No. 2

Neftekumsk, Stavropol Territory

Synopsis of a Literature Lesson

Episode Analysis

“Oblomov's dream""

(Novel by I.A. Goncharov "Oblomov")

Any UMK

Teacher of Russian language and literature

Golysheva Galina Erievna

A striking and inalienable property of classical literature is its modernity. Let's turn to Oblomov. In pre-perestroika times, the protagonist was stigmatized following Dobrolyubov, who claimed: “All these people have in common that they have no business in life that would be a vital necessity for them, a heartfelt shrine, a religion that would organically grow together with them, so take away it would be to take their lives. Everything is external to them, nothing has a root in their nature... They only talk about higher aspirations, about the consciousness of moral duty, about the penetration of common interests, but in reality it turns out that all this is words and words... deep down their souls are rooted in one dream, one ideal - imperturbable peace, quietism ( indifferent attitude to life), Oblomovism. 2 At that time, romantic ideals required heroic people who were ready to sacrifice themselves for the sake of society, that is, the interests of the people. And the absence in the life of the hero of a socially useful cause did not leave Oblomov any chance of recognizing his merits noted by Goncharov: “He had something that is more precious than any mind: an honest, faithful heart! This is his natural gold; he carried him unharmed through life ... Not a single false note was emitted by his heart, dirt did not stick to him ... Oblomov will never bow to the idol of lies, his soul will always be pure, bright, honest ... This is crystal, transparent soul; there are few such people; these are pearls in the crowd! .. Having learned once, you cannot stop loving him. 3

Nowadays, researchers are increasingly turning to another critic - Druzhinin, who "delved into the moral and philosophical essence of the image. Oblomov declines, believing that it is better not to live at all than to live the way many of his colleagues and acquaintances live, that is, in vanity, self-interest, money-grubbing, with eternal hostility and envy of others, with indifference to what is called truth and beauty . Oblomov is bad and ridiculous in his practical unsuitability, but is it necessary to "adapt" to the life that surrounded him? And maybe the main question of "Oblomov" is not that laziness, doing nothing ruined a person, but that selfless kindness to people cannot yet become in the human world effective lever its harmonious development. 4

But one thing is certain: in the history of "the kind-hearted lazy Oblomov ... Russian life was reflected, it appears before us alive, modern Russian type ... " 5 . By singling out the definition, I have in mind not the 19th century, but our present, our era. It is significant that in 1992 (180 years since the birth of Goncharov) in the anniversary article of Komsomolskaya Pravda “The place of the sofa in national history”, the author I. Virabov stated: “Questions in society are hovering all the same ... The sofa, despite its roundness and gentleness, has become a cornerstone in our history. Russian Hamlets stood over him: to sleep or not to sleep? Does a person have a moral right to lie down in such a historical time of perestroika? Does he still have the right to dream, sigh about something of his own and not participate in the social process?

Yes, Oblomov is modern, because, in my opinion, he expression of one of the national traits of the Russian character. But we are not talking about the notorious laziness or social passivity. Still lives in Russians faith in fairy tales about what a wonderful life awaits us in the future. Perhaps that is why we, together, without hesitation, like Shchedrin's Foolovites, followed the politicians with the slogans: "All power to the Soviets!" in 1917, "Give perestroika!" in 1986. We cannot live without a fairy tale! But it is worth confronting reality (and this is poverty, civil war, terrorism, etc.) - social apathy, spiritual degradation, fear of change, that is Oblomov lying as a way of escape from reality.“A significant part of Oblomov sits in each of us, and it’s too early to write a funeral word for us.” 6 That is why we cannot establish a normal, human life in our country in any way, neither under Tsar Pea, nor under Brezhnev, nor under the new presidents. And although at the turning points of history we can be inspired to heroic deeds, but soon, comprehending what we have done, we are afraid to think how to get out of the situation, how to return everything to normal. But this is also Oblomov's: wish hide in case, wrap yourself inrobe ! With what ease, inspired by love for Olga, Oblomov lives, acts, develops. And how shamefully hides, cunning, realizing the inevitability of the wedding.

Oblomov helps us understand ourselves. Therefore, the feeling that engulfs us when the last page is read is pity. “It’s a pity for Oblomov,” the guys say. “No,” I think, “we feel sorry for ourselves.” The author of the book about Oblomov argues about this in a journal article: “Goncharov encroached on putting weaknesses and ailments in his Ilya Ilyich any of a person, each of us, weaknesses are excusable, little-excusable or inexcusable. In the whole image, many good inclinations, sweet and sympathetic properties, also inherent in every person, were organically combined with them. And therefore Oblomov touches, worries and worries every person. 7

“And after reading the whole novel, you feel that something new has been added to your sphere of thought, that new images, new types have sunk deep into your soul. They haunt you for a long time, you want to think about them, you want to find out (their) meaning and attitude to your own life, character, inclinations ... You are ready to re-read many pages again, think about them, argue about them. 8 It seems to me that it is precisely from the clash of different assessments of critics, from the realization of the need to know oneself through the hero, that one should start a conversation with students about I.A. Goncharov’s novel “Oblomov”.

Analysis of the episode "Oblomov's Dream" should be preceded by a discussion of the first part of the novel. The main character was not invented by the author, who believed that "the artist's manual will always be fantasy." But “I wrote only what I experienced, what I thought, felt, loved, what I saw and knew closely ...” The desire to understand the essence of Oblomovism arose from the author in his youth. Goncharov recalled his godfather, Nikolai Nikolaevich Tregubov, an aristocrat by birth and spirit, his fellow landowners, who came to the city for elections with one goal: not to be elected. “In the morning, it happened that all three of them lay in beds, where they were served tea or coffee. At noon they had breakfast, then climbed back into bed. So they were forced by guests. Rarely, only on election days, they pulled on antediluvian tailcoats, ... put on wigs ... How funny all three were! They laughed as they looked at each other... 9

The purpose of the first lesson according to the novel there will be an awareness of the definition such, rendered in topic: “Why am I like this?” Epigraph will determine the course of the search: "Lying down was neither a necessity nor an accident: it was a normal state."

What word surprised you in the first sentence? (On the street a man is not lived, A lay.) Make a conclusion. ( Lie – live- contextual synonyms.) In the course of the lesson, you will need to find contextual synonyms for the words: work, peace, love, service, sleep.

Why is the street name so important? (This is a street in the center of the capital, therefore, life must be in full swing here.) Compare the introduction of our hero with the first appearance of Onegin, Pechorin and Chichikov. (First flies on postal, second rides on the permutations, and the last enters in town. With each new verb, the action slows down, and in the last lies stops altogether.)

Prove that Goncharov was right by writing instead of lived lay. To do this, draw up Oblomov's daily routine (checking homework).

Oblomov Day.

8 00 - woke up early.

9 30 - lies, called and sent Zakhar back.

9 45 - lies, makes Zakhar look for a letter, scolds him.

10 30 – began to rise, groaning, but again lay down to think.

For 2.5 hours he is half asleep, having moved from the sofa to the armchair, he receives guests, each of which is a caricature image with a speaking surname: Volkov (the vanity of life, in which wolf feet fed And the fittest survive guided by law man to man wolf), Sudbinsky (a career that, instead of fate, determines a person’s life), Penkin (a writer, an omnivorous journalist who seeks to make noise, defoamer or foaming at the mouth selflessly defending someone's interests; the image of foam is associated with empty fermentation, something superficial), Alekseev ( nobody - nothing), Tarantiev (cunning, bribe taker, able to prosper thanks to the ability tarant- to speak smartly, sharply, quickly, hastily, chatter; or from the word ram, expressing the essence of the character, arrogant, stubborn, rude).

As for the name of the title character, there are different versions: 1) the writer foresaw fundamental changes in Russian life, fraught with cliff continuity centuries-old tradition, the loss of natural immunity against destructive influences from the outside, a breakdown, or bummer, traditional Russian society, the whole way of life 10 ; 2) formed from the word bummer, recorded in the dictionary of V.I. Dal, in the meaning ignorant, rude, clumsy 11 ; 3) E.A. Baratynsky in the poem “Prejudice! He is a fragment of the ancient truth” raises the issue of the loss of established moral values ​​in connection with the onset of the “Iron Age”; Goncharov understands that "the ancient truth" wreckage which Oblomov is, has already died out, but the romantic pathos of the poet is close to him 12 ; 4) the surname Oblomov signals the dominant fragmentation and lack of integrity. In place of the whole, there are decaying remnants of what was once laid down and could become a single whole. 13 ; 5) Goncharov pointed out that "Dream" is, in fact, the title of the novel. Sleep-Oblomon came into the language from Russian fairy tales. It was he who embraced Oblomovka. At oblomon there is another meaning - a dream, as if crushing a person with a gravestone 14 ; 6) can be motivated as a noun chip- broken off thing (V.I. Dal), the remnant of something that previously existed, disappeared (MAS), and adjectives obly(round). In this case, the surname is interpreted as a hybrid formation obly And break: the circle, symbolizing the lack of development, appears to be torn (broken) 15 . Students should be familiarized with these versions, since, analyzing the episode "Oblomov's Dream", it will not be superfluous to speculate on the toponym - Oblomov's metaphor. “What is Oblomovka, if not forgotten by everyone, miraculously surviving“ a blissful corner ”- chip Eden? 16

13 00 - he lay down on the sofa again, but the dream of family happiness cheered him up. He sat down, got up, decided to have breakfast. He began to write a letter to the house owner, but did not finish: the doctor came to visit, saying that it was necessary to immediately change the way of life - this horrified Oblomov ( he curled up in his chair).

15 00 - again lay down, sees a dream.

16 30 - Stolz came to visit, catching Zakhar, who was trying to wake up the master.

What is the result of this lying down? (work in progress) portrait of a hero with a recording of characteristic features and an emphasis on authorial techniques: thoroughness, slowness, humor, lyricism; b) cabinet interior with work on the role of contrast underlying the description; c) him clothes with work on epithets, artistic detail ( Oriental), syntax (the role of unionlessness). The symbolism of the dressing gown in Y. Ryashentsev's "Romance of Oblomov" is very clear, which a trained student can read:

You, perhaps, are not Socrates, you, perhaps, are a chamber of mind.

And yet, from sunrise to sunset, appreciate the embrace of a bathrobe.

The frock coat is always doing business, and the tailcoat is still looking for entertainment.

Robe lives away from evil and is not afraid of revelations.

The uniform is both rough and impudent. The undershirt will sell you and buy you.

One robe, one robe is not inferior to royal clothes.

He doesn't even need an order. His pockets are not for money.

But never believe the one who says: a bathrobe is a loafer.

The robe is the savior of those people who are inept at the emptiest deeds.

He is the patron of those ideas that tailcoats never dreamed of.

I would like only one thing: to live without honors and gold,

Without touching anyone with a free sleeve of a dressing gown.

What is the origin of such apathy of the hero? (Required lexical work:

apathy (Greek - French) - a state of lethargy, complete indifference,

insensitivity to what is happening, indifference.)

It discusses how Oblomov's life went in the service (Chapter 5) and at home (Chapter 6), what were the hero's life ideal (Chapter 8) and the era in which he lived (Chapters 1, 2, 7, 8). Contextual synonyms are checked: work - boredom, peace - fun, love - chores, service - family, sleep - death.

Determine with what feeling (sympathies - antipathies) Goncharov Oblomov draws. What can attract you and the author in it? (The ability to reflect, philosophical understanding of oneself: One of the clear conscious moments in Oblomov's life has come ...) Write down your own definitions for the word such and check them, arguing and complementing each other. Determine the theme and idea of ​​the first part. ( The theme is one day in the life as an example of Oblomov's failure, the idea is the author's denial of life-lying and the hero's dissatisfaction with himself.)

What's special about chapter 9? (Firstly, it has a name, and secondly, judging by it, it translates the narrative into an unreal plan.) Remember the works in which the characters have dreams. What is their function of sleep? (In "Journey from St. Petersburg to Moscow" and "Eugene Onegin" this is a dream-prediction.)

At home, you will read "Oblomov's Dream" and analyze the composition of the chapter and the writer's language skills, the role and development of the theme of nature, the theme of the family, the theme of a fairy tale, the theme of upbringing and education, the theme of everyday life (housekeeping, food), the theme of sleep (peace, silence, immobility) , themes of the formation of the personality of the child (the work is organized on specific issues in 8 groups).

The second lesson "Three main acts of life" , devoted to the analysis of the episode "Oblomov's Dream", we will leave without an epigraph, since the students will have to choose it themselves.

Did you feel the unusualness of Chapter 9, its difference from others? What is it? "Oblomov's Dream" was published in 1849, that is, 8 years before the book was published, and, according to I.A. Goncharov, "served as the key and overture to the whole novel" (lexical work: overture - a musical introduction to an opera, theatrical performance).

What role does the dream motif play in the novel? ( This, according to the definition of Yu.M. Lotman,sleep is the way inward. It is this chapter that answers the hero’s question: “Why am I like this?”) How is the dream Ilya Ilyich saw similar to dreams in general? ( It is fragmented, although it has a common storyline.)

What is the composition of sleep and what is its peculiarity? ( Consists of 4 parts: 1) nature - exposition and village (life of peasants) - plot; 2) Ilya's day at the age of 7, 3) the nurse's tales (fragments 2 and 3 are the development of the action); 4) Ilya at the age of 14 - a decline in action.There is no climax , which serves as an expression of the idea of ​​"Sleep ...". The first three parts tell how the typical life philosophy of Russian noble landowners, called Oblomovism by Goncharov, was formed from century to century, and the last part shows its real embodiment and the possible fate of Oblomov, if there were no changes in the life of Russia. Each fragment is built according to the type of reasoning with a mandatory conclusion.)

What is the difference between sleep? ( There is no fiction - it is more a dream-memory than a dream-fantasy. But the peculiarity is not so much in this, but in “double vision”: the author and the hero see the dream at the same time, and nature is depicted through Oblomov’s perception (hence the lyricism, poetic narration), and the narrator comments on this perception, saturating this fragment with irony. The remaining episodes of sleep are given by the author's "eyes" and differ in varying degrees of specificity and generalization. Therefore, it is hardly true to say that Goncharov "poeticizes" life, that is, the patriarchal past, in Oblomovka.)

Prove this with a landscape example. Why is the hero's family estate called Oblomovka? What role does nature play in this chapter? (The description is based on the figure of negation, which reinforces the antithesis: there is no sea (it not undead hearing from him no consolation soul), but there is a river (it runs fun, shalya and playing, That crawling a little), pond, stream (under the murmur of sweetly dozing); there are no high mountains (they are not for amusement, kept in fear and longing for life), but there are hills ( Nice ride); sky cuddles with love, like a parent's reliable roof; Sun will give a clear, warm day. Mountains, sea, rocks, abysses, forests - these are the attributes of romanticism, where the hero is strong in spirit, cannot live without a struggle; this is in the understanding of Oblomov grandiose, wild and gloomy, among which a person is so small, weak, disappears so imperceptibly... A peaceful (that is, quiet, calm) corner in the hero’s mind is a sentimental landscape where even tormented heart will gain happiness unknown to anyone, a calm, long-term life and death like a dream.“Oblomovka is described as a closed world, a “corner” separated from the big world. You can take a look at it ... a person does not feel lost, weak and lonely in it ... This is a native, emphatically non-exotic world. 17 The genre of idyll explains Oblomov's desire for the world of ordinary people, relationships, feelings. The same simplicity of the hero's attitude is expressed by the accuracy of epithets, the accuracy of comparisons, the ease of metaphors.

By the way, describing the “God-blessed corner”, the author considers the landscape not only from the point of view of place, but also of time - the annual cycle, and, interestingly, in the perception of the peasant, thereby bringing together the worldview of master Oblomov and his serfs. Therefore, the native Oblomovka is seen by the hero as something fabulous that came from folklore: Not everyone will be able to enter the hut to Onesimus; unless the visitor asks herstand back to the forest, and front to it. .. Everything is quiet and sleepy in the village ... not a soul is visible ... And then follows the author's ironic comment, explaining the touching deep silence in the village: ... like an ant, a plowman scorched by the heat hobbles on a black field, leaning on a plow and sweating.

In landscape sketches, nature is depicted in different states: a slow awakening in the morning, a lazy half-day languor, an evening nap. But every time “the illusion of the involvement of nature in the life of the Oblomovites is striking: at noon, the general stupor in the estate captures the surrounding nature, which freezes in its movement, as if afraid to introduce dissonance into the measured existence of people. And this is conveyed by the author not only with the help of vocabulary, but also through the rhythm of syntactic constructions. 18 : Hot afternoon; the sky is clear. Suncosts motionless overhead and burning grass. Airstopped flow andhanging motionless. Neither tree nor waterdon't move ; over the village and the fieldlies imperturbable silence - everything is as ifdied out. A human voice is heard loudly and far in the void. Analyzing the micro-theme "Afternoon sleep", you need to pay attention to the role of verbs of predominantly "inactive" semantics, reinforced and emphasized by distributors expressing a state of immobility, static ( motionless, motionless, imperturbable silence).

The reasoning of I.A. Goncharov about Oblomovka ends with the conclusion: Happy people lived thinking that it shouldn't and couldn't be otherwise...and that it's a sin to live otherwise.) So, the state of nature in the episode "Oblomov's Dream" reflects the world of the hero's soul(reception of parallelism- one of the most common in Russian folklore), which already by the fact of his birth in such edge doomed to spiritual peace and silence, on the social immobility, for eternal lifedream , similarof death .

The next dream picture is the day of the seven-year-old Ilya. Compare this day with the day of the 33-year-old Oblomov. How do we see the hero and his environment? ( If the portrait of an adult Oblomov is detailed and accurate, then the boy is a conditional image of the ideal that parents would like to see, more like a cupid than a real child. All day long he will be surrounded by the closest people: mother, father, numerous relatives and a nanny. But most of all he is engaged in ... a nanny. However, this is not surprising: let us recall at least the childhood of A.S. Pushkin.

What do adults give the baby? Mother showers him with passionate kisses, examines him with greedy, caring eyes, pray with him putting in prayer all your soul. Finally, the main word is spoken - soul, but do not flatter yourself: we are not talking about the formation of morality, spiritual requests. They never embarrassed themselves with any vague mental or moral questions. Prayer was a kind of case, bathrobe, that made it possible to avoid problems: We must pray to God more and not think about anything!"- teaches the mother of the household. Further functions of the mother are reduced to caresses: after caressing him some more, she let him go for a walk in the garden; before dinner combing hair slowly Ilyusha, admiring their softness and making him the hero of some brilliant epic she created. The task of the mother was extremely simple: to leave a healthy child, so that the child is always cheerful and eats a lot, and when he grows up find him girlfriend - also healthier, rosier. For this blind love, expressed in incessant caress and abundance buns, crackers, cream, Oblomov was grateful to his mother until the end of his life: ... seeing his long-dead mother... trembled with joy; he slowly floated out from under his eyelashes ... two warm tears. That's the kind of love he needs from Olga! And she gave him instead of buns - books, theaters ...

Oblomov the old man is so immersed in worries about the household that he has no time to take care of his son (the child is still small, he has not grown up to the attention of his father; this is already reading with Stolz and studying cards): He's all morningis sitting at the window and strictlywatching for everything that is done in the yard. The lack of paternal attention is compensated by the numerous old women living in the house: ... they picked up Ilya Ilyich and began to shower him with caresses and praises: he barely had time to wipe off the traces of uninvited kisses.

A nanny is the person who is next to Ilya every day. Nanny is waiting for him to wake up in the morning and in the evening , taking him from his mother's lap, carried the sleepy one to bed. And she loves him as much as her mother. Moreover, the author writes about feelings nameless nannies, unlike mothers: ... all the days and nights of the nanny were filled ... now with torture, now with joy, now with fear, now with tenderness or vague longing for his future: this was all her heart beat ... But she didn’t bother with the tears of a sentimental gentleman. Why? Firstly, in adolescence, she was replaced by Zakharka (who, if something seemed wrong to the master, could be kicked in the nose), secondly, and more importantly, the nanny brought the boy into the life passion, feelings, emotions, which he, looking at Oblomov's existence, tried in every possible way to avoid: when he wakes up, they both laugh; and when he listens to her stories, nerves tensed like strings.

As a result, all these loving and caring people raised an absolutely weak-willed and helpless adult! But Ilya was born, like all children, an inquisitive, inquisitive child. Praying with mom repeated the words absently, looking out the window he was invitingly attracted to a living world full of adventures and discoveries. The child did not wait for the mother's warnings: he had been in the yard for a long time. With joyful amazement, as if for the first time, he ran around the house ... He passionately wants to run up to the gallery ... He did not heed his mother's prohibitions and headed for the seductive steps ... He rushed to the hayloft, with the intention of climbing the steep stairs. .. He is constantly pulled up, as if he wants to overcome the closed world of Oblomovka.

And the blissful moment of freedom from Oblomov's shackles has come - an afternoon nap! Analyzing this passage, we work with verbs: they have a specific semantics ( searched, caught, climbed, rummaged, searches), and the selection of cognate words and synonyms enhances the picturesqueness of the picture by emphasizing semantic shades ( ran away, ran away, run around, run out, run away). The words accompanying the verbs are also expressive, conveying the dynamics of the boy's movements and his joyful, enthusiastically active perception of the world, opposite to the general apathy of those around him ( on tiptoe, intently, with a sinking heart, with pleasure, etc.). 19

After sleep, they drank tea, practiced anything, had supper and lulled the boy with fairy tales. “The day has passed, and thank God! Lived well; God forbid, and tomorrow so! - the author concludes on behalf of the Oblomovites.)

What Oblomov laws from birth determined the life path of a person? (1) Care aboutfood was the first and foremost concern; 2) all-consuming, invincibledream , the true likeness of death; 3) fairy tale to the end of his life retains his power.)

What role does a fairy tale play in the philosophy of Oblomovism? (A fairy tale for Oblomovites is not just an attempt to explain and unravel the world with the help of imagination, but a reaction to the terrible world of real life, from which people hid so reliably, replacing life with fiction: ... sleep, the eternal silence of a sluggish life and the lack of movement ... forced a person to create in the natural world another, unrealizable ... The eyes of the old woman sparkled with fire; his head was trembling with excitement; his voice rose to an unfamiliar note. It is not surprising that the ironic description of the nanny, through which the author's attitude to this role of the fairy tale is expressed, evokes a corresponding reaction in the child: embraced by unknown horror, huddled up to her with tears in his eyes. In turn, fears gave rise to superstitions. 20 As a result, Goncharov concludes: ... Ilya Ilyich ... at every step everything is waiting for something terrible and is afraid.) So, the fairy tale suppressed the will of a person, instilling in him a horror of reality, and made him dream about that magical side where there is no evil, trouble, sadness ... where they feed so well and dress for nothing.

Why does the writer, having shown examples from the life of seven-year-old Ilya, again narrates about this life, but already at the age of 13-14? (The author proceeds from concretization to generalization, thereby emphasizing typical Oblomovism as a phenomenon of Russian life in the first half of the 19th century. No wonder the author briefly mentions one boy who almost never studied, but more ... cried that he lives among villains, that there was no one to caress him and no one would bake his favorite pie. At the same time, the depicted aspects of life are expanding: the problem of education is added to the narration about life, parents, and upbringing, and Oblomov philosophy set out How slim theory.

How did adults live in Oblomovka?

1) Why is life given? God knows. ( A meaningless existence, that is lack of labor of thought:they have not heard of a hard-working life, of people who give their lives to eternal, endless labor. Goncharov deliberately introduces a description of another winter evening (the first was devoted to fairy tales), during which the Oblomovites periodically sinking into slumber, are talking. About what? Empty phrases about the frailty of human life, then stupid Homeric laughter about skiing three years ago on a sled, and at the end of a heated discussion will take. Ilya Ilyich sees in a dream not one, not two such evenings, but whole weeks, months and years ...)

2) Poorly believed in spiritual anxieties, ... they were afraid, like fire, passions, the soul peacefully, without interference, drowned in a soft body.(Unspiritual existence, that is lack of labor of the soul.)

Why did the Oblomovites, while torturing their children, still send them to study? ( The old people understoodbenefit enlightenment: ... everyone has already begun to go out into the people, that is, to acquire ranks, crosses and money onlyonly through learning . ) Can this be called study? And what did Ilya really learn? ( Cunning, cunning, helping to shirk from study.)

What are the key words in the episode "Oblomov's Dream"? ( Sleep, silence, silence, calmness, silence, laziness, immobility; they are reinforced by epithets: imperturbable, deep, eternal, dead.)

Compare the first description of Ilya (at 7 years old) and the last one (at 13-14 years old). ( It is easy for him, fun; he is naughty. – And sometimes he wakes up cheerful, fresh, cheerful... He gets stronger, gets stronger, finally he can't stand it, he jumps off the porch... And there's a hubbub in the house: Ilyusha is gone! then in two blankets, and ... they brought home in their arms.) And at the beginning of the novel we see the already adult Ilya, still shrouded, but now in bathrobe. What words would you take as an epigraph to the lesson? ( Ilyusha, cherished like an exotic flower, ... grew slowly and listlessly. Seeking manifestations of power turned inward and nickle, fading.)

Determine the theme of the episode "Oblomov's Dream" ( Oblomovism as a philosophy of life) and his idea ( sleep is like death, life is a dream, therefore, Oblomovism as a philosophy of life is deadly for a person). Match the themes and ideas of part 1 of the novel and the episode. What is the role of this episode in Oblomov? ( The theme of the episode helps to understand why the life of the hero did not take place, and the idea explains the author's attitude to the problem raised in the work. Without this episode, the novel would not have had such a power of generalization and typification, and, consequently, would not have become a new word in understanding our life and in the development of Russian literature.) Return to Goncharov's definition of the role of this episode. How do you understand his words?

Notes

1 You can read about the methodology for analyzing the episode in the articles by Nikitina E.A. (РЯШ, 2003, No. 4), Pavlova N.I. (LVSh, 2003, No. 7), Sycheva B.P. (LVSh, 2003, No. 9).

2 Dobrolyubov N.A. What is oblomovism? // Goncharov I.A. Oblomov. Kishinev, 1969. S. 507.

3 There. S. 450.

4 Shevtsova L. On the criticism of A.V. Druzhinin. // Literature at school, 2005, No. 1. P. 10.

5 Dobrolyubov N.A. Specified essay. S. 483.

6 There. S. 509.

7 Loshchits Yu. Goncharov's Phenomenon. // Fire. 1982.

8 Dobrolyubov N.A. Specified essay. S. 481.

9 Alekseeva Yu.M. Simbirsk prototypes by I.A. Goncharov. // Literature at school, 2003, No. 5. P. 15.

10 Rogalev A.F. Proper names in the novels of I.A. Goncharov. // Literature at school, 2004, No. 3. P. 20.

11 Petrova N.K. “Surprisingly smooth and even...” // Russian speech, 1987, No. 3. P. 37 - 38.

12 Melnik V.I. Philosophical motives in the novel by I.A. Goncharov "Oblomov". // Russian Literature, 1982, No. 3. P. 97.

13 Tirgen P. Oblomov as a person is a fragment. // Russian Literature, 1990, No. 3. P. 24.

14 Ornatskaya T.I. Is Ilya Ilyich Oblomov a fragment? // Russian Literature, 1991, No. 4. S. 230.

15 Nikolina N.A. A proper name in the novel by I.A. Goncharov "Oblomov". // Russian language at school, 2001, No. 4. P. 57.

16 Loshchits Y. Goncharov. M., 1977. P. 172.

17 Otradin M.V. "Oblomov's Dream" as an artistic whole. // Russian Literature, 1992, No. 1. P. 5.

18 Dorofeeva T.S. The special style of I.A. Goncharov. // Russian speech, 1982, No. 3. S. 35.

19 For more details about the style of I.A. Goncharov, see: Belchikov Yu.A. “I ... am most fond of ...“ my ability to draw ... ” // Russian Language at School, 1991, No. 4. P. 48 - 56. 20 On the role of a fairy tale in the novel Oblomov, see: Otradin M.V. Specified essay. P.13 - 14.

Sections: General pedagogical technologies

Lesson goals.

Educational:

1. To get acquainted with 1-7 chapters of the first part of the novel by I.A. Goncharov "Oblomov".
2. Continue to master the culture of working with the text of a work of art (understand and interpret the text, highlight the main thoughts of what is read).
3. Expand the possibilities of relying on personal experience (correlate personal meaning with your feelings, experience, values).
4. Develop writing skills and knowledge.
5. To form the skills and abilities of dialogue and monologue.

Developing:

1. Develop critical thinking.
2. Be able to draw conclusions and conclusions.
3. Develop communication skills.
4. Develop monologue speech.
5. Develop word skills.

Educational:

1. Cultivate love for Russian classical literature.
2. Learn to listen and understand what you read.
3. Look for a problem and find a solution to overcome it.
4. Cultivate respect for the opinions of others.

During the classes

The lesson is accompanied by a computer presentation (Appendix 1).

Organization of the beginning of the lesson

In 1879, the Russian classic, the author of three famous novels "An Ordinary Story", "Oblomov", "Cliff" Ivan Alexandrovich Goncharov wrote an article "Better late than never", in which he sums up his creative activity, subjecting to a critical, rather detailed analysis of everything three of his novels. Why do you think the author decided to take such a step?

Draw the children's attention to the blackboard.

UNDERSTANDING:

The purpose of the lesson

The goal is formulated by the students:

To learn to understand the thoughts and judgments of the writer and to learn to express their own thoughts and judgments in such a way as to be understood by other people.

The teacher, summarizing the statements of the students, calls the purpose of the lesson:

To learn to understand the thoughts and judgments of Goncharov, i.e. discover the secrets of the writer's artistic manner.

Knowledge update

You have read part 1 of I.A. Goncharov's novel "Oblomov". Have you met such a hero before in literature? What unites him with other literary heroes and how does he differ from them?

The teacher invites students to compare the heroes of literary works, underline the words that characterize these heroes and compare them. Working with handouts.

We conclude that there are common features in the characters of the characters, but there are also differences. What is it connected with?

As Goncharov said in the article “Better late than never”: “The point is not in the invention of new types - yes, there are few indigenous universal types - but in how they expressed themselves, how they connected with the life around them and how the last on reflected them."

Clarification and assimilation of new material

"Step by step" analysis of the text.

Let's see how I.A. managed to "express" his hero. Goncharov. We work in pairs. Working time 3 minutes. Students work with reference table number 2.

But it is precisely this perception that Goncharov seeks. Look again at the epigraph of our lesson (I always have one image ...). In the article “Better late than never,” he writes: “For example, the lazy image of Oblomov caught my eye first of all ...” (quote removed).

Before working with the text further, pay attention to the reference sheet No. 3. Three descriptions of the dwellings of the heroes of literary works are given. What do you think, which of the heroes that we remembered today at the beginning of the lesson, they refer to. How are these descriptions different? What brings them closer? Justify your answer.

1 description:“The peace was of a certain kind, for the hotel was also of a certain kind, that is, exactly the same as there are hotels in provincial cities, where for two rubles a day, travelers get a quiet room with cockroaches peeking out like prunes from all corners ... belongings: first of all, a suitcase made of white leather, somewhat shabby, showing that it was not the first time on the road. Following the suitcase was brought in a small mahogany chest with piecework made of Karelian birch, shoe lasts and a fried chicken wrapped in blue paper.

(Approximate answer: firstly, there is an indication of the provincial city, a suitcase “somewhat shabby”, a characteristic detail that defines Chichikov - a small chest. Gogol’s manner - a leisurely, detailed description of the hotel is given; seriously, without a shadow of a smile, such details are reported: “the deceased room with cockroaches". Comparisons are vitally simple, and therefore especially comical: "cockroaches peeking out" like prunes "from all corners." You read and immediately remember Pushkin's words about how sad Russia is. The description is carried out by the author.)

2 description:“I entered the hut: two benches and a table, and a huge chest near the stove made up all of its furniture. Not a single image on the wall - a bad sign! The sea wind blew through the broken glass. I pulled a wax stub out of my suitcase and, lighting it, began to unpack things, put a saber and a gun in a corner, put the pistols on the table, spread out a cloak on a bench, my Cossack on another ... ".

(The narration is conducted on behalf of the hero. Before us is a “vater”, in which there is “unclean” - there is not a single image, the sea wind and the details that characterize a military man: a saber, a gun, pistols, a cloak, a Cossack accompanying the main character.)

3 description:“The room ... at first glance seemed beautifully decorated. There was a bureau of mahogany, two sofas upholstered in silk, beautiful screens embroidered with birds and fruits unprecedented in nature. There were silk curtains, carpets, several paintings, porcelain and many beautiful little things... But... the back of the sofa sank down, the glued wood lagged behind in places. Exactly the same character was worn by paintings, and vases, and trifles.

(Description of Oblomov's apartment: firstly, this is a house where a person lives for quite a long time. He feels comfortable here. The details confirm the image of Oblomov: apathetic, pampered, lazy.)

Pay attention to how Goncharov "leads" us to his image, how he "forces" us to accept his hero as he originally conceived him. Starting with the main thing - with the characteristics of his hero, he then clearly outlines the spatial boundaries around him. Having answered the question "Who?", he then answers the question "Where?". Try to understand the logic of the writer's thought. What question do you think we will find the answer to next? - "When?".

Pay attention to additional sheet number 4. On the one hand, you are offered the daily routine of an ordinary person, and on the other, the unfilled daily routine of Oblomov. Fill it out.

Think about why the writer introduces temporary images into his narrative? What is added with their appearance to our ideas about the hero? Is our opinion changing? (No, it doesn’t change, we only learn more about the image that stood alone before the author’s eyes.)

Today we are talking about the secrets of Goncharov's artistic skill and learning from the writer a clear and precise presentation of his own thoughts and judgments.

Development of skills and abilities

Analysis of the episode "Oblomov's Visitors".

In the article “Better late than never,” Goncharov writes: “When the work goes on in my head, faces haunt, pester, pose in scenes, I hear excerpts of their conversations - and it often seemed to me, God forgive me, that I was not making this up, but that all this is hovering in the air around me and I only need to look and think about it. Let us, too, "look and think."

I propose to look at the faces of the visitors using the RAFT technique (students were asked to prepare one of the episodes. Annex 2).

What is the purpose of Goncharov introducing the episode "Oblomov's Visitors", what information does this episode carry about Oblomov?

(The hero narrows the spatial boundaries to the limit, reducing them to one - a sofa, he does not even let visitors come to him, refusing to shake hands - the episode is repeated from one visitor to another, time is deliberately "stretched" due to the fact that different episodes are written according to one narrative scheme: description of the visitor, definition of his life in Oblomov's life, dialogue with Oblomov, Oblomov's reflection on the subject of conversation.)

Consolidation of learned

So, what is the secret of Goncharov's artistic skill, what will we pay attention to when reading the novel further in order to better understand the writer's thoughts?

After the students' statements, the teacher summarizes, writes down the features of the writer's artistic manner:

1. Subsequence.
2. Key points in the story.
3. Leading the hero through similar situations.
4. Strict adherence of the artist to his manner in depicting the hero, time and space.

It is no coincidence that in the article "Better late than never" Goncharov writes: "I always have one image ... it is he who leads me forward." We will follow the author.

Bibliography

1. I.V. Nikolaev, M.O. Kondratova Modern reading and interpretation of works of art in the process of organizing research activities of students / I.V. Nikolaev, M.O. Kondratova // Russian Literature in the World Cultural and Educational Space. Congress materials. St. Petersburg, October 15-17, 2008 Russian literature in the context of world culture. The place and role of Russian literature in the global educational space / Edited by P.E. Bukharkina, N.O. Rogozhina, E.E. Yurkova.-In two volumes.-T.1.Ch.2.-SPb.: MIRS, 2008.
2. Kondratova M.O., Nikolaeva I.V. Research activities of students as a means of forming communicative competence / Kondratova M.O., Nikolaeva I.V. // Integration technologies in teaching Russian literature: Proceedings of the All-Russian Scientific and Practical Conference April 17-18, 2008 / Scientific editor N.Yu. Rusova, compiler and technical editor D.M. Shevtsov. - Nizhny Novgorod: Publishing house of NGPU, 2008.
3. Nikolaeva I.V. Interaction between a psychologist and a teacher as a condition for ensuring the psychological safety of the educational environment / Nikolaeva I.V. // The right to childhood: prevention of violence against children / Proceedings of the International Scientific and Practical Conference / Nizhny Novgorod, Russia October, 9-11, 2007.
4. Nikolaeva I.V. Interaction between a teacher-psychologist and a teacher in a personality-oriented school as a condition for creating a safe educational environment / Nikolaeva I.V. // "Psychology of Education: Training and Psychological Education" (Moscow, December 13-15, 2007): Materials of the 4th National Scientific and Practical Conference. - M .: All-Russian public organization "Federation of Educational Psychologists of Russia", 2007.
5. R.V. Ovcharova. Psychological facilitation of the work of a school teacher: a textbook. - M .: Publishing house "NPF" Amalteya ", 2007.
6. Yakimanskaya I.S. Student-centered education in the modern school. M., 1996.