INTRODUCTION

Relevance of the chosen topic: Fiction is one of the important sources for students to get acquainted with the historical past and one of the effective means of their moral and aesthetic education.
Works of fiction are recommended in all school textbooks for each history course, and are used as expressive material in the lessons. The artistic image, as a rule, is distinguished by accuracy and persuasiveness. And this facilitates the perception of the historical past.
The artistic images involved in history lessons reinforce the cognitive orientation of teaching, give the teacher the opportunity to bring to the consciousness of students ideological content topics in an accessible concrete form, contributing to a stronger fixation in the memory of students of the studied historical material. Appeal to the wealth of fiction, of course, helps to improve pedagogical skills.

Purpose of the study: the study of fiction as a means of forming a sustainable interest in the independent assimilation of students' historical knowledge.

Object of study: independent work of schoolchildren in the study of history

Subject of study: fiction, as a means of forming and developing schoolchildren's sustainable interest in the independent assimilation of historical knowledge.

Tasks:
1. Expand the concept of independent work of students in the study of history;
2. To study the role of fiction in the independent study of history
3. Determine the use of fiction in the history lesson

CHAPTERI. THE ROLE OF ART LITERATURE IN INDEPENDENT STUDY OF HISTORY

1.1 Works of fiction as a historical source

With regard to literary works, there is an unspoken and almost generally accepted opinion in the world of science: fiction is not just subjective, but is in the realm of the author's fantasy and cannot adequately reflect historical facts. On this basis, traditional source studies, especially of modern and recent history, did not consider fiction as a historical source for a long time.
Only recently, in connection with new approaches to historical issues, primarily in line with the actively developing direction of "social history", as well as due to the development of interdisciplinary research using the techniques and methods of related humanitarian disciplines, it became necessary to study literary works in a new, unusual way for a historian. , quality. At the same time, a wary and dismissive attitude towards literature as a source for studying the past within the framework of historical science is still preserved - either by tradition or due to the need to use new tools.
E. Senyavskaya proposes to identify the features of fiction: both as a social phenomenon and as a product of a certain era, viewed from the point of view of a professional historian in relation to other categories of sources. Fiction includes works of writing that have social significance, aesthetically expressing public consciousness and, in turn, shaping it. Fiction performs a number of social functions: it stores, accumulates, transmits aesthetic, moral, philosophical, social values ​​from generation to generation, expresses the worldview and aesthetic ideals of certain eras, peoples, local civilizations, social groups.
Therefore, literary works are:
1. An integral part of the culture of their era, and therefore, in themselves should be the object and subject of historical study;
2. A specific form of expression of mass consciousness, which also, of course, requires the attention of professional historians;
3. An effective tool for influencing the public mentality, which again implies the need for historical research.
From such a designation of the place of fiction in public life, it becomes obvious how historical science underestimates it as an independent object and subject of study, losing extremely much in the process.
From a historical and source point of view, a work of fiction has its own specifics:
First, it is characterized by a certain - up to the maximum - degree of subjectivity, the influence of the author's individuality;
Secondly, his hallmark are fiction and fantasy - as a means artistic expression the position of the author;
Thirdly, it is not intended for "internal use" or limited interpersonal communication, but, as a rule, for the widest possible readership.
From this it follows that a literary work as a historical source most often cannot be considered from the point of view of the factual data contained in it, since in this capacity it does not meet the reliability criteria of source study.
It is valuable in a completely different respect: as a source that reflects the mentality of its time, the elusive fabric public consciousness, psychology, interests, moods, etc., that is, the subjective aspects of social reality. It is in this regard that, in the opinion of E. Senyavskaya, there is no insurmountable boundary between many works of fiction and the same memoirs. Like memoirs, novels and stories are interesting - as a historical source - by no means by fixing historical facts (it is better to look for the latter in other, more reliable sources), but by the author's subjective view of the events and phenomena of public life, a contemporary and participant of which he is or was , reflecting his worldview in a generalized symbolic artistic form and without pretensions to factual authenticity.
Since fiction is one of the forms of social consciousness, it is important for the historian not only (and often not so much) its results - specific texts, but their social existence and impact, which in itself requires special historical study and research. To characterize an epoch or its period, it makes sense to pay attention not only to the themes of literary works at a particular time or to the worldview that prevails among their authors - well-known and not very well-known (although these parameters are of serious scientific interest). A correctly defined degree of popularity of specific literary genres and individual works both in society as a whole and in its various strata, which reflects the views and tastes of the “reading public”. Publishing circulations, for example, indirectly reflect reader demand, and hence social interest in a particular kind of literary genres, works, themes, problems, values, stated positions, etc.

Of course, not all genres of literature are equal as historical sources, and not all authors are equally significant for the historian. But after all, the same novels and stories are interesting - as a historical source - by no means fixing historical facts (it is better to look for the latter in other, more reliable sources), but the author's subjective view of the events and phenomena of public life, a contemporary and participant of which he is or was , reflecting his worldview in a generalized symbolic artistic form and without pretensions to factual authenticity.
There are literary works that are valuable in themselves as a source for the study of precisely social phenomena, which, although refracted in the mind of the writer, can be very accurately and concentratedly expressed. artistic means. The subject of reflection in this case is precisely the subjective reality - either the author himself or his social environment, that is, public moods, the psychological atmosphere of the time, etc.
But, not all genres of literature are equal as historical sources and not all authors are equally significant for the historian. But after all, the same can be said about any source, including quite traditional ones. It (a law, a court decision, an official document, etc.) may or may not be adequate for specific research tasks.
It follows from this, says E. Senyavskaya, that historians should not follow the path of denying fiction as a category of historical sources “from the doorway”. She is potentially very wealthy. It is more expedient to classify her works in terms of their possible use in specific types of historical research, defining the goals pursued and the means to achieve them.
The main thing for historians in fiction is the "spirit of the times", the psychological authenticity of the picture, without knowing which the idea of ​​the past will not be "alive" and complete. It is precisely this property of fiction that was paid attention to by those few historians who raised the question of its use as a historical source, as a rule, within the framework of historical and psychological research.
The fundamental principle of historical psychology, put forward by the French historians of the “Annals” school, is the awareness and understanding of the era, based on itself, without estimates and standards of time alien to it in spirit. This principle is close to one of the provisions of early philosophical hermeneutics, in particular, W. Dilthey's "psychological hermeneutics" - the idea of ​​direct penetration into the historical past, the researcher's "getting used to" the era under study, into the inner world of the creator of the source. This method of cognition of spiritual phenomena was called psychological reconstruction, that is, the restoration of certain historical types of behavior, thinking and perception.
In many ways, this scientific method is close to the artistic method characteristic of good writers writing in English. historical themes. It is based on the belief that to understand history, the main thing is to penetrate the subjective world of historical characters. To a large extent, this is determined by creative intuition: the artistic development of the field of historical psychology in general began much earlier than the scientific one.
And yet, no writer (as well as a historian, by the way) is able to completely “recreate all the facets of the past”, even following the hermeneutic principle of getting used to it, if only because the load of knowledge and ideas of that time inevitably weighs on any person, in in which he himself lives and acts. Despite this, "psychological reconstruction" can be quite close to reality if we are talking about the author's own experience, events experienced by him and described some time later. In this case, fiction closely merges with memoirs, which, on the one hand, is a historical source of personal origin, and on the other, an independent literary genre. It is this kind of work that is perhaps the most valuable source for the historian of the whole variety of genres of fiction. At the same time, the writers most sensitive to historical truth, whose work reflects their direct life experience, profess the principle of “looking at the past from the past” .

1.2 The main goals of using fiction in history lessons

The main purpose of using fiction in history lessons is to develop empathy in schoolchildren.
Empathy - understanding the emotional state of another person through empathy, penetration into his subjective world.
Most often, empathy means identifying the personality of one person with the personality of another, when trying to mentally put yourself in the position of another. When the method of empathy is applied, the object is attributed to the feelings, emotions of the person himself: a person identifies goals, functions, opportunities, pluses and minuses with his own. The person, as it were, merges with the object, the behavior is attributed to the object, which is possible in a fantastic version .
The method of empathy is applicable to various types of creative activity (in rationalization, inventive, managerial activities, in the process of artistic creativity). Under the conditions of using the method of empathy, it is necessary, as it were, to merge with the object of study, which requires great imagination and imagination; there is an activation of fantastic images and ideas, which leads to the removal of the barriers of "common sense" and the search for original ideas . The method of empathy, as a rule, is widely used in solving problems of artistic creativity. All writers are characterized by a high development of empathy abilities.
Everything that relates to emotional perception and education occurs only thanks to works of fiction, because under its influence morality is also formed in children.
Works of fiction are recommended in all school textbooks for each course of history, are involved as expressive material on lessons. And fiction always serves as one of the important sources for students to get acquainted with the historical past and one of the effective means of their moral and aesthetic education. Because the liveliness and concreteness of the artistic image enhance the picturesqueness of the narration and thus create more concrete historical ideas for students.
The artistic image, as a rule, is distinguished by accuracy and persuasiveness. And this facilitates the perception of the historical past. The conclusive power of the artistic image instills in schoolchildren a certain attitude towards the historical phenomena being studied, arouses in them sympathy, hatred, admiration, and indignation. Bright, expressive artistic image influences the student's personality comprehensively: his mind, feeling, will, behavior, because ethical norms are revealed on living examples and in specific situations. A school textbook, unfortunately, cannot evoke a storm of feelings in schoolchildren. The artistic images involved in history lessons reinforce ideological orientation teaching, give the teacher the opportunity to bring to the consciousness of students the ideological content of the topic in an accessible concrete form, contributing to a stronger fixation in the memory of students of the studied historical material.
In works of fiction, we find specific material, as a rule, absent in textbooks - the atmosphere and color of the era, well-aimed characteristics and details of everyday life, bright facts and a description of the appearance of the people of the past. For example, in order for students in the ninth grade to more clearly imagine the appearance of Napoleon, you can read an excerpt from “War and Peace” by Leo Tolstoy.
“... next to Kutuzov sat an Austrian general in a strange, among black Russians, white uniform. The carriage stopped at the regiment. Kutuzov and the Austrian general were talking quietly about something, and Kutuzov smiled slightly, while, stepping heavily, he lowered his foot from the footboard, as if there weren’t those two thousand people who, without breathing, looked at him and the regimental commander.
There was a shout of command, again the regiment, ringing, trembled, making guard. In the dead silence, the weak voice of the commander-in-chief was heard. The regiment barked: “We wish you good health, your go-go-go-stvo!”. And again everything froze. At first, Kutuzov stood in one place while the regiment moved; then Kutuzov, next to the white general, on foot, accompanied by his retinue, began to walk through the ranks.
From the way the regimental commander saluted the commander-in-chief, glaring at him, stretching himself out and getting up, how, leaning forward, walked behind the generals through the ranks, barely keeping a trembling movement, how he jumped at every word and movement of the commander-in-chief, it was clear that he was fulfilling his duties as a subordinate with even greater enjoyment than those of a superior. The regiment, thanks to the strictness and diligence of the regimental commander, was in excellent condition compared to others who came at the same time to Braunau. There were only two hundred and seventeen people who were backward and sick. Everything was fine, except for the shoes. Kutuzov walked along the ranks, stopping occasionally and saying a few affectionate words to the officers whom he knew from Turkish war and sometimes soldiers. Glancing at the shoes, he sadly shook his head several times and pointed to it to the Austrian general with such an expression that he did not seem to reproach anyone for this, but he could not help but see how bad it was.
Thus, fiction illustrates the scientific material of history, comments on it with artistic plots, deepens understanding, arouses a keen interest in the phenomena of life, causing emotional experiences.
The updated concept of the history of Ukraine acts as a means of national consolidation. However, during the independent existence of the Ukrainian state, it gradually took root and became part of the official ideological doctrine the concept of the "titular Ukrainian ethnos" as the basis of the Ukrainian political nation. It is obvious that it is this concept that underlies the policy of anticipatory Ukrainian ethnic consolidation, in comparison with the consolidation of the entire Ukrainian nation based on all cultural and linguistic groups of Ukraine. As a result, there are such interpretations of numerous historical facts from the history of Ukraine that prevent the formation in the mass consciousness of respect for the history and culture of neighboring peoples and states. In Ukrainian society itself, tolerance in relations between representatives of ethnic groups falls to a critical level, xenophobia and the degree of disunity between citizens along ethnic and linguistic lines are growing.
Thus, if we have determined the purpose of using literature in history lessons, then we can determine the tasks:
1. Analyze the literature that is studied in literature lessons, and use only those works that are studied according to the school literature curriculum.
Unfortunately, the program of teaching history and literature sometimes does not coincide, and the program of examples is broken.
2. Select methods for using fiction in history lessons
This task is one of the most basic, since its implementation requires a thorough knowledge of both history, literature and psychology, in order not to overload schoolchildren with emotions and be able to bring them out of the emotional state in which they come when used in the classroom. fragments of military themes, as well as difficult dramatic events.
To do this, we must also define the following criteria for the selection of fiction in order to use it in history lessons:
First, it is important what exactly we are going to study.
Secondly, it is necessary to understand whether the source contains the information that is necessary for this (study).
Thirdly, to what extent this information is suitable (in terms of a number of parameters) for this study.

1. 3. Didactic possibilities of fiction in the history lesson

Fiction historical genre: novels, stories and poems reflecting the distant past of mankind is one of the most effective and accessible, using the expression of Academician Yu.A. Polyakov, “channels for the penetration of historical knowledge into the broad masses”.
Unfortunately, most of today's schoolchildren have a rather weak idea of ​​such an important means of knowing the past. Acting as the bearer of aesthetic properties, fiction gives an idea of ​​the political, economic and cultural life of the country, figuratively reveals the stages of the formation of statehood, the role of the people and the individual in the historical process. Distinguished by genre and thematic diversity, sometimes by obvious tendentiousness, this literature reflects the life of peoples both in critical and relatively stable historical periods.
Thanks to historical and fiction literature, people of all ages get an idea of ​​a particular era, about various classes and estates, about the relationship between power and society in different historical conditions. Often this applies to those phenomena and personalities about which, for ideological reasons, it was not customary to write anything for a long time, and if they gave information in history textbooks of previous years, monographs and popular works, then one-sidedly.
Reading works of art, we have a unique opportunity (given the significant research work carried out by writers) to learn about the motives for the actions of prominent politicians and mere mortals, whose names are preserved in historical sources, about the reasons that determined the outcome of an event, about the history of the creation of cultural monuments or making a scientific discovery.
Historical fiction brings back from oblivion the portraits and fates of once famous people. At the same time, it offers the reader vivid examples of successful activities in specific areas: military affairs, philanthropy, entrepreneurship, art, science, politics, etc. Acquaintance with such works helps the reader, especially the young one, to form in himself such qualities as patriotism, enterprise, courage, fearlessness, nobility, mercy.
Famous writers, historians and literary critics have repeatedly spoken about the great significance and great educational opportunities of historical literature.
The concreteness and liveliness of the artistic image make it an excellent means of enhancing the picturesqueness of the teacher's narration about the events and figures of the new time, thereby contributing to the creation of the most concrete historical ideas in students.
A true artistic image, distinguished by accuracy and persuasiveness, facilitates the perception of the historical past. This accuracy and persuasiveness of the artistic image determines its demonstrative power, which instills in schoolchildren a certain attitude towards the historical phenomena being studied, causing them sympathy, admiration, indignation, indignation, hatred. A bright and expressive artistic image affects the student's personality comprehensively: his mind, feeling, will, behavior, for ethical norms and social ideas are expressed in works of art not in abstract formulations, but in specific situations, revealed on living examples.
The artistic images involved in the lessons of history strengthen the cognitive orientation of teaching, give the teacher the opportunity to bring to the minds of students the ideological content of the topic in an accessible concrete form, contributing to a stronger fixation in the memory of students of the studied historical material.
Appeal to the wealth of fiction, of course, helps to improve pedagogical skills. In works of fiction, the teacher finds inexhaustible specific material, as a rule, absent in textbooks - vivid facts that reveal the inner side of events, the inner life and appearance of people of the past, the atmosphere and color of the era, apt characteristics and details of life.
The literature involved in the teaching of history can be divided into two groups: literary monuments of the era under study and historical fiction. Literary monuments include works created in the period under study, written by contemporaries of the events studied in the course of history.
The works of this group are original documents of the epoch, and often serve for historical science as one of the sources of knowledge about the past.
Of course, the literary monuments of the era contain her image through the prism of the author's views, as a representative of a certain class of her time, as a supporter of specific philosophical, literary, social positions. Therefore, in a number of cases, a critical approach of students to these literary works, some instructions and reservations from the teacher are necessary. Thus, the literary monuments of the era can in some cases be used to familiarize not only with historical events, but also to study the ideology and views of people of their time.
A history teacher can also actively involve works of art about the era under study, created by writers of later times, historical fiction, historical novel, story or poem on a historical theme. They are created on the basis of the study of memoirs, documents and other historical sources and scientific research of the past. These are more or less successful attempts to reconstruct the past in the form of a literary work of the historical genre.
They cannot serve as documentary sources for historical science, but serve as a popular, accessible and exciting means of familiarizing students with the results of studying the past in specific images, expressive characters, in a drama deployed in dynamic action. It is not for nothing that many schoolchildren are awakened to history and serious work on scientific research about the past as a result of reading historical novels.
The differences between the artistic and literary monuments of the era and historical fiction indicated here are in some cases conditional and relative.
The division of fiction about the past into two types is important not only for historical science, but also for the practice of teaching history at school. The goals pursued by a history teacher are different, introducing an excerpt from a work of one or another type of fiction into the lesson, the principles of selection applied to works of art of these two categories, the tasks that we set for students when analyzing these passages, and methodological techniques are also different. their use.
Students receive basic knowledge of history through the teacher's story. The threads of the story are laid in the minds of children with connections with the past of the people and the country. The word of the teacher, extremely accurate, full of impetuous thoughts and genuine feelings, largely determines the success of education. However, the teacher does not always find the right range of bright visual means for a specific and figurative transfer of knowledge. The works of writers and poets should come to his aid, and hence to the students.

CHAPTER IIWORK WITH ART LITERATURE IN HISTORY LESSONS

2. 1. Study and analysis of a parallel course of literature at school

In order to correctly compare fiction with historical events that the teacher talks about in history lessons, it is necessary to study and analyze a literature course parallel to history.
To do this, we take a course of school literature and analyze it to find the best option and an example of the use of certain works of art in history lessons.
For study and analysis, we take a program on foreign literature 5-11 grades.
The program complies with the "Mandatory minimum content of the main educational programs”, includes a basic component of literary education, ensures the implementation of state standards.
The main distinguishing feature of the program is that the study of literature as an aesthetic and national-historical phenomenon is seen not so much as the goal of teaching, but as a means of harmonious development of the individual.
Hence, the goal of literary education in primary, secondary and high school is defined as the education of a competent reader, a person who has a strong habit of reading and a need for it as a means of knowing the world and himself, a person with a high level of language culture, a culture of feelings and thinking.
The competence of the reader assumes:
- the ability to fully perceive literary works in the context of the spiritual values ​​of the national and world artistic culture;
- readiness for independent communication with a work of art, for a dialogue with the author through the text;
- mastering the system of knowledge, skills and abilities in the subject; development of speech, intellectual and creative abilities;
- mastering through the subject of literature ideas about the world that contribute to successful social adaptation students.
In accordance with the goal set, literary education is understood as the development of literature in the process of creative reading activity.
The purpose of literary education determines its tasks:
1. Maintain the interest in reading that has developed in primary school, to form the spiritual and intellectual need to read.
2. To ensure the general and literary development of the student, a deep understanding of works of art of various levels of complexity.
3. Preserve and enrich the experience of a variety of reader experiences, develop the emotional culture of the student reader.
4. Provide comprehension of literature as a verbal art form, teach to acquire and systematize knowledge about literature, writers, and their works.
5. Ensure the development of basic aesthetic and literary-theoretical concepts as conditions for a full-fledged perception, interpretation artistic text.
6. To develop the aesthetic taste of students as the basis of independent reading activity, as a guideline for moral choice.
7. Develop functional literacy (the ability of students to freely use reading and writing skills to obtain textual information, the ability to use various types reading).
8. Develop a sense of language, skills of coherent speech, speech culture.
The program is designed in accordance with the structure of the secondary school: grades 1–4, grades 5–9, grades 10–11. The content of the program at the basic and senior levels of education is determined by the range of interests of students, the general aesthetic value of a work of art, educational standards on literature. The orientation of the sections of the program for grades 5–8, first of all, to the age-related reading interests and abilities of students explains its significant update compared to the current programs.
The selection of texts for reading and comprehension is based on the following general criteria:
– compliance with high spiritual and aesthetic standards liberal education;
- the emotional value of the work;
- reliance on the reading experience of students, on the achievements of the previous stage of literary development.
Also, when selecting texts, one of the following criteria was taken into account:
– national pedagogical tradition of referring to this work;
- the ability of the work to appeal to the life experience of students;
- psychological and intellectual capabilities, interests and problems of students of a certain age group.
The following stages of literary education of schoolchildren are distinguished:
5th-6th grades - a gradual transition from literary reading to the comprehension of literature as an art form, which ensures the continuity of the system of literary education in primary and high school. Students read adventure, fantasy, detective, mystical, historical literature, works about their peers, animals, nature, get an idea of literary genres and genres. Main learning goals:
1. Formation of a personal attitude to what is read;
2. Understanding literature as a verbal form of art based on works that take into account the interests of students of this age group.
7th-8th grades - the period of development of the reading culture of students: their life and artistic experience expands and deepens; familiarity with diversity life content literature and biographies of writers contributes to the comprehension of the content of literature and the forms of its display, affects the development of the individual, contributes to the emotional perception of a work of art, which is studied as a verbal art form. The circle of reading is changing: in the center of the program are works of moral and ethical themes that raise issues relevant to the teenager. Information on the theory of literature is being studied, explaining to students how a person can be depicted in fiction. Main learning goals:
1. Development of the ability to interpret a literary text based on the personal perception of the work;
2. Understanding the specifics of a work of literature as a verbal art form.
9th grade - completion of literary education according to the concentric system; history essays native literature, the study of creative biographies of individual writers. Elective courses (special courses, courses of students' choice) are provided, which makes it possible to put into practice the idea of ​​pre-profile education. Main learning goals:
1. Formation of the emotional and value experience of mastering fiction;
2. Awareness of the aesthetic value of a literary text and its place in the history of Russian literature.
Grades 10–11 – multi-level specialized study of literature in the historical and literary (general education course in accordance with the “Mandatory minimum content of basic educational programs”, profile course) and functional aspects (elective courses). Main learning goals:
1. Realization artistic world writer, moral and aesthetic value of his works;
2. The inclusion of a literary text in the historical and literary process.
Of course, not all books that are studied in literature classes can be used as a historical source, but most books from the school literature course can satisfy the emotional nourishment and develop empathy in children without resorting to extracurricular reading books.
However, the choice of works of art must be approached with great care.

2. 2. Selection of works of fiction and historical literature for history lessons

There are two things to keep in mind when selecting works of fiction for history lessons. First, the cognitive and educational value of the material (i.e., a true presentation of historical phenomena). SP. Borodin stressed that fiction "should be within the limits of historical and everyday authenticity." Secondly, its high artistic value.
Excerpts from works of fiction used in history lessons should contain:
1. A live image of historical events, the study of which is provided for by the school curriculum;
2. Images of historical figures and the image of the masses;
3. picture description setting in which past events unfold.
That is, fiction helps to better assimilate historical events. But not every work of fiction can be used in a history lesson. Careful selection is needed.
The literature used in the teaching of history can be divided into two groups: literary monuments of the era under study and historical fiction.
What do we consider literary monuments? Of course, these are works created in the era that we are studying, i.e. works written by contemporaries of the described phenomena and events. The works of this group are original documents of the era and serve for historical science as one of the sources of knowledge about the past. Of course, one must take into account that the literary monuments of the era depict the life of their time through the prism of the author's views. Therefore, a critical approach to a work of art is necessary. Vivid examples such works are "The Tale of Igor's Campaign", written in 1185 in Kyiv on the occasion of the attack of the Polovtsian Khan Konchak. Or "The Legend of the Battle of Mamaev", dedicated to the Battle of Kulikovo.
Another group consists of works of historical fiction (historical novel, short story, etc.). These works are not literary monuments era, nor the living testimony of her contemporaries, therefore, cannot serve as a historical source. But they can be an excellent means of introducing students to the results of studying the past, moreover, in fascinating plots, specific images and expressive characters, i.e. the most accessible and interesting. These works give us the means to concretize and illustrate the educational material presented, help the picturesqueness of the presentation itself.
Students need to be able to distinguish between these groups of works.
The main rule for choosing works of art for the purpose of using them in history lessons is the principle of historicism. The book must be strictly observed historical features and the mentality of the time that the book describes, so it is always better to take contemporaries of the corresponding era that is being studied in this history lesson.
In the middle of the XIX century. a huge revolution in historical source studies is taking place. Until that time, there was a consumer attitude towards historical sources. Information was simply extracted from various kinds of documents to build a more or less coherent story about events. The sources were not compared, their contradictions were not analyzed. Source study as a science, in essence, did not exist. But it so happened that historians in the middle of the XIX century. encountered different interpretations of events in different documents. This is what turned the whole system upside down. realistic novel. For example, each novel by Dostoevsky is a kind of source study in which not a single voice is deprived of the right to its own point of view, and this point of view, in turn, becomes the most important evidence. The revolution in source studies took place simultaneously with the revolution in the practice of the Russian court, where essential role the testimony of witnesses (and lawyers know how contradictory these testimonies can be) and the opinions of the jury began to play. And Dostoevsky's novels are grandiose judicial inquiries. All Dostoevsky's novels are, first of all, the search for truth, conducted by methods discovered in historical source studies and established in the practice of the reformed court.
Also, the main problem is the author's personal opinion about certain events, that is, writer's subjectivity.
History is not only the mother of truth, but the starting point for artistic appreciation of a work of art. The history of the text reveals the artistic intent of the work. The historical context allows you to discover the artistic merits of the work. History is the mother of value judgments, the mother of understanding, the mother of the aesthetic perception of works. And if, nevertheless, despite all the historicism of our social sciences- historicism is fundamental and essential - sometimes subjectivism begins to overwhelm us, this is because we do not pay enough attention to the history of the text of works and the history of culture (which we do not have as a separate discipline). When interpreting works of art, we forget about the cultural environment and the personal opinion of the writer. The problem is that every writer in his book tries to describe the events from the point of view that he sees personally, and this is already a biased source. But, one way or another, even such works are valuable sources in the case of describing historical objects, portraits and everyday life of their era, that is, in cases where they do not have the opportunity to express their opinion, but are simply observers who impartially give only a description. Therefore, you need to choose exactly those passages that the author himself gave as a description.
Sometimes, for best effect, the teacher should read two or more different opinions about the same event to let the students know that literature is primarily subjective points of view, and not a turn of events proven by history. For example, when going through the topic “The Beginning of the First World War” in the tenth grade, the teacher can read out an excerpt from the work of Evgeny Avdienko “The Last Soldiers of the Empire”: “Russia entered the First World War with excellent regiments, mediocre divisions and weak armies. The defeat in the Russo-Japanese War taught little to the people who were responsible for the combat effectiveness of the army. Slave psychology continued to dominate the minds of most senior officers. Obligingly submissive obedience to a higher commander and a contemptuous and arrogant attitude towards the lower ranks had a corrupting effect not only on the officer corps, but also on the main force of the Russian Empire - a simple soldier.
In any army in the world, the order of the High Command in combat conditions always stands above all social norms and laws combined. When blood is shed around, both one's own and someone else's, when the price of human life is measured in kilometers traveled or settlements taken from the enemy, the shortcomings of leaders of all scales are especially sharply exposed. And if in a peaceful environment the stupidity or incompetence of a commander can turn into hard and useless work and lead to unjustified deprivation or injury to soldiers, then in war this often entails irreparable losses. Although ... Many generals are used to believing that in Russia a peasant will never be transferred: “And if there are fewer troshki, then women will still give birth.”
Here you can also read an excerpt from the work of Erich-Maria Remarque “All Quiet on the Western Front”: “One morning I made his bed fourteen times. Each time he found fault with something and threw the bed on the floor. After twenty hours of work, intermittently, of course, I polished a pair of antediluvian, stone-hard boots to such a mirror shine that even Himmelstoss had nothing more to complain about. On his orders, I scrubbed the floor of our barracks clean with a toothbrush. Armed with a broom and a shovel, Kropp and I began to fulfill his task - to clear the barracks yard of snow, and probably would have frozen, but would not back down if one lieutenant had not accidentally looked into the yard, who sent us to the barracks and gave Himmelstos a great scolding. Alas, after that, Himmelstoss only hated us even more fiercely. For four weeks in a row I carried out guard duty on Sundays and, moreover, I was on duty all this month; he drove me with full gear and with a rifle in his hand through the muddy, wet wasteland under the command “lie down! ” and “run march! until I looked like a ball of dirt and collapsed from exhaustion; four hours later I presented Himmelstos with my immaculately cleaned uniform, though after I had wiped my hands bloody. Kropp, Westhus, and Tjaden and I practiced the “at attention” in the bitter cold without gloves, clutching the icy barrel of a rifle with our bare fingers, while Himmelstoss waited around, waiting for us to move even a little to accuse us of not following the command. I had to run eight times from the top floor of the barracks to the courtyard, at two o'clock at night, because my underpants hung a few centimeters from the edge of the bench on which we folded our clothes at night.
These passages clearly reflect the mentality and rules of the armies of the Russian Empire and Kaiser's Germany. In order for students not to create an image of German and Russian soldiers as cruel killers, but as people who had no choice, these passages should be read in order to arouse in students empathy for both peoples, which, unfortunately, cannot be done the dry text of a school history textbook: without feeling the tragedy of the human person, students will consider the Germans to be the culprits of all evils.
Widely involving fiction in history lessons, it would, however, be a mistake to overload the presentation literary images, links, quotes. The use of fiction in the history lesson is not an end in itself, the artistic image is not introduced to decorate the lesson in the entertainment of students, but only to the extent that it helps to cognize the historical past, that is, to solve the educational and educational tasks of the lesson.
The use of fiction in the process of teaching history at school not only contributes to the solution educational goals, but also helps to understand the essence of the era under study, to feel its color, the specifics of historical phenomena, and expands the horizons of students. It also solves educational problems: pictures of the past evoke certain emotions, make you feel sympathy, admire, hate, life ideals of students are formed. Images of fiction contribute to a stronger fixation of historical material in the memory of students.
Fiction is the most important means of cognition of socio-historical phenomena, and also contributes to the development of figurative thinking in students, the ability to analyze the information received, to compare, highlight the main thing.

2. 3. Independent work students with artistic historical literature

Works of fiction on socio-historical topics based on the material of national history are, as a rule, recommended in school textbooks for each topic of the course of national history in grades 5-11 and are promoted by the teacher for independent reading by students at home, are used as expressive material in extracurricular activities, are used in the classroom, included in bright passages in the teacher's story, serve as the subject of a short discussion. In all cases, fiction is for students one of the important sources of acquaintance with the historical past of the peoples of Russia, from antiquity to the end of the 20th century, as well as one of the effective means of enriching their ideas, their moral and aesthetic education.
Passion for reading fiction encourages interest in independent study of history.
Independent reading of fiction presupposes the presence of a certain level of development of the reading culture of students.
The development of the reading culture of the individual within the framework of the main and extracurricular lessons is an important task that is solved during the analysis of works of art. And acting school programs, and textbooks on literature for primary school students should provide for the development of the reading culture of schoolchildren, the reader's experience, and the comparison of self-read works of art with the literary material being studied.
In the scientific literature there is no clear definition of the concept of “reader culture”. Summarizing the theoretical research in this area, we can define the concept of "reader culture".
Reading culture is understood as a certain level of formed a number of reading skills and abilities: the need for reading and a steady interest in it; reader erudition; reading skills, expressive reading skills; the ability to perceive various literary works, elementary bibliographic knowledge (the ability to use the catalog, understand the annotations); the required level of theoretical and literary knowledge; Creative skills; assessment and interpretation skills; speech skills.
Using fiction in history lessons and in extracurricular activities, it is important for a history teacher to interest and draw the attention of students to the study of history.

2. 4. Fiction is one of the ways of moral and intellectual development of students

The perception of a literary work by a student-reader is a complex creative process mediated by all the life, aesthetic, reading and emotional experience of the student.
It is necessary to take into account the peculiarities of the reader's perception of various types of literature, which will help to more clearly reveal the nature of the initial perception and its subsequent deepening. The main feature of the perception of lyrics is the power of direct emotional impression. Students in grades 5-7 are more susceptible to lyric poetry than students of grades 8-9, when many teenagers have a temporary “deafness” to lyric poetry. In grades 10-11, interest in lyrics returns, but in a new, higher quality. The greatest difficulty is the perception of not only the specific, but also the generalized meaning of poetic images, as well as the emotional and semantic role of poetic form.
The difficulty of perceiving the drama is associated with the absence of the author's speech, the special meaning of the speech of the characters, the concentration of thoughts and feelings, the correlation of the drama with the need for stage embodiment and the illusion of real life, the true meaning of which often eludes students. In working with students, such methods of work as expressive and commented reading, reading by roles, acquaintance with stage history performance, a conversation about the performance seen; more often than in the study of other types of literature, technical teaching aids are used. Expressive reading, oral verbal drawing help to increase empathy and emotional perception of the play.
Works of epic genres - and they are given the most space in the program - also present a certain difficulty for students in both middle and high school. Middle school students mainly perceive the plot and images; high school students perceive, in addition, the composition, ideological content, as well as individual features of the author's stylistic manner. Numerous observations show that even students of grades 10-11, when analyzing epic works on their own, do not capture their main features: the special significance of the author's worldview, “interlinking” separate parts and images of the work and the specifics of the artistic word in the epic (its concreteness, figurativeness and correlation with the "voice" of the author).
The epic way of artistic reproduction of reality is based on the image of the external world in relation to the writer. It is important to achieve students' comprehension of the unity of all components of works of small, medium and large epic form. The genre of a work acts as one of the most important means of revealing its content.
The students' comprehension of love for man and nature should help to form the activity qualities of the individual, the desire to bring beauty into the attitude towards comrades, into the style of behavior, into relationships with family members, into the perception of nature, cultural monuments, and everyday life. It is not only a matter of saturating schoolchildren with the most highly significant artistic and aesthetic information. Formation spiritual world personality involves the expansion of various fields of activity, including artistic and aesthetic. It is in independent activity that the reader's perception of schoolchildren is most revealed. Numerous studies have shown how receptive schoolchildren are to beauty, what rich opportunities for spiritual growth and aesthetic development have not yet been used in many ways.
The formation of a full-fledged personality of a teenager is unthinkable without the influence of fiction. Instilling a love of reading is especially important in adolescence when there is new level the development of self-awareness, the brightness of feelings, the constant desire for new experiences, for communication and self-expression. Fiction is incompatible with indifference, idleness, dullness and boredom, which are so dangerous at this age. At the same time, the characteristics of a teenager leave their mark on his artistic activity: here his inability to simply contemplate, his desire to act actively also matter.
Satisfaction and development artistic interests creates favorable conditions for the formation of the personality of a teenager, makes his leisure time, his favorite activities meaningful. The formation of artistic interests depends on the individuality of the child, his abilities, the living conditions of the family.
The perception of fiction as the appropriation of artistic values ​​is impossible without the ability to look and see, listen and hear. This is a complex process, which has its own specifics, its own subtleties. Perceiving a literary work, a teenager can limit himself only to attention to the development of the plot, the dynamics of the action. And deep moral ideas, the relationship of the characters, their experiences will remain beyond his perception. Such a limited, inferior perception is often determined by the influence of comrades, their reaction. A teenager is preoccupied with the opinion of his peers about himself, he is emotionally tense and afraid to show his feelings of emotion, excitement, empathy, because it seems to him that they will laugh at him, suspect him of “childishness”, etc. This dependence on peers is especially pronounced in adolescent boys.
However, the teenager strives for active action; he is no longer satisfied with activities of a contemplative nature. He wants to act on his own, especially since it is important for him to find means of affirmation in a peer group.
In order for a work of fiction to fulfill its educational role, it must be appropriately perceived. From this follows an important psychological task- understand how children perceive works of art different ages what is the specificity of this perception

CONCLUSIONS

The use of fiction in teaching history is one of the effective means of moral and aesthetic education of schoolchildren.
Since fiction is one of the forms of social consciousness, it is important for the historian not only (and often not so much) its results - specific texts, but their social existence and impact, which in itself requires special historical study and research.
The main goal of using fiction in history lessons is to educate and develop empathy in students, that is, the ability to empathize with other people and put yourself in their place. Another important goal is to develop critical thinking in students.
In order to use works of art in history lessons, it should be carefully selected. The main thing for historians in fiction is the "spirit of the times", the psychological authenticity of the picture, without knowing which the idea of ​​the past will not be "alive" and complete. It is precisely this property of fiction that was paid attention to by those few historians who raised the question of its use as a historical source, as a rule, within the framework of historical and psychological research.
For a history teacher, it is important that students' reading of both historical fiction and fiction, of any considered period of time, contributes to the development of their cognitive abilities.
Using fiction in history lessons and in extracurricular activities, it is important for a history teacher to interest and draw the attention of students to the study of history.
Fiction is one of the ways of moral and intellectual development of students.

LIST OF USED SOURCES

1. Aleksashkina L. N. Independent work of schoolchildren in the study of modern history / L. N. Aleksashkina - M .: Education, 1988. - 128 p.
2. Vagin A. A. Fiction in teaching new history. (1640-1917): Reader. A guide for teachers / A. A. Vagin - M .: Education, 1978. - 272 p.
3. Gora P. V. On the development of the problem of the development of cognitive activity and independence of students // Teaching history at school / P. V. Gora - M .: Education, 1974. - 339 p.
4. Gornostaeva Z. Ya., Orlova L. V. The problem of independent cognitive activity // Open, school / Z. Ya. Gornostaeva, L. V. Orlova - M .: Education, - 1998. - 334 p.
5. Egrashkina M. V. Studying the topic “Literature and Art of the Beginning of the 20th Century” in History Lessons // Teaching History and Social Studies at School / M. V. Egrashkina - M .: Education, 2005. - 445 p.
6. Zharova L. V. To teach independence: Book. For the teacher / L. V. Zharova - M .: Education, 1993. - 205 p.
7. Zvereva M. I. Formation of the information and worldview culture of students // Pedagogy / M. I. Zvereva - M .: Education, 2005. - 450 p.
8. Kirshner L. A. Formation of cognitive abilities of students in the process of studying history: From work experience: A guide for teachers / L. A. Kirshner - M .: Education, 1982. - 111 p.
9. Ozersky I. Z. Guide to extracurricular reading in history: Pos. for teachers / I. Z. Ozersky - M .: Nauka, 1979. - 80 p.
10. Pidkasisty P. I. Independent activity of students: Didactic analysis of the process and structure of reproduction and creativity / P. I. Pidkasisty - M .: Pedagogy, 1972. - 184 p.
11. Pidkasisty P.I. Independent cognitive activity of schoolchildren in teaching: Theoretical and experimental research / P.I. Pidkasisty - M.: Pedagogy, 1980. - 240 p.
12. Predtechenskaya L. M. The study of artistic culture in the courses of modern and recent history / L. M. Predtechenskaya - M .: Education, 1978. - 167 p.
13. Programs of educational institutions: History of the "Academic school textbook" Grades 5-11: Educational edition. – M.: Enlightenment, 2008. – 159 p.
14. Senyavskaya E. M. Fiction as a historical source // History supplement to the “First of September” / E. M. Senyavskaya - M .: 2001. - No. 44. - 6-13 s.
15. Stepanishchev A. G. Methods of teaching and studying history / A. G. Stepanishchev - M .: Humanit. publisher center VLADOS, 2002. - 104-124 p.

Literary sources are works that, based on the plot, tell about historical events and personalities. Features of the study literary sources:

2. Availability at the source fiction- invented events and characters.

When working with these sources, it is necessary to separate truth from fiction, artistic descriptions from objects of reality. It should also be taken into account that certain genres (primarily hagiography) are built according to strict canons, a departure from which is not possible, as a result of which various invented events appear. Literary works do not so much record facts as reflect the author's thoughts, feelings, author's thoughts about events and phenomena. These sources are very valuable for studying the history of culture and ideology.

52. The main features of literary works of the XI - XIII centuries. "The Tale of Igor's Campaign" as a source on the history of Belarus.

The works of this period have two main points:

1. religious literature prevails

2. journalistic nature of secular literature

In the XI-XIII centuries. on the lands of Rus', works of Christian content prevailed, the authors of which were Russian bishops and monks. The main genres and traditions of religious literature were adopted from Byzantium at the end of the 10th and beginning of the 11th centuries. in connection with the adoption of Christianity. Already in 1055 the first original work Russian metropolitan in 1051-1055 Illarion's "Sermon on Law and Grace", in which Prince Yaroslav the Wise was glorified. At the end of the 11th century, the monk Nestor created the first lives in Rus' - The Life of Theodosius of the Caves and The Life of Boris and Gleb.

A good example of literature that is difficult to separate from journalism is the work of Kirill Turovsky. More than 40 works came to us from him: legends, teachings on the theme of the Gospel, the writings of the prophets, prayers and a canon about repentance, stories. Behind the religious form of his works are real facts life of contemporary society writer, tough struggle of social and cultural trends. Therefore, the literary and journalistic heritage of K. Turovsky is an important source not only for studying the writer's activity, but also for the spiritual atmosphere of that era.

One “Epistle to Presbyter Thomas” has been preserved, written by Kliment Smolyatich, who in the 12th century “was a scribe and philosopher, which was not yet in Rus'.”

An interesting source of educational content (but, of course, of a secular nature) is the Teaching of Vladimir Monomakh, written in 1117, but erroneously included in the Laurentian list of PVL under 1097. The author gives instructions to the younger generation, shares the experience of his eventful life. Grand Duke, sharing his memories, talks about his relationship with the Polotsk princes and about campaigns in the Belarusian lands.

One of the first secular literary sources in the lands of Rus' was the Tale of Igor's Campaign, written in 1185–1187. Chernigov boyar Peter Borislavich (attribution to B. Rybakov). The source is dated by the mention of the living Galician prince Yaroslav Osmomysl, who died in 1187. The “Word” tells about the campaign of Prince Igor Svyatoslavovich of Novgorod-Seversk in April-May 1185 against the Polovtsians. The trip was dated according to solar eclipse, which found Igor's troops in the bend of the Don on May 1, 1185.

The Tale of Igor's Campaign mentions the activities of Prince Vseslav Bryachislavovich of Polotsk (1044–1101). He, being in Kyiv (in a cut in 1068, and then a prince in 1069), heard the bells of the Polotsk Sofia, which indirectly indicates the construction of this temple in the 50-60s. 11th century Vseslav, having turned into a wolf, ran the distance from Kyiv to Tmutarakan (Tamatarkhi on the shore of the Kerch Strait) overnight ("to chickens"), crossing the path of the Iranian solar deity Khors. This campaign of the prince against Tmutarakan is not reflected in the chronicles. The "Word" emphasizes the prince's magical abilities and the speed of his movements. The “Word” vividly describes the battle on the Nyamiga River on March 3, 1067, which is compared with a bloody harvest and threshing with “haraluzhny caps” (steel).

Mentioned in the "Word" is the struggle of Prince Izyaslav Vasilkovich against the "filthy" (pagans) Lithuanians, who were located in the swamps along the (Western) Dvina.

The list of "Words" was found by Musin-Pushkin in the monastery of Yaroslavl. Then a copy was made from this list for Catherine II. In 1800, The Word was published with a parallel text in Old Russian and Russian. The copy of the Lay, which was in the Musin-Pushkin library, perished during the fire of Moscow in 1812.

Hagiographic literature as a source on the history of Belarus.

The first "pasions" (passions) and martyrias (evidence), which narrated the martyrdom of the first Christians, arose at the beginning of the 3rd century (the pasion of Perepetui and Felicity during the period of anti-Christian persecution by Septimius Severus 203-210).2 The first East Slavic hagiographic work was the description in the "Tale of Bygone Years" is the sacrifice by the pagans on July 12, 983 of the Varangian father and son in Kiev (in the later tradition they were called Theodoromi John).

The peculiarity of the lives is that the author strictly followed the canon (as when painting an icon), used whole expressions and plots from other lives. For example, in the life of Euphrosyne of Polotsk there are many similarities with the life of Euphrosyne of Alexandria. Ephraim, the author of the life of Avramius of Smolensk, deliberately adopted the style of writing of Ephraim the Syrian, the creator of the life of John Chrysostom. There is usually no dating in the lives, and all events are usually indicated by the year of the saint's life.

Lives according to literary task biographical facts are only forms for defining the ideal image of a saint. Indeed, the pathos of the whole life and work of the ascetic is based on the adoption of the ideal image of the behavior of the ancient saint, martyr, apostle, in the end - Christ. From the biography, only those facts that correspond to the task are taken. Selected features of the "ideal saint" suppress the individual personality. The hagiographer sets the task of finding a reflection of the ideal in the character, and not describing it as a real historical character. Klyuchevsky said that the difference between life and biography is the same as between an icon and a portrait.

The life of Euphrosyne of Polotsk (1130 - 1173 according to V. Orlov or 1105 - 1167 according to A. Melnikov) was written at the end of the 12th century. and survived in later revisions of the 16th-18th centuries. More than 100 lists of lives can be divided into 6 editions: Collections, Book of Degrees, Makariev Great Chet'ev Miney, two Prologues and the edition of Dmitry Rostovsky's "Book of Lives of the Saints". The author of the life was a man close to the servant Michael, with whom Euphrosyne made a pilgrimage to the Holy Land. This pilgrimage is described in detail in the life.

At the end of the XII-XIII century, a prologue life-memory of Cyril of Turov was created. Archimandrite Leonid attributed the time of writing the life to the time of the life of Bishop Simeon of Tver (died in 1289). It has been preserved in lists since the 16th century, although N. Nikolsky published in 1907 a list of the 14th-15th centuries.

Behind period XII-XIII centuries still preserved such ageographic works as:

1. A word about the Turov monk Martin, who lived in the first half of the 12th century. The word has been preserved in the Prologues since the 15th century.

2. Life of Avramius of Smolensk (died no later than 1219), created by his follower Ephraim after the invasion of the Mongols in 1237;

3. The life of Mercury, the martyr of Smolensk, was written after the invasion of the Mongols in 1237. It is preserved in 80 lists of the 16th-18th centuries. Many researchers consider him not a real figure, but a product folk art written off from the Great Martyr Mercury of Caesarea.

A.Yu. Kovaleva

Kazan National Research Technical University A.N. Tupolev - KAI, Kazan

Source: collection " Problems studying the history of the 20th century in higher education<…>» (Kazan, 2011). original in doc format

It is customary to call a historical source everything that can give any information about the past. Many historians and source specialists in the course of their research formed definitions of the term "historical source". Among domestic experts, one of the successful definitions of the concept of "historical source" belongs to Leonard Derbov:

“... Under the historical source in modern science is understood all the remnants of the past, in which historical evidence reflecting the real phenomena of social life and the patterns of development of human society. In fact, these are the most diverse products and traces of human activities: objects material culture, monuments of writing, ideology, customs, customs, language, etc.”

Any source is a product of people's social activity. Any source is subjective, because. reflects the past in the form of personal, subjective images. But at the same time, it is a form of reflection of the objective world, eras, countries and peoples in their real historical existence. In this sense, historical sources can be considered as the basis for the knowledge of historical reality, which makes it possible to reconstruct events and phenomena. social life of the past.

When extracting information from a source, you need to remember about its specificity - subjectivity. Here there is a need for its scientific criticism, analysis, extraction of true and definition of false information. In order to extract the necessary information from a source that subjectively reflects the objective world, a number of conditions and rules must be observed. First of all, you need to determine the authenticity of the sources. Undoubtedly, this requires extremely high qualifications. It is necessary to know a lot: the nature of writing, writing material, the features of the language, its vocabulary and grammatical forms, the specifics of dating events and the use of metric units, if we talk about written sources. But even proof of the authenticity of the source does not mean that you can safely use the information contained in it. The authenticity of a source does not guarantee its validity.

However, the reliability of information, although it is an important component of the specifics of a historical source, does not exhaust it. This also includes the fact that individual evidence, which is of great importance for science, has not been preserved at all. Some of them were contained in sources that, for various reasons, have not come down to us. But the problem is not only that a significant number of important materials have been irretrievably lost. The thinking of people of past eras differed significantly from the worldview and worldview of modern man. What seems to us to be accidental, without serious consequences, attracted their attention. Many aspects of public life, which seem extremely important to us, have not been adequately reflected in the sources.

In this work, fiction is considered as a historical source. However, works of art studied in such a context have their own specifics. A fair question is whether the use of fiction has the right to be scientific in historical research? The question is rather not idle and has full right be given, because in modern history the scope of scientific problems has expanded, especially those that affect the socio-cultural aspects of the development of society, individual strata and groups of the country's population, and even an individual. Many researchers are convinced that a somewhat straightforward approach to fiction far from exhausts the possibilities of using it as a source of historical knowledge. The originality of literature lies in the recognition of its ability to reflect the intangible, sometimes subtle, but no less effective factors of the historical process. It is this feature of fiction that many scientists see as a priority when referring to it as a source of understanding of the past; it is especially important when clarifying the inner truth of eras that are distinguished, for example, by special tragedy. The interweaving of literary and source methods in the analysis of works allows us to show their deep, moral meaning. The reliability of the details of everyday life, clothing, manners, speech allows the researcher to draw clear conclusions about the era, which only emphasizes the importance of fiction in historical research. Thus, by analyzing a certain historical era and studying the fiction of this era, one can see much more interesting facts and details.

The policy of "war communism", world and civil war led the country to an acute political and economic crisis. During this period, the country had a mixed economy. The leading position in it was occupied by the public sector, because. in the hands of the state were the so-called. commanding heights: political power, financial system, natural resources, heavy industry, transportation, foreign trade monopoly. The period of time considered by the author is transition period from the policy of war communism to the NEP period a. The country is dominated by terror, dictatorship, the Government resorted to mass and individual terror against the population, looking for communists and representatives of the Soviets, participating in the burning and execution of entire villages. In the face of a decline in morality, terror quickly gained momentum. Through the fault of both sides, tens of thousands of innocent people died. As you know, concentration camps became another form of revolutionary terror.

The emergence of despotic power was predetermined by the establishment of the dictatorship of the proletariat, the presence of a single party, the prohibition of factions in it, the elimination of the multi-party system, the rights and freedoms of the individual. Analyzing the politics of that time, and focusing on the life of the intelligentsia, which is undoubtedly related to the topic of this work, it should be noted that any influence of the intelligentsia on the life of the country, and especially ideological influence, was eradicated. The end of the 19th - beginning of the 20th century was marked by a deep crisis that engulfed the entire European culture, which was the result of disappointment in the old ideals and a sense of the approaching death of the existing socio-political system. But this same crisis gave birth to a great epoch - the epoch of the Russian cultural renaissance at the beginning of the century - one of "the most refined epochs in the history of Russian culture". This was the era of the creative upsurge of poetry and philosophy after a period of decline. It was at the same time the era of the emergence of new souls, a new sensitivity. Souls opened up to all sorts of mystical influences, both positive and negative. Never before have all sorts of seduction and confusion been so strong among us. At the same time, forebodings of impending catastrophes seized the Russian souls. The poets saw not only the coming dawns, but something terrible approaching Russia and the world.

At that time, the Bolshevik Party completely put Soviet literature and art at the service of communist ideology, turning them into a propaganda tool. From now on, they were intended to instill Marxist-Leninist ideas in the minds of people, to convince them of the advantages of a socialist community of life, of the infallible wisdom of the party leaders. The Proletkult-Union of Proletarian Cultural and Educational Societies acted in carrying out this policy. The proletarians especially actively called for the revolutionary overthrow of the old forms in art, the stormy onslaught of new ideas, and the primitivization of culture.

As an artistic source, the author considers the novel by E.I. Zamyatin "We" The novel was written in 1921. The time was difficult, and therefore, probably, the work was written in unusual genre"book-utopia", fashionable in this period. The 20th century is the century of Great ideas, too great to be fully understood by the mass of mankind, not experienced in philosophical questions. When Yevgeny Zamyatin wrote his novel "We", he, who took up art form to study and expose the perniciousness of the totalitarian system for the human personality, life gave the opportunity to observe with my own eyes the birth in the blood and chaos of the One State. In his spiritual make-up, the revolutionary, having felt the utopian nature of some of the ideas that formed the basis of the country's councils, the writer wanted to study and expose them, believing in the power of the writer's word, in the possibility of "curing" the Russian revolution. However, the reality of the twentieth century surpassed all the worst forebodings of the author of the novel. Surprisingly, the author, as it were, foresees future events, he deliberately exposes totalitarianism with all its consequences and characteristic features, but besides this, starting, it seemed, with exposure, he comes to conclusions that, perhaps, were not originally his goal - he understands that human nature cannot bear an impersonal existence. This is the great value of the work, it captures not only facts, albeit skillfully disguised, but a deep philosophical thought.

Initially, the very title of the novel, “We,” is of interest. It seems that under the title of the novel "We" the author understood the collectivism of the Bolsheviks in Russia, in which the value of the individual was reduced to a minimum. Apparently, out of fear for the fate of the fatherland, Zamyatin moved Russia a thousand years ahead in his novel. The leading theme of this novel is the dramatic fate of the individual in a totalitarian social order. “We” is a word-slogan, a word-symbol of the consciousness of the masses. The writer shows the real essence of the utopia, allegedly implemented on behalf of the majority and for its good. In the categoricalness of "we" there is a ban on "I". The starting point of the totalitarian model is the declaration of some higher goal, in the name of which the regime calls on society to part with all political, legal and social traditions. The novel describes many features of totalitarianism. For example, about the general ideology, Zamyatin writes immediately, in the first chapter: “Long live United State Long live the numbers, long live the Benefactor! The symbol of the totalitarian state here is the single State, for the benefit of which all the “numbers” work, the Benefactor is an undeniable and inviolable authority in the Single State, a symbol of the Russian ruler. In the One State, universal "mathematical infallible happiness" reigns. It is provided by the United State itself. But the happiness that it gives people is only material, and most importantly, in general, identical and obligatory forms for all. Everyone gets satiety, peace, occupation according to his abilities, full satisfaction of all physical needs - and for this he must give up everything that distinguishes him from others: from living feelings, his own aspirations, natural attachments and his own motives. In a word, from my own personality. The immutability and inviolability of the ruler, characteristic of totalitarian regime, which Zamyatin foresees, is also reflected in the novel. Zamyatin, no doubt, draws attention to this: “I continue. Tomorrow I will see all the same, repeating from year to year and each time in a new exciting spectacle: the mighty Chalice of Concord, reverently raised hands. Tomorrow is the day of the annual election of the Benefactor. Tomorrow we will again hand over to the Benefactor the keys to the unshakable stronghold of our happiness. It should be noted that apart from the direct political regime, Zamyatin touches on other issues, for example, the issue of revolution. This was one of the key points, given which the work was banned in Russia. It is known that the country was just beginning to recover from the revolution, and any hints of it were severely suppressed. This was especially true of works of art, journalism, where censorship prevailed. From the novel: “- Isn't it clear to you: what you are up to is a revolution? - Yes, a revolution! Why is this absurd? - It's absurd - because there can be no revolution. Because our revolution was the last. And there can be no more revolutions. This is known to everyone ... - My dear, you are a mathematician. So, tell me the last number. - That is? .. What is the last one? - Well, the last, top, largest. - But, I, this is ridiculous. Since the number of numbers is infinite, what kind of last revolution do you want? - And what kind of last revolution do you want? This dialogue fully characterizes the situation in the society of that time. Zamyatin, as it were, predicted the events of the history of our country in advance.

It is wrong to assume that the novel is exclusively critical, the author focuses not only on this. He does not stop at an unfounded accusation, he also sees a way out of the situation. In the novel, this is the birth of a child, symbolizing the hope of victory over a totalitarian utopia. Translating this from the images and symbols of Zamyatin into a more familiar form for us is the birth of a new idea, a new competent ruler, and, accordingly, a new people. The writer sees the whole danger of the policy of war communism and its consequences, hence such images appear - totalitarian state, tight control, dictatorship, permanent ruler, danger of revolutions. "We" is protest. A protest against the existing order, a protest against a policy that does not develop, but destroys society.

The novel "We" E.I. Zamyatin is a work that can be a historical source in which all the characteristics of society are visible. The main thing, it should be noted that society is shown to us not from any one side, but all spheres of human life are affected, be it politics, social life, everyday life, personal relationships. Despite the fact that Zamyatin uses many symbols, various cover images, and even despite the fact that the events of the novel take place in the distant future, he describes exactly the era in which he lived, with all its shortcomings, rather harshly. criticizing her. That is why the novel can be a historical source, albeit a rather specific one.

By the mid-20s. censorship was introduced, strict ideological control was present in all spheres of life, including culture. Military methods of suppression were abolished, but repression continued. All this, of course, was reflected in fiction. It is known that this is precisely why many works were banned, like the novel “We” by Zamyatin. After all, in his novel, he completely exposes the situation that has developed in society, this inevitable path to totalitarianism. The work spells out all the prerequisites for this phenomenon, which, as Zamyatin sees it, could come true. That is why the novel "We" can be considered with full confidence as a historical source.

In the course of the study, it can be concluded that fiction can be considered as a historical source, but its specific qualities, both positive and negative, must be taken into account. It must be remembered that the works, in addition to the historical era, also reflect the subjective opinion of the author. But what is important in the study of fiction is that the reader can observe the emotional side of the described event, which many other written sources cannot convey.

Works of fiction of the early twentieth century as a historical source

And history is a form of self-understanding, self-expression of society, their main theme, social science, human knowledge ”S. O. Schmidt“ The Way of the Historian ”

Just as in historical research much depends on the intuition of the historian, so writers literary critics at an unconscious level, they are capable of a deep comprehension of life. Traditionally, researchers have turned to fiction only in the absence of more reliable sources. In the study of the history of modern and recent times, literature was assigned only an illustrative role, but new directions of historical thought change the attitude towards the source. A literary work was considered extremely subjective, but it is in itself a fact of the history and biography of the author. There are different points of view on the significance of the artist's personality in historical and cultural research: some argue that the personality of the author is not significant, since all the details of his personal life are not available for observation. Others, on the contrary, believe that the personality of the artist is fundamentally significant, since a typological comparison can be made between the text and the biography.

The latter position is characteristic of the methodology in line with the new cultural history. For the researcher, a literary work is inseparable from the context. Knowing the biography and the date of creation, we can identify the purpose of the author, his awareness of the phenomena described. A new cultural and new intellectual history was formed within the framework of historical anthropology. Many researchers prefer not to separate them; the difference between the new intellectual history is that it pays great attention to highly artistic texts.

Jacques Le Goff also spoke about the prospects of the following three areas in modern cultural history: the history of intellectual life, the history of mentalities and the history of value orientations. According to R. Darnton, the main principle of the new direction is to “catch otherness” (“grab alienness”), since people of the past perceived the world differently, the historian must also consider the object of his research as “alien”, explain the “strangeness” of another culture, reproducing the logic of the man of that time. The new cultural history rejects the clear separation of the sensible and the rational, it focuses on myths, symbols, static languages.

A distinctive feature is the recognition of the active role of language, text and narrative structures in the creation and description of historical reality. Within the framework of this approach, the boundaries between different areas of historical knowledge, cultural anthropology, the "linguistic turn" and theoretical literary criticism merge together. The interdisciplinary approach is intended to expand the possibilities of the historian, but the most controversial issues are the combination of methodologies of different scientific disciplines. The new direction requires a revision of methodological approaches in working with "non-traditional" sources. According to A.Ya. Gurevich, “even in cases where the sources do not allow us to penetrate the level of events, they can give us important information about the ideas and beliefs of the authors of these texts and, therefore, introduce us into the circle of ideological attitudes, that is, help us to realize the nature of the spiritual life of the era ... ". Reconstruction involves the "decoding" of the source by the widest disclosure of the context of its appearance.

It is impossible to completely recreate all the circumstances, but it is necessary to comprehend the “otherness”, the originality of a person of the past. In the words of P. Burke, "we are on the way to the cultural history of everything in the world: dreams, food, emotions, travel ...". An expanded understanding of culture makes it possible to connect art and literature with the study of everyday life. According to M.K. Lubart, the author of the monograph “The Family in French Society of the 18th – Early 20th Centuries”, fiction is “an invaluable source for the reconstruction of ideas related to marriage, family, raising children, family relations... ". Historical anthropology as an independent branch of knowledge coordinates with the new cultural history in the study of the history of mentalities, which also develops under the influence of psychology. The history of mentalities is interested in the hidden sides of social consciousness, which the researcher can discover in the sources against the will of their creators, and the events of the past are understood through the "otherness" of a person's worldview.

The history of mentalities introduced the method of psychological reconstruction into historical science, the "accommodation" of the researcher into the inner world of the creators of history texts, which stimulated the appeal of historians to "subjective" sources. An example of this approach is the article by E.S. Senyavskaya "Literature of the Front Generation as a Historical Source". The author recognizes military literature written by direct eyewitnesses as "the most benign" in terms of reliability, based on the psychological motives of its creators, and reflects not only events, details of military life, but also the subjective perception of events, their assessment, the construction of a holistic image, in this case, an image enemy.

Also worth mentioning are the works of S.S. Sekirinsky, a recognized portrait historian, who prepared in the journal " National history» Series of articles «History and Literature». In the article “Fiction P.D. Boborykin: the history of a liberal personality in artistic sketches "he uses new methodology historical hermeneutics, tracing the history of ideological currents, public life in Russia in the second half of the 19th century. based on numerous works by Boborykin and biographical information. For a historian, Boborykin is valuable as a writer of everyday life, a recognized creator of the "encyclopedia of Russian life", who himself saw, heard and felt everything himself. His advantage over the "figures of events", the authors of diaries, letters and memoirs, is that, as an outside observer, he did not exaggerate his importance, he covered the "wide periphery". Of course, a work of art must be approached with all caution, not forgetting the external and internal criticism of the source.

Today we do not say that literature "reflects" life, we do not identify the history of literary types and real people, like the historians of the pre-revolutionary academic school. As M. Blok noted, “literature draws a lot of inherited themes, formal techniques, old aesthetic conventions”, which, in his opinion, does not allow literature to embrace the “great life movement”. At the same time, stereotypes and stereotypes of thinking can be considered within the framework of the history of mentalities as a manifestation of socio-psychological attitudes, habits of consciousness. For example, hagiographic literature does not provide truthful information about events and personalities, but from it we can understand religious performances, features of the worldview of a person of distant eras.

According to L.N. Gumilyov, “fiction is not a lie, but literary device, allowing the author to convey to the reader the idea for which he undertook his work. Reality in work of art is invariably typed, which, according to some researchers, even increases objectivity. So, the new cultural history strives to comprehend historical phenomena through the ideas of the people of the past, their spiritual life.

The field of activity of the historian is expanding, therefore, such subjective sources as fiction are becoming more and more in demand.

List of sources and literature

1. Andreichuk V.G. Concentration camp prose as a historical source // Bulletin of the Baltic Federal University. I. Kant. 2012. No. 12. P. 94–101.

2. Burke P. Historical anthropology and new cultural history // New literary review. 2005, pp. 64–91.

3. Blok M. Apology of history. M.: Nauka, 1973. 234 p.

4. Gumilyov L.N. Can a work of belles lettres be a historical source? // Russian literature. 1972. No. 1. S. 73–82.

5. Gurevich A.Ya. Historian of the end of the 20th century in search of a method // Odysseus. 1996. M.: Nauka, 1996. S. 5–10.

6. Darnton R. The Great Cat Massacre and Other Episodes from History French culture. M.: New Literary Review, 2002. 384 p.

7. Le Goff J. From heaven to earth // Odysseus. Man in history. M.: Nauka, 1991. S. 28–43.

8. Lyubart M.K. The family in French society, XVIII - early XX century. M.: Nauka, 2005. 296 p.

9. Mankevich I.A. Literary and artistic heritage as a source of cultural information // Observatory of Culture. 2007. No. 5. S. 17–23.

10. Repina L.P. historical science at the turn of the XX-XXI centuries: social theories and historiographic practice. M.: Krug, 2011. 560 p.

11. Sekirinsky S.S. Fiction P.D. Boborykina: the history of a liberal personality in artistic sketches // ACTIO NOVA. M.: Globus, 2000. S. 426–455.

12. Senyavskaya E.S. Literature of the front-line generation as a historical source // Patriotic history. 2002. No. 1. C. 101–109.

13. Khodnev A.S. New cultural history and new story Leisure // Historical Science Today: Theories, Methods, Perspectives / Ed. L.P. Repina; 2nd ed. M.: LKI Publishing House, 2012. S. 462–473.

14. Schmidt S.O. The path of the historian. Selected works on source studies and historiography. M.: RGGU, 1997. 612 p.

N.V. Dashkov Yaroslavl State Pedagogical University. K.D. Ushinsky, Yaroslavl Scientific adviser: Doctor of Historical Sciences, Professor Arkhipova L.M.

Literary works as a historical source

The 14th-15th centuries were the last stage in the development of the Russian epic epic. main monuments Russian epic epic this period are:

1. The legend of the Neva battle .

2. Legend of the Battle of the Ice .

3. Novgorod epics about Vasily Buslaev and Sadko.

Major works Russian literature of the second stage of feudal fragmentation :

1. Unknown author. "Word about the destruction of the Russian land" (between 1238 and 1246) - an excerpt from a work about the fate of Rus' in the period that has not come down to us Tatar-Mongol conquest. The work was created in Vladimir in the period between 1238 (the capture of the city of Vladimir and the conquest of North-Eastern Rus') and 1246 (the death of Vladimir Prince Yaroslav Vsevolodovich, who received a label for reigning in 1243 and recognized the vassal dependence of the Vladimir-Suzdal principality from the Tatar-Mongols ). The surviving passage contains a historical retrospective of the author, where he considers the beginning of princely civil strife after the death of Yaroslav the Wise. In the disunity of the Russian princes, he sees the main reason for the "death of the Russian land" from the Tatar-Mongol invasion. Probably, the final part of this work, which has not been preserved, was devoted to the fall of the Vladimir principality in 1238. Separate images and stylistic devices of this work are reminiscent of "weeping" and "glory" folk poetry and are close in content and poetic structure to "The Tale of Igor's Campaign".

2. Unknown author. "The Tale of the Devastation of Ryazan by Batu" (XIV century)- a monument of Russian literature, telling about the defeat of Ryazan by the Mongols-Tatars in 1237. The story was written in the middle of the XIV century. by unknown author, came to us in the lists no earlier than the 16th century as part of a collection of Ryazan works, which is conventionally called "The Tale of Nikola Zaraisky" and is dedicated to the legendary history of the icon of Nikola Zaraisky (Zaraisk is a city in the Ryazan principality). Highest value has the central part of the vault - "The Tale of the Devastation of Ryazan by Batu". The story about the bogatyr Yevpaty Kolovrat included in it is regarded by many researchers as a book adaptation of a folk song.

3. Zephaniah. "Zadonshchina" (80s of the XIV century)- a poetic story about the Battle of Kulikovo, the author of which was the Bryansk boyar Sofony.