Village prose. Thematic directions of prose of this period

Topics of oral presentations

1. "War - there is no crueler word ..." (A. Tvardovsky). Military theme in the lyrics.

2. "How it was! How it coincided - war, trouble, dream and youth!" (D. Samoilov). The fate of the generation of the war years in Russian prose of the second half of the 20th century.

3. Understanding the theme of war in Russian literature of the post-war years.

4. Image battle scenes in military prose.

Bocharov A. G. Man and War. - M., 1978.

Living memory of generations. - M., 1965.

Narovchatov S. S.. Atlantis is always with you. - M., 1972.

"The word that came from the battle." - L., 1980.

A line broken by a bullet. - M., 1976.

Toper P. For the sake of life on earth: Literature and war. - M., 1975.

Literature of the second half of the XX-beginning of the XXI century

The literary process of the 1950s - early 2000s

Russian literature of the 50-80s

Difficult period of development of Russian literature

The 1950s-1980s was a multifaceted and rather complicated period in the development of Russian literature, which was commonly called Soviet literature. Most of the literature of those years was rigidly unified and censored. The creativity of the artists of the word was directed along a single channel - the method socialist realism and was determined by the decisions of the Communist Party and the requirements of party documents. The narrowly regulated approach to recreating reality by means of the literary word sharply limited the creative possibilities of writers, who often could not overcome censorship restrictions, waited a long time for the publication of their works, and sometimes joined the ranks of dissident writers. Strict unilinearity literary process interrupted for a while short period the "thaw" that came after the 20th Party Congress, when the illusion arose that free thought would finally triumph in art. But after that, "vegetarian times", in the words of A. A. Akhmatova, again gave way to party-bureaucratic dictates, when the artist was seen as a servant of the state, which was tasked with the formation of a "new man".

Despite the existing obstacles, many interesting works were created in prose, lyrics, and dramaturgy. A significant contribution to the literature of these years was made by the writers of the older generation L. M. Leonov, M. M. Prishvin, A. T. Tvardovsky, B. L. Pasternak, N. A. Zabolotsky, M. A. Sholokhov, I. G. Ehrenburg, V. A. Lugovskoy. The large literature includes such writers as F. A. Abramov, A. I. Solzhenitsyn, V. M. Shukshin, V. T. Shalamov, V. G. Rasputin, V. P. Astafiev, Yu. V. Trifonov, F. A. Iskander, G. N. Vladimov, V. P. Aksenov, E. A. Evtushenko, A. A. Voznesensky, R. I. Rozhdestvensky, Yu. P. Kazakov and others.

Masters of the word created artistically perfect and original works, which not only reflected the main trends of historical development, but also had a huge impact on the moral climate of the era.

village prose

In the mid-1960s, the theme of the village entered the literature imperiously. Writers who dedicated their works to the bitter truth village life, in criticism began to be called "village people". A. I. Solzhenitsyn preferred to call them “moralists,” because the masters of village prose directly linked the depiction of the “destroyed, endangered village” with the study of the inner life of people, the origins of folk morality.

The desire to convey the truth of village life is permeated with a multifaceted tetralogy Fedor Alexandrovich Abramov (1920-1983) "Brothers and Sisters", which shows the history of three peasant generations. The village of Pekashino in its everyday work grows into an image of people's long-suffering and hardiness. The dramatic background of the narrative is labor on the verge of human strength, strict self-restraint in everything, when people in the sixth post-war year still "have not seen their fill of a piece." A harsh, non-fictional reality is the description of a peasant meal in the Pryaslins’ house, with which the main events of the work are connected: “Dinner was no better, no worse than always: salted cabbage from a leaf-leaf (Anisya was already picking it in the snow on a collective farm skit), pieces five or six unpeeled potatoes. There was no bread at all - it was rare for anyone in Pekashin to have supper with bread."

The theme of the village is dedicated to the story of Abramov "Wooden horses", "Pelageya", "Alka", "Trip to the past", "Old women", "What horses cry about", written during the years of work on the tetralogy. The stories explore the enduring moral foundations that help a person to remain a person, his creative abilities, the ability to live according to conscience.

A deep artistic understanding of the moral and philosophical problems associated with the collapse and death of the village are distinguished Valentin Grigorievich Rasputin(born 1937). The plot basis of his works is the difficult trials that fell to the heroes, the problems of choosing a path, life and death, physical and spiritual. The writer often puts his characters in an exceptional situation, usually limited to some specific period during which it must be resolved.

In the story "Money for Mary"(1967), an audit carried out in the store where Maria worked, discovered a shortage of a thousand rubles. Maria must return this big money for those times within five days. And in the "going through the torments" Kuzma, saving his wife and family, stopped in front of the last door when the term was coming to an end. In the story "Deadline"(1970) the heroine is again measured out, and the "last" one at that. The old woman Anna is waiting for her death, "the time for which seems to have ripened: the old woman was about eighty." But the children who came from everywhere to say goodbye to their Mother (only the beloved Tanchora did not come) turn out to be far from both their mother and the land that fed them. IN last phrase The story sadly reports that "the old woman died at night." The hero of the story also "differed" from his native land "Live and Remember"(1974) Andrey Guskov, who somehow managed to live side by side with people at the front and managed, after being seriously wounded, never to return to his battery. He lives in the dark, is likened to a beast, but nevertheless outlines a time limit for himself, when the last term of his useless existence will be completed. In the story "Farewell to Matera" The whole world has been brought to the brink of destruction. And again, the "border situation": the island of Matera and the village of the same name will be flooded after the completion of the dam. Defending the holiness of the outgoing folk-natural world, the writer experiences together with people who cannot get used to the death of their land, houses, gardens, the cemetery where their ancestors rest. A new settlement is being built on uncomfortable lands, but "life ... it will endure everything and will be accepted everywhere, even on bare stone and in a shaky quagmire, and if needed, then under water."

It is difficult to imagine village prose without a talented story Vasily Ivanovich Belov (born 1932) "A Usual Business". central hero works is Ivan Afrikanych Drynov, a collective farm driver, carpenter, tiller. He keenly feels his living connection with the world, he is aware of the naturalness and legitimacy of everything around him: “It’s a common thing. Live. Live everywhere. Live under feathers, live under a jersey. It's okay that he was born, it's okay that he gave birth to children. Live, she is live. Ivan Afrikanych is kind and conscientious, gentle and gentle, but these attractive features are combined with lack of will and passivity. When his wife was taken away to give birth, Ivan Afrikanych was in a drunken oblivion. His gelding left without a driver and overturned the sleigh, and Drynov will have to pay for the crumpled goods belonging to the general store. Ivan Afrikanych easily succumbs to the persuasion of his wife's brother to leave the village in search of another share, and, having left Sosnovka, almost perishes in the forest. But how sincerely his grief is at his wife’s grave: “You, Katya, where is there? Warmth Katerina did not die - it remained in Ivan Afrikanych, in his "children". After the difficult trials that befell the hero, he understands with his own mind: "It was better to be born than not to be born." "The Habitual Business" is a tale of suffering and love. The artistic study of the moral foundations of peasant life has a deeply popular, humane character in it.

Village prose as an artistic trend in the literature of the 60-70s was reflected in the work Vasily Makarovich Shukshin (1929– 1974). His writing talent was embodied with the greatest force in the stories that made up several collections: "Villagers", "There, in the distance", "Countrymen", "Characters", "Conversations under a clear moon". Shukshin created a whole gallery of village people - drivers, tractor drivers, foremen, accountants, chairmen of collective farms and ordinary peasants. His heroes live a spiritual life: they do not like a meaningless existence, they think hard about life, they suffer, they solve complex issues, they know how to be surprised and surprise. “The most interesting thing for me,” the writer admitted, “is to explore the character of a non-dogmatic person, a person not planted in the science of behavior. Such a person is impulsive, gives in to impulses, and therefore, is extremely natural. But he always has a reasonable soul.”

Already during the years of the Great Patriotic War and soon after its end, works devoted to this national tragedy appeared. Their authors, overcoming essayism and publicism, sought to rise to an artistic understanding of the events, eyewitnesses or contemporaries of which they turned out to be. Literature about the war developed in three directions, the interaction of which formed in Russian literature of the second half of the 20th century a powerful current of the so-called " military prose».

The first of these areas is documentary fiction, based on the depiction of historical events and the exploits of real people. The second is heroic-epic prose, which glorified the feat of the people and comprehended the scale of the events that had erupted. The third is connected with the development of Tolstoy's traditions of a harsh depiction of the "non-heroic" aspects of trench life and a humanistic understanding of the significance of an individual human person in war.

In the second half of the 1950s, a genuine flowering of literature about the war began, which was due to some expansion of the boundaries of what was permitted in it, as well as the arrival in literature of a number of front-line writers, living witnesses of those years. The starting point here is considered to be the story that appeared at the turn of 1956 and 1957. M. Sholokhov "The fate of man."

One of the first documentary works devoted to unknown or even hushed up pages of the Great Patriotic War was the book Sergei Sergeevich Smirnov "Brest Fortress" (original title- "Fortress on the Bug", 1956). The writer sought out the participants of the heroic defense Brest Fortress, many of whom after captivity were considered "inferior" citizens, achieved their rehabilitation, made the whole country admire their feat. In his other book, Heroes of the Death Block (1963), S. S. Smirnov discovered unknown facts heroic escape of death row prisoners from the Nazi concentration camp Mauthausen. A striking event in the literature was the publication "Blockade book" (1977) A. Adamovich and D. Granin, which was based on the authors' conversations with Leningraders who survived the blockade.

In the 1950s and 1970s, several major works, the purpose of which is an epic coverage of the events of the war years, understanding the fate of individuals and their families in the context of the fate of the nation. In 1959, the first novel "The Living and the Dead" of the trilogy of the same name was published. K. Simonova, second novel "Soldiers are not born" and third "Last Summer" were published in 1964 and 1970-1971, respectively. In 1960, the novel, the second part of the dilogy "For a Just Cause" (1952), was completed in rough form, but a year later the manuscript was arrested by the KGB, so that the general reader at home could get acquainted with the novel only in 1988.

Already the titles of the works “The Living and the Dead”, “Life and Fate” show that their authors were guided by the traditions of L. N. Tolstoy and his epic “War and Peace”, developing in their own way the line of heroic-epic prose about the war. Indeed, the mentioned novels are distinguished by the widest temporal, spatial and event coverage of reality, the philosophical understanding of grandiose historical processes, the epic conjugation of the life of an individual with the life of the whole people. However, when these works are compared with Tolstoy's epic, which has become a kind of standard of this genre, not only their differences are revealed, but also their strengths and weaknesses.

In the first book of the trilogy K. Simonova "The Living and the Dead" The action takes place at the beginning of the war in Belarus and near Moscow in the midst of military events. War correspondent Sintsov, leaving the encirclement with a group of comrades, decides to leave journalism and join the regiment of General Serpilin. The human history of these two heroes is the focus of the author's attention, not disappearing behind the large-scale events of the war. The writer touched on many topics and problems that were previously impossible in Soviet literature: spoke about the country's unpreparedness for war, about the repressions that weakened the army, about the mania of suspicion, inhumane attitude towards man.

The writer's success was the figure of General Lvov, who embodied the image of a Bolynist fanatic. Personal courage and faith in a happy future are combined in him with a desire to mercilessly eradicate everything that, in his opinion, interferes with this future. Lvov loves abstract people, but is ready to sacrifice people, throwing them into senseless attacks, seeing in a person only a means to achieve lofty goals. His suspicion extends so far that he is ready to argue with Stalin himself, who freed several talented military men from the camps.

If General Lvov is the ideologist of totalitarianism, then his practitioner, Colonel Baranov, is a careerist and a coward. Speaking loud words about duty, honor, courage, writing denunciations against his colleagues, he, being surrounded, puts on a soldier's tunic and "forgets" all the documents.

Telling the harsh truth about the beginning of the war, K. Simonov at the same time shows the people's resistance to the enemy, depicting the feat of the Soviet people who stood up to defend their homeland. This and episodic characters(artillerymen who did not abandon their cannon, dragging it in their arms from Brest to Moscow; an old collective farmer who scolded the retreating army, but at the risk of his life saved the wounded in his house; Captain Ivanov, who gathered frightened soldiers from broken units and led them into battle ), and the main characters are Serpilin and Sintsov.

General Serpilin, conceived by the author as an episodic person, did not accidentally become one of the main characters of the trilogy: his fate embodied the most complex and at the same time the most typical features of a Russian person in the 20th century. A participant in the First World War, he became a talented commander in the Civil War, taught at the academy and was arrested on the denunciation of Baranov for telling his listeners about the strength of the German army, while all the propaganda insisted that in the event of war we "won with little blood, "and we will fight" on someone else's territory. Released from the concentration camp at the beginning of the war, Serpilin, by his own admission, "forgot nothing and did not forgive anything", but he realized that it was not the time to indulge in insults - it was necessary to save the Motherland. Outwardly stern and laconic, demanding of himself and his subordinates, he tries to take care of the soldiers, suppresses any attempts to achieve victory "at any cost." In the third book of the novel, K. Simonov showed the ability of this person to great love.

Another central character of the novel, Sintsov, was originally conceived by the author exclusively as a war correspondent for one of the central newspapers. This made it possible to "throw" the hero to the most important sectors of the front, creating a large-scale chronicle novel. At the same time, there was a danger of depriving the hero of his individuality, making him only a mouthpiece of the author's ideas. The writer quickly realized this danger and already in the second book of the trilogy he changed the genre of his work: the novel-chronicle became a novel of destinies, in the aggregate recreating the scale of the people's battle with the enemy. And Sintsov became one of acting characters, who suffered injuries, encirclement, participation in the November parade of 1941 (from where the troops went straight to the front). The fate of the war correspondent was replaced by a soldier's lot: the hero went from a private to a senior officer.

War, the Battle of Stalingrad is just one of the components of a grandiose epic V. Grossman "Life and Fate", although the main action of the work takes place precisely in 1943, and the fates of most of the heroes in one way or another are connected with the events taking place around the city on the Volga. The image of a German concentration camp in the novel is replaced by scenes in the dungeons of the Lubyanka, and the ruins of Stalingrad are replaced by the laboratories of an institute evacuated to Kazan, where the physicist Shtrum struggles with the mysteries of the atomic nucleus. However, it is not “folk thought” or “family thought” that determines the face of the work - in this the epic of V. Grossman is inferior to the masterpieces of L. Tolstoy and M. Sholokhov. The writer is focused on something else: the concept of “freedom” becomes the subject of his thoughts, as evidenced by the title of the novel. V. Grossman contrasts “fate” as the power of fate or objective circumstances that dominate a person with “life” as a free realization of a person, even in conditions of his absolute lack of freedom. The writer is convinced that one can arbitrarily dispose of the lives of thousands of people, essentially remaining a slave like General Neudobnov or Commissar Getmanov. And you can die unconquered in gas chamber concentration camps: this is how the military doctor Sofya Osipovna Levinton dies, until the last minute only caring about how to ease the torment of the boy David.

Must be one of the most bright episodes novel - the defense of the house six shot one by a group of soldiers under the command of Captain Grekov. In the face of imminent death, the heroes gained the highest degree of spiritual freedom: such trusting relations were established between them and their commander that they fearlessly argue on the most painful issues of those years, from the Bolshevik terror to the planting of collective farms. And the last free act of the captain - from the doomed house, he sends the radio operator Katya and Seryozha Shaposhnikov, who is not indifferent to him, on an assignment, thereby saving the love of the very young defenders of Stalingrad. Nikolai Krymov, a hero who occupies a central place in the system of characters in the novel, received an order to "deal with the freemen" reigning in the "Grekov's house". However, he, in the past - an employee of the Comintern, has nothing to oppose to the truth heard here, except for the vile denunciation that, upon his return, Krymov writes about the already dead defenders of the house. However, the image of Krymov is not so unambiguous: in the end, he himself turns out to be a victim of that system, serving which he had to voluntarily, or even reluctantly, go against his conscience more than once.

The latent thought of V. Grossman, that the source of freedom or lack of freedom of the individual is in the personality itself, explains why the defenders of the House of Grekov, doomed to death, turn out to be much freer than Krymov, who came to judge them. Krymov's consciousness is enslaved by ideology, he is in a sense a "man in a case", albeit not as blinkered as some other heroes of the novel. Even I. S. Turgenev in the image of Bazarov, and then F. M. Dostoevsky convincingly showed how the struggle between “dead theory” and “living life” in the minds of such people often ends in the victory of theory: it is easier for them to recognize the “wrongness” of life than unfaithfulness "the only true" idea that should explain this life. And therefore, when Obersturmbannfuehrer Liss convinces the old Bolshevik Mostovsky in a German concentration camp that there is much in common between them (“We are a form of a single entity - a party state”), Mostovsky can only answer his enemy with silent contempt. He almost feels with horror how “dirty doubts” suddenly appear in his mind, not without reason called by V. Grossman “dynamite of freedom”.

The writer still sympathizes with such “hostages of the idea” as Mostovsky or Krymov, but he is sharply rejected by those whose ruthlessness towards people stems not from loyalty to established beliefs, but from the absence of such. Commissar Getmanov, once secretary of the regional committee in Ukraine, is a mediocre warrior, but a talented whistleblower of "deviators" and "enemies of the people", sensitively picking up any fluctuation in the party line. For the sake of receiving a reward, he is able to send tankers who have not slept for three days into the offensive, and when the commander of the tank corps Novikov, in order to avoid unnecessary casualties, delayed the start of the offensive for eight minutes, Getmanov, kissing Novikov for his victorious decision, immediately wrote a denunciation of him to the Headquarters.

The key to the author's understanding of the war in the novel is a seemingly paradoxical statement about Stalingrad: "Freedom was its soul." As once Patriotic War 1812 in its own way liberated the Russian people, awakened in them a sense of their own dignity, and the Great Patriotic War again made the people divided by hatred and fear feel its unity - the unity of spirit, history, destiny. And it is not the fault, but rather the misfortune of the whole people, that the despotic government, having discovered its own impotence to cope with the awakening of the national consciousness, hastened to put it at its service - and, as always, perverted and killed the living spirit of patriotism. At the time JI. Tolstoy contrasted the patriotism of ordinary peasants, the Rostovs, Kutuzov, with the "salon patriotism" of Anna Pavlovna Sherer's circle and the "leavened" patriotism of Count Rostopchin. V. Grossman also tries to explain that the devotion to the homeland of such heroes as Grekov, Ershov, the “Tolstoyan” Ikonnikov, who was destroyed by the Germans for refusing to build a death camp, has nothing to do with the national chauvinism of Getmanov or executioner general Neudobnov, who declared: “ In our time, the Bolshevik is first and foremost a Russian patriot. After all, the same Inconvenient before the war, during interrogations, personally knocked out the teeth of those whom he suspected of being addicted to everything national to the detriment of internationalism preached by the Bolsheviks! In the end, national or class affiliation does not depend on the will of a person, and therefore they do not determine the true value of a person. It is determined by the ability of a person to a feat or to meanness, since only in this case can one speak of true freedom or lack of freedom.

At the turn of the 1950s and 1960s, works appeared in literature that inherited other traditions of Leo Tolstoy's battle prose, in particular, the traditions of his Sevastopol Tales. The originality of these works, first of all, was that the war was shown in them “from the trenches”, through the eyes of direct participants, as a rule, young, not yet fledged lieutenants, platoon and battalion commanders, which allowed critics to call such works “lieutenant prose” . Writers of this direction, many of whom themselves went through the roads of the war, were interested not in the movement of troops and not in the plans of the Headquarters, but in the thoughts and feelings of yesterday's students who, having become commanders of companies and battalions, faced death for the first time, for the first time felt the burden of responsibility and for home country, and for living people who are waiting for them to decide their fate. "I used to think: 'lieutenant' // Sounds like a pour for us," // And, knowing the topography, // He stomps on the gravel. // War is not fireworks at all, // But just hard work, // When - black with sweat - up // Infantry slides through the arable land, ”wrote the front-line poet M. Kulchitsky back in 1942, speaking of those illusions with which his generation had to part in the war. The true face of the war, the essence of the "hard work" of a soldier, the cost of losses and the very habit of loss - this is what became the subject of thoughts of the heroes and their authors. Not without reason is not a story or a novel, but a story focused on life path and inner world individual became the main genre of these works. Having become part of the broader phenomenon of the “military story”, “lieutenant prose” set the main guidelines for artistic searches for this genre. Tale Viktor Nekrasov "In the trenches of Stalingrad"(1946) became the first in a series of such works, more than a decade ahead of the subsequent Battalions Ask for Fire (1957) Y. Bondareva, "Span of the Earth"(1959) and "Forever Nineteen" (1979) G. Baklanova, "Killed near Moscow"(1961) and "Scream" by K. Vorobyov, "In war as in war" (1965) V. Kurochkina. The authors of these books were reproached for “deheroization” of heroic deeds, pacifism, exaggerated attention to suffering and death, excessive naturalism of descriptions, not noticing that the perceived “shortcomings” were generated primarily by pain for a person who found himself in inhuman conditions of war.

“The training company of the Kremlin cadets went to the front” - this is how one of the the brightest works"lieutenant's prose" - the story of a front-line writer, ideas about the war have little in common with what a person is forced to face on the battlefield: "His whole being resisted the real thing that was happening - he not only didn’t want to, but simply didn’t know , where, in what corner of the soul to place at least temporarily and at least a thousandth of what was happening - for the fifth month the Germans were impetuously moving forward, towards Moscow ... This was, of course, true, because ... because about this Stalin said. That's about it, but only once, last summer. And the fact that we will beat the enemy only on his territory, that the fire salvo of any of our formations is several times superior to someone else's - about this and much, much more, unshakable and impregnable, Alexei - a graduate of the Red Army - knew from ten years. And in his soul there was no place where the incredible reality of war would lie down. Therefore, at first, the Hawks so need the words of a captain who knows how to resolve contradictions between what you know and what your eyes see.

But the fear experienced and innate honesty helped Alexei to resist, and in the lieutenant something necessary appeared that allows a person to survive and not break in inhuman circumstances - the ability to perceive the world as it is, without needing saving illusions and explanations: “I will not go. .. I'm not going! Why am I needed there? Let it be... without me. Well, what am I to them now ... ”Ho he looked at the cadets and realized that he must go there and see everything. To see everything, what already exists and what else will be ... ”This ability does not come to the hero immediately: at first he is forced to go through the realization that the death of a person is terrible for its disgust, when a German killed by a lieutenant stains his overcoat with dying vomit; forced to feel shame for his own cowardice, having sat out in a funnel during the last battle of the company; go through the temptation of suicide, resolving all problems with conscience. Finally, he had to survive the shock after the suicide of his idol - Captain Ryumin. “The numbness with which he met the death of Ryumin, it turns out, was not stunned or bewildered. It was an unexpected and unfamiliar appearance of the world to him, in which there was nothing small, distant and incomprehensible. Now everything that once already was and could still be, acquired in his eyes a new, tremendous significance, closeness and secrecy, and all this - past, present and future - required the utmost careful attention and attitude. He almost physically felt the shadow of fear melt away in him. own death". And the final duel between Yastrebov and the German tank put everything in its place.

No wonder critics in connection with the "lieutenant's prose" recalled the name of E. M. Remarque. In the novel of the German writer “All Quiet on the Western Front”, for the first time, with open frankness, it was said about the unhealed wounds left by the First World War in the souls of very young people, whose generation was called “lost”.

Y. Bondarev in the novel "Hot Snow"(1965-1969) tried to develop the traditions of "lieutenant prose" at a new level, entering into a covert polemic with its characteristic "Remarqueism". Moreover, by that time, “lieutenant prose” was experiencing a certain crisis, which was expressed in a certain monotony of artistic techniques, plot moves and situations, and the repetition of the very system of images of works. “Some say that my last book about the war, the novel Hot Snow, is an optimistic tragedy,” Yu. Bondarev wrote. - Maybe it is so. But I would like to emphasize that my heroes fight and love, love and die, not having loved, not having lived, not having learned much. But they learned the most important thing, they passed the test of humanity through the trial by fire.

The action of the novel by Yu. Bondarev fits into a day, during which the battery of Lieutenant Drozdovsky, which remained on the south coast, repelled the attacks of one of the tank divisions of the Manstein group, rushing to help Marshal Paulus's army, which was encircled near Stalingrad. However, this particular episode of the war turns out to be the turning point from which the victorious offensive began. Soviet troops, and for this reason alone the events of the novel unfold, as it were, on three levels: in the trenches of an artillery battery, at the headquarters of the army of General Bessonov, and, finally, at the headquarters of the Supreme Commander-in-Chief, where the general, before being appointed to the active army, has to endure the most difficult psychological duel with Stalin himself.

Battalion commander Drozdovsky and the commander of one of the artillery platoons, Lieutenant Kuznetsov, personally meet General Bessonov three times, but how different these meetings are! At the beginning of the novel, Bessonov scolds Kuznetsov for the indiscipline of one of his fighters, peering intently at the features of the young lieutenant: the general "thought at that moment about his eighteen-year-old son, who went missing in June on the Volkhov front." Already in combat positions, Bessonov listens to Drozdovsky's gallant report about his readiness to "die" at this turn, remaining dissatisfied with the very word "die". The third meeting took place after the decisive battle, but how the heroes of the novel change during these days! Drozdovsky was a callous and self-centered man, in his dreams he created his own image of a brave and uncompromising commander, whom he strives to match. However, the courage of the lieutenant during an enemy raid on the echelon borders on recklessness, and the deliberate rigidity in dealing with subordinates not only does not add to his authority, but also costs the life of the carrier Sergunenkov, whom Drozdovsky sends to certain death by a rash order. Lieutenant Kuznetsov is not like that: he is sometimes unnecessarily "intelligent", deprived of the "military bone" of Drozdovsky. However, Kuznetsov is also deprived of the desire to “look like” someone, and therefore he is natural with his subordinates and loved by them, although he can also be tough with the guilty, and even with Drozdovsky, not enduring the commander’s ostentatious rudeness and his tendency to tyranny. It is not surprising that during the battle it is to Kuznetsov that the control of the remnants of the battery gradually passes, while the confused Drozdovsky at the end only stupidly interferes in the coordinated actions of the fighters.

The difference between these heroes is also manifested in their attitude towards the orderly Zoya. Zoya has a close relationship with Drozdovsky, but he hides it in every possible way, considering them a manifestation of his weakness, contrary to the image of an "iron" commander. Kuznetsov, on the other hand, is boyishly in love with Zoya and even becomes shy in her presence. The death of a medical officer shocks both, however, the loss of a beloved and the experiences over the past day have affected the lieutenants in different ways, which can already be seen from the way they hold themselves in front of the commander who arrived at the battery. Drozdovsky, “standing at attention in front of Bessonov in his tightly buttoned overcoat, tied with a harness, thin as a string, with a bandaged neck, chalky-pale, with a clear movement of a construction worker, threw his hand to his temple.” However, after the report, he changed, and it became clear that the events of the last day turned into a personal collapse for him: “... he was now walking with a broken, lethargic, relaxed gait, head down, shoulders bent, never looking in the direction of the gun, as if not there was no one around." Kuznetsov behaves differently: “His voice, according to the regulations, still struggled to gain a dispassionate and even fortress; there is a gloomy, non-boyish seriousness in his tone, in his eyes, without a shadow of shyness in front of the general, as if this boy, the platoon commander, had gone through something at the cost of his life, and now this understandable something stood in his eyes, frozen, not spilling.

The appearance of the general on the front line was unexpected: before Bessonov believed "that he has no right to succumb to personal impressions, in all the smallest details to see the details of the battle in the very near, to see with your own eyes the suffering, blood, death, death at the forefront of people carrying out his orders; I was sure that direct, subjective impressions eat into the soul in a relaxing way, give rise to pity, doubts in him, busy in his duty with the general course of the operation. In his circle, Bessonov was known as a callous and despotic person, and few people knew that feigned coldness hides the pain of a man whose son went missing, being surrounded by General Vlasov's Second Shock Army. However, the general’s stingy tears at the positions of the almost completely destroyed battery do not seem to be an author’s stretch, because the joy of victory broke through in them, replacing the inhuman tension of responsibility for the outcome of the operation, and the loss of a truly close person - a member of the Military Council Vesnin, and pain for his son, which the youth of Lieutenant Kuznetsov again reminded the general of. Such a ending of the novel comes into conflict with the traditions of "Remarqueism": the writer does not deny the negative impact of the war on human souls, however, he is convinced that the "lostness" of a person arises not just as a result of the shocks experienced, but is the result of an initially wrong position in life, as happened with Lieutenant Drozdovsky, although the author does not pass a peremptory sentence even on him.

Describing the war as a "test of humanity", Y. Bondarev only expressed what determined the face of the military story of the 60-70s: many battle prose writers focused in their works on the image inner world heroes and the refraction of the experience of war in him, on the transfer of the process itself moral choice person. However, the writer's partiality for favorite characters was sometimes expressed in the romanticization of their images - a tradition set by Alexander Fadeev's novel The Young Guard (1945) and Emmanuil Kazakevich's story The Star (1947). In this case, the character of the characters did not change, but only revealed as clearly as possible in the exceptional circumstances in which the war placed them. This trend was most clearly expressed in the stories of Boris Vasiliev "The Dawns Here Are Quiet" (1969) and "He Was Not on the Lists" (1975). The peculiarity of B. Vasiliev's military prose is that he always chooses episodes that are "insignificant" from the point of view of global historical events, but which speak a lot about the highest spirit of those who were not afraid to oppose the superior forces of the enemy - and won. Critics saw a lot of inaccuracies and even "impossibility" in the story B. Vasilyeva "The Dawns Here Are Quiet", the action of which develops in the forests and swamps of Karelia (for example, the White Sea-Baltic Canal, which is targeted by a sabotage group, has not been operating since the autumn of 1941). But the writer was not interested in historical accuracy here, but in the situation itself, when five fragile girls, led by foreman Fedot Baskov, entered into an unequal battle with sixteen thugs.

The image of Baskov, in essence, goes back to Lermontov's Maxim Maksimych - a man, perhaps poorly educated, but whole, wise in life and endowed with a noble and kind heart. Vaskov does not understand the intricacies of world politics or fascist ideology, but he feels with his heart the bestial essence of this war and its causes, and cannot justify the death of five girls with any higher interests.

It is characteristic that in this story the writer uses the technique of improperly direct speech, when the narrator's speech is in no way separated from internal monologue hero (“Vaskov was slashed through the heart from this sigh. Oh, you sparrow scumbag, is it possible for you to grieve on your hunchback? To curse now in full opportunity, to cover this war in twenty-eight rolls with busts. Yes, along with the major what the girls sent in pursuit, to rinse in lye. Thus, the narrative often takes on the intonation of a tale, and the point of view on what is happening takes on features that are characteristic of the people's understanding of the war. Throughout the story, the foreman’s speech itself changes: at first it is stereotyped and resembles the speech of an ordinary warrior, replete with statutory phrases and army terms (“there are twenty words in reserve, and even those from the statutes” characterize his girls), he even comprehends his relationship with the hostess in military categories (“On reflection, he came to the conclusion that all these words were only measures taken by the hostess to strengthen her own positions: she ... sought to strengthen herself on the conquered frontiers”). However, approaching the girls, Vaskov gradually “thaws”: caring for them, striving to find his own approach to each one makes him softer and more human (“God damn, this word popped up again! Because it’s out of the charter. Forever hacked. Bear you , Basque, deaf bear...”). And at the end of the story, the Basques become just Fedya for the girls. And most importantly, being a once diligent "executor of orders", the Basque turns into free man on whose shoulders lies the burden of responsibility for someone else's life, and the awareness of this responsibility makes the foreman much stronger and more independent. That is why Baskov saw his personal guilt in the deaths of the girls (“I put you, I put all five of you, but for what? For a dozen Fritz?”).

In the image of anti-aircraft gunners, the typical fates of women of the pre-war and war years were embodied: different social status and educational level, different characters, interests. However, with all the accuracy of life, these images are noticeably romanticized: in the image of the writer, each of the girls is beautiful in her own way, each is worthy of her biography. And the fact that all the heroines die underlines the inhumanity of this war, affecting the lives of even the most distant people from it. The fascists are contrasted with the romanticized images of girls by contrast. Their images are grotesque, deliberately reduced, and this expresses the main idea of ​​the writer about the nature of a person who has embarked on the path of murder (“Man, after all, one thing separates from animals: the understanding that he is a man. And if there is no understanding of this, he is a beast. About two legs, about two hands and - a beast. A fierce beast, more terrible. And then nothing really exists in relation to him: no humanity, no pity, no mercy. You have to beat. Beat until he crawls into the lair. And then beat until he remembers that he was a man until he understands this”). The Germans are opposed to girls not only outwardly, but also by how easy it is for them to kill, while for girls, killing an enemy is a difficult test. In this, B. Vasiliev follows the tradition of Russian battle prose - killing a person is unnatural, and how a person, having killed an enemy, experiences, is a criterion of his humanity. War is especially alien to the nature of a woman: “War does not have a woman's face” - the central thought of most of the military works of B. Vasiliev. This thought illuminates with particular clarity that episode of the story in which Sonya Gurvich's dying cry sounds, which escaped because the knife was intended for a man, but fell into a woman's chest. With the image of Liza Brichkina, a line of possible love is introduced into the story. From the very beginning, Vaskov and Liza liked each other: she was to him - figure and sharpness, he to her - male solidity. Liza and Vaskov have a lot in common, but the heroes did not succeed in singing together, as the foreman promised: the war destroys the nascent feelings in the bud.

The end of the story reveals the meaning of its title. The work closes with a letter, judging by the language, written by a young man who became an accidental witness to the return of Vaskov to the place of death of the girls, along with his adopted son, Rita Albert. Thus, the return of the hero to the place of his feat is given through the eyes of a generation whose right to life was defended by people like Vaskov. This is the affirmative idea of ​​the story, and not without reason, just like Sholokhov's "The Fate of a Man", the story is crowned with the image of a father and son - a symbol of the eternity of life, the continuity of generations.

Such a symbolization of images, a philosophical understanding of situations of moral choice are very characteristic of a military story. Prose writers thus continue the reflections of their predecessors on the "eternal" questions about the nature of good and evil, the degree of human responsibility for actions seemingly dictated by necessity.

Hence the desire of some writers to create situations that, in their universality, semantic capacity and categorical moral and ethical conclusions, would approach a parable, only colored by the author's emotion and enriched with quite realistic details. No wonder even the concept was born - “ philosophical tale about the war”, associated primarily with the work of the Belarusian prose writer Vasil Bykov, with such stories as “Sotnikov” (1970), “Obelisk” (1972), “Sign of Trouble” (1984). The problems of these works are succinctly formulated by the writer himself: “I'm just talking about a person. About the possibilities for him and in the most terrible situation - to preserve his dignity. If there is a chance - win. If not, hold out. And win, if not physically, but spiritually.” V. Bykov's prose is often characterized by a too straightforward opposition of a person's physical and moral health. However, the inferiority of the soul of some heroes is not revealed immediately, not in everyday life: a “moment of truth” is needed, a situation of categorical choice that immediately reveals the true essence of a person. The fisherman is the hero of the story V. Bykov "Sotnikov"- full of vitality, knows no fear, and Comrade Rybak, ailing, not distinguished by power, with "thin hands" Sotnikov gradually begins to seem like a burden to him. Indeed, largely due to the fault of the last sortie of two partisans ended in failure. Sotnikov is a purely civilian person, until 1939 he worked at a school; physical strength he is replaced by stubbornness. It was stubbornness that prompted Sotnikov three times to try to get out of the encirclement in which his defeated battery found itself, before the hero got to the partisans. Whereas Rybak, from the age of 12, was engaged in hard peasant labor and therefore endured it more easily. physical exercise and deprivation.

It is also noteworthy that Rybak is more prone to moral compromises. So, he is more tolerant of the elder Peter than Sotnikov, and does not dare to punish him for serving the Germans. Sotnikov, on the other hand, is not inclined to compromise at all, which, however, according to V. Bykov, testifies not to the limitations of the hero, but to his excellent understanding of the laws of war. Indeed, unlike Rybak, Sotnikov already knew what captivity was, and managed to pass this test with honor, because he did not compromise with his conscience.

The "moment of truth" for Sotnikov and Rybak was their arrest by the police, the scene of interrogation and execution. The fisherman, who has always found a way out of any situation before, tries to outwit the enemy, not realizing that, embarking on such a path, he will inevitably come to betrayal, because he has already placed his own salvation above the laws of honor and camaraderie. Step by step, he yields to the enemy, refusing first to think about saving the woman who sheltered them with Sotnikov in the attic, then about saving Sotnikov himself, and then his own soul. Caught in hopeless situation, Rybak, in the face of imminent death, chickened out, preferring animal life to human death. Saving himself, he not only executes his former comrade with his own hands - he does not have enough determination even for Judas' death: it is symbolic that he is trying to hang himself in the restroom, even at some point he is almost ready to throw himself head down, but does not dare. However, spiritually Rybak is already dead (“And although they were left alive, they were also liquidated in some respects”), and suicide still would not save him from the shameful stigma of a traitor. And V. Bykov does not spare black colors for depicting policemen: those who deviate from moral laws cease to be people for him. No wonder the chief of police, Portnov, before the war “against God, used to agitate in the villages. It's so difficult..." The policemen in the story "squeal", "scream", "bristle", etc.; little human has a "goofy-ferocious" appearance of the chief police executioner Budila. Stas's speech is also characteristic: he even betrayed his native language, speaking a barbaric mixture of Belarusian and German ("Go to the basement! Bitte please!").

However, Sotnikov, mutilated in the basement of the police department, is not afraid of death or his tormentors. He not only tries to take on the guilt of others and thereby save them, it is important for him to die with dignity. The personal ethics of this hero is very close to the Christian one - to lay down his soul "for his friends", not trying to buy himself an unworthy life with prayers or betrayal. Even as a child, the incident with his father's Mauser taken without asking taught him to always take responsibility for his actions: the mysterious phrase of his father in Sotnikov's dream: "There was fire, and there was the highest justice in the world ..." - can also be understood as regret that that many have lost the idea of ​​the existence of the Supreme Justice, the Supreme Court, before which everyone is responsible without exception. Such a supreme court for the unbeliever Sotnikov becomes a boy in Budyonovka, who personifies the coming generation in the story. Just as the hero himself was once strongly influenced by the feat of the Russian colonel, who during interrogation refused to answer the questions of the enemy, so he accomplishes the feat in front of the boy, as if passing on his death a moral covenant to those who remain to live on earth. In the face of this trial, Sotnikov even questioned his "right to demand from others on an equal footing with himself." And here you can see the hidden echoes between the image of Sotnikov and Jesus Christ: they died a painful, humiliating death, betrayed by loved ones, in the name of humanity. Such an understanding of the events of the work in their projection on the “eternal” plots and moral guidelines of world culture and, above all, on the commandments left to mankind by Christ, is generally characteristic of a military story if it is guided by a philosophical understanding of the situation of a categorical moral choice in which the war puts a person .

Among the works about the war that appeared in last years, two novels attract attention: “Cursed and Killed” by V. Astafiev (1992-1994) and “The General and His Army” by G. Vladimov (1995).

For the work of V. Astafiev, the military theme is not new: in his stories “The Shepherd and the Shepherdess (Modern Pastoral)” (1971), “Starfall” (1967), the play “Forgive Me” (1980), imbued with tragic lyricism, the writer wondered whether what love and death mean for people in war - two fundamental foundations human being. However, even in comparison with these works full of tragedy, the monumental novel V. Astafieva "Cursed and killed" solves the military theme in an incomparably tougher way. In its first part, The Devil's Pit, the writer tells the story of the formation of the 21st Rifle Regiment, in which, even before being sent to the front, they die, beaten to death by a company commander or shot for unauthorized absence, physically and spiritually maimed, those who are called to soon defend the Motherland with their breasts . The second part of the Bridgehead, dedicated to the crossing of the Dnieper by our troops, is also full of blood, pain, descriptions of arbitrariness, bullying, and theft that flourish in the army. Neither the invaders nor the homegrown monsters can be forgiven by the writer for his cynically callous attitude towards human life. This explains the angry pathos of the author's digressions and transcendental in their ruthless frankness descriptions in this work, whose artistic method is not without reason defined by critics as "cruel realism".

What Georgy Vladimov he himself was still a boy during the war, determined both the strengths and weaknesses of his sensational novel "The General and His Army"(1995). The experienced eye of a front-line soldier will see in the novel many inaccuracies and overexposures, including unforgivable even for a work of art. However, this novel is interesting as an attempt to look at the events that once became a turning point for the entire world history from a "Tolstoy" distance. No wonder the author does not hide the direct echoes of his novel with the epic "War and Peace" (for more information about the novel, see the chapter of the textbook "Modern Literary Situation"). The very fact of the appearance of such a work suggests that the military theme in literature has not exhausted itself and will never exhaust itself. Pledge to that - living memory about the war, preserved in the memory of those who know about the war only from the lips of its participants and from history books. And a considerable merit in this is the writers who, having gone through the war, considered it their duty to tell the whole truth about it, no matter how bitter this truth may be.

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The Great Patriotic War re-accustomed people to make decisions and act independently violated the complete self-isolation of the Stalinist state activated Christianity that was destroyed Hope for democratization and liberalization

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The strengthening of totalitarianism, the isolation of yesterday's prisoners of war, the deportation to the eastern regions of a number of peoples accused of "collective betrayal", the arrest and removal to remote areas of war invalids “The terrible eight years were long. Twice as long as the war. For a long time, because in fear fictions, false faith peeled off from the soul; enlightenment progressed slowly. Yes, and it was hard to guess that you were seeing, because the eyes that saw through saw the same darkness as the blind ones ”(D. Samoilov)

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"Zhdanovshchina" August 14, 1946 Decree of the Central Committee of the All-Union Communist Party of Bolsheviks on issues of literature and art "On the magazines" Zvezda "and" Leningrad ". "Vulgarities and scum of literature" by Zoshchenko and Akhmatova. September 4, 1946 "About the lack of ideas in cinematography". February 1948. "On Decadent Trends in Soviet Music". 1949 The fight against "cosmopolitanism". January 13, 1953 "Disclosure" of the "conspiracy of killer doctors." MM. Zoshchenko

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* "Theory of non-conflict" "In Soviet society there are no grounds for the birth of antagonistic conflicts, there is only a conflict between the good and the best." “These viscous books are depressingly the same! They have stereotyped characters, themes, beginnings, and endings. Not books, but twins - it is enough to read one or two of them to know the appearance of the third ”(V. Pomerantsev“ On the sincerity of literature, 1953)

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Reflective essay prose 1952. V. Ovechkin "Regional weekdays". Cycle of 5 essays. Data real life people from the hinterland, the situation of collective farm peasants (workdays, lack of passports). The image of the Soviet bureaucrat-functionary Borzov is opposed to the image of the "spiritual" Martynov. The former strong-willed manager and the new independent business executive. 1953 V. Tendryakov "The Fall of Ivan Chuprov". The collective farm chairman deceives the state for the benefit of his collective farm. The moral rebirth of a person who selfishly uses his position in society. 1953 G. Troepolsky "Notes of an agronomist". A cycle of satirical stories about the village. 1955 Based on the story by V. Tendryakov "Out of Court" "Everyday life of the post-war village"

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Novels about youth 1953. V. Panova "Seasons". The theme of "fathers" and "children". The image of Gennady Kupriyanov is a type of modern young man, indifferent, skeptical, ironic, generated by social conditions. The theme of the rebirth of the corrupt Soviet nomenklatura (the fate of Stepan Bortashevich). 1954 I. Ehrenburg "Thaw". A thaw of the public (the return of convicts, the opportunity to speak openly about the West, not agreeing with the opinion of the majority), and personal (to be honest both in public and before one's own conscience). The problem of choosing between truth and falsehood. The artist's right to freedom of creativity and his independence from the requirements of ideology and momentary public good. The history of the "average" person, the unique depth of his experiences, exclusivity spiritual world, the significance of the "single" existence

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1954 Second All-Union Congress writers Discussions on the pages of Literaturnaya Gazeta: The question of the character of the hero of literature The question of lyrics. 1955 The output of thick magazines: "Friendship of Peoples", "Foreign Literature", "Neva". 1956-57 - “Young Guard”, “Questions of Literature”, etc. “The Soviet people want to see passionate fighters in the person of their writers, actively intruding into life, helping the people build a new society. Our literature is called upon not only to reflect the new, but also to help its victory in every possible way.

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Cinema In the center is human destiny. 1963 1964 1957 1956 1961

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Theatrical life 1956 The Sovremennik Theater was founded by a group of young actors. (The first performance based on Rozov’s play “Forever Alive” (staged by O. Efremov). A free creative association of a group of like-minded people who managed to defend themselves as an integral artistic group. 1962. The Taganka Theater was founded (The first performance is B. Brecht’s play “A Kind Man from Sesuan "(dir. Yu. Lyubimov). Free element of the game, the courage of the areal spectacles, the revived traditions of Vakhtangov and Meyerhold, the mastery of the actors of the entire palette of arts

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"People's Opinion" 1957. Persecution of B. Pasternak. 1963 "Near-literary drone" I. Brodsky arrested. 1965 A. Sinyavsky and Y. Daniel were arrested for "anti-Soviet agitation and propaganda" (publishing satirical works abroad) 1970. Nobel Prize Solzhenitsyn. 1974 Deprivation of Soviet citizenship. 1970 Defeat of the "New World" "Letters of the workers" - angry messages on behalf of the workers, etc. "The opinion of the people" was impossible to dispute. Extrajudicial forms of violence: people were forcibly placed in special psychiatric hospitals

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Prose 1956. V. Dudintsev. The novel Not by Bread Alone. 1956 P. Nilin "Cruelty" 1957. S. Antonov. “It was in Penkovo” 2005. S. Govorukhin 1957 Stanislav Rostotsky

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1964 S. Zalygin "On the Irtysh". The collectivization of the 1930s Siberian village- the tragedy of the death of the centuries-old peasant way of life with deep, cultural traditions. 1966 V. Belov "The usual business." The monstrously unfair life of a Vologda collective farmer and his wife. "Peasant Space" is filled with poetry, love, wisdom. Village prose of the 60-70s, 1952. V. Ovechkin "Regional weekdays". 1956 A. Yashin. The story "Levers". Collective farm leaders before, during and after the party meeting. Normal people become levers of power. "The Villagers" 1970. V. Rasputin. "Deadline". The death of the village old woman Anna is a calm and conscious transition from earthly existence to another life. Problems of life and death.

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The main features of the poetics of the "villagers" are: essays, the research nature of the works; the village is a symbol of the confrontation between Civilization and Nature; lyrical (emotional, subjective) detail and social detail

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1946 V. Nekrasov "In the trenches of Stalingrad." The war is shown through the life of ordinary soldiers. It was not the generals and marshals who won the war, but the people. "trench" truth about the war "Lieutenant's prose" 1959. G. Baklanov "Span of the earth" and others. 1957. Y. Bondarev "Battalions are asking for fire" and others. 1963. to Vorobyov. The story "Killed near Moscow" and others. 1969. B. Vasiliev. “The Dawns Here Are Quiet” and others. The fate of a person in inhuman conditions. The true face of war, the essence of the "hard work" of a soldier, the cost of losses and the very habit of loss - this is what became the subject of thoughts of the heroes and their authors.

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“Youth prose” “I look there, I look, and my head starts to spin, and everything, everything, everything that was in life and what else will be, everything starts to spin, and I don’t understand anymore, I’m lying on the windowsill or not I. And the real stars, full of the highest meaning, are circling, circling above me. 1956 A. Gladilin "Chronicle of the times of Viktor Podgursky" 1957. A. Kuznetsov "Continuation of the legend." Finding your way on the "construction sites of the century" and in your personal life. 1961 V. Aksyonov "Star Ticket". Careless graduates of the Moscow school, dressed in Western fashion, adoring jazz, not wanting to sit in one place. A generation of romantics whose motto is "To the stars!" 1962 Film by A. Zarkhi “My little brother” A short-term phenomenon. Stylistically enriched the literature of the 50s and 60s. Confessional monologues, youth slang, telegraphic style.

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Vasily Makarovich Shukshin Story genres: story-fate ("The Hunt to Live") story-character ("Cut off", "Resentment", "Freak") story-confession ("Raskas") story-joke "Shukshin's Hero" - weirdo: melodiousness , unfortunateness, shyness, disinterestedness, sincerity

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« camp prose» 1954-1973. V.T. Shalamov writes: Kolyma stories"(published 1978 in London, 1988) 1964-1975. Yu.O. Dombrowski writes "Faculty of unnecessary things" (published 1978 France) 1962. A.I. Solzhenitsyn "One Day in the Life of Ivan Denisovich" (published 1962) Varlam Tihonovich Shalamov (1907-1982) Yuri Osipovich Dombrovsky (1909 - 1978) citizen of all two hundred million citizens Soviet Union"(A.A. Akhmatova)

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"Urban prose" 1969. The story "Exchange" 1976. "House on the embankment" "image of simple, inconspicuous, ordinary people in normal life situations

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« Bronze Age» Evtushenko, Voznesensky, Rozhdestvensky Akhmadulina Okudzhava Sokolov V. Kunyaev S. Gorbovsky G. Rubtsov N. Zhigulin A. Narovchatov S. Slutsky B. Drunina Yu. Samoilov D. Levitansky

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Literature lesson in grade 11 04/11/2017

Subject: Village prose of the 50-80s. Works by S. Zalygin, B. Mozhaev, S. Soloukhin, Yu. Kazakov, F. Abramov, V. Belov, V. Rasputin's Tale "Deadline", "Farewell to Mother". Moral and philosophical problems of plays by A. Vampilov, prose by V. Astafiev, V. Kuprin, Y. Trifonov, V. Makanin, Y. Dombrovsky.

Target:

Educational:

Expand the concept of "village prose"; continue the development of text analysis skills (the ability to identify the problems and artistic features of works of "village prose").

Developing:

Develop analysis skills artistic text;

Development of skills for finding artistic techniques used by the author (preparation for the Unified State Examination in the Russian language);

Develop such spiritual qualities as empathy, compassion, sensitivity, attentiveness;

Develop students' oral language.

Educational:

Cultivate love for your small homeland and land

Interest in the subject and work of the writer.

Lesson Form: combined

Basic Methods: partially searchable.

Equipment: presentations, interactive board.

During the classes

Organizational stage

Work on the topic of the lesson

Introduction.

The term “village” prose, which appeared in the 1960s, is still widely used. This is because the works about the village, created in the 60-70s by F. Abramov, V. Astafiev, V. Belov, E. Nosov, V. Rasputin, V. Shukshin and other writers, occupy perhaps the most prominent place in Russian literature of this period. They are united not only by the theme, but by the unity of their outlook on life: its supports, meaning, and the nature of development.

Interest in folk life among those who are often called "village people", it was connected with the idea of ​​continuity, historical memory with fidelity to the traditions that underlie morality. Writers - "villagers" considered it necessary to defend the spirituality nourished by these traditions from the destructive influence modern civilization.

In the "village" prose, the life of the village is not simply depicted, but the most important problems of human existence are solved, among which the problems of the relationship between man and nature, personal and collective consciousness occupy an important place. Extremely acute in this prose is the question, which at that time was among the most important, - about the restructuring of human life, caused by mass migration from the countryside to the city.

Finally, the writers belonging to this trend are distinguished by their attention, careful attitude to the riches of the Russian language, preserved in the "outback" and opposing today's attempts to distort it, narrowing its expressive possibilities.

Viewing the presentation "Village Prose"

Group presentations

Group 1: "General characteristics of the "Village Prose"

The concept of "village" prose appeared in the early 60s. This is one of the most fruitful trends in our domestic literature. It is represented by many original works: "Vladimir country roads" and "A drop of dew" by Vladimir Soloukhin, "The usual business" and "Carpenter's stories" by Vasily Belov, "Matryona yard" by Alexander Solzhenitsyn, " Last bow» Victor Astafiev, stories by Vasily Shukshin, Evgeny Nosov, stories by Valentin Rasputin and Vladimir Tendryakov, novels by Fyodor Abramov and Boris Mozhaev. The sons of peasants came to literature, each of them could say about himself the very words that the poet Alexander Yashin wrote in the story “I Treat Rowan”: “I am the son of a peasant. Everything that is done on this land, on which I am not one path, concerns me. knocked out with bare heels; on the fields that he still plowed with a plow, on the stubble that he went with a scythe and where he threw hay into stacks.

“I am proud that I left the village,” said F. Abramov. V. Rasputin echoed him: “I grew up in the countryside. She fed me, and it is my duty to tell about her.” Answering the question why he writes mainly about village people, V. Shukshin said: “I could not talk about anything, knowing the village. I was brave here, I was as independent as possible here.” S. Zalygin wrote in his “Interview with Myself”: “I feel the roots of my nation right there - in the village, in the arable land, in the most daily bread. Apparently, our generation is the last one that saw with its own eyes that thousand-year way of life, from which we emerged almost all and each. If we don't talk about him and his decisive alteration within short term- who will say?

Not only the memory of the heart nourished the theme of "small motherland", "sweet motherland", but also pain for its present, anxiety for its future. Exploring the reasons for the sharp and problematic conversation about the village, which was conducted by literature in the 60-70s, F. Abramov wrote: “The village is the depths of Russia, the soil on which our culture has grown and flourished. However, scientific and technological revolution, in the century in which we live, touched the village very thoroughly. Technique has changed not only the type of management, but also the very type of the peasant. Along with the old way of life, the moral type disappears into oblivion.

Traditional Russia is turning over the last pages of its thousand-year history. Interest in all these phenomena in literature is natural. Traditional crafts are disappearing. local features peasant dwelling that have evolved over the centuries Serious losses are the language. The countryside has always spoken a richer language than the city, now that freshness is being leached out, washed away.”

The village presented itself to Shukshin, Rasputin, Belov, Astafiev, Abramov as the embodiment of the traditions of folk life - moral, everyday, aesthetic. In their books, there is a need to take a look at everything connected with these traditions and what broke them.

"The usual thing" - this is the name of one of the stories of V. Belov. These words can define internal theme many works about the countryside: life is like work, life in work is a common thing. Writers draw the traditional rhythms of peasant work, family worries and anxieties, weekdays and holidays. There are many lyrical landscapes in the books. So, in B. Mozhaev's novel "Men and Women" the description of "unique in the world, fabulous flood meadows near the Oka", with their "free herbs" attracts attention: "Andrei Ivanovich loved the meadows. Where else in the world is there such a gift from God? So as not to plow and sow, and the time will come - to leave with the whole world, as if on a holiday, into these soft manes and in front of each other, playfully scythe, alone in a week to wind windy hay for the whole winter cattle Twenty-five! Thirty carts! If the grace of God was sent down to the Russian peasant, then here it is, here, spreading out in front of him, in all directions - you can’t cover it with an eye.

In the protagonist of the novel by B. Mozhaev, the most intimate is revealed, what the writer associated with the concept of "the call of the earth." Through the poetry of peasant labor, he shows the natural course of a healthy life, comprehends the harmony of the inner world of a person who lives in harmony with nature, rejoicing in its beauty.

Here is another similar sketch - from F. Abramov's novel “Two Winters and Three Summers”: “Mentally talking with the children, guessing by the tracks, how they walked, where they stopped, Anna did not notice how she went out to Sinelga. And here it is, her holiday, her day, here it is, the joy of suffering: the Pryaslin brigade is on the reaping! Mikhail, Lisa, Peter, Grigory

She got used to Mikhail - from the age of fourteen she mows for a peasant and now there are no mowers equal to him in all Pekashin. And Lizka is also swathing - you will envy. Not in her, not in her mother, in grandmother Matryona, they say, with a trick. But small, small! Both with scythes, both hitting the grass with their scythes, both of them have grass under their scythes. Lord, did she ever think that she would see such a miracle!

Writers subtly feel the deep culture of the people. Comprehending his spiritual experience, V. Belov emphasizes in the book Lad: “Working beautifully is not only easier, but also more pleasant. Talent and work are inseparable. And one more thing: “For the soul, for memory, it was necessary to build a house with carvings, or a temple on the mountain, or weave such lace that would take the breath away and light up the eyes of a distant great-great-granddaughter.

Because man does not live by bread alone.

This truth is confessed by the best heroes of Belov and Rasputin, Shukshin and Astafiev, Mozhaev and Abramov.

In their works, one should also note the pictures of the brutal devastation of the village, first during collectivization (“Eve” by V. Belov, “Men and Women” by B. Mozhaev), then during the war years (“Brothers and Sisters” by F. Abramov), during the years post-war hard times (“Two Winters and Three Summers” by F. Abramov, “Matryona Dvor” by A. Solzhenitsyn, “A Usual Business” by V. Belov).

Writers showed imperfection, disorder Everyday life heroes, the injustice done to them, their complete defenselessness, which could not but lead to the extinction of the Russian village. “Here neither subtract nor add. So it was on earth,” A. Tvardovsky will say about this. The “information for reflection” contained in the “Supplement” to Nezavisimaya Gazeta (1998, 7) is eloquent: “In Timonikh, the native village of the writer Vasily Belov, the last peasant Faust Stepanovich Tsvetkov died.

Not a single man, not a single horse. Three old women.

And a little earlier New world"(1996, 6) published Boris Ekimov's bitter, heavy reflection "At the Crossroads" with terrible forecasts: "The impoverished collective farms are already eating away tomorrow and the day after tomorrow, dooming to even greater poverty those who will live on this land after them Degradation of the peasant is worse than degradation soil. And she is there."

Such phenomena made it possible to talk about "Russia, which we have lost." So the "village" prose, which began with the poeticization of childhood and nature, ended with the consciousness of a great loss. It is no coincidence that the motive of “farewell”, “last bow”, reflected in the titles of the works (“Farewell to Matera”, “Deadline” by V. Rasputin, “Last bow” by V. Astafiev, “Last suffering”, “The last old man of the village » F. Abramov), and in the main plot situations of the works, and forebodings of the characters. F. Abramov often said that Russia was saying goodbye to the countryside as if it were a mother.

Group 2: V. Rasputin's stories "Deadline", "Farewell to Matera" with a presentation demonstration

The writer calls the story "Deadline" (1970) "the main of his books." He lifted the veil over the main themes of world literature and art: life and death, the trace of a person on Earth, motherly love.

The theme of maternal love has been reflected in works of art throughout the ages. She dedicated his masterpieces to the great italian artist Renaissance Raphael Santi. There are several paintings written with his brush, but only in " Sistine Madonna"(1513), the artist found the most perfect embodiment of the theme of motherhood.

The story begins with the phrase: “The old woman Anna lay on a narrow iron bed near the Russian stove and waited for death, the time for which seemed ripe: the old woman was about eighty,” and ends with a short sentence: “The old woman died at night.” An unsophisticated situation! The plot of the story is simple, there are very few events in it, but the work is distinguished by philosophical richness and subtle psychologism.

The writer peers into the behavior, consciousness and psyche of his characters, exposing their moral essence, giving the reader the opportunity to observe the “molecular” changes that are invisible to the armed eye, taking place in the human soul.

Grandma Anna let go of her last term, waiting for youngest daughter Tanchora: "Today was the last date: if Tanchora does not arrive before dark, then there is nothing more to hope for." The last term was allotted to her for a decisive understanding of herself, summing up life results. The deadline is also set for her children, so that they come to their senses, think about the indifferent attitude towards the person who gave them life, about the pain that mothers cause with their callousness and selfishness

The drama of the extinction of man in the story is intertwined with the drama of the extinction of humanity. Quarrels between sisters, voices of brothers heated up by vodka - this is the accompaniment that accompanies the sunset hours main character. Anna in " Deadline» - clearest example artistic research by the writer of the human soul.

The story of V.G. Rasputin was written almost 30 years ago, but even today it makes us think about the meaning of life, about what it means to be a Human. The heroine of the story died, but you and I are alive. What are our names - isn't it her children: Lucy, Barbarians, Tanchoras, Ilyas? Is it in the name?

It is terrible to approach the parental hearth, the faithful, reliable pier, when no one is waiting for us there. When you come home today, look into your eyes, faithful to you, loving, ask your mother for forgiveness for your mistakes, negligent actions, for the pain caused to her, and your heart will become warmer.

The story "Farewell to Matera" by V. Rasputin- an example of how new trends run counter to moral principles, how progress literally “absorbs” human souls. The work, which appeared in the mid-70s of the last century, touches on many important issues that have not lost their relevance today.

The second half of the 20th century was a time full of changes in the history of the country. And the achievements of the scientific and technical industry, which contributed to the transition to a higher degree of development, often led to serious contradictions in society. One such example is the construction of a powerful power plant, Bratsk HPP, not far from the native village of the writer, Atalanka. As a result, it fell into the flood zone. It would seem, what a trifle: to destroy a small village in order to bring considerable benefits to the whole country. But no one thought about the fate of its old inhabitants. Yes, and the ecological balance as a result of interference in the natural course of development of nature was violated.

These events could not but affect the soul of the writer, whose childhood and youth were spent in the outback, in direct connection with the established traditions and foundations. Therefore, Rasputin's story "Farewell to Matera" is also bitter reflections on what the author himself had to endure.

The action begins in the spring, but the symbolic understanding of this time as the birth of a new life is not applicable in this case. On the contrary, it is at this moment that the news of its imminent flooding flies around the village. In the center of the story are the tragic fates of its indigenous inhabitants: Daria, Nastasya, Katerina, “old old women” who dreamed of ending their lives here and sheltered the useless Bogodul (there are associations with the holy fool, the wanderer, the man of God). And now everything is falling apart for them. Neither the stories about a comfortable apartment in a new village on the banks of the Angara, nor the fiery speeches of the young (Andrey, Daria's grandson), that the country needs this, can convince them of the expediency of destroying home. The old women gather every evening for a cup of tea, as if they are trying to enjoy each other before parting. Say goodbye to every corner of nature, so dear to the heart. Daria all this time is trying to restore bit by bit life, her own and the village, trying not to miss anything: after all, for her, "the whole truth is in memory." All this is majestically watched by the invisible Boss: he cannot save the island, and for him this is also a farewell to Matera.

"Farewell to Matera": problems An unpretentious plot. However, decades pass, and the work of Rasputin still does not lose its relevance: after all, the author raises very important questions relating to the development of society. Here are the most important of them: Why was a person born, what answer should he give at the end of his life? How to maintain mutual understanding between generations? What are the advantages of a “village” way of life over an “urban” one? Why is it impossible to live without memory (in the broadest sense)? What should be the power, so that it does not lose the trust of the people? And ecological problems: what threatens humanity with interference in the natural development of nature? Will such actions be the beginning to the tragic end of his existence?

Questions that are initially quite complex and do not imply a clear answer are raised by Rasputin. "Farewell to Matera" is his vision of problems, as well as an attempt to draw the attention of all living on Earth to them.

The content of one of the best works of V. Rasputin still sounds like a warning many years later. In order for life to continue on, and the connection with the past not to be lost, you must always remember your roots, that we are all children of the same mother earth. And the duty of everyone is to be on this earth not guests or temporary residents, but the keepers of everything that has been accumulated by previous generations.

3. Consolidation of acquired knowledge

Independent work

Work with the textbook p. 300 - answer question No. 4 in writing

Answer the question: Write down the features of "village prose"

4. Bottom line. Reflection

"Question box"

Write on stickers the answer to the question:

What remains unclear?

Compliment yourself

Compliment to a friend.

5. Homework

Page 291-299 (abstract of the article)

Prose 50-60 years.

• I must say that the thaw prose was more politicized.
• Appear new concepts of modern history and, in general, its individual periods.
• The first guy in the village and the authority is still Uncle Lenin.
• Writers of the second half of the 20th century gradually and carefully comprehend the new reality and look for new ideas for its implementation. Namely, they are busy looking for new forms - new genres and trends in prose.

Thematic directions prose of this period:

· Military prose - 50-60s The pole of aesthetic perception of this topic has shifted from the ideal to the real.

- "Russian Forest" - Leonov

- "For a Just Cause" - Grossman

Bestseller of 1956 by Vladimir Dudintsev “We ​​are not united by bread”

· village prose

The foundations of village prose are laid by Solzhenitsyn in the story matrenin yard. 1959. Rural prose is based on the positions of pochvennichestvo. The writers in this genre were mostly people from the countryside.

Character traits- faith in God and life according to the Gospel, the idea of ​​catholicity (the unity of people in God). Solzhenitsyn, by the way, put forward the concept of neopochvennichestvo.

At this time, a theory was born that proclaimed social realism an open art system - that is, the theory of social realism “without shores”. The theory of social realism lived its own life, and art went its own way. The consequence of this era was the phenomenon of secretarial literature (these are the texts of the leading officials of the Writers' Union, published in millions of copies).

At this time, prose writers came to literature - Y. Trifonov, Bykhov, Astafiev. Poets - Akudzhava, Tarkovsky, Vysotsky and others.

Dramatists - Vampilov. At the end of the 60s and the beginning of the 70s, there was a rise in dramaturgy. The 70s also account for the emergence of such a direction as “ production drama "(these were debate plays)

The spiritual crisis, which deepened and deepened every year, determined the general quality of artistic consciousness and mood in the 70s. key concept this period was drama, as the realization that it is no longer possible to live like this, drama as a situation of choice and as a painful state of decision-making.

During this period, intellectual drama was also born (Gorin, Radzinsky)

For 60-70s account for the emergence of Russian postmodernism (Bitov, Erofeev "Moscow-Petushki")

At this time, the interaction between different artistic paradigms begins.

Prose of the 70s, early 80s.

In public opinion, village prose as a phenomenon declared itself already in the years of the thaw. But! The leadership in the writers' union stubbornly ignored these statements, not noticing her. The angle of view from which the village was viewed has now changed.

In literary criticism, there are different points of view on the temporal boundaries of the existence of rural prose.

Prose of this period represents a rich thematic palette:

1. urban realistic stories about school (Vl. Tendryakov "the night after graduation", "retribution")
2. Military theme (Bondarev "hot snow", Kondratiev)
3. Universal values ​​(Vitov. The novel "Announcements")
4. Political detectives (Yulian Semenov "17 Moments of Spring")

Urban prose:

1. She, in turn, did not give very bright texts, as in the years of the thaw.

Military prose:

1. She discovered new characters and developed new genres (from documentary to social media). psychological novel and stories), comprehended new situations of the war and, at the same time, maintained thematic unity.