It unites four collections of the poet "Goloseevskaya Autumn" - "A Flock of Veselikov", "In the Shadow of a Lark", "Winter Recordings". The writer's lyrics of recent years are characterized by simplicity, clarity, and philosophical depth. Not only nature (the collection "Roses and Grapes"), but also the beauty of the human soul excited the artist. , writes M. Rylsky, without a sense of poetry, art cannot be truly happy. Which one should be able to excite a contemporary? In the collection "In the Shadow of the Lark" in the verse "Poetic Art" gives an answer to this question:
- Only reaching the slope of the century,
- I understand poetry.
- How great is the simplicity
- Such a unity of exact words.
- When no vain gilding,
- Not any subtle tricks
- There is no place like meanness,
- In a pure and ardent heart.
Quite popular in Ukrainian literature somewhere since the 60s, the problem of man and science has become. Rylsky, as a poet-philosopher, was also interested in this problem. He often wondered whether scientific discoveries top level what role poetry should play in the times of scientific and technical progress. , like our parents, was a witness to the spacewalk of the first man - Yuri Alekseevich Gagarin. After this event, the worldview began to change significantly. It was at the present time that the discussion of lyricists and physicists began. Rylsky, a participant in the discussion, to the question whether the art of the times space discoveries, said:
- And I'll add: you can love
- Poetry in the time of rockets.
- Since the strange thing is: every man
- To some extent a poet.
- ("Poem to Album")
Rylsky was embarrassed by the fact that some people left poetry and art at the mercy of technocratic, and even pragmatic, consumerist tendencies, and he, as a humanist poet, fought for the art that contributed to the harmonious development of the individual. In the verse "Dialogue" the poet writes:
- How miserable are you?
- Why did you fall into such decline, tell me,
- What's in the bottom of a space rocket
- The nightingale is unable to understand?
The inner world of man in all its beauty is sung by the author in Goloseevskaya Autumn. According to the poet, the defining feature intellectual person there must be spirituality. The poetry of the collection, as literary critics say, turned to the side inner peace, the spiritual life of a person and contributed to the development of this genre, its themes, genres and motives.
The traditional theme of the difficult burden of the past years and its transformation into the praise of life also takes place in the collection. In the verse "How to Forget" the poet wrote:
- It's a pity for the past, a well-known thing,
- Yes, the present will eventually pass...
- But let them beat those teeth on edge
- Who will curse spring in winter.
The last collection of the poet "Winter Recordings" (1964). It strikes the reader with the extraordinary power of the thoughts and feelings expressed in it. As noted by the literary, reading the poems of this collection, the reader immediately plunges into the world of the poet - “pure, quiet”, light crystal. In the verses of the collection - a confession about how he lived, was sick and rejoiced at his restless and restless soul in his declining years. And not bitterly permeated lines of the poet. His heart embraces the joy of what is not lived intentionally. “It smells of snow, hay, horse lot” the artist is excited that, unfortunately, modern man is starting to lose touch with nature, ”and warns:
- Understand, people, one thing -
- That my tongue cannot lie
- My grandson loves the fragrance of gasoline,
- Well, I'm still not used to it.
In the lyrics of recent years, in particular, latest collection“Winter Notes” M. Rylsky, as a real poet-citizen, disgraces the bearers of those vices that took place in life:
- Brother sellers with white hands
- and with black hearts - here they are,
- What was sent by anonymous letters
- Road to career and ranks!
The final verse of the collection "Traces of small feet in wet snow" is an instant impression of footprints seen in the snow small child. They bring back memories. Especially where it is acutely felt old man. These small traces of children's legs in the author's artistic sense became the basis for asserting the eternity of rye. M. T. Rylsky is a poet with a capital letter.
Need a cheat sheet? Then save - » The humanistic pathos of M. Rylsky's lyrics of recent years. Literary writings!In the alleged decision of the fate of the main novelistic characters - Elena and Langovoi - in the interpretation of the difficult relationship between Vladimir Grigorievich and Martemyanov, the author's humanistic pathos was fully manifested. Of course, in the humanistic aspect, the author also solved the images of underground workers and partisans, "ordinary" people losing loved ones in the terrible meat grinder of war (the scene of the death and funeral of Dmitry Ilyin); the author's passionate denial of cruelty colored the descriptions of the death throes of Ptashka-Ignat Saenko, who was tortured to death in the White Guard dungeon. This is described in monographs about the writer A. Bushmin, L. Kiseleva, S. Zaika and others. We want to emphasize that, contrary to the theory of "socialist humanism", Fadeev's humanistic pathos extended to the heroes of the opposite ideological camp. Vsevolod Langovoy was rightly brought closer to Alexei Turbin: "The words - motherland, honor, oath were not just words for Langovoy." He cared about "Russian dignity and honor", "prepared himself for great and glorious deeds" and won the right to power over people "by personal valor, intelligence, devotion to duty - as he understood it." Fate was pleased to make him a punisher... As for every great writer, for Fadeev the class criterion in evaluating a person was not decisive. The human charm of Langovoy, his devotion to his beloved woman, and even human weaknesses(in the episode with " femme fatale"- Markevich's wife) - all this adds up to a living, artistic image. Fadeev made another attempt to assess the events of the civil war from a universal standpoint. This is a picture of Senya Curly's dream, although it smacks of some deliberateness and tinsel. In the confusion of Senya's dream meets with the cadet, whom he had once arrested: "Then, in real life, Senya felt nothing but anger towards the cadet, and almost stabbed him, and now, in a dream, Senya ran up to him on the platform and waved his bayonet - and suddenly he saw that the cadet was not at all terrible, but very young and very frightened, and his face was simple, like that of a shepherd. He was so frightened and young, this junker, and looked so much like a shepherd boy, that it was impossible to prick him at all, he had to be stroked on the head. Senya even held out his hand, but he still could not forget that this was a cadet, and not a shepherd. "No, it's dangerous for us," he said to himself and pulled his hand away. "What's dangerous?" he suddenly thought painfully. "Yes, it's dangerous to sleep!" Nevertheless, this was also the position of the writer, who found the courage to truly romanticize the white officer Langovoy.
Pushkin's work is wide and multifaceted. Russian creator literary language, Pushkin, in addition, was and remains a great thinker, a humanist philosopher, a kind of source from which all Russian literature originates. Humanism, love and respect for a person, his personality, permeate all of Pushkin's work - this also applies to his love lyrics, and civil poetry, and philosophical prose.
The love lyrics of the poet are represented in his work by many poems created in different periods life. However, despite a certain evolution of views, a change in worldview, the humanistic pathos in Pushkin's poems remains unchanged.
First of all, Pushkin's humanism is manifested in respect for the subject of his feelings. The poet recognizes the beloved's right to choose, even if it is not in his favor. A typical example is the poem "I loved you ...". The situation, standard for poetry, when it turns out that the chosen one of the poet has fallen out of love with him, is covered in a completely different way than, for example, among the romantics. For romantics, such a plot is a source of tragedy, generating a whole whirlwind of passions, when the enemy is killed in a duel, and sometimes they themselves sacrifice their lives. This situation receives a completely different light from Pushkin.
I loved you: love still, perhaps
In my soul it has not completely died out;
But don't let it bother you anymore;
I don't want to sadden you with anything.
I loved you silently, hopelessly,
Either timidity or jealousy languish;
I loved you so sincerely, so tenderly,
How God forbid you loved to be different.
The poet does not curse his beloved for leaving him, he understands that "you cannot command the heart." On the contrary, he is grateful to her for the bright feeling with which she lit up his soul. His love is, first of all, love for his chosen one, and not for himself and his feeling. There is no selfishness in the poet's attitude towards his beloved, his feeling is so strong that he agrees not to remind about himself, because he does not want to sadden her with anything. He wishes her happiness, wants to find someone who will love her as much as he does.
Love, according to Pushkin, is not an anomaly, not a "fatal fire of passions" (as is often the case with romantics), but the natural state of a person's soul. Love is a feeling, even if it is not mutual, bringing joy, not suffering. Pushkin treats life with reverence, perceiving it as an amazing divine gift, and love as a kind of concentrated, heightened sense of life. Just as life moves by its own laws, so love arises, blossoms and disappears. The poet does not see this as a tragedy, he is grateful to fate for the fact that this wonderful feeling was in his life, because it might not have been.
A striking example such a view of love - the poem "On the hills of Georgia ...":
On the hills of Georgia lies the darkness of the night;
Noisy Aragva before me.
I'm sad and easy; my sadness is light;
My sorrow is full of you
By you, by you alone... My despondency
Nothing hurts, nothing worries
And the heart burns again and loves - because
That it cannot love.
Love for Pushkin is the natural state of the human soul, since it manifests the fullness of life, a sense of the joy of being. That is why the poet is "sad and light", that is why his sadness is "light".
A similar view of the nature of love can be seen in other poems by Pushkin, for example, “Alas, why does it shine ...”, “To *** (A.P. Kern)”, “Recollection” and others.
So, the humanism of Pushkin's love lyrics lies in a deep, primordial respect for the human personality, its right to free choice life path. The world in the poet's view is wide and diverse, it is neither good nor bad, as it is beautiful in all its manifestations. Good and evil are brought into the world by a person, and for each person these concepts have their own content, their own, different from the rest, value. However, with unconditional respect for the ethical ideas of each individual, Pushkin, with his work, affirms humanistic, universal values. Only when a person makes the people around him happy, bringing joy and harmony to the world, can he be truly happy himself.
As V. G. Belinsky noted, Pushkin's works "laid the foundation for subsequent literature, were the school from which Lermontov and Gogol emerged." The ethical basis that salient feature Russian literature, originates in the work of Pushkin, in his humanism and in the highest degree moral attitude to life.
The search for goodness and justice... They confuse minds, inflame passions. In the clash of different ideas and beliefs, artists are trying to find the highest truth, the only correct idea that can become common to all people.
The search for justice sometimes got Fyodor Mikhailovich Dostoevsky into trouble, forced him to speak out against his own earlier convictions. But in the most difficult years for the writer and the whole people, he continued to look for ways to free humanity from the suffering that the inhumane system brings with it.
The novel "Crime and Punishment" reflects two worlds. One world is a rich city, the other is a poor one, which will be discussed in the work. That is where people suffer.
Dostoevsky shows that a stuffy city, dirt and tightness contribute to the feeling of spiritual loneliness of people. And so people treat each other with distrust, envy and hatred.
The characters of the story find themselves in situations that are not subject to any rules. If Sonya Marmeladova had not gone out into the street, her relatives would have died of hunger. Raskolnikov's sister, Dunya, agrees to marry the cynic Luzhin in order to enable his brother Rodion to graduate from university. For both heroines, good in relation to others becomes evil in relation to themselves. However, both of them are capable of self-sacrifice. No wonder the Sun gives Raskolnikov a "common" cross. After all, the path of renewal of the hero is the recognition of the people's faith, the bearer of which is Sonya Marmeladova. Only she can judge the hero. Judge with love, sensitivity and mutual understanding. In subtext, the author expressed the idea that people will be saved brotherly attitude to each other.
As for Dunya, she and Razumikhin almost never remember God, their humanism is purely earthly, and they treat the “Napoleonic theory” as negatively as Sonya.
Even the guardian of the social system, Porfiry Petrovich, is a humane person, because he is trying to save society not so much from criminals as from theories. Much more decent than Raskolnikov is Svidrigailov, because a conscience has awakened in him. Therefore, he saved the children of Katerina Ivanovna from starvation, pulled Sonya out of the mud and shame, left money for his bride to protect her from a possible fall. By his suicide, Svidrigailov proves to Raskolnikov the impossibility of another way for a person who has violated moral principles society: “I understand what questions you have in the course: moral-sensual, or what? Issues of a citizen and a person? And you are on their side: why do you need them now? Heh heh! Then what is still a citizen and a person? And when that’s the case, then there’s no need to meddle: there’s nothing to take on other than your own business. ”
Manifestations of kindness are characteristic even of the foolish Lebezyatnikov, who stood up for Sonya without the slightest personal interest, even risking his reputation as a quiet tenant before the hostess and neighbors, because this character is not characterized by meanness, or lies, or baseness.
More than ninety characters in Dostoevsky's novel. In the features of each of them, main or episodic, one can find many positive features, mutilated by society.
But in the fight against this society, the figures of Razumikhin and Dunya are being formed, to which the words of Fyodor Dostoevsky can be fully attributed: “A generation is already growing up that will be humane, humane and generous.”
USSR ACADEMY OF SCIENCES
ORDER FRIENDLY OF PEOPLES INSTITUTE WORLD LITKRATUGN ik. A. M. GORKY
As a manuscript
HUYIN NY PHYONG
CRITICAL FOCUS, _ AND HUMANISTIC PATHOS OF MODERN SOVIET AND VIETNAM LITERATURE GY (BY THE MATERIAL OF PROSE OF THE 80s)
Specialty 10.01.08 - theory of literature
dissertations for the degree of candidate philological sciences
MOSCOW - 1990
Eshulnen's work in the Literary Theory Department of the Institute of World Literature. A.M. Gorky.
Scientific adviser - Doctor of Philology N.l.Ge:
Official opponents: Doctor of Philology,
Professor ¿.¡¿. Krupchanov
Doctor of Philology, Professor N.I. Nikulin"
Future organization: Moscow state nni: 1 ushsher-
B. Lomonosov Institute, Department of the Theory of Li te raguri.
The defense will take place "" _ 1930 at a meeting
of the specialized council d 002.44.01 for philological sciences at the Institute of Cyrillic Literature named after A. ¡..Gorky of the Academy of Sciences of the USSR at the address: Moscow, Lorovskogo st., 25-a.
You can familiarize yourself with the dissertation in the library ". here of world literature named after A.;.,. Gorky of the Academy of Sciences of the USSR,
Teaching secretary of the specialized council
1. (-name XArAKTiii: Г"!1..:i/,.,. ;;
"Relevance of the rear: iv c". _. ">.."¿¡i;;. Ufv:.7i"wt zdigochesky orientation i googlepyppt.chimp-o. Soviet asgstioi, l-gl-ritui o:-sdog atiksh", s": d..s nkpite-le: to b this water.-;;; izdao st ^ clichés; moorati in those new features that po.yiavT ss|«|-„-&li«."m: ;a-.ab ¡1 cognizes soro.\:e fill th Soviet whether that ¿■atu ha.
How the akadyank sobs a.!....iaa ow "cooking new is an idea but snia." aaa:^, ko.hst beat, the most important idea of all. ¡¡i;iaa;y u.x h>!,.oyachsst over (.".¡¡ogkh thousand aa" ah! aac kctoj:ai. in ¡ "about deep perception, the result of 1l: oaia" ya chloa ^ xi in the process of melting experience of oneself, one's own tasks. bdsd vi-t.atiU3.va is the highest in its own way; aa scarlet category "^.
Gushsh: "zy d;: tera": ug .: a, h-.aao;: aha-.-g ugsr-adeshe of human CNNOS "Gs /. I! OAHiHii fct.CiiHO Oi-oioadl" nuo KJiiTUKy VOX LVLbyyy, which kevkyt sutoronbru (¿3i::i?;:»< человеческой личности, общества. Как » советской литератур., та»- и но вьетнамской ш наблюдаем се:ч.дия зиичтельник рос: jiicitnnccKOii направленности - это естестгааапп:, ¡¡¿:«ос>c:"sha i ¿¿bypass;:,pgy process,
at the end of CHO ~ x a pichyal. --0-s appeared ...: s works, post; v1sie sa. \: s is.oole yb "".. and i"pei> o: ait: e questions: "sakon of eternity" N. Dumbadge, "alakha" 4.pk "P.: atova," Quarry "by V. Bykov, "Sader detective" by I. Astapyeva, ";, gift" b.i social adnetic literature and, thanks to the otada, literature has made a significant contribution to the preparation of moral
1^Konrad N.K. Selected Works. 1, side: sh.Ts., Lauka, 13?4, p.321.
lead to the psychological restructuring of society.
The problem of critical orientation cannot be considered new in criticism and literary criticism. In the works of Soviet scientists, the critical orientation is recognized as one of the main components of the uaicropob artistic works of modern times.
Soviet prose of the 1900s with s "gave a wide gallery of negative images of people /, with features of businesslike and careerism, bureaucratic swagger and lust for power, hoarding" and prioritization. Literature shows evil - hostile people; disfiguring him in order to ward off pain, to destroy the shameful abominations of the treasury. At the same time, literature seeks to support;: sat and develop. give a person true humanity, raise your voice in his defense, speak of your back for human soul: "how difficult it was to hear the human in a person" (Ch. Aitmatov)* For a long time in Vietnam, there was an underestimation of the role of the critical principle in literature, and this did not intensify the work of writers in the field of a comprehensive analysis of negative phenomena. In his dns vnik, the Vietnamese writer Nguyen Mal Chau wrote: “Chief, writers, or rather those of us who have always been accommodating, harmless and knew only one thing - to glorify, for all the failure of life, it happened, they did nothing wrong to anyone. ) but the greatest mistake is that we, with our - "Compliance, but skticheskily simply gave in to evil, before your ugliness" ml, of which there are so many in zyopa, especially when these evils and ugliness gained power, little by little it turned out like this , thu< мы их уже не видели, не различали, а они мезду тем калечили человеческие судьбы"*^.
■^ALtmatosis C. Plalo.y., Young guard, I9 & 7, p.63. 2)l,TEuyor. I.".inh Cliau. l."c"oi buon viSt iaa clidi// Van nghe quah doi. Ha:ioi, 1939, SL, T.8.
The turn of Vietnamese literature to krktychest.u otga:-::e-view of reality takes place in the 19th years:-:, when the country is faced with the task of decocratization of all s^er public life. The unadorned truth:::pznn, modern reality is presented on the pages of tg::ah pdopzvedesh?, as "a batman in a fast train" (19b3) G.guyen;.li Tiau, "Meeting at the end of the year" (19Ы) and "Human time "SH1) lie Khaya, "When leaves fall in the garden" (1965) b.a Yean Nhanga, "Standing by the sea" (1EB2) and "Cham Island" (19b5) Nguyen: Tuan line, "a long time ago" ( 1966) Le Dnu. In the novel "After that hundred-dream of illusions" (.1087), Ziong Thu Khnong expresses his credo through the mouth of his hero Pguyep: .! understanding his shortcomings, identifying them earlier,
not;;:if someone else does it.
Reading Soviet and Vietnamese prose of the 1990s, we come to the conclusion that the problem of the relationship between critical orientation and humanistic pathos in literature has undoubtedly become the sharpest, most intense and needs even more profound solutions.
The purpose of the work is to trace the originality of the relationship between the critical orientation and humanistic pathos and its embodiment in literature on the material of the works of contemporary Soviet and Vietnamese writers, to highlight the complex of words: “th questions: artistic truth, activity and democratization of literature.
the dissertation seeks not to illustrate theoretical questions and images! literature, but to consider how enp exist-
I) Ba "one T1ru 1shn £. Ben k! a bd ao woone. Tzo" a "gyugh. Ish. pi". On N51, 1987, Vol. 75.
> zt in the pro itself: 13Рс;; s.
?.: his.g.logk, h a mopu.pkg. lsledog-cheegle. ¡..etodolokh "Ichesku *> the basis of the assls chovshnsh was soldered to the Marxist-Lenmnian theory g;g":-.cha.h::l, gskroko and successfully tsrkonyaaiv in the Soviet lltoraturozbdeaag. g. sodog.-ig "" to (Torah a prkldapn of concrete non-Torism.
In this work, we use the xtorical-typological method, which has been tried and tested and fruitful in Soviet science. It allows, on the one hand, to express the critical orientation as a kind of humanistic pathos of literatures: On the other hand, this method allows us to establish common, similar features of the critical orientation and humanistic pathos in Soviet and Vietnamese literature and, together with the flow of its features, due to national characteristics.
The scientific novelty of the work is due to the fact that for the first time it sets the task of conducting a typological study of two literatures - Soviet and Vietnamese from the point of view of a new type of humanism connecting them. which manifested itself in the fact that her humanistic past "os, reflecting the process of democratization in the world, began to be more enriched by sharp criticality.
The practical significance of the dissertation is as follows: its materials can be used when giving a course of lectures on the theory of literature at a university, when conducting special courses and special seminars on Soviet and Vietnamese literature.
Approbation. In its completed form, the work was discussed in the Department of Literary Theory of the A. Gorky Institute of World Literature of the USSR Academy of Sciences.
Based on the materials of the dissertation íihtojc.v b. "." whether a lecture was read for students of the second year of yiloloppskon; Faculty of Ho Chi Minh University (1919-1960), oiuidkyaoshsh articles on the pages of "ban nge" ("Art and art") and "Tan ti wai hok" ("Literary ¡journal").
Volume n stguktug-l work. dvssertaad "l consists of a short introduction, three chapters and an appendix.
The volume of the dissertation is 151 pages. A bibliography is attached to the race.
P. SOYKYNIK RLBi "GG"
Bo typing ii!". races to pu cae ts i actual t;-, work,preliminarily analyzed scientific literature according to those years in the study.
In the smoothness of the ass, nur.i-dglo:: "critical orientation _ as theoretical-dgte" atugya (C; n: o *) leg.: n", it is supposed to clarify the meaning of otsoiochio!: ilkraglspzostg. and pathos, vtsyasshg the ratio of critical and affirmative-b;: orientation in the literature.
In the first paragraph "Ots":n.up:.Ch "!sntipaibv. g.chost and pakoo lategatush"." it is shown that "reproduction" :.-azsh1 in literature represents coooù sera of intellectual knowledge, which is always organically connected with " articulation:,: "" / dznp and "sentence" (N.G. CherpytsEskiY over not;:.
Hegel for the first time proposed:.-:l the definition of pas]osa:sudo:chic and introduced it into the systems of the main aesthetic categories, seeing in it "genuine concentration, the true realm of art," ^ the factor of emotional interaction works l the subject of his perception.
. -^Hegel. Works in 14 vols., T.12, LÍ., State ed., I9 £9, S.327
Kaet from his about ^ ey. the concept of art as a "sensual representation of ideas". This is, according to Hegel, the originality of art as a special sorg.y of achievement " absolute truth"The philosopher put forward the universality of art to the first stage and considered it in an epistemological aspect. Hegel saw the highest dignity of a work of art in its" true objectivity ", for which the author is required" serious attitude"to the subject of the image. "Paphos, - Hegel explains, - those universal forces that act not only by themselves; by itself, in its own independent chapter, but also navut in the Chedoic chest and moved human soul in its innermost depths.
VG Belinsky connected the concept of pathos with the idea - passion. "In true poetic works, - he writes, - thought is not an abstract concept, Expressed dogmatically, but constitutes their soul, poured into them, as it sows in crystal. Gyasl in poetic creations is their las os go patos. What is pathos? - Passionate penetration and infatuation with some adea """ Paphos is a condition that creative process proceeds with the greatest intensity and fruitfulness. Such a drooping pa-■ fosa makes fit study pathos of writers the most important property reflection by the artist of reality, as well as the features of his work.
In the pao "o ^.x of Soviet scientists, such as G.N. Pospelov, N.K. Gei, E.G. Tudkeva, L.A. Dmitriev, B.E. Kovsky, scientific interest in the problem of pathos is due to the desire to seek and perfect the principles of ideological analysis!: the direction of both a separate work and the work of the writer as a whole in close
^Hegel. Aesthetics. B 4 vols. V.1, k., Art, 1968, p.244.
""" Belinsky B.G. Boln. collected works. in 13 vols. Y., ed.
connection with generally significant phenomena and patterns of artistic development., in relation to the defining trends.
Paphos permeates the work and informs him of a single breath. In pathos, the feeling and mmsl of the writer form a single whole; it contains the key to the idea of the work. Paoos is inconceivable without the deep inner conviction of the artist, which made him take up the pen.
The concept of papos in the dissertation is revealed in the analysis of Ch. Aitmatov's "Plakha". Civil pain for the tragic fate of a person sounds in this novel. His passos defines the deep shock of what is happening around, that inner "look", which brings in itself the so-called "naked truth" about the surrounding tape, that is, an active rejection of the world as it appears today. Humanistic;; pa£os of the novel is not in the triumph of good over evil | humanity over cruelty, and above: zde Yesego in the transfer of the process of awakening conscience in a person. The os of the novel is inextricably linked with the active, life-long position of the writer, which manifests itself. lyatsya and staged the most pressing problems, and in the artistic comprehension of moral quest modern man, and in the fundamental assessment of many negative phenomena.
The second paragraph is devoted to "The ratio of critical and assertive fian-equation". Both these sides of pathos are organically inherent both in the whole literature, and in the work of one writer, and in the work. In historical terms, they are equally significant. telny dm world literature. In specific historical conditions, a certain direction acquires a dominant sound. For example, the critical focus of the realistic literature XIX century manifests itself mainly in the merciless denial of an exploitative society, in the depiction of the dramatic fate of man. Thanks to the deepening of historicism, and
also social-nrazkhtzekhpg.:: problems, the critical orientation of the pasatelekh-ravaialots acquires a sicker than in other artistic sagmas depth, clarity, versatility and effectiveness: ..
The Soviet scholars B. Ainogradov, D. Karpov, B. Suchkoi, G. Lomidze convincingly said the fallacy of the position that critical realism is Y1l and TL her. khl only pathos of denial, did not see anything and not a hundred?::;: no ideals in front of him. The literature of critical socialism is by no means devoid of a positive social ideal, which is also expressed in general ideological pathos produced!:, and in specific artistic images.
pa new;.", turning point both in Soviet and Vietnamese literature, there is an acute need for a return, renewal, and qualitative development of the undying traditions of critical literature in the study of negative social aspects, the decline of morality and the degradation of the individual.
Vke.sg- with ".sg:, .-gya to the fact that the critical point is,
socialist laziness.1.-" "whose literature is closest to the literature of the critical rs: it has undergone a qualitative change. The essence of ossgo I&ulshsha lies in the fact that "the negative phenomena of Eospropzio ^ are here in the process of their historically necessary overcoming, by revealing kx all-peace-trade. Chessey nesssgol: ¿alposta, doom - in contrast to lcterague;:::::chosky realism, where the negative in life is only sug "chDgilsl as vraedebaoe to people, but in essence
irresistible
^Volkov l. "." thief-squeeze method and artistic systems;, ¡tskussgg-o, 1^-;. C,:.""!a.
In Soviet and Vietnamese literature, a critical orientation acquires special significance in the fight against the transformation of a person into a functional impersonal quantity, when many dangerous negative phenomena have become aggravated in society - bureaucracy, corruption, azerism, demagogy, slander, bribery ... The writer is especially addicted to anxiety side of life and related issues, which gives his work an internal critical orientation, which can become paa.osm of his work or his individual works.
The dissertation is compared from the point of view of showing the modern chit-chat of the novel. V. Yelov "Everything is ahead" and the novel by Ma Van Khang "When the leaves fall around the garden" (1265). Thus, in V. Belov's novel "All Ahead", the author critically analyzes the system of pseudo-ethical and pseudo-aesthetic values. The writer critically comprehended and revealed the destructive essence of modern philistinism, predetaELg.: o:: "with / yu great danger both for one, separately taken person, and for society as a whole. B. Belov saw and showed that modern philistinism can; manipulate.
Like V. Belov's book "Yes, go ahead;:", "When leaves oh-■ fly in the garden" by L Van Khang is a family novel. In the novel, negative phenomena are considered not as re-";whales of the past, inherited from the old world, but a product of shortcomings that arose in the development of a new system. The novel is written in the spirit of the times, full of seeking truths, it is far from being idealized as virtues, and shortcomings of Vietnamese society.
The humanistic share of os is manifested not only and not so much in the depiction of evil, but in the very attitude of the writer to evil and the struggle against it. In the novels "Bee Ahead" and "When in
leaves are flying around the garden" the main subject of the image is evil, low and vile, but the purpose of the image is good, high and beautiful, drawing a disappointing picture of reality, the authors believe in the possibility of realizing their social ideals, in the victory of the struggle for a comprehensive. human personality.
Soviet and Vietnamese literature of the 1960s convey sometimes very difficult circumstances and situations of social and personal lowness of a person; solid foundations in the very mind of the people and in its history, in the tragic experience of this history. humanist traditions world art," they are trying to find in the person himself, in his moral foundations, a fulcrum for the establishment of high ideals, without idealizing a person, taking him in all real complexity.
In the second chapter, "Critical Orientation in Relationship with the Humanistic Paaos," the problem of critical orientation is examined through the prism of humanism.
The first paragraph 1 of this chapter is "The problem of the humanistic literature".
The humanism of literature is artistic knowledge and from. ra:;: understanding of human relations, phenomena of real life, passed through the worldview and artistic perception writer. D, spring art has developed and is developing. Under the sign of the development of an ideal complete man. Humanism as a purposeful statement of the inner value of human vision and meaning human history, becomes pathos Soviet literature.
G. about the opinion of A. Tvardovsky, literature should be taken on ssig. the task of "moral provision of society". The higher
moral security, the deeper the humanistic pa$os.
The humanistic share of Soviet literature is very active, because it is based on a deeply humane conviction that, in order to be completely happy, a person must realize the inner possibilities inherent in him.
In such works of Soviet literature as the novels "Fire" by B. Rasputn and "Zubr" by D. Granin, the novels "The Law of Eternity" by N. Dumbadze, "The Sad Detective" by B. Lsgayiva and "The Block" by Ch. Aitmatov, the center of attention of writers is the presence of personal activity and personal responsibility as the basis of the worldview and the whole life position hero. This is one of the most significant indicators of the writer's familiarization with the emerging "novelty" of the world.
In Soviet literature last decade the concept of social activity is increasingly associated with spiritual and moral searches. The essence of the humanistic pathos of literature is the endless search for a solution eternal questions, in order to give readers the correct answer about the meaning human life.
The concept of "personality" has become for many Soviet literary critics and critics a symbol of spirituality, moral consistency and inner maturity. This is what it says in Kgin G. Belaya " Art world modern prose": "Today... the scalpel of analysis has also gone inside - deep into the duash of man. And this dual unity predetermined the specificity and character of modern prose.
The dissertation draws attention to the ethical character-
^Belaya G. Artistic world of modern prose. M., Nauka, 1963, S.6-7.
ter conflict in modern Soviet and Vietnamese literature. ■
At that time, it was believed that moral justice was invariably on the side of society, the collective, for society was envisaged as a stratified moral and political unity. in the Soviet and Vietnamese society there is no such moral and political unity yet. Collisions between society and experiences individual can lead to the suffering of the latter, although she is devoid of selfish interest.
For Vietnamese literature, the theme of the affirmation of personality and human happiness has never reached such a degree of attraction and power, the dissertation author believes, as in Le Luu's novel Long Ago Daeno (1966). It was this novel that boldly told our reader that for a certain time a person lived far from a full-blooded life, but on the contrary, as a mockery, he was gifted with a kind of ersatz. A man, so to speak, boiled not his own, but someone else's life, alien to him, and even when no one forced him to this, he forced himself, according to his own, so to speak, "will.
Analyzing the image of the hero Giang Yin Shai in the novel "A long time ago", the dissertation author points out that his tragedy is the tragedy of a good man who showed passivity in a certain historical moment because of his infantilism and naivety. The novel "Once upon a time" is the cry of a whole generation that has lost both youth and happiness, because it did not dare to take risks and assert itself, fight for the freedom of the individual. tragic fate a man who has lost himself, "a long time ago" gives an object lesson, opens his eyes to the value of the individual, which makes this work truly profound.
The humanist writer speaks more and more often and persistently, sharply and anxiously about enduring values, about the charm of man. Attention to the very moral substance that distinguishes him from everything else - to his individuality, which has nothing to do with self-sufficing egocentrism - that is what defines humanism of the highest standard in this world split in two. Its basis is a person who is ready to live in society and for society, i.e. capable of developing, revealing in himself truly human potentialities.
Reflection of deep historical processes connected with the affirmation of humanism in reality and in fiction gives the richest material for literary criticism both in terms of comparing works of art with. life itself, as well as the comparison of these processes in the works of different writers, opens up wide and still underutilized possibilities of analysis. specific works modern literature.
Moral assessment in the light of the humanistic ideal interests the dissertation in the second paragraph.
Showing new contradictions in man and society - this is what becomes the leading trend of Soviet and Vietnamese literature on present stage. But this also requires a new structure of works, new forms of generalization of conflicts that make it possible to reveal the real dialectic of life.
I.A. Bernshtein rightly notes that “changes in the nature of conflicts and the emergence of new conflict situations associated with deepening and development in contemporary literature concept of human life, in other words, these processes are inseparable from the enrichment of the general humanistic concept
modernity"^.
To hide the dialectic of development in the struggle between the positive and the negative is one of the most important signs artistic realism. Soviet and Vietnamese literature revealed and worked out this dialectic in the form of sharp moral conflicts and collisions.
An analysis of V.Rasputin's story "Po;khar" testifies that in its voluminous:::anr storm there is, if not the fullness of life in all its positive-negative connections, facets, then a bright trend. One of the brilliant ideas of the story is that the world does not turn over immediately, not in one fell swoop, but like this: it was not allowed, not accepted, it became allowed and accepted, it was impossible - it became possible, it was considered a shame, a mortal sin - revered for valor and loekost.
It is worth emphasizing that B. Rasputin is not inclined to lay the blame for moral trouble only on a certain part of society. "Po&ar" was created in the tradition democratic literature of the past. These traditions presuppose a thorough concrete historical study of the relationship of the individual and the circumstances.
The writer correlates the essential contradictions of the era not with the momentary in life, but with all past historical and artistic experience. This is the significance of the artistic types discovered by him.
£.avaya moral deal in the light of humanistic pa-sros, writers sharply raise the question of the responsibility of the individual for their behavior in all areas of the treasury. decline process
^Bernshtein K.A. Moral conflict and the development of the novel in the literatures socialist countries/ In the book: "The humanistic pathos of Soviet literature". Y., Nauka, 1962, S. £9.
personality stands in direct connection with its irresponsibility. A person must be responsible for his actions, because today he himself realizes his choice in the situation that he gives. real life, - be it military reality or relatively peaceful modernity in its most complex contradictions. Under conditions of "choice" a zone of attention is created around the personality. Writers single out characters in failed works that are an example of a socially negative position, those who make a choice in favor of selfishness, meanness, soullessness, careerism.
Examples of the moral search for heroes in the dissertation are the works of V. VykoEa "The Quarry" and Nguon Lin Thyau "Self-portrait".
In "Career", military and today's life, ideals and norms of "wartime and today's spiritual reality come into contact with comprehension. Self-justification and self-condemnation go on in the mind of Ageev. conscientious person, in Ageev it is much weaker than self-condemnation, it still exists - as a normal healthy self-preservation instinct that allows a person to live, realizing and pouring his guilt, until dooming him to complete decay, saving him from a tragic ending.
A similar psychological dialogue of inner voices takes place in the work "Self-Portrait" by the Vietnamese writer Nguyen Kinh Chau: talented artist who made a mistake wants to understand how and why he stumbled. The story is written in the first person. Studying for a past mistake, for what he did, the artist is left alone with himself, in order to answer the given lines, to figure out what he did.
Similar complex phenomena - characters "Career" and - 15 -
"Self-portrait" - A. Bocharov suggests calling it not negative! characters, but anti-heroes. In them, along with the bad ones, negative qualities there is something good, attractive, which, in fact, allows them to stay on the surface^.
Tgetya head of the dissertation "Humanistic pathos and artistic activity of literature". In this chapter, the author of the dissertation gives an understanding of artistic truth as a result of a critical orientation and humanistic pathos. The activity of literature, the dissertator believes, is enhanced by the critical beginning, is in direct connection with artistic truth.
In the first paragraph, "Artistic Truth and Its Correlations," it is emphasized that literature is humane, above all, by its truth. In this sense, "morality is truth" (V. Pektin). Humanistic pathos and artistic truth are inseparable, but rather complex interaction. Artistic truth is inconceivable without the truth of life, but at the same time it is impossible without a departure, transformation, transformation of what it relies on, what it represents.
Here is a brief overview of the various opinions of writers and critics (S.F. Kuznetsova, L.P. Tolstykh, P.A. Dedkova, D.U. Uryaova) about artistic truth in a discussion on the topic " Modern prose, Truth and Plausibility", conducted by Literaturnaya Gazeta in 1965.
The principle of reflecting life in art includes the act of creation, the act of recreating the object of the image. The nature of figurative assimilation of life is based on the contradictory unity of assimilation and dissimilarity.
The literary image, expanding from the microstructure into
^Bocharov A. Literature and time. M.. Artistic literature, 1966, p.119.
macrostructure, does not and does not pretend to be an independent reality, equal in size, equivalent to reality human being. The artistic world is carried out in its own way internal laws, but allows you to understand the patterns of life and the human essence that lie outside of it. The artist, creating a figurative likeness of life, questions it.
Artistic truth is determined primarily by the writer's ability to subject the entire socio-moral section of the life of society to serious study, to capture it in vivid, memorable human characters.
Analyzing the novel "The Sad Detective" by B. Astafiev, the dissertation takes into account the opinions of critics and writers who expressed themselves in the journal "Questions of Literature" (E.V. Starikova, V.P. Sokolov, V.A. Kovalenko, N.B. Kvanova. ..). The appearance of V. Astafiev's "The Sad Detective" riveted attention to the roots of today's social and moral contradictions. The writer A. Adamovich considers B. Astafiev's novel, as well as V. Rasputin's "Fire" and Ch. Aitmatov's "Plakha" to be works that affirm "a new understanding of artistry".
The dissertation states that the search for a word adequate to the truth of the time brought literature and the journalistic beginning. It is no coincidence that in the works of a critical orientation the share of open expression writers of their sympathies, beliefs, views in the ideological and artistic structure of the works included in the actual plot fabric of the narrative - in the author's "digressions", dialogues, clarifications, clarifications. The journalistic principle is sometimes the main moving core contemporary issues. So, for example, in the novel "The Law of Eternity" by N. Dumbadze, the hero
Bachana openly states her understanding human dignity, honor, recognition and duty. In the story "Fire" by V. Rasputin and the novel "The Sad Detective" by V. Astafiev, behind the thoughts of U. Ean Petrovich and Soshin, the voice of the authors is heard, their pain and anxiety for society, for the person.
In the second paragraph, the problems of "The Humanistic Passage of the Democratization of Literature" are examined.
Literature is one of the excellent tools for testing the democratic nature of the society from which it was born. If writers yearn for freedom in their works, then, consequently, the society whose life they paint needs to be democratized.
Soviet literature of the 1910s is moving towards the rostrum of democratization, for it seeks to support and develop in man the desire and ability to personally intervene in what is happening, to influence events, to be not a pawn, but an initiator, arbiter of layers and common destiny.
If we follow the path of development of modern Soviet literature, we will see that Soviet writers they tell about how a simple, ordinary person grew up, for whom all the modern problems of society became his personal concern. It is no coincidence that today, one after another - and independently of each other - works appear where the characters, to whom we treat with understanding and sympathy, themselves, without waiting for the decisions of the authorized bodies, as if pass and carry out their own sentence. those who do not live like human beings, contrary to moral standards.
The humanistic pathos of literature develops a democratic understanding of human essence: an approach to a person as a person, a subject of creativity, and not as a product of torment / - 16 - * "
or its means, or, in other words, "a smoldering ember human destinies", a disenfranchised grain of sand, a pale sketch to giant picture being, embracing both cash desks, and classes, and nations, and history itself, but revolution.
The democratization of society in a real execution is not achieved by slogans, it can be carried out only when each component of this society rises to the level of democracy, feels like an individual. Literature is just that wonderful tool that activates the process of personality formation in the best possible way.
The criterion of the most complete, consistent democracy in literature is inseparable from the height of aesthetic demands. The combination of a high and diverse artistic potential of literature with the ability to win over the broadest democratic readership is not the result of just someone's arbitrary desires, external circumstances. It is the result of the creative individuality of the writer and his work, a uniquely individual talent, a creative search for zhapro-style forms that meet social needs.
In this section, the author of the dissertation is interested in the influence of Soviet literature on Vietnamese readers and in the process of interaction between our literatures.
Vietnamese readers greeted with great interest vn.-,. the way in the Vietnamese language of such works of Soviet writers, lei, where a critical orientation and a humanistic pathos are manifested, os. In Vietnam, there are still discussions around such works popular among our readers as V. Ovechkin's "? "Blakha" by Ch. Aitmatov, "Zubr" by D. Granin.
Vietnamese writers are inclined to assimilate the creative experience of Soviet writers in order to answer topical questions in their literature. Many Vietnamese critics believe that Soviet writers are now trying to show depth. well, the thinking of these heroes, the development of self-awareness, and to raise puzzling questions that affect both a single people and all of humanity on our troubled planet.
The conclusion contains the main conclusions of the dissertation:
1. The practice of developing modern Soviet and Vietnamese literature in the 1960s testifies to the growth of humanistic payos in the works of the leading writers of our countries. At the turn of the 1990s, with the growth of philosophical and moral problems, new facets of humanism were highlighted in the works of art by Soviet and Vietnamese writers, characterized by an inextricable, organic connection between man and the fate of all mankind, the entire planet. ,
2. Considering the critical orientation as one of your immanent sides of the content of a literary work, we substantiate that it stems from the passionate aspiration of writers to lofty humanistic ideals. If the critical principle develops independently of humanistic pathos, then this negatively affects the value and significance of a work of art. This way of creativity is, as a rule, unpromising.
5. "The critical beginning of a work is inextricably linked with the category of artistic truth. The focus of Soviet and Vietnamese prose on negative sides public life raises the level of artistic truth. The deepening of the critical orientation of literature is a manifestation of
lazy artistic study of reality in the spirit of realism. Based on the experience of Soviet and Vietnamese prose of the 1910s, we can come to the conclusion that a deep humanistic pathos and a true critical orientation are factors in the organization of artistic truth.
4. One of key parties modern Soviet and Vietnamese literary process consists in successive shifts towards the expansion of the democratic basis and field of activity of literature. Thus, in Soviet and Vietnamese prose of the 1980s, qualitative shifts in the critical orientation and humanistic pathos of literature are closely connected with the democratization of the content and language of works, and the participation of literature in the democratic movement of the whole society.
Soviet and Vietnamese literature, turning to the lessons of reality, in an intense search for the meaning of modern life, in an attempt to understand the causes and consequences of negative phenomena, strive to preserve the "ecology human culture"(D.S. Likhachev).
The main principles of the work are reflected in the following publications (in Vietnamese):
1. Introduction to "literary criticism. Literary work (Textbook). Ho Chi Minh City, Ho Chi Minh University, 1966, 148 p. _
2. "Meeting at the end of the year" - a dialogue of intelligent agents about life // Bannge, IS83, JS 3.
3. Notes on the collection of short stories by Nguyen Minh Thyau "women on a fast train" // Ban Nge, 1984, No. 32.
4. Some problems of literary criticism and literary criticism in Ho Chi Minh //. Tan ti van hawk. 1986, K 2.
5. Roman Nguyen Khai "Human Time". responses and
resonance // Bannge, 1986, No. 16.
6. Literature in a changing city // Van Nge, 1987,
7. Critical orientation of the literature of our days // Balngue, 1988, ^ 24.
