Drozdovsky and Kuznetsov comparison. “The problem of moral choice in one of the works of Russian and native literature about the war (on the example of Yu

During the Great Patriotic War, the writer served as an artilleryman, went a long way from Stalingrad to Czechoslovakia. Among Yuri Bondarev's books about the war, "Hot Snow" occupies a special place, in which the author solves in a new way the moral questions posed in his first stories - "Battalions ask for fire" and "Last volleys". These three books about the war are an integral and evolving world, which has reached its greatest completeness and figurative power in Hot Snow.

The events of the novel unfold near Stalingrad, south of the blockaded

Soviet troops of the 6th army of General Paulus, in the cold December 1942, when one of our armies held back in the Volga steppe the attack of the tank divisions of Field Marshal Manstein, who sought to break through the corridor to Paulus's army and withdraw it from the encirclement. The outcome of the battle on the Volga and, perhaps, even the timing of the end of the war itself largely depended on the success or failure of this operation. The duration of the action is limited to just a few days, during which the heroes of the novel selflessly defend a tiny patch of land from German tanks.

In “Hot Snow” time is squeezed even tighter than in the story.

"Battalions ask for fire." This is a short march of the army of General Bessonov, unloaded from the echelons, and a battle that decided so much in the fate of the country; these are cold frosty dawns, two days and two endless December nights. Knowing no respite and lyrical digressions, as if the author's breath was caught from constant tension, the novel is distinguished by its directness, direct connection of the plot with the true events of the Great Patriotic War, with one of its decisive moments. The life and death of the heroes of the novel, their very destinies are illuminated by the alarming light of true history, as a result of which everything acquires special weight and significance.

The events on Drozdovsky's battery absorb almost all the reader's attention, the action is concentrated mainly around a small number of characters. Kuznetsov, Ukhanov, Rubin and their comrades are part of the great army, they are the people. Heroes possess his best spiritual, moral traits.

This image of a people that has risen to war appears before us in the richness and variety of characters, and at the same time in their integrity. It is not limited to images of young lieutenants - commanders of artillery platoons, or colorful figures of soldiers - like the slightly cowardly Chibisov, the calm and experienced gunner Yevstigneev, or the straightforward and rude riding Rubin; nor by senior officers, such as the division commander, Colonel Deev, or the army commander, General Bessonov. Only all together, with all the difference in ranks and ranks, they make up the image of a fighting people. The strength and novelty of the novel lies in the fact that this unity is achieved as if by itself, imprinted without any special efforts of the author - a living, moving life.

The death of heroes on the eve of victory, the criminal inevitability of death, contains a high tragedy and provokes a protest against the cruelty of the war and the forces that unleashed it. The heroes of “Hot Snow” are dying - the battery medical officer Zoya Elagina, the shy rider Sergunenkov, a member of the Military Council Vesnin, Kasymov and many others are dying ...

In the novel, death is a violation of higher justice and harmony. Recall how Kuznetsov looks at the murdered Kasymov: “Now there was a shell box under Kasymov’s head, and his youthful, beardless face, recently alive, swarthy, turned dead white, thinned by the terrible beauty of death, looked in surprise with moist cherry half-open eyes at his chest , on a torn to shreds, excised quilted jacket, he didn’t even understand after death how it killed him and why he couldn’t get up to the sight.

Kuznetsov feels even more acutely the irreversibility of the loss of Sergunenkov. After all, the cause of his death is fully disclosed here. Kuznetsov turned out to be a powerless witness to how Drozdovsky sent Sergunenkov to certain death, and he already knows that he will curse himself forever for what he saw, was present, but failed to change anything.

In "Hot Snow" everything human in people, their characters are revealed precisely in the war, depending on it, under its fire, when, it seems, one cannot even raise one's head. The chronicle of the battle will not tell about its participants - the battle in “Hot Snow?> cannot be separated from the fates and characters of people.

The past of the characters in the novel is important. For some it is almost cloudless, for others it is so complex and dramatic that it does not remain behind, pushed back by the war, but accompanies a person in the battle southwest of Stalingrad. The events of the past determined Ukhanov's military fate: a gifted, full of energy officer who would have commanded a battery, but he is only a sergeant. The cool, rebellious character of Ukhanov determines his life path. Chibisov's past troubles, which almost broke him (he spent several months in German captivity), echoed in him with fear and determine a lot in his behavior. One way or another, the past of Zoya Elagina, and Kasymov, and Sergunenkov, and the unsociable Rubin slips in the novel, whose courage and loyalty to soldier's duty we will be able to appreciate only at the very end.

The past of General Bessonov is especially important in the novel. The thought of a son who has fallen into German captivity makes it difficult for him to act both at Headquarters and at the front. And when a fascist leaflet announcing that Bessonov's son was taken prisoner falls into the counterintelligence of the front, into the hands of Lieutenant Colonel Osin, it seems that there is a threat to the general's official position.

Probably the most important human feeling in the novel is the love that arises between Kuznetsov and Zoya. The war, its cruelty and blood, its terms, overturning the usual ideas about time - it was she who contributed to such a rapid development of this love, when there is no time for reflection and analysis of one's feelings. And it all starts with a quiet, incomprehensible jealousy of Kuznetsov for Drozdovsky. And soon - so little time passes - he already bitterly mourns the deceased Zoya, and it is from here that the title of the novel is taken, as if emphasizing the most important thing for the author: when Kuznetsov wiped his face wet from tears, "the snow on the sleeve of the quilted jacket was hot from his tears."

Deceived at first in Lieutenant Drozdovsky, then the best cadet, Zoya throughout the novel opens up to us as a moral person, whole, ready for self-sacrifice, able to feel the pain and suffering of many with all her heart. She goes through many trials. But her kindness, her patience and participation reach out to everyone, she is truly a sister to the soldiers. The image of Zoya somehow imperceptibly filled the atmosphere of the book, its main events, its harsh, cruel reality with feminine affection and tenderness.

One of the most important conflicts in the novel is the conflict between Kuznetsov and Drozdovsky. A lot of space has been given to this, it is exposed very sharply and is easily traced from beginning to end. Tensions at first, rooted in the prehistory of the novel; the inconsistency of characters, manners, temperaments, even the style of speech: it seems difficult for the soft, thoughtful Kuznetsov to endure the jerky, commanding, indisputable speech of Drozdovsky. The long hours of battle, the senseless death of Sergunenkov, the mortal wound of Zoya, in which Drozdovsky is partly to blame - all this forms an abyss between the two young officers, their moral incompatibility.

In the finale, this abyss is marked even more sharply: the four surviving gunners consecrate the newly received orders in a soldier's bowler hat, and the sip that each of them takes is, first of all, a funeral sip - it contains bitterness and grief of loss. Drozdovsky also received the order, because for Bessonov, who awarded him, he is the surviving, wounded commander of a standing battery, the general does not know about his fault and, most likely, will never know. This is also the reality of war. But it is not for nothing that the writer leaves Drozdovsky aside from those gathered at the soldier's bowler hat.

The ethical, philosophical thought of the novel, as well as its emotional intensity, reaches its highest height in the finale, when Bessonov and Kuznetsov suddenly approach each other. This is a rapprochement without close proximity: Bessonov rewarded his officer on an equal footing with others and moved on. For him, Kuznetsov is just one of those who stood to death at the turn of the Myshkov River. Their closeness turns out to be more important: it is the closeness of thought, spirit, outlook on life. For example, shocked by the death of Vesnin, Bessonov blames himself for the fact that, because of his lack of sociability and suspicion, he interfered with the friendship between them (“the way Vesnin wanted, and the way they should be”). Or Kuznetsov, who could do nothing to help Chubarikov’s calculation, which was dying before his eyes, tormented by the piercing thought that all this “seemed to happen because he did not have time to get close to them, to understand everyone, to love ...”.

Divided by the disproportion of duties, Lieutenant Kuznetsov and the army commander, General Bessonov, are moving towards the same goal - not only military, but also spiritual. Unaware of each other's thoughts, they think about the same thing, they are looking for the same truth. Both demandingly ask themselves about the purpose of life and about the correspondence of their actions and aspirations to it. They are separated by age and have in common, like father and son, and even like brother and brother, love for the Motherland and belonging to the people and to humanity in the highest sense of these words.

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Other works on this topic:

1. “Hot Snow” by Yuri Bondarev, which appeared in 1969, brought us back to the military events of the winter of 1942. For the first time we hear the name of the city on the Volga ...
2. During the Great Patriotic War, the writer as an artilleryman went a long way from Stalingrad to Czechoslovakia. Among the books of Yuri Bondarev about the war, “Hot Snow” occupies ...

It is necessary to know everything about the past war. You need to know what it was, and with what immeasurable spiritual heaviness the days of retreats and defeats were connected for us, and what immeasurable happiness the VICTORY was for us. We also need to know what sacrifices the war cost us, what destruction it brought, leaving wounds both in the souls of people and on the body of the earth. In a question such as this, there should not be and cannot be oblivion.

K.Simonov

Many years have passed since the victorious volleys of the Great Patriotic War died down. And the farther we go from that war, from those severe battles, the fewer heroes of that time remain alive, the more expensive, more valuable becomes the military chronicle that writers created and continue to create. In their works, they glorify the courage and heroism of our people, our valiant army, millions and millions of people who bore all the hardships of war on their shoulders and accomplished a feat in the name of peace on Earth.

Remarkable directors and screenwriters of their time worked on Soviet films about the war. They breathed into them particles of their grief, their respect. These films are pleasant to watch, because they put their soul into them, because the directors understood how important what they wanted to convey, to show. Generations are growing up on films about the war, because each of these films is a real lesson in courage, conscience and valor.

In our study, we want to compare the novel by Yu.V. Bondarev "Hot Snow"and G. Yegiazarov's film "Hot Snow"

Target: compare the novel by Yu.V. Bondarev "Hot Snow"and the film by G. Yegiazarov "Hot Snow".

Tasks:

Consider how the text of the novel is conveyed in the film: plot, composition, depiction of events, characters;

Does our idea of ​​Kuznetsov and Drozdovsky coincide with the game of B. Tokarev and N. Eremenko;

Which is more exciting, the book or the movie?

Research methods:

Selection of textual and visual materials on the topic of the project;

Systematization of the material;

Presentation development.

Metasubject educational- information skills:

Ability to extract information from various sources;

Ability to plan;

Ability to select material on a given topic;

Ability to write written abstracts;

The ability to select quotes.

The novel "Hot Snow" was written by Bondarev in 1969. By this time, the writer was already a recognized master of Russian prose. The soldier's memory inspired him to create this work:

« I remembered many things that over the years I began to forget: the winter of 1942, the cold, the steppe, ice trenches, tank attacks, bombing, the smell of burning and burnt armor ...

Of course, if I had not taken part in the battle that the 2nd Guards Army fought in the trans-Volga steppes in the fierce December of 1942 with Manstein's tank divisions, then perhaps the novel would have been somewhat different. Personal experience and the time that lay between that battle and work on the novel allowed me to write this way and not otherwise. ».

The novel tells about the grandiose Battle of Stalingrad, the battle that led to a radical turning point in the war. The idea of ​​Stalingrad becomes central in the novel.

The film "Hot Snow" (directed by Gavriil Egiazarov) is an adaptation of the novel of the same name by a front-line writerYuri Vasilyevich Bondarev. In the film "Hot Snow", as in a novel, the tragedy of war, the life of a person at the front, is recreated with fearless truthfulness and depth. Duty and despair, love and death, a great desire to live and self-sacrifice for the sake of the Motherland - everything is mixed up in a fierce battle, where the personal fates of soldiers, officers, medical instructor Tanya (in Zoya's novel) become a common fate. The sky and the earth split from explosions and fire, even the snow seems hot in this battle...

The battle has not yet begun, and the viewer, as they say, with his skin feels a severe frost, and the impending anxiety before a close oncoming battle, and all the burden of everyday soldier work ... The battle scenes were especially successful - they are severe, without excessive pyrotechnic effects, full of true drama. Here the cinematography is not so much beautiful, as is often the case in battle films, but courageously truthful. The fearless truth of a soldier's feat is an indisputable and important merit of the picture.

One of the most important conflicts in the novel is the conflict between Kuznetsov and Drozdovsky. A lot of space has been given to this conflict, it arises very sharply and is easily traced from beginning to end. At first, there is a tension that goes back to the prehistory of the novel; the incompatibility of characters, manners, temperaments, even the style of speech: it seems difficult for the soft, thoughtful Kuznetsov to endure Drozdovsky's jerky, commanding, indisputable speech. The long hours of battle, the senseless death of Sergunenkov, the mortal wound of Zoya, in which Drozdovsky is partly to blame - all this forms an abyss between the two young officers, the moral incompatibility of their existence.

The film makes a successful attempt at psychological deepening, individualization of some characters, and their moral issues are explored. The figures of lieutenants Drozdovsky (N. Eremenko) and Kuznetsov (B. Tokarev) brought to the fore are separated not only by the dissimilarity of characters.

In the novel, their backstory meant a lot, the story that Drozdovsky, with his "imperious expression of a thin pale face", was the favorite of the combatant commanders at the school, and Kuznetsov did not stand out in anything special.

There is no place in the picture for a backstory, and the director, as they say, on the go, on the march, breeds the characters. The difference between their characters can be seen even in the way they give orders. Towering on a horse, tied with a belt, Drozdovsky is commandingly adamant and sharp. Kuznetsov, looking at the soldiers slumped against the carriage, forgotten in a short rest, hesitates with the “rise” command.

In the finale, this abyss is indicated even more sharply: the four surviving artillerymen consecrate the newly received orders in a soldier's bowler hat. Drozdovsky also received the order, because for Bessonov, who awarded him, he is the surviving, wounded commander of a standing battery, the general does not know about Drozdovsky's grave guilt and most likely will never know. This is also the reality of war. But it is not for nothing that the writer leaves Drozdovsky aside from those gathered at the soldier's bowler hat.

In the film, we also see the wounded battalion commander away from the fighters, perhaps he understood something for himself ...

Probably the most mysterious of the world of human relations in the novel is the love between Kuznetsov and Zoya. Having been deceived at first in Lieutenant Drozdovsky, then the best cadet, Zoya throughout the novel opens up to us as a moral person, whole, ready for self-sacrifice, capable of embracing the pain and suffering of many with her heart.

The picture shows the emerging love between Kuznetsov and Tanya. The war, with its cruelty and blood, contributed to the rapid development of this feeling. After all, this love developed in those short hours of the march and battle, when there is no time for reflection and analysis of one's experiences. And it all starts with a quiet, incomprehensible jealousy of Kuznetsov for the relationship between Tanya and Drozdovsky. After a short period of time, Kuznetsov is already bitterly mourning the dead girl. When Nikolai wiped his face, wet from tears, snow on his sleevethe quilted jacket was hot from his tears ...

Conclusion: Bondarev's novel became a work of heroism and courage, of the inner beauty of our contemporary, who defeated fascism in a bloody war. In "Hot Snow" there are no such scenes in which love for the Motherland would be directly spoken of, there are no such arguments either. Heroes express love and hatred by their exploits, deeds, courage, amazing determination. This, probably, is true love, and words mean little. Writers help us to see how great things are made out of small things.

The film "Hot Snow" shows with brutal frankness what a monstrous destruction war is. The death of the heroes on the eve of victory, the criminal inevitability of death provokes a protest against the cruelty of the war and the forces that unleashed it.

The film is more than 40 years old, many wonderful actors are no longer alive: G. Zhzhenov, N. Eremenko, V. Spiridonov, I. Ledogorov and others, but the film is remembered, people of different generations watch it with interest, it does not leave viewers indifferent, recalls young people about bloody battles , teaches to protect a peaceful life.

Composition

The theme of the Great Patriotic War has become one of the main themes of our literature for many years. The story about the war sounded especially deep and truthful in the works of front-line writers: K. Simonov, V. Bykov, B. Vasiliev and others. Yuri Bondarev, in whose work war occupies the main place, was also a participant in the war, an artilleryman who had come a long way from Stalingrad to Czechoslovakia. "Hot Snow" is especially dear to him, because this is Stalingrad, and the heroes of the novel are artillerymen.

The action of the novel begins precisely near Stalingrad, when one of our armies in the Volga steppe withstood the blow of the tank divisions of Field Marshal Manstein, who sought to break through the corridor to the army of Paulus and withdraw it from the encirclement. The outcome of the battle on the Volga largely depended on the success or failure of this operation. The duration of the novel is limited to just a few days, during which the heroes of Yuri Bondarev selflessly defend a tiny patch of land from German tanks. “Hot Snow” is a story about a short march of the army of General Bessonov, unloaded from the echelons, when literally “from the wheels” they had to join the battle. The novel is notable for its directness, direct connection of the plot with the true events of the Great Patriotic War, with one of its decisive moments. The life and death of the heroes of the work, their very destinies are illuminated by the alarming light of true history, as a result of which everything acquires special weight and significance.

In the novel, Drozdovsky's battery absorbs almost all of the reader's attention, the action is concentrated, for the most part, around a small number of characters. Kuznetsov, Ukhanov, Rubin and their comrades are part of the great army. In Hot Snow, for all the intensity of events, everything human in people, their characters are revealed not separately from the war, but in mutual connection with it, under its fire, when, it seems, you can’t even raise your head. Usually the chronicle of battles can be retold separately from the individuality of its participants, and the fight in "Hot Snow" cannot be retold except through the fate and characters of people. The image of a simple Russian soldier who went to war appears before us in a fullness of expression that had never been seen before in Yuri Bondarev. This is the image of Chibisov, the calm and experienced gunner Evstigneev, the straightforward and rude rider Rubin, Kasymov. The novel expresses the understanding of death as a violation of higher justice. Let us recall how Kuznetsov looks at the murdered Kasymov: “... now a shell box lay under Kasymov’s head, and his youthful, beardless face, recently alive, swarthy, turned deathly white, thinned by the terrible beauty of death, looked in surprise with moist cherry half-open eyes on his chest, on a torn to shreds, excised quilted jacket, he didn’t even understand after death how it killed him and why he couldn’t get up to the sight. In this unseeing squint of Kasymov, readers feel his quiet curiosity for his unlived life on this earth.

Kuznetsov feels even more acutely the irreversibility of the loss of Sergunenkov. After all, the mechanism of his death is revealed here. Kuznetsov turned out to be a powerless witness to how Drozdovsky sent Sergunenkov to certain death, and he, Kuznetsov, already knows that he will curse himself forever for what he saw, was present, but failed to change anything. The past of the characters in the novel is essential and weighty. For some it is almost cloudless, for others it is so complex and dramatic that the former drama is not left behind, pushed aside by the war, but accompanies a person in the battle southwest of Stalingrad. The past does not require a separate space for itself, separate chapters - it has merged with the present, opened its depths and the living interconnectedness of one and the other.

Yuri Bondarev does exactly the same with portraits of characters: the appearance and characters of his characters are shown in development, and only by the end of the novel or with the death of the hero does the author create a complete portrait of him. Before us is the whole person, understandable, close, but meanwhile we are not left with the feeling that we have touched only the edge of his spiritual world, and with his death you understand that you have not had time to fully understand his inner world. The enormity of war is expressed most of all - and the novel reveals this with brutal frankness - in the death of a person.

The work also shows the high price of life given for the homeland. Probably the most mysterious of the world of human relations in the novel is the love that arises between Kuznetsov and Zoya. The war, its cruelty and blood, its terms, overturning the usual ideas about time - it was she who contributed to such a rapid development of this love. After all, this feeling developed in those short periods of march and battle, when there is no time for reflection and analysis of one's experiences. And soon - so little time passes - Kuznetsov is already bitterly mourning the deceased Zoya, and it is from these lines that the title of the novel is taken, when the hero wiped his face wet from tears, "the snow on the sleeve of the quilted jacket was hot from his tears." It is extremely important that all Kuznetsov's connections with people, and above all with people subordinate to him, are true, meaningful and have a remarkable ability to develop. They are extremely non-official - in contrast to the emphatically official relations that Drozdovsky puts so strictly and stubbornly between himself and people.

During the battle, Kuznetsov fights next to the soldiers, here he shows his composure, courage, lively mind. But he also grows spiritually in this battle, becomes fairer, closer, kinder to those people with whom the war brought him together. The relationship between Kuznetsov and senior sergeant Ukhanov, the gun commander, deserves a separate story. Like Kuznetsov, he had already been fired on in the difficult battles of 1941, and in terms of military ingenuity and decisive character he could probably be an excellent commander. But life decreed otherwise, and at first we find Ukhanov and Kuznetsov in conflict: this is a collision of a sweeping, sharp and autocratic nature with another - restrained, initially modest. At first glance, it may seem that Kuznetsov will have to fight against the anarchist nature of Ukhanov. But in reality, it turns out that, without yielding to each other in any principled position, remaining themselves, Kuznetsov and Ukhanov become close people. Not just people fighting together, but knowing each other and now forever close.

Divided by the disproportion of duties, Lieutenant Kuznetsov and the army commander, General Bessonov, are moving towards the same goal - not only military, but also spiritual. Unaware of each other's thoughts, they think about the same thing and seek the truth in the same direction. They are separated by age and are related, like father and son, and even like brother and brother, love for the motherland and belonging to the people and to humanity in the highest sense of these words.

The death of heroes on the eve of victory embodies a high tragedy and provokes a protest against the cruelty of the war and the forces that unleashed it. The heroes of "Hot Snow" are dying - the medical officer of the battery Zoya Elagina, the shy driver Sergunenkov, a member of the Military Council Vesnin, Kasymov and many others are dying ... And the war is to blame for all these deaths. In the novel, the feat of the people who have risen to war appears before us in all the richness and diversity of characters. This is a feat of young lieutenants - commanders of artillery platoons - and those who are traditionally considered to be people from the people, like the slightly cowardly Chibisov, the calm Evstigneev or the straightforward Rubin. This is also a feat of senior officers, such as the division commander, Colonel Deev, or the army commander, General Bessonov. All of them in this war, first of all, were Soldiers, and each in his own way fulfilled his duty to his homeland, to his people. And the Great Victory that came in May 1945 became their common cause.

Composition

The Russian land has suffered many troubles. Ancient Rus' was trampled on by the "filthy Polovtsian regiments" - and Igor's army stood up for the Russian land, for the Christian faith. The Tatar-Mongol yoke lasted for more than one century, and Russian overexposures and donkeys rose, led by the legendary Prince Dmitry Ivanovich Donskoy. The "thunderstorm of the twelfth year" has come - and young hearts are inflamed with the desire to fight for the fatherland:

Fear, oh, army of foreigners!

Russia's sons moved;

Risen and old and young; fly on the bold,

Their hearts are set on fire with vengeance.

The history of mankind is, unfortunately, the history of wars, big and small. This is later, for the sake of history, - the Kulikovo Field, Borodino, Prokhorovka ... For the Russian soldier - just land. And you need to stand up to your full height and go on the attack. And to die... In an open field... Under the sky of Russia... This is how a Russian person fulfilled his duty from time immemorial, this is how his feat began. And in the twentieth century, this share did not pass the Russian man. On June 22, 1941, the most brutal and bloody war in the history of mankind came to our land. In human memory, this day remained not just as a fatal date, but also as a milestone, the beginning of the long thousand four hundred and eighteen days and nights of the Great Patriotic War.

We know what's on the scales now

And what is happening now.

The hour of courage has struck on our clocks,

And courage will not leave us.

A. Akhmatova

Literature again and again brings us back to the events of this war, to the feat of the people, which knows no equal in history.

During the Great Patriotic War, the writer as an artilleryman went a long way from Stalingrad to Czechoslovakia. Yuri Vasilyevich Bondarev was born on March 15, 1924 in the city of Orsk.

After the war, from 1946 to 1951, he studied at the M. Gorky Literary Institute. He began to publish in 1949. And the first collection of short stories "On the Big River" was published in 1953. The writer of the story "Youth of commanders", published in 1956, "Battalions ask for fire" (1957), "Last volleys" (1959) brought wide fame to the writer. These books are characterized by drama, accuracy and clarity in the description of the events of military life, the subtlety of the psychological analysis of the characters. Subsequently, his works "Silence" (1962), "Two" (1964), "Relatives" (1969), "Hot Snow" (1969), "Shore" (1975), "Choice "(1980), "Moments" (1978) and others. Since the mid-60s, the writer has been working on creating films based on his works; in particular, he was one of the creators of the script for the film epic "Liberation". Yuri Bondarev is also a laureate of the Lenin and State Prizes of the USSR and the RSFSR. His works have been translated into many foreign languages.

Among Yuri Bondarev's books about the war, "Hot Snow" occupies a special place, opening up new approaches to solving the moral and psychological problems posed in his first stories - "Battalions Ask for Fire" and "Last Salvos". These three books about the war are an integral and developing world, which in "Hot Snow" has reached its greatest completeness and figurative power.

The events of the novel "Hot Snow" unfold near Stalingrad, south of the 6th Army of General Paulus, blockaded by Soviet troops, in the cold December 1942, when one of our armies withstood the blow of the tank divisions of Field Marshal Manstein in the Volga steppe, who sought to break through the corridor to the army of Paulus and get her out of the way. The outcome of the battle on the Volga, and maybe even the timing of the end of the war itself, largely depended on the success or failure of this operation. The duration of the novel is limited to just a few days, during which the heroes of Yuri Bondarev selflessly defend a tiny patch of land from German tanks. In "Hot Snow" time is squeezed even tighter than in the story "Battalions ask for fire." "Hot Snow" is a short march of General Bessonov's army unloaded from the echelons and a battle that decided so much in the fate of the country; these are cold frosty dawns, two days and two endless December nights. Knowing no respite and lyrical digressions, as if the author's breath was caught from constant tension, the novel "Hot Snow" is distinguished by its directness, direct connection of the plot with the true events of the Great Patriotic War, with one of its decisive moments. The life and death of the heroes of the novel, their very destinies are illuminated by the alarming light of true history, as a result of which everything acquires special weight and significance.

In "Hot Snow", for all the intensity of events, everything human in people, their characters do not live separately from the war, but are interconnected with it, constantly under its fire, when, it seems, one cannot even raise one's head. Usually the chronicle of battles can be retold separately from the individuality of its participants - the battle in "Hot Snow" cannot be retold except through the fate and characters of people.

The past of the characters in the novel is essential and weighty. For some it is almost cloudless, for others it is so complex and dramatic that the former drama is not left behind, pushed aside by the war, but accompanies a person in the battle southwest of Stalingrad. The events of the past determined Ukhanov's military fate: a gifted, full of energy officer who would have commanded a battery, but he is only a sergeant. The cool, rebellious character of Ukhanov also determines his movement within the novel. Chibisov's past troubles, which almost broke him (he spent several months in German captivity), echoed in him with fear and determine a lot in his behavior. One way or another, the past of Zoya Elagina, and Kasymov, and Sergunenkov slips in the novel? and the unsociable Rubin, whose courage and loyalty to the soldier's duty we will be able to appreciate only towards the end of the novel.

In the novel, Drozdovsky's battery absorbs almost all of the reader's attention, the action is concentrated mainly around a small number of characters. Kuznetsov, Ukhanov, Rubin and their comrades are part of a great army, are they a people, a people to that extent? in which the typified personality of the hero expresses the spiritual, moral traits of the people. In "Hot Snow" the image of the people who went to war appears before us in a fullness of expression, unprecedented before in Yuri Bondarev, in the richness and diversity of characters, and at the same time in integrity. This image is not exhausted either by the figures of young lieutenants - commanders of artillery platoons, or by the colorful figures of those who are traditionally considered to be people from the people - like the slightly cowardly Chibisov, the calm and experienced gunner Evstigneev, or the straightforward and rude riding Rubin; nor by senior officers, such as the division commander, Colonel Deev, or the army commander, General Bessonov.

The past of General Bessonov is especially important in the novel. The thought of a son who was taken prisoner by the Germans makes it difficult for him to stand both at headquarters and at the front. And when a fascist leaflet announcing that Bessonov's son was taken prisoner falls into the counterintelligence of the front in the hands of Lieutenant Colonel Osin, it seems that there is a threat to Bessonov's service.

Probably the most mysterious of the world of human relations in the novel is the love that arises between Kuznetsov and Zoya. The war, its cruelty and blood, its terms, overturning the usual ideas about time - it was she who contributed to such a rapid development of this love. After all, this feeling developed in those short hours of the march and battle, when there is no time for reflection and analysis of one's feelings.

And it all starts with a quiet, incomprehensible jealousy of Kuznetsov for the relationship between Zoya and Drozdovsky. And soon - so little time passes - Kuznetsov is already bitterly mourning the dead Zoya, and it is from these lines that the title of the novel is taken, when Kuznetsov wiped his face wet from tears, "the snow on the sleeve of the quilted jacket was hot from his tears."

Deceived at first in Lieutenant Drozdovsky, then the best cadet, Zoya throughout the novel opens up to us as a moral person, whole, ready for self-sacrifice, capable of embracing the pain and suffering of many with her heart. She seems to go through many trials, from intrusive interest to rude rejection. But her kindness, her patience and sympathy reaches out to everyone, she is truly a sister to the soldiers. The image of Zoya somehow imperceptibly filled the atmosphere of the book, its main events, its harsh, cruel reality with a feminine principle, affection and tenderness.

The ethical, philosophical thought of the novel, as well as its emotional intensity, reaches its highest height in the finale, when Bessonov and Kuznetsov suddenly approach each other. This is a rapprochement without close proximity: Bessonov rewarded his officer on an equal footing with others and moved on. For him, Kuznetsov is just one of those who stood to death at the turn of the Myshkov River. Their closeness turns out to be more sublime: it is the closeness of thought, spirit, outlook on life. For example, shocked by the death of Vesnin, Bessonov blames himself for the fact that, due to his lack of sociability and suspicion, he prevented friendly relations between them from developing (“the way Vesnin wanted and what they should be”). Or Kuznetsov, who could do nothing to help Chubarikov’s calculation, which was dying before his eyes, tormented by the piercing thought that all this, “it seemed, should have happened because he did not have time to get close to them, understand everyone, fall in love ...”.

Divided by the disproportion of duties, Lieutenant Kuznetsov and the army commander, General Bessonov, are moving towards the same goal - not only military, but also spiritual. Suspecting nothing of each other's thoughts, they think about the same thing and seek the truth in the same direction. Both of them demandingly ask themselves about the purpose of life and about the correspondence of their actions and aspirations to it. They are separated by age and have in common, like father and son, and even like brother and brother, love for the Motherland and belonging to the people and to humanity in the highest sense of these words.

Only collectively understood and accepted emotionally as something unified, with all the difference in ranks and ranks, they constitute the image of a fighting people. The strength and novelty of the novel lies in the fact that this unity is achieved as if by itself, imprinted without any special efforts of the author - a living, moving life. The image of the people, as the result of the whole book, perhaps most of all nourishes the epic, novelistic beginning of the story. Yuri Bondarev is characterized by aspiration for tragedy, the nature of which is close to the events of the war itself. It would seem that nothing answers this aspiration of the artist so much as the most difficult time for the country to start the war, the summer of 1941. But the writer's books are about a different time, when the defeat of the Nazis and the victory of the Russian army are almost certain. The death of heroes on the eve of victory, the criminal inevitability of death, contains a high tragedy and provokes a protest against the cruelty of the war and the forces that unleashed it. The heroes of "Hot Snow" are dying - the orderly officer of the battery Zoya Elagina, the shy eedov Sergunenkov, a member of the Military Council Vesnin, Kasymov and many others are dying ... And the war is to blame for all these deaths. Let Lieutenant Drozdovsky’s heartlessness be blamed for Sergunenkov’s death, even if the blame for Zoya’s death falls partly on him, but no matter how great Drozdovsky’s fault is, they are, first of all, victims of the war. The novel expresses the understanding of death as a violation of higher justice and harmony. Let's remember how Kuznetsov looks at the murdered Kasymov: "now there was a shell box under Kasymov's head, and his youthful, beardless face, recently alive, swarthy, turned deathly white, thinned by the terrible beauty of death, looked in surprise with moist cherry half-open eyes at his chest, at torn to shreds, excised quilted jacket, as if even after death he did not comprehend how it killed him and why he could not get up to the sight.In this unseeing squint of Kasymov there was a quiet curiosity about his unlived life on this earth and at the same time a calm mystery death, into which the burning pain of the fragments overturned him when he tried to rise to the sight. Even more acutely Kuznetsov feels the irreversibility of the loss of the driver Sergunenkov. After all, the mechanism of his death is revealed here. Kuznetsov turned out to be a powerless witness to how Drozdovsky sent Sergunenkov to certain death, and he, Kuznetsov, already knows that he will curse himself forever for what he saw, was present, but failed to change anything.

The author was able to connect different destinies, different characters into a single chain of events. If at the beginning of the novel one can observe a confrontation between commanders and subordinates, then by the end there is such a strong rapprochement that all the boundaries separating the heroes of the novel are erased. The action of the novel is so captivating that you involuntarily become a participant in those events and understand the war in a different way. You understand all the human pain of loss, and not just as a huge, seemingly unbearable feat of the Soviet people in the war. Modernity is quite cruel, but we must not forget those who went to the tanks, under the bullets and did not spare themselves. For many centuries they tried to bring the Russian people to their knees, the wounded Russian land groaned many times, but each time the Russians straightened their backs and no one could break the Russian spirit.

The feat of man in war is immortal. The memory of the fallen must live forever in our hearts, just as it lives in the soul of the heroine V. Astafiev from the story "The Shepherd and the Shepherdess": "... And, having listened to the earth, all covered with feather grass fluff, seeds of steppe grasses and wormwood, she said guiltily : - And here I live. I eat bread, have fun on holidays. And he, or what he once was, remained in the silent land, entangled in the roots of herbs and flowers that subsided until spring. Left alone - in the middle of Russia. "

Many years have passed since the victorious volleys of the Great Patriotic War died down. Very soon (February 2, 2013) the country will celebrate the 70th anniversary of the Battle of Stalingrad. And today, time reveals to us new details, unforgettable facts and events of those heroic days. The further we go from those heroic days, the more valuable the military chronicle becomes.

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Literature lesson for the All-Russian Internet Conference

"WHERE IS THE RUSSIAN EARTH COME FROM"

prepared

teacher of Russian language and literature

Honored Teacher of the Russian Federation

Vasenina Tamara Alexandrovna

Omutninsk - 2012

“Pages of the artistic annals of the Great Patriotic War on the example of Yu.V. Bondarev’s novel “Hot Snow”

(to the 70th anniversary of the Battle of Stalingrad).

Goals:

1. Educational -to understand the essence of what happened at the front of a radical change in the course of the Great Patriotic War; arouse students' interest in literature on military subjects, in the personality and work of Y. Bondarev, in particular in the novel "Hot Snow", to identify the position of the heroes of the novel in relation to the issue of a feat, creating a problematic situation, to encourage students to express their own point of view about life principles of lieutenants Drozdovsky and Kuznetsov, etc. Show the spiritual quest of the main characters of the novel. The protest of a humanist writer against the violation of a person's natural right to life.

2. Educational– show that the author's attention is focused on the actions and states of a person; to help students realize the great relevance of works about the war and the issues raised in them;to contribute to the formation of students' own point of view in relation to such a concept as war; create situations in which students will understand what disasters and destruction war brings, but when the fate of the Motherland is decided, then everyone takes up arms, then everyone stands up for her defense.

3. Developing - the formation of group work skills, public speaking, the ability to defend one's point of view.; continue the formation of the skill of analyzing a work of art; to continue the upbringing of feelings of patriotism and pride in their country, their people.

Metasubject educational- information skills:

Ability to extract information from various sources;

Ability to plan;

Ability to select material on a given topic;

Ability to write written abstracts;

Ability to select quotes;

Ability to make tables.

Equipment: portrait of Yu.V. Bondarev, art texts. works, film fragments of G. Egiazarov's film "Hot Snow"

Methodological techniques: Educational dialogue, elements of a role-playing game, creating a problem situation.

Epigraph on the board:

It is necessary to know everything about the past war. You need to know what it was, and with what immeasurable spiritual heaviness the days of retreats and defeats were connected for us, and what immeasurable happiness the VICTORY was for us. We also need to know what sacrifices the war cost us, what destruction it brought, leaving wounds both in the souls of people and on the body of the earth. In a question such as this, there should not be and cannot be oblivion.

K.Simonov

Time spending: 90 minutes

Preparing for the lesson

Prepare messages:

1. The path of the division to Stalingrad (chapters 1 and 2);

2. Battle of the batteries (chapters 13 - 18);

3. Death of the orderly Zoya (chapter 23);

4 Interrogation of German Major Erich Dietz (Chapter 25).

5. Two lieutenants.

6. General Bessonov.

7. Love in the novel "Hot Snow".

DURING THE CLASSES

Introductory speech of the teacher

Many years have passed since the victorious volleys of the Great Patriotic War died down. Very soon the country will celebrate the 70th anniversary of the VICTORY in the Battle of Stalingrad (February 2, 1943). But even today, time reveals to us new details, unforgettable facts and events of those heroic days. And the farther we go from that war, from those severe battles, the fewer heroes of that time remain alive, the more expensive, more valuable becomes the military chronicle that writers created and continue to create. In their works, they glorify the courage and heroism of our people, our valiant army, millions and millions of people who bore all the hardships of war on their shoulders and accomplished a feat in the name of peace on Earth.

The Great Patriotic War demanded from each person the exertion of all his mental and physical strength. It not only did not cancel, but made moral problems even more acute. After all, the clarity of goals and objectives in the war should not serve as an excuse for any moral promiscuity. It did not free a person from the need to be fully responsible for their actions. Life in war is life with all its spiritual and moral problems and difficulties. The most difficult thing at that time was for writers, for whom the war was a real shock. They were filled with what they saw and experienced, so they tried to truthfully show how high the price of victory over the enemy was for us. Those writers who came to literature after the war, and during the years of trials themselves fought on the front line, defended their right to the so-called "trench truth". Their work was called "lieutenants' prose". The favorite genre of these writers is a lyrical story written in the first person, although not always strictly autobiographical, but thoroughly saturated with the author's experiences and memories of front-line youth. In their books, general plans, generalized pictures, panoramic reasoning, heroic pathos have been replaced by a new experience. It consisted in the fact that the war was won not only by headquarters and armies, in their collective meaning, but also by a simple soldier in a gray overcoat, father, brother, husband, son. These works highlighted the close-up plans of a man in the war, his soul, which lived in pain in the hearts left in the rear, his faith in himself and his comrades. Of course, each writer had his own war, but the ordinary front-line experience had almost no differences. They were able to convey it to the reader in such a way that the artillery cannonade and automatic bursts do not drown out the groans and whispers, and in the powder smoke and dust from exploding shells and mines one can discern in the eyes of people determination and fear, torment and rage. And one more thing these writers have in common is the “memory of the heart”, a passionate desire to tell the truth about that war.

Y. Bondarev tells about the heroic qualities of the people in a different artistic manner in the novel "Hot Snow". This is a work about the endless possibilities of people for whom the defense of the Motherland, a sense of duty are an organic need. The novel tells about how, despite the growing difficulties and tension, the will to win intensifies in people. And every time it seems: this is the limit of human capabilities. But soldiers, officers, generals, exhausted by battles, insomnia, constant nervous tension, find the strength to fight tanks again, go on the attack, save their comrades. (Serafimova V.D. Russian literature of the second half of the twentieth century. Educational minimum for applicants. - M .: Higher school, 2008. - p. 169 ..)

The history of the creation of the novel "Hot Snow"

(Student's message)

The novel "Hot Snow" was written by Bondarev in 1969. By this time, the writer was already a recognized master of Russian prose. The soldier's memory inspired him to create this work (further written in italics read out expressively):

« I remembered many things that over the years I began to forget: the winter of 1942, the cold, the steppe, ice trenches, tank attacks, bombing, the smell of burning and burnt armor ...

Of course, if I had not taken part in the battle that the 2nd Guards Army fought in the trans-Volga steppes in the fierce December of 1942 with Manstein's tank divisions, then perhaps the novel would have been somewhat different. Personal experience and the time that lay between that battle and work on the novel allowed me to write this way and not otherwise.».

The novel tells about the grandiose Battle of Stalingrad, the battle that led to a radical turning point in the war. The idea of ​​Stalingrad becomes central in the novel. It tells about the grandiose battle of our troops with Manstein's divisions, trying to break through to the encircled grouping of Paulus. But the enemy faced such resistance, which exceeded all human possibilities. Even now, with some surprised respect, those who were on the side of the Nazis in the last war recall the fortitude of Soviet soldiers. And it is no coincidence that the already elderly retired Field Marshal Manstein refused to meet with the writer Y. Bondarev, having learned that he was working on a book about the Battle of Stalingrad.

Bondarev's novel became a work of heroism and courage, of the inner beauty of our contemporary, who defeated fascism in a bloody war. Speaking about the creation of the novel "Hot Snow", Y. Bondarev defined the concept of heroism in war as follows:

« It seems to me that heroism is a constant overcoming of doubts, uncertainty, fear in the mind. Imagine: frost, icy wind, one cracker for two, frozen grease in the shutters of automatic machines; fingers in frosty mittens do not bend from the cold; anger at the cook who was late for the front line; disgusting sucking in the stomach at the sight of the Junkers entering the peak; the death of comrades ... And in a minute you have to go into battle, towards everything hostile that wants to kill you. In these moments, the whole life of a soldier is compressed, these minutes - to be or not to be, this is a moment of overcoming oneself. This heroism is “quiet”, as if hidden from prying eyes. Heroism in itself. But he determined the victory in the last war, because millions fought.”

Let's turn to the title of the novel "Hot Snow"

In one interview, Y. Bondarev noted that the title of a book is the most difficult link in a creative search, because the first sensation is born in the soul of the reader from the title of the novel. The title of the novel is a short expression of his idea. The title "Hot Snow" is symbolic, ambiguous. The novel was originally titled "Days of Mercy".

What episodes help to understand the title of the novel?

What is the meaning of the title "Hot Snow?

At home, you had to pick up episodes that help reveal the writer's ideological intent..

Prepared students make a message.

Let's revisit these episodes:

1. the path of the division to Stalingrad (chapters 1 and 2);

(The formed army of Bessonov is urgently transferred to Stalingrad. The echelon rushed through the fields, swirled with white turbidity, "the low sun, without rays, hung over them in a heavy crimson ball." Outside the window, waves of endless snowdrifts, morning calm, silence: “The roofs of the village sparkled under the sun, the low windows hemmed with lush snowdrifts flared with mirrors.” A trio of Messerschmitts dived into the train. Sparkling snow, which until recently struck with its purity, becomes an enemy: soldiers in gray overcoats and sheepskin coats are defenseless on a white boundless field.).

2. battle of the batteries (chapters 13 - 18);

(The burning snow emphasizes the scale and tragedy of the battle, which is just an episode of the great battle on the Volga, the infinity of human possibilities when the fate of the Motherland is decided. Everything was distorted, scorched, motionless, dead. “... lightning seconds instantly wiped everyone who was here from the earth, people of his platoon, whom he had not yet managed to recognize as a human being ... The snow groats covered white islands, and "kuznetsov was amazed at this indifferent disgusting whiteness of snow."

3. the death of the orderly Zoya (chapter 23);

(After the death of Zoya Elagina, instead of the joy of a survivor, Kuznetsov experiences an unrelenting sense of guilt: snow groats rustle, a snow-covered mound with a sanitary bag turns white ... eyelashes, and she will say in a whisper: “Grasshopper, you and I dreamed that I was dead” ... something hot and bitter moved in his throat ... He cried so lonely, sincerely and desperately for the first time in his life, and when he wiped his face, snow on the sleeve of the quilted jacket was hot from tears. The snow gets hot from the depths of human feeling.)

4 Interrogation of German Major Erich Dietz (Chapter 25).

(Major Dietz arrived from France a week and a half before the Battle of Stalingrad. The boundless Russian expanses seemed to him dozens of Frances. He was frightened by the empty winter steppes and endless snow. “France is the sun, the south, joy ... - says Major Dietz. “And snow is burning in Russia”

Two Lieutenants (Analysis of the episode and film fragment)

CONCLUSION. One of the most important conflicts in the novel is the conflict between Kuznetsov and Drozdovsky. A lot of space has been given to this conflict, it is exposed very sharply and is easily traced from beginning to end. At first, there is a tension that goes back to the prehistory of the novel; the inconsistency of characters, manners, temperaments, even the style of speech: it seems difficult for the soft, thoughtful Kuznetsov to endure the jerky, commanding, indisputable speech of Drozdovsky. The long hours of battle, the senseless death of Sergunenkov, the mortal wound of Zoya, in which Drozdovsky is partly to blame - all this forms an abyss between the two young officers, the moral incompatibility of their existence.

In the finale, this abyss is indicated even more sharply: the four surviving gunners consecrate the newly received orders in a soldier's bowler hat, and the sip that each of them takes is, first of all, a funeral sip - it contains bitterness and grief of loss. Drozdovsky also received the order, because for Bessonov, who awarded him, he is the surviving, wounded commander of a standing battery, the general does not know about Drozdovsky's grave guilt and most likely will never know. This is also the reality of war. But it is not for nothing that the writer leaves Drozdovsky aside from those gathered at the soldier's bowler hat.

Two commanders (analysis of the episode and viewing of the film fragment)

THE THEME OF LOVE in the novel. (Student's report and analysis of the film clip)

Probably the most mysterious of the world of human relations in the novel is the love that arises between Kuznetsov and Zoya.

The war, its cruelty and blood, its terms, overturning the usual ideas about time - it was she who contributed to such a rapid development of this love. After all, this feeling developed in those short hours of the march and battle, when there is no time for reflection and analysis of one's feelings. And it all starts with a quiet, incomprehensible jealousy of Kuznetsov for the relationship between Zoya and Drozdovsky. And soon - so little time passes - Kuznetsov is already bitterly mourning the dead Zoya, andit is from these lines that the title of the novel is taken, when Kuznetsov wiped his face wet from tears, "the snow on the sleeve of the quilted jacket was hot from his tears."

Having been deceived at first in Lieutenant Drozdovsky, then the best cadet, Zoya throughout the novel opens up to us as a moral person, whole, ready for self-sacrifice, capable of embracing the pain and suffering of many with her heart. She seems to go through many trials, from intrusive interest to rude rejection. But her kindness, her patience and sympathy reaches out to everyone, she is truly a sister to the soldiers. The image of Zoya somehow imperceptibly filled the atmosphere of reality with a feminine principle, affection and tenderness.

Hot snow (a poem dedicated to Yuri Bondarev) Viewing the last frames of the film by G. Yegiazarov, where a song to the words of M. Lvov “Hot Snow” sounds or a trained student reads.

A moment of silence. The text is read (prepared student)

From the message of the Soviet Information Bureau.

Today, February 2, the troops of the Don Front have completely completed the liquidation of the Nazi troops encircled in the Stalingrad region. Our troops broke the resistance of the enemy, surrounded north of Stalingrad, and forced him to lay down his arms. The last center of enemy resistance in the Stalingrad area was crushed. On February 2, 1943, the historic battle of Stalingrad ended in a complete victory for our troops.

The divisions entered Stalingrad.

The city was littered with deep snow.

The desert blew from the stone masses,

From the ashes and stone ruins.

Dawn was like an arrow -

She broke through the clouds over the mounds.

Explosions threw up rubble and ashes,

And the echo answered them with thunders.

Forward, guardsmen!

Hello Stalingrad!

(In Kondratenko "VICTORY MORNING")

LESSON SUMMARY

Bondarev's novel became a work of heroism and courage, of the inner beauty of our contemporary, who defeated fascism in a bloody war. Y. Bondarev defined the concept of heroism in war as follows:

“It seems to me that heroism is the constant overcoming of doubts, insecurity, and fear in the mind. Imagine: frost, icy wind, one cracker for two, frozen grease in the shutters of automatic machines; fingers in frosty mittens do not bend from the cold; anger at the cook who was late for the front line; disgusting sucking in the stomach at the sight of the Junkers entering the peak; the death of comrades ... And in a minute you have to go into battle, towards everything hostile that wants to kill you. In these moments, the whole life of a soldier is compressed, these minutes - to be or not to be, this is a moment of overcoming oneself. This heroism is “quiet”, as if hidden from prying eyes. Heroism in itself. But he determined the victory in the last war, because millions fought.”

In "Hot Snow" there are no such scenes in which love for the Motherland would be directly spoken of, there are no such arguments either. Heroes express love and hatred by their exploits, deeds, courage, amazing determination. They do things they didn't even expect from themselves. This, probably, is true love, and words mean little. The war described by Bondarev acquires a national character. She spares no one: neither women nor children, and therefore everyone came to the defense. Writers help us to see how great things are made out of small things. Emphasize the importance of what happened

Years will pass and the world will change. Interests, passions, ideals of people will change. And then the works of Yu. V. Bondarev will again be read in a new way. True literature never gets old.

addition to the lesson.

COMPARE the novel by Y.V. Bondarev and the film by G. Egiazarov "Hot Snow"

How is the text of the novel conveyed in the film: plot, composition, depiction of events, characters?

Does your idea of ​​Kuznetsov and Drozdovsky coincide with the game of B. Tokarev and N. Eremenko?

What is interesting about G. Zhzhenov in the role of Bessonov?

What inspired you more, the book or the movie?

Write a mini-essay "My impressions of the film and book."

(It was suggested to watch the film "Hot Snow" in full 6.12 on Channel 5)

Composition "My family during the Great Patriotic War" (optional)

List of used literature

1. Bondarev Yu. Hot snow. - M .: "Military Publishing House", 1984.

2. Bykov V.V., Vorobyov K.D., Nekrasov V.P. The Great Patriotic War in Russian Literature. - M.: AST, Astrel, 2005.

3. Buznik V.V. On the early prose of Yuri Bondarev, "Literature at school", No. 3, 1995 The Great Patriotic War in Russian literature. - M.: AST, Astrel, Harvest, 2009.

4. Wreath of glory. T. 4. Battle of Stalingrad, M. Sovremennik, 1987.

5. Kuzmichev I. “The pain of memory. The Great Patriotic War in Soviet Literature, Gorky, Volga-Vyatka Book Publishing House, 1985

6. Kozlov I. Yuri Bondarev (Strokes of a creative portrait), magazine "Literature at School" No. 4, 1976, pp. 7-18

7. Literature of a great feat. The Great Patriotic War in Soviet Literature. Issue 4. - M.: Fiction. Moscow, 1985

8. Serafimova V.D. Russian literature of the second half of the twentieth century. Educational minimum for applicants. - M.: Higher school, 2008.

9. Article by Panteleeva L.T. "Works about the Great Patriotic War in the lessons of extracurricular reading", the journal "Literature at School". The number is unknown.