1. Life and creative path of Trifonov.
The complexity of the fate of the writer and his generation, the talent for the embodiment of spiritual quests, the originality of manner - all this predetermines attention to Trifonov's life path.
The writer's parents were professional revolutionaries. Father, Valentin Andreevich, joined the party in 1904, was exiled to administrative exile in Siberia, and went through hard labor. Later became a member of the Military Revolutionary Committee in October 1917. In 1923–1925. Headed the Military Collegium of the Supreme Court of the USSR.
In the 1930s, my father and mother were repressed. In 1965, Y. Trifonov's documentary book "The Reflection of the Fire" appeared, in which he used his father's archive. From the pages of the work rises the image of a man who "kindled a fire and himself died in this flame." In the novel, Trifonov for the first time applied the principle of montage of time as a kind of artistic technique.
History will disturb Trifonov constantly ("The Old Man", "The House on the Embankment"). The writer realized his philosophical principle: “We must remember - here is hidden the only possibility of competition with time. Man is doomed, time triumphs.
During the war, Yuri Trifonov was evacuated to Central Asia, worked at an aircraft factory in Moscow. In 1944 he entered the Literary Institute. Gorky.
The memoirs of his contemporaries help to visibly present the writer: “He was over forty. A clumsy, slightly baggy figure, short black hair, in some places in barely visible lamb curls, with rare threads of gray hair, an open wrinkled forehead. From a wide, slightly swollen pale face, through heavy horn-rimmed glasses, intelligent gray eyes looked at me shyly and unprotectedly.
The first story "Students" is the diploma work of a novice prose writer. The story was published by A. Tvardovsky's Novy Mir magazine in 1950, and in 1951 the author received the Stalin Prize for it.
It is generally accepted that the main theme of the writer is everyday life, being dragged into everyday life. One of the well-known researchers of Trifonov’s work, N. B. Ivanova, writes: “At the first reading of Trifonov, there is a deceptive ease of perception of his prose, immersion in familiar situations close to us, collisions with people and phenomena known in life ...” This is true, but only when reading superficially.
Trifonov himself claimed: “Yes, I do not write life, but life.”
Critic Yu. M. Oklyansky rightly asserts: “The test of everyday life, the imperious force of everyday circumstances and the hero, one way or another romantically opposing them ... is a through and title theme of the late Trifonov ...”.
2. Problems of the story by Y. Trifonov "Exchange".
1) - Remember the plot of the work.
The family of Viktor Georgievich Dmitriev, an employee of one of the research institutes, lives in a communal apartment. Daughter Natasha - a teenager - behind the curtain. Dmitriev's dream of moving in with his mother did not find support from Lena, his wife. Everything changed when the mother was operated on for cancer. Lena herself started talking about the exchange. The actions and feelings of the heroes, manifested in the solution of this everyday issue, which ended in a successful exchange, and soon the death of Ksenia Feodorovna, constitute the content of a short story.
- So, the exchange is the plot core of the story, but can we say that it is also a metaphor that the author uses?
2) The protagonist of the story is a representative of the third generation of the Dmitrievs.
Grandfather Fyodor Nikolaevich is intelligent, principled, humane.
What can you say about the hero's mother?
Find the characteristic in the text:
“Ksenia Fedorovna is loved by friends, respected by colleagues, appreciated by neighbors in the apartment and in the pavlinovskaya dacha, because she is friendly, compliant, ready to help and take part ...”
But Viktor Georgievich Dmitriev falls under the influence of his wife, "gets sloppy." The essence of the title of the story, its pathos, the author's position, as it follows from the artistic logic of the story, are revealed in the dialogue between Xenia Fyodorovna and her son about the exchange: “I really wanted to live with you and Natasha ... - Ksenia Fyodorovna paused. “But now, no.” “Why?” – “You have already exchanged, Vitya. The exchange has taken place."
– What is the meaning of these words?
3) What makes up the image of the main character?
Description of the image based on the text.
- How does the emerging conflict with your wife over the exchange end? (“...He lay down in his place against the wall and turned to face the wallpaper.”)
- What does this pose of Dmitriev express? (This is a desire to get away from the conflict, humility, non-resistance, although in words he did not agree with Lena.)
- And here is another subtle psychological sketch: Dmitriev, falling asleep, feels his wife’s hand on his shoulder, which at first “lightly strokes his shoulder”, and then presses “with considerable weight”.
The hero realizes that his wife's hand is inviting him to turn around. He resists (this is how the author depicts the internal struggle in detail). But ... "Dmitriev, without saying a word, turned on his left side."
- What other details indicate the subordination of the hero to his wife, when we understand that he is a follower? (In the morning, the wife reminded her to talk to her mother.
“Dmitriev wanted to say something,” but he “took two steps after Lena, stood in the corridor and returned to the room.”)
This detail - "two steps forward" - "two steps back" - is a clear evidence of the impossibility for Dmitriev to go beyond the limits imposed on him by external circumstances.
- Whose rating does the hero get? (We learn his assessment from his mother, from his grandfather: “You are not a bad person. But not amazing either.”)
4) The right to be called a person Dmitriev was denied by his relatives. Lena was denied by the author: “... she bit into her desires like a bulldog. Such a pretty bulldog woman ... She did not let go until the desires - right in her teeth - did not turn into flesh ... "
Oxymoron* cute female bulldog further emphasizes the negative attitude of the author to the heroine.
Yes, Trifonov clearly defined his position. This is contradicted by the statement of N. Ivanova: "Trifonov did not set himself the task of either condemning or rewarding his heroes: the task was different - to understand." This is partly true...
It seems that another remark of the same literary critic is more justified: “...behind the external simplicity of presentation, calm intonation, designed for an equal and understanding reader, is Trifonov's poetics. And - an attempt at social aesthetic education.
- What is your attitude to the Dmitriev family?
– Would you like life to be like this in your families? (Trifonov managed to draw a typical picture of family relations of our time: the feminization of the family, the transition of the initiative into the hands of predators, the triumph of consumerism, the lack of unity in raising children, the loss of traditional family values. The desire for peace as the only joy makes men put up with their secondary importance in the family. They lose their firm masculinity, the family is left without a head.)
III. Summary of the lesson.
– What questions did the author of the story “The Exchange” make you think about?
– Do you agree that B. Pankin, speaking about this story, calls a genre that combines a physiological sketch of modern urban life and a parable?
Homework.
“The exchange saw the light in 1969. At that time, the author was criticized for reproducing "a terrible mud of trifles", for the fact that in his work "there is no enlightening truth", for the fact that in Trifonov's stories spiritual dead men roam, pretending to be alive. There are no ideals, man has been crushed and humiliated, crushed by life and his own insignificance.
- Express your attitude to these assessments by answering the questions:
џ What comes to the fore in the story when we perceive it now?
џ Does Trifonov really have no ideals?
џ In your opinion, will this story remain in literature and how will it be perceived in another 40 years?
Lessons 81-82
The life and work of Alexander Trifonovich
Tvardovsky. The originality of the lyrics
Goals: consider the features of the lyrics of the largest epic poet of the twentieth century, noting the sincerity of the confessional intonation of the poet; to study traditions and innovation in Tvardovsky's poetry; develop the skills of analyzing a poetic text.
Course of lessons
It is impossible to understand and appreciate Tvardovsky's poetry without feeling to what extent all of it, to its very depths, is lyrical. And at the same time, it is wide, wide open to the world around and everything that this world is rich in - feelings, thoughts, nature, life, politics.
S. Ya. Marshak. For life on earth. 1961
Tvardovsky, as a person and an artist, never forgot about his fellow citizens ... he was never a poet only “for himself” and “to himself”, he always felt his debt to them; he would only take up a pen if he believed that he could say the most important thing about life, that which he knew better, more detailed, and more reliably than anyone else.
V. Dementiev. Alexander Tvardovsky. 1976
And I'm just a mortal. For your own in the answer,
I'm worried about one thing in life:
About what I know best in the world,
I want to say. And the way I want.
A. T. Tvardovsky
In the 1960s and 1970s, a new phenomenon arose in Russian literature, called "urban prose". The term arose in connection with the publication and wide recognition of the stories of Yuri Trifonov. M. Chulaki, S. Esin, V. Tokareva, I. Shtemler, A. Bitov, the Strugatsky brothers, V. Makanin, D. Granin and others also worked in the genre of urban prose. In the works of the authors of urban prose, the heroes were citizens burdened with everyday life, moral and psychological problems, generated, among other things, by the high pace of urban life. The problem of the loneliness of the individual in the crowd, covered by the higher education of the terry philistinism, was considered. The works of urban prose are characterized by deep psychologism, appeal to the intellectual, ideological and philosophical problems of the time, the search for answers to "eternal" questions. The authors explore the intelligentsia stratum of the population, drowning in the "quagmire of everyday life".
The creative activity of Yuri Trifonov falls on the post-war years. Impressions from student life are reflected by the author in his first novel "Students", which was awarded the State Prize. At twenty-five, Trifonov became famous. The author himself, however, pointed out weaknesses in this work.
In 1959, a collection of short stories "Under the Sun" and the novel "Quenching Thirst" were published, the events of which unfolded at the construction of an irrigation canal in Turkmenistan. The writer already then spoke about the quenching of spiritual thirst.
For more than twenty years, Trifonov worked as a sports correspondent, wrote many stories on sports topics: "Games at dusk", "At the end of the season", created scripts for feature films and documentaries.
The stories "Exchange", "Preliminary Results", "Long Farewell", "Another Life" formed the so-called "Moscow" or "city" cycle. They were immediately called a phenomenal phenomenon in Russian literature, because Trifonov described a person in everyday life, and made representatives of the then intelligentsia the heroes. The writer withstood the attacks of critics who accused him of being "small". The choice of the topic was especially unusual against the background of the then existing books about glorious deeds, labor achievements, the heroes of which were ideally positive, purposeful and unshakable. It seemed to many critics a dangerous blasphemy that the writer dared to reveal the internal changes in the moral character of many intellectuals, pointed out the absence of high motives, sincerity, and decency in their souls. By and large, Trifonov raises the question of what intelligence is and whether we have an intelligentsia.
Many heroes of Trifonov, formally, by education, belonging to the intelligentsia, did not become intelligent people in terms of spiritual improvement. They have diplomas, in society they play the role of cultured people, but in everyday life, at home, where there is no need to pretend, their spiritual callousness, thirst for profit, sometimes criminal lack of will, moral dishonesty are exposed. Using the technique of self-characterization, the writer in internal monologues shows the true essence of his characters: the inability to resist circumstances, to defend one's opinion, mental deafness or aggressive self-confidence. As we get to know the characters of the stories, a true picture of the state of mind of Soviet people and the moral criteria of the intelligentsia emerges before us.
Trifonov's prose is distinguished by a high concentration of thoughts and emotions, a kind of "density" of writing, which allows the author to say a lot between the lines behind seemingly everyday, even banal plots.
In The Long Goodbye, a young actress contemplates whether or not she should continue dating a prominent playwright, overpowering herself. In "Preliminary Results" the translator Gennady Sergeevich is tormented by the consciousness of his guilt, having left his wife and adult son, who have long become spiritual strangers to him. Engineer Dmitriev from the story "The Exchange", under pressure from his domineering wife, must persuade his own mother to "move in" with them after the doctors told them that the elderly woman had cancer. The mother herself, not suspecting anything, is extremely surprised by the sudden ardent feelings on the part of her daughter-in-law. The measure of morality here is the vacated living space. Trifonov seems to be asking the reader: “What would you do?”
Trifonov's works make readers take a closer look at themselves, teach them to separate the main thing from the superficial, momentary, show how hard the retribution for neglecting the laws of conscience can be.
It turns out that the moral values and traditions of the protagonist are replaced by prudence and indifference to others.
Victor Dmitriev betrayed his ideals. He did not want to fight with his wife for the right to be "heard" and completely submitted to her "guidance". But most likely, this grain of an “immoral personality” was always in him, and his wife was only a cover.
It is for this reason that Victor suddenly takes a position that a friend of the Dmitriev family was hoping to receive. He "piously believes" that he is doing this for the sake of his family and wife, but in fact, the man deceived his comrade for personal gain.
Lena Ivanova intervened in the scandal that arose due to betrayal. The woman told everyone that it was solely her "fault", since it was she who insisted on changing her husband's job. Because of this, his mother and sister Laura condemned Victor very much, calling him "luky".
The Lukyanovs and the Dmitrievs were in conflict. Different views on life, goals and means of achieving them, created a whole abyss of misunderstanding between families. Victor same was as on break. He could not fully accept anyone's side, because it is difficult to choose between his own mother and the mother of his child.
But the man was far from being an exemplary family man. The author notes that while his wife and daughter were on vacation and left the city, Victor started an affair with his colleague Tatyana. The girl fell in love with Victor, and subsequently, because of her feelings, she was forced to divorce her husband. She did not think that Victor, unlike her, could continue to deceive his wife.
But the man was not going to lie. He just left Tatyana upon arrival Lena with his daughter and with a clear conscience "returned" to the family. The poor woman remained to live with the hope that they would someday be together again. She even offered to loan money to her ex-lover when he urgently needed them.
Victor took a certain amount from the woman. Of course, he was going to give them to her, but was there such a need to “drown up the past”? Or maybe he specifically gave her hope ?!
One way or another, he really really needed the funds. The mother, who had recently undergone a major operation, needed treatment. Yes, and Lena, put pressure on him with the inevitable exchange of living space. The woman had planned everything for a long time, and now, having learned about the fatal diagnosis of Ksenia Fedorovna, she decided to act.
This action was blasphemy against Dmitrieva, and the son understood this very well. He even tried to object to the “pressure” of his wife, but gave up after an unsuccessful attempt to “protest”. The arguments of his wife were more weighty than all his arguments and condemnations.
Soon, more recently, the warring parties "reunited", and began to live in one two-room apartment. Ksenia Feodorovna's room was exchanged in addition to a room in Dmitriev's communal flat. Lena has thought of everything here. She knew that her mother-in-law's days were numbered and she would not have to "endure" her for long. Ivanova was right - Victor's mother soon died.
Victor is very ill. It slowly began to dawn on him that the man had really changed, but not for the better ...
Lesson Objectives:
educational - to reveal the philosophical meaning of the work; to reveal the position of the characters of the story in relation to the issue of the exchange; having created a problematic situation, encourage students to express their own point of view about the life principles of the Dmitriev and Lukyanov families, as well as the main characters - Viktor and Lena Dmitriev;
educational - to promote the formation of students' own point of view on the identified problem; create situations in which students will understand that there is a way out of any difficult situation;
developing - to promote the formation of group work skills, public speaking, the ability to defend one's point of view; activation of students' creative abilities.
Equipment: slide material, computer, screen, images of the heroes of the play.
Methodical methods: educational dialogue, elements of a role-playing game, creation of a problem situation.
Methods: verbal, visual, partially search and research.
Lesson form: lesson-thinking.
During the classes
“Ice on the ground, ice ..”.
Vladimir Vysotsky
From good to bad, one chateau "k.
Proverb
“There are two abysses in a man,” Dostoevsky taught, and he does not choose between them, but rushes about like a pendulum.
Joseph Brodsky
1. Introductory speech of the teacher.
Today in a series of events we have the last joint open lesson. Very soon we will part with you, and you will enter adulthood with its ups and downs, joys and disappointments, wonderful acquaintances and the desire to separate yourself from someone ... Tell me, didn’t all this happen in our life today? It was, of course, but it was not always conscious, it took place when the shoulder of loved ones and relatives was always there, and their opinion was almost undeniable and very authoritative. However, in adulthood, many pitfalls await you, stones in your bosom, the opinions of former authorities do not work. And I would very much like our excursion into adulthood to be remembered one day and at least slightly alleviate difficult moments.
2. Issues for discussion.
A) Work with the epigraph of the lesson:
Look at the epigraphs that I offered you to start our conversation?
How do they fit into the theme of our lesson? And which one would be better for you? Argument your point of view. (Slide number 1 teacher)
B) Work with the title of the story.
You already know what aglavia is an important component of the text, it is important for revealing the ideological and philosophical meaning of the work.
The title is always a message about the content of what we are about to read. “Starting to read a book,” noted A.M. Peshkovsky, “the reader is interested in its content and in the title sees a hint of this content or even a concise expression of it ... This means that the title of a book is always something more than a title.”
Look at the title of our story and determine the future direction of the conversation, the semantic core .. (Presentation)
Why suddenly the usual household, family situation grows into a conflict? Give us a brief summary of this story.
So, in order to understand the conflict, let's take a closer look at the main character of the story, Viktor Georgievich Dmitriev.
Before giving the floor to the first creative group, I remind you of the main requirements that we impose on speakers (clearness of thought, conciseness, consistency, evidence, clarity, schematization when working with presentations. Students have sheets that contain an assessment of the presentation materials of the speakers )
1) The group “Viktor Georgievich Dmitriev” based on textual material - a general acquaintance with the character without deepening:
A native Muscovite from a family of pre-revolutionary intellectuals;
In the story - junior researcher, specialist of the Research Institute for pumping units - 37 years old;
Married, has a wife, Elena, and a daughter, Natasha, a student at a special school for learning English;
Lives in Moscow in a small communal apartment;
He organizes the exchange of apartments at the very moment when it is discovered that the mother is terminally ill.
Teacher's word:
What kind of person could do this: an unprincipled grabber? A spineless bastard? Who is he? Or maybe just selfish? To answer these questions, let's take a closer look at his origins, his family (already in the composition in which we find it). And let's try to answer the main question: in what world was Victor's worldview formed? What influenced the formation of the character of Victor?
In the article “Choose, Decide, Sacrifice”, the writer rightly said that “everyday life is an ordinary life, a test of life, where a new, today's morality is manifested and tested”. And then he added that "life is a war that does not know a truce." According to Yu. Trifonov, he strove in the "Exchange" to the density of writing, to ensure "to depict as fully as possible the complexity of the circumstances in which a person lives," the complexity of relationships. That is why the story is saturated with subtexts, that is why it rests on allegories. Every action here is a move in a positional struggle, every retort is a fencing attack. Let's try to get to the heart of the story.
2) The Dmitriev family:
Origin, social status (mother, father, grandfather, sister Laura);
Circle of interests, hobbies, occupations of each;
family priorities;
The cult of the family is sacrifice, the fear of being a burden to someone.
Bottom line: so what does the Dmitriev family appear to us, at least at first glance?
origin, social status;
family priorities;
Family cult.
Bottom line: so what kind of Lukyanov family appears before us, at least at first glance?
Origin, social status;
Circle of interests, hobbies, occupations;
Priorities;
Lena's trouble is not in her desires and aspirations, but in the means of their realization.
5) So who is more he, the main character: Dmitriev or Lukyanov?
The steps of gradual “lukyanization” is an irreversible process, which boils down to getting bogged down in trifles
“You have already exchanged, Vitya. The exchange took place.. It was a very long time ago. And it always happens. Every day, so don't be surprised, Vitya. And don't get angry. It's just so imperceptible."
The first very imperceptible step - rushed after the failure of admission to art school at least somewhere. The first loss of oneself is an unloved job;
Marrying another girl - not from a blue dream - loss of family happiness and eternal concessions in small things;
Dreams about .. and “..you are late, Vitenka”. Page 50;
Dmitriev - candidate of sciences, gave up - did not finish his dissertation - p. 51.
History with a portrait of the father;
A trip to Bulgaria to Golden Sands - father's illness (stroke);
History with the grandfather (talk about contempt);
Funeral and commemoration of grandfather - death and canned saury-deficit (pp. 47-49);
The transition to the Institute of Gas and Oil - and the reasons for this transition (the story of Levka Bubrik) (according to the grandfather, everyone expected something different from Viktor. “Nothing terrible happened, of course. You are not a bad person. But also not amazing” - betrayal of a friend;
The story with Tatyana - a game - deception - a gap in Tanya's family;
Apartment exchange due to mother's illness;
Mother's funeral and exchange.
Compare with another character - Ionych + "Young" Solzhenitsyn.
Find in these “micro-concessions” those where the equalization of such concepts takes place, which are incomparable in their significance.
So why is it said in passing about the death of his grandfather, the death of the mother of Viktor Georgievich? Why did these, perhaps, the most tragic moments of life, especially the loss of a mother, not become a tragedy? What role did the Dmitriev family play in this? (The very sacrifice that was cultivated in the Dmitriev family was the fundamental basis for the rejection of the son from the family, it was the sacrifice of the parents (not to be a burden to children) that gave birth in Viktor Georgievich to the complete conviction that parents, grandfathers are not the most sacred. No wonder they say that evil does not seek harmony, his strength lies in routine, and this routine was able to regenerate moral values in the inner world of the main character).
One more detail is alarming and keeps us from pitying him: Lena calls a spade a spade, but Victor does not. He needs a cover, some noble legend. Like the one he gives to his sister Laura: “I don't need a damn thing, absolutely not a damn thing. In addition, that our mother was well. She wanted to live with me always, you know that, and if now it can help her…”.
6) Please share the observations and reasoning of our expert parents, who also took part in the discussion of this story. Tell me the way out of this zugzwang. (The statements of the children, the statements of the parents about the main character, his actions are read). Presentation
I would like to conclude our lesson with the words of Joseph Brodsky, which he spoke to the students of the University of Michigan back in 1988.
"Consider what you are about to hear just the advice of the tip of a few icebergs, so to speak, and not Mount Sinai. I am not Moses, you are not Old Testament Jews either; these slightly messy sketches, (...) are not tablets. Ignore them, question them if you like, forget them if necessary, if you cannot otherwise: there is nothing obligatory in them. If some of them are useful to you now or in the future, I will be glad. If not, my wrath will not overtake you. ”
Note to the lesson: create a syncwine (each group has its own character).
Reflection:
Use the colored cards on your desk to mark your emotional state during the lesson and put them in an envelope.
We ask the guests of the lesson - parents to express their observations, thoughts on the topic of the lesson.
Homework: written work “Thinking about what you read”.
methodical development
Outline of the Lesson of Writing in Grade 11 “Life and Being in the story of Yu.V. Trifonov “Exchange” The purpose of the lesson: 1. Formation of skills in literary analysis of the text, instilling interest in thoughtful reading of the text. 2. Helping students to see problems of an existential nature behind everyday details. 3. Education of a culture of speech, a culture of relationships, a culture of the soul. Education of kindness, morality, instill love for loved ones, remember the great duty to the mother. 4. Ability to write a letter.
Equipment:
text of the story "Exchange" portrait of the writer of the letter
Methodical methods:
analytical conversation
Epigraph to the lesson:
“After halfway through my earthly life, I found myself in a gloomy forest.” Dante
During the classes:
1. Introductory conversation
.
2.
Reading a student's letter about the life and work of Yu.V. Trifonov.
3. Teacher's response message. - Hello, dear friend! Yuri Valentinovich Trifonov was a "stranger" for Soviet literature. He was constantly reproached for not writing about the fact that his works are completely gloomy, that he is completely immersed in everyday life. What is your reader's perception of the story? Did you like this story? (students' opinions)
The reason for such different assessments is again the writer's predilection for everyday details. Some are attracted by it, others are repelled. Life is a condition for the existence of heroes. in acute, critical situations. It is dangerous that a person changes under the influence of life imperceptibly for himself. Life provokes a person without internal support, a core for actions that the person himself is horrified by. And the person is lost in the crowd, cannot find his path. The plot of the story "Exchange" is a chain of events, each of which is an independent short story. Let's listen to the first short story. (Letter from a student about the exchange, about Lena's persuasion to move in with Victor's terminally ill mother for the sake of living space) - How does Dmitriev react to the exchange offer? -How does the conflict end? (a student's letter about Victor's feelings, about remorse, but despite this about his thoughts about exchange options, including even Tanya) - Every detail is important here, so think and tell me what Dmitriev's posture expresses at this moment? Dmitriev experiences the struggle when he feels Lena’s hand on his shoulder? What happens in Dmitriev’s mind when he obeys Lena? How does Dmitriev react to his wife’s reminder of the exchange in the morning? even Tanya, a woman who truly loves and understands him. -How has Dmitriev's attitude towards Tanya changed over the year? How does Tanya manifest itself in her attitude towards Dmitriev? What does Dmitriev experience in his relationship with Tanya? (Students' stories) -How and why does Dmitriev behave like this when Tanya reads poetry to him? What role does Pasternak's line, which the hero repeats, play in the story?
(Teacher's additions) _The words “he thought the patient” uttered after a long pause testify to Dmitriev’s awareness of his moral illness, his spiritual inferiority, inability to live a full-fledged independent life. Having lost his moral foundations, he is not capable of a moral act. How should a person behave in this situation? Saving self-deception comes to the aid of a person. Remember another short story, namely the moment when Dmitriev got to GINEGA? What does the hero experience in this situation? How does the internal struggle end? How did the hero reassure himself? institute) - Trifonov studies his hero so closely that it seems that Dmitriev is an individuality. But the author refutes this opinion. Alas, Dmitriev is typical. He is one of many. He is a man from the crowd. - How does the crowd influence Dmitriev? (We read from the text) - What assessment of personality does his grandfather give Dmitriev? ("You are not a bad person, but not amazing either") - Did the hero have the opportunity to become a personality, an individual? - A symbol of the spiritual degradation of the hero-a briefcase with banks of saury. -Victor is only 37 years old. And sometimes it seems to him that everything is still ahead. Why does the hero take 2 steps forward and immediately 2 steps back. Why does the hero submit to the pressure of circumstances? What is the reason? stories of students) You probably noticed that Victor is located between two "poles": the Dmitrievs (his relatives) and the Lukyanovs (his wife and her parents). The Dmitrievs are hereditary intellectuals, and the Lukyanovs are from the “able to live” breed. Which of these families did you like? After all, today people “able to live” are valued. What is your opinion? (divided into 2 groups)
- And now the first task for the groups. Draw a genealogy of two families in album sheets. Let's pay attention to the Dmitriev family. -Let's give the floor to the second group. What are the Lukyanovs? What can be said about their pedigree? In what tones is the author's characterization of Ivan Vasilyevich and Vera Lazarevna? , we have reached the main characters - Victor and Lena. The plot core of the story is an exchange. And in connection with this, events unfold and two characters are revealed - Lena and Victor. According to this plan, we will try to make a comparative description of these two heroes not as husband and wife , but as representatives of two families: the Dmitrievs and the Lukyanovs. Plan: 1. Attitude towards one's own destiny. 2. The right to be called a person. 3. Attitude towards family traditions. 4. "The ability to live", a taste for life. 5. Moral promiscuity in means. Comparative characteristics (letters of two students) Victor Lena 1. A person of compromise, a person Decisive, proactive, possesses a follower, constantly obeys a strong character, easily finds circumstances and internal common language with the right people. his struggle ends with nothing. 2. There was an opportunity to become a personality. The right to be called a personality, nature endowed him, was denied to Lena by the author. talent. But the right to call-
This person is denied by relatives. 3. Victor's grandfather is intelligent, Ivan Vasilievich and Vera Lazarevna are principled, humane. Mother is people who "know how to live." Lena, they retained these qualities. And Victor's daughter inherited these qualities. 4.Viktor is weak-willed ... Lena was not expected to be arrogant of you, she was used to achieving. all by herself, and not to blame the circumstances. 5. Victor is tormented by conscience, but Lena “... she bit into her desires, Despite this, he obeys like a bulldog. in the teeth, they didn’t turn into flesh ... "-Life changes only externally, but people remain the same. Let's remember what Bulgakov's Woland said about this: "only the housing problem ruined everyone." The “housing problem” also becomes a test for the hero Trifonov, a test that he cannot stand and breaks down. Grandfather says: “Xenia and I expected something different to come out of you. Of course, nothing terrible happened. You are not a bad person But not surprising either.” This is the court of the author himself. hypertensive crisis, and he spent three weeks at home in strict bed rest. "The hero becomes different:" not yet an old man, but already elderly, with limp cheeks uncle. The terminally ill mother says to Dmitriev: “You have already exchanged, Vitya. The exchange took place ... It was a very long time ago. And it always happens, every day, so don't be surprised, Vitya. And don't get angry. language
emphasizes the tragedy of what happened. Nearby are phrases about a “favorable decision” regarding the exchange and about the death of Ksenia Fedorovna. An exchange of value ideas took place. -Trifonov did not set himself the task of neither condemning nor "rewarding" his heroes: the task was different - to understand. We are convinced that this is partly true ... There are no ideals. And our discussion includes such questions: what comes to the fore in the story when is it with us now? Does Trifonov really have no ideals? Will, in your opinion, this story remain in literature and how will it be perceived in another thirty years? D \ W. Write a letter to a friend, taking these questions as a basis., Making them the subject of discussion
