Content
page
Introduction 2
1.1.Characterization of Homer's poems as a historical source8
1.2. Development of a lesson on the topic "Homer's poems" Iliad "and" Odyssey "" 13
Conclusion 17
List of sources and studies 19
Application
Introduction
At present, the issue of the role and place of fiction in the historical aspect is being actively raised in domestic source studies. However, fiction is a controversial historical source. The question has found wide distribution in the articles of domestic scientists. A.G. Bolebrukh in his work "Fiction in the Historical Aspect" considers a system of factors that contribute to the connection of fiction with history and the use of writers' works as the source base of I.A. Mankiewicz, in the article "Literary and Artistic Heritage as a Source of Cultural Information" highlights the commonality of the goals of both aspects to the reproduction of reality. The author believes that fiction is a documented expression of the country's spiritual history.
Fiction includes works of writing that have social significance, aesthetically expressing and shaping public consciousness.
The subject of independent historical research can be not only the works of fiction themselves, but also their social existence, popularity. literary genres and demand for authors, which reflects the tastes of the readership and the moral climate in society as a whole.
The value of fiction (which is understood as literature with a fictional character, fictional circumstances that are perceived by the reader as such) as a source lies in the ability to reflect the mentality of its time, to contribute to the reconstruction of certain historical types behavior, thinking, perception, i.e. reproduce the subjective aspects of social reality. This makes works of fiction related to memoirs and folklore sources.
For the first time, the method of using fiction as a historical source dates back to 1887. It was the work of the luminary of Russian science V.O. Klyuchevsky "Undergrowth" Fonvizin: the experience of the historical explanation of the educational play ". The author shows us that the heroes of the work are not fiction, they are taken directly from the reality surrounding it. Discussing this, Klyuchevsky concludes that the historical explanation of the play can help turn it into an important source. Also, such domestic historians as Kostomarov N.I., Danilov V.P., Mironets I.I. designed their works in this vein.
When extracting information from a source, you need to remember about its specificity - subjectivity. Here there is a need for scientific criticism, analysis, extracting the true and determining 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. You need 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 sides public life, which seem to us extremely significant, did not find a worthy reflection in the sources.
Works of art studied in this context have their own specifics. The question is fair - does the use of fiction have the right to be scientific in historical research? The question is rather not idle and has full right be given, because 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 intangible, sometimes subtle, but no less effective factors. 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.
Fiction used in the teaching of history can be divided into two groups of works: a) literary monuments the period under study and b) historical fiction.
Literary monuments include works created in the era that we are studying, that is, works written by contemporaries of the phenomena and events of public life described.
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, the literary monuments of the era depict the life of their time through the prism of the views of the author as a representative of a certain class of his time. Therefore, a critical approach to a work of art is necessary, as, indeed, to any historical document.
Another thing - works of historical fiction - a historical novel, a story on historical theme, - i.e. works of art about the era under study, created by writers of later times. Such works are neither literary monuments of the epoch depicted, nor living evidence of its contemporaries, and therefore cannot serve as a historical source. They themselves are based on the author's study of historical sources, memoirs and documents, scientific research and monographs about the era and represent a more or less successful attempt to recreate in art form past.
However, not being a documentary source for historical science, a good historical novel serves as an excellent means of acquainting students with the results of studying the past, moreover, in concrete images, fascinating plots and expressive characters - in an artistic form, i.e. the most accessible and interesting. It is known that many schoolchildren awaken their interest in history for the first time as a result of reading historical novels and short stories. The distinction between these two types of works of art is essential not only for historical science, but also for the teaching of history in schools.
Literary monuments of the era under study are most often used in history lessons as a basis for conclusions and generalizations. As for the works related to historical fiction, they give the teacher the means to concretize and illustrate the material presented, help the picturesqueness of the presentation itself.
It is necessary to develop in students a different attitude towards these two groups of works of art and the ability to distinguish between them.
In the selection of fiction for history lessons, the teacher is guided by two main points. First of all, the cognitive and educational value of the material, which consists in a truthful presentation and coverage of historical phenomena in accordance with historical reality and the laws of its development.
The second defining moment in the selection of material is its high artistic value.
The teacher will select passages for use in history lessons that contain:
1) a live image of historical events, the study of which is provided school curriculum and textbook;
2) images of historical figures, representatives of the masses and the image of the masses themselves;
3) a pictorial description of the specific situation in which the events of the past unfolded.
The greatest difficulty for a history teacher is to recreate the mental make-up of people of a certain era, their thoughts, feelings, and aspirations. Fiction makes it extremely easy to solve this problem in history lessons. This material is presented in works of art in the form of statements. literary characters expressing typical aspirations, ideas of their class and their time. Their statements can be included in the presentation of the teacher.
The main methods of working with fiction are:
- the inclusion of images of fiction in the presentation of the teacher, in which the material of the work of art is perceived not as a literary quotation, but as an inseparable element of a colorful presentation;
- a brief retelling of a work of art;
- short verse quotes. They tend to be concise, expressive, produce strong impression, easy to remember;
- reading excerpts from historical novels. This not only helps solve educational goals lesson, but is also one of the methods of development cognitive interest"propaganda" book.
Thus, analyzing a certain historical era and studying the fiction of this era, one can see much more interesting facts and details.
Characterization of Homer's poems as a historical source
The Odyssey and the Iliad are among the most important and for a long time the only sources of information about the period that followed the Mycenaean era in Greek history. However, in addition to the content of these works, scientists have long been concerned about the origin of the poems, the identity of their author or authors, and the time of creation. According to ancient tradition Homer was considered the author of both poems. His name opened and opens the history of literature, and not only Hellenic, but also other European ones. Already since the time of Plato, the Iliad and the Odyssey have been singled out from many epic works as the only ones worthy of the name of Homer.
Despite the absence of any reliable information about Homer as a real person, his existence was not questioned. There were only disputes about the place of his birth, about the years of his life. According to the most common version, he was a native of the island of Chios. However, already in ancient times there were fierce disputes between Greek cities for the right to be called the birthplace of the great poet. Evidence of the significance of such a dispute can also serve as a couplet composed in antiquity: "Seven cities argued about the birth of the wise Homer: Smyrna, Chios, Colophon, Pylos, Argos, Ithaca, Athens." Absence biographical information about Homer (except for the absolutely mythical that he was the son of the god of the river Meletus and the nymph Critheis) allowed some researchers of ancient Greek history and literature to doubt the historical reality of the poet's personality. However, this happened already in the 18th century, until that time the ancient tradition remained unshakable, the scientific literature was dominated by the conviction that it was this real person, the power of extraordinary talent and all-round experience, conceived and miraculously performed two immortal poems. However, with the development of historical science in the XVIII century. the question of the origin of the Homeric poems (the so-called Homeric question) is again raised, and so far it is one of the unsolved scientific problems. But the bitter controversy was not fruitless. Scientists managed to establish at least approximately the time and place of their creation. Judging by a number of signs, both poems attributed to Homer were written in the 8th century. to i. e. The Iliad is about half a century earlier than the Odyssey. The life of Homer was dated in different ways - from the 11th to the beginning of the 8th century. BC e. Ancient historians still assumed that Homer lived around the middle of the 9th century. BC e. and was a native of one of the Greek cities of the Aegean coast of Asia Minor.
Over the past two centuries, the so-called Homeric question has been the subject of study by specialists in various fields: the literature on this issue has thousands of titles. Indeed, the history of the Homeric question is a long string of hypotheses, doubts and constructions. In the history of criticism of the Odyssey, the main place is occupied by the German researchers Kirchhoff and Wolf. Under the influence of these two scientists, all subsequent hypotheses were formed. Thus, the Wolf school was of the opinion that the Iliad and the Odyssey were mechanical connection many songs, perfected gradually by various aeds. To resolve the scientific discussions of historians and philologists, numerous studies of the language of the poems were carried out, their composition was analyzed, almost every line of the works was carefully considered. The data of these studies were then compared with the epics of other peoples, the archaeological monuments of the Mycenaean and subsequent periods of Greek history. However, some hopelessness to all these searches is given by the fact that many scientists, considering the poems, proceed from the positions and concepts of another time and another society. They demand compositional, logical harmony from them. It must not be forgotten that the Iliad and the Odyssey were prepared in their turn by the numerous previous experiments of the singers, typical representatives which are in the Homeric poems the images of Famiris, Demidok, Femia. The name of Homer, thus, completes a long period of creativity, in which images of gods and heroes are formed, songs about modern and past events and personalities, a language is developed for literary purposes, a poetic size and various so-called accessories epic look poetry.
The poems "Iliad" and "Odyssey" were created on the basis of a popular cycle of works about the war of the allied leaders of the Greek (Achaean) tribes against Troy. The title of these epic works is directly related to the content of the poems. So the name of the first "Iliad" comes from the Greek name of Troy-Ilion. The Iliad describes the events of the last, tenth, year of the siege of Troy. It was one of the most difficult periods siege. The poem begins with a description of the quarrel between Achilles and the leader of the Greek army, Agamemnon, over the division of booty. Achilles refused to participate in the battles, which led to the victories of the Trojans. And only after the death of his friend Patroclus, who was killed in battle with Hector, mighty son King Priam, Achilles decides to take part in the battles again. The Iliad ends its narrative with a description of the burial of the strongest defender of Troy - Hector, who was killed by Achilles. But the Iliad does not tell about the events of both the previous wars and the first years of the war with Troy. She also does not bring the story to the victory of the Greeks - the capture of Troy.
The Odyssey describes the ten-year wanderings of one of the leaders of the Achaeans in the Trojan War - the cunning Odysseus, king of the small island of Ithaca. Having provoked the wrath of Poseidon, he cannot return and is forced to seek salvation in a foreign land. After a series of fantastic adventures, overcoming many dangers, Odysseus returns to his homeland. Here he is forced to fight for his property. With the help of his son Telemachus and his faithful slaves, he kills numerous suitors, from the noblest families of the island, who sought the hand of his wife Penelope; thus he regains his right to rule Ithaca. It also provides information about future fate some of the heroes of the Iliad. Thus, the plots of the poems are closely connected with each other by the same heroes and the unity of the theme. However, the Odyssey is not a logical continuation of the Iliad. In addition, they differ sharply from each other in the nature of the presentation. If in the "Iliad" the life of wartime is vividly depicted - battles, the exploits of heroes, the cruelty of war, then in the "Odyssey" the poet draws mainly pictures of the peaceful life of the ancient Greek tribes. Other episodes of the Trojan cycle were set forth in the so-called kyklic poems, which took shape in the form of songs no earlier than the 8th century BC. e. and have come down to us only in the form of brief retellings, references in the works of authors of more late period. In all likelihood, they were based, as well as the basis of the Iliad and the Odyssey, were heroic songs, legends associated with the Trojan War. They were performed by the Aeds (singers) who roamed the land of Ancient Hellas and were very popular. They were passed down from generation to generation, like legends and myths, traditions of other peoples of antiquity, and over time were filled with legends about real historical events, reflecting in a peculiar way the phenomena of that natural and public environment in which they originated. Poems were transmitted orally and only in the VI century. BC e. they were written down in Athens and turned into literary works. And Homer, who, perhaps, was an aed, only collected and processed all those legends, creating on their basis two epic poems of exceptional scale and outstanding artistic merit.
The historical material included in the Homeric narrative is very complex. There are undoubtedly elements in it that go back to the Mycenaean era, perhaps even to a time earlier than the Trojan War itself. At the same time, poems are works folk art: a rich language full of images and comparisons, excellent characteristics of the characters, a complex composition are clear evidence of the long path of development of the Greek heroic epic. The ancient turns of the epic language, the very image of the world in which the heroes fight with bronze weapons, take us back to the era of the Achaean kings of the Mycenaean period. With all your roots epic tradition went to Mycenaean culture. However, despite the fact that the influence of traditional material is very great, the poems are not entirely immersed in the past, but are also addressed to the modern era.
Under all conditions and reservations, the Homeric epic is the most important source reflecting historical life Greece is not so much Mycenaean as the post-Mycenaean period with its characteristic predominance of features of the tribal system. For a researcher, the works of Homer are invaluable sources about the life and way of life of the Hellenes at the end of the 2nd and the beginning of the 1st millennium BC. e.
Development of a lesson on the topic "Homer's poems" Iliad "and" Odyssey ""
The purpose of the lesson.
To form in students the skill of working with historical sources, to learn to distinguish factual material from fiction; expand knowledge of culture Ancient Greece, to attach to the study of world culture. Continue the formation of skills to compose a story, draw conclusions.
Tasks:
 determine how the events described in the poems are interconnected;
 find out what information about the development of the spiritual and economic spheres contain poems;
 find out what religious beliefs existed among the ancient Greeks;
 to identify what customs were characteristic of the inhabitants of Ithaca;
 to find out how detailed you can study the religion of the ancient Greeks, having become acquainted with the content of the poems "Iliad" and "Odyssey".
Type of lesson: generalization lesson.
Equipment:
§26-27 of the textbook "History ancient world» A. Vigasina, V. Sventsitskaya M., "Enlightenment" 2013;
map "Ancient Greece";
cards with the names of the heroes of myths and the names of the cities of Ancient Greece for distribution into groups for active and interactive forms of work;
Lesson plan.
1. Organizational moment.
2. Motivation for the lesson.
3. Work on the topic of the lesson:
a) distribution into groups;
b) individual work with the text §26-27
c) summing up the results of individual work;
d) study of material for work in groups;
4. summarizing the work.
During the classes
1. Organizational moment.
2. Motivation for the lesson.
Teacher's word:
Period XI-IX centuries. BC. in the history of ancient Greece is traditionally called "Homeric", since the main sources for this era are Homer's epic poems "Iliad" and "Odyssey" - the first literary monuments of antiquity that have come down to us. Other sources, primarily archaeological, are extremely scarce, so those researchers who deny the possibility of using the Homeric poems as a historical source call this era the "Dark Ages". With regard to this period in science, the term “prepolis period” is also increasingly used, focusing on the conditions that led to the formation of the main phenomenon of the newly emerging civilization - the policy.
Write on the board the topic of the lesson. Ask students to identify the purpose of the lesson. Correction of students' answers.
Distribution among students of cards with the names of the heroes of myths.
Aegeus, Ariadne, Theseus, Daedalus, Athens, Mycenae, Tiryns, Pylos, Hera, Aphrodite, Paris, Menelaus, Euboea, Crete, Ithaca, Thera. Placement on the board of plates with classifying features:
islands of ancient Greece
heroes of the myth of the minotaur
heroes of the myth about the beginning of the Trojan War
cities of ancient Greece
Work on the topic of the lesson.
Dividing students into groups. (students from September are divided into three groups, taking into account their cognitive capabilities, 1 group with high level(6 people), group 2 with an average level (10 people) and group 3 with low level(5 people)).
Group work (15 min)
1st group 2nd group 3rd group
Act out any part of the poem.
Find information about true and fictional information. Evaluate the actions of the characters. What attracts you to them? What do you condemn? Why? Read, draw conclusions about the customs and traditions of the ancient Greeks. What did the ancient Greeks value in people? Retell
One excerpt from a poem. What events did he reflect in his poems ancient Greek poet Homer?
Summing up the work in groups
Group 3 should list the following when answering the question: In the poems "Iliad" and "Odyssey", the ancient Greek poet Homer talks about the Trojan War and about one surviving hero - Odysseus.
Group 2 should draw the following conclusions: the kings themselves fought and were an example for ordinary warriors; There were cases of deceit; the main thing for war is courage and courage; they hoped for the gods, and the gods constantly intervened in people's lives; the dead were burned on a funeral pyre. They value strength, courage, friendship, compassion.
Group 3: shows a sketch on the selected passage, evaluates the actions of the characters, expresses my opinion about what attracted them and what they condemned in them. Reliable information - the Greeks had a slave state, Greek kings wage wars, prisoners became slaves, warriors wore special armor that was made of metal: a helmet protected the head, a special shell protected the chest.
Summing up the lesson.
Can Homer's poems be called a historical source?
In what cases are used idioms: "between Scylla and Charybdis", "Achilles' heel", "apple of discord", "Trojan horse".
Homework: Get acquainted with the myths of ancient Greece, prepare a retelling of one myth.
Conclusion
The solution of the goals and objectives set in the lesson helped students to conclude that the works of Homer represent not only artistic value but also historical. The specific historical events described by Homer gave students ideas about the life, religion, and customs of the ancient Greeks. Expanded knowledge about the culture of Ancient Greece, saw the effective factors of the historical process.
Based on this, we can safely state that the use of fiction in the process of teaching history at school not only contributes to the solution of educational problems, but also helps to understand the essence of the era under study, to feel its flavor, the specifics of historical phenomena, and broadens the horizons of students. It also solves educational problems: pictures of the past evoke certain emotions, make you worry, sympathize, admire, hate. Formed life ideals students. 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, the ability to analyze the information received, compare, highlight the main thing.
The artistic image increases the emotional impact of the teacher's story and brings up a certain attitude towards the studied historical phenomena, arousing sympathy, admiration, indignation, hatred. Being the richest source of information, fiction contains valuable material for affirming in the minds of students the high moral principles developed by mankind.
However, there is a problem children's reading, it is one of the most actual problems modern world. Literary education is subject to the influence of destructive external factors, which have shown themselves especially actively in the last decade: in connection with the development of computer and other information technologies there is, as one of the consequences, a drop in interest in literature in general. For this reason, children stopped reading, which means that literacy, intelligence, emotional and moral education, and many components of the harmonious development of the child's personality suffer.
However, it should be noted that these Newest technologies can help the teacher in teaching history, diversify the lessons, make them more attractive to children.
History lessons using fiction can be multifaceted and varied. Fragments of literary texts are introduced to help in the knowledge of the historical past, to solve the educational and educational tasks of the lesson, increase interest in the subject.
Thus, the use of inter-subject, inter-course and intra-subject links is very important. At the same time, the integration of various school subjects takes place: literature, history, music, visual arts and so on.
It can be concluded that it is necessary to make the best use of works of art in all types of history lessons in high school in order to achieve high results and the most effective assimilation of knowledge by students.
List of sources and studies
Schmidt S.O. Fiction and art as a source for the formation of historical ideas // Shmidt S.O. The path of the historian. Selected works on source studies and historiography. – M., 1997. – P.113–115. [Electronic resource]
Blum A.V. Fiction as a historical book study

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 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 directions 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 debatable issues are the combination of methodologies of different scientific disciplines. New direction needs revision 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 hidden sides public consciousness, which the researcher can find 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 a series of articles "History and Literature" in the journal "Domestic History". In the article “Fiction P.D. Boborykin: the history of a liberal personality in artistic sketches" he applies a new method of historical hermeneutics, tracing the history of ideological movements and social 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 ideas, features of the worldview of a person of remote eras.

According to L.N. Gumilyov, "fiction is not a lie, but a literary device that allows the author to convey to the reader the idea for which he undertook his work" . Reality in a work of art is invariably typified, 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 them. 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 a new history of 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 them. K.D. Ushinsky, Yaroslavl Scientific adviser: Doctor of Historical Sciences, Professor Arkhipova L.M.

Literary works as a historical source

XIV-XV centuries were last step 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 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 main reason"death of the Russian land" from 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 created in the middle of the 14th century by an unknown author, it 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 of Zaraisk" and is dedicated to the legendary history of the icon of Nikola of Zaraisk (Zaraisk is a city in the Ryazan principality). The most important is 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.

An attempt to consider the techniques and methods of using fiction in teaching history. Criteria for the selection of literary texts; practical application sources of this type in history lessons.

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The inclusion of organic images of fiction in the presentation of the teacher is one of the important methods of its use in the teaching of history. The teacher uses fiction as a source from which he borrows colorful images comparisons and apt words for your presentation. In these cases, the material of a work of art organically includes the teacher in the story, descriptions, characteristics, and is perceived by the student not as a literary quotation, but as an inseparable element of a colorful presentation. It is useful for a novice teacher, when preparing for a lesson, to include in the plan of his story separate, small passages, epithets, brief characteristics, vivid descriptions, apt expressions from the writer's work. In teaching practice, as one of the methods of using fiction and folklore, there is a brief retelling. Being the richest source of information, fiction contains valuable material for affirming the high moral principles developed by mankind in the minds of students. But for a long time, in the scientific world ambiguous a clear view of literature as a historical source.

“There is an unspoken and almost generally accepted opinion that fiction is not just subjective, but is in the realm of the author's fantasies and cannot contain any historical facts; on this basis, for a long time, traditional source studies, especially modern and recent history, did not consider fiction as a historical source. “Coming closer to fiction in terms of the nature of its impact on the reader, historical knowledge must remain scientific, that is, obtained on the basis of historical sources,” which are amenable to “reproduction and verification”[ 32, p. 40] . “The field of interaction between literature and history is an open system, and they are correlated in this system, first of all, as two domains of culture: culture changes, their interaction also changes”[ 28.c. 63].

With a huge body of literature on the one hand, and a community of historians with naturally differentiated interests on the other, “it makes no sense even to think of any special cataloging of literature for the historian. After the work that was done by the structuralist branch of social science in recent decades, today there seems to be no other possibility than to consider all literary texts of the past and even the present as historical documents” [Ibid. c. 63]. Fiction has value “as a source that reflects the mentality of its time [Ibid., p. 144]. Literature has the property of “groping” and fixing reality, capturing the moods existing in society on an unconscious level, long before they are systematized in the language of science and are reflected in historiography.

The pre-revolutionary academic school (V.O. Klyuchevsky, N.A. Rozhkov, V.I. Semevsky and others), in the spirit of the traditions of positivist literary criticism, identified the history of literary types with the history of real people. So, the study of V.O. Klyuchevsky "Eugene Onegin and His Ancestors" (1887) was almost entirely built on the analysis of the libraries of Pushkin's time.

The position of Soviet academic source studies in relation to fiction long time was quite unambiguous: only literary texts of antiquity were considered as a historical source. The question of the historian's right to use fiction as a historical source in the study of modern and contemporary history has long been passed over in silence, although in historical works works of this period were often used as a commentary on the events and phenomena of public life. For the first time, the question of using a literary and artistic text as a historical source was raised in the book by S.S. Danilov "Russian theater in fiction", published in 1939. In the 60-80s of the XX century, a number of works were published that testify to the desire of historians to develop clearer definitions of fiction as a historical source.

Among the key issues brought up for discussion is the possibility of using fiction as a source for establishing historical facts. So, during the discussions that took place in 1962-1963. On the pages of the journal "New and Contemporary History" a variety of opinions were expressed about the source study perspective of fiction. Starting from categorical objections to securing her right to be called a historical source and ending with a noteworthy for Soviet era the judgment that "the historian of the party has no right to neglect sources that in one form or another reflect the many-sided activity of the party and the ideological life of society" .

For the first time, the question of the historian's right to use fiction as a historical source was raised in 1964 in an article by A.V. Predtechensky "Fiction as a historical source". The author drew attention to the expansion of the limits of source study by separating auxiliary historical disciplines independent branches of science. Referring to a rather extensive number of statements of public figures of the XIX-XX centuries, A.V. Predtechensky makes a conclusion about the identity of the cognitive role of fiction and the historical source as such, seeing the natural difference between one category and another in their belonging to phenomena of a different social nature. So, to substantiate scientific truth, a system of evidence is required, while in art “nothing needs to be proved,” since the criterion for the “truth” of a work of art is its “artistic persuasiveness” [Ibid., p. 81]. A.V. Predtechensky notes: “in the works of some artists, the artistic persuasiveness is so great that the line between fiction and reality is erased, and literary hero begins to exist as historical” [Ibid., p. 82].

Against the background of the above examples, the famous article by L.N. Gumilyov "Can a work of belles-lettres be a historical source?" . In this work, the author, answering the question he put in the title, noted that “Fiction is not a lie, but literary device, allowing the author to convey to the reader the idea for which he undertook his work, is always difficult. And here, even in the presence of a large number of references to historical facts, the latter are only a background for the plot, and their use is a literary device, and the accuracy or completeness of the presentation is not only not necessary, but simply not needed. Does this mean that we should not use the information contained in ancient literature, to replenish the story? In no case! But the observance of certain precautions is obligatory "... continuing his thought about the veracity of the source, the author writes" Fiction in the works historical genre only sometimes involves the introduction into plot outline a hero born from the imagination of the author. But there is always a transformation of real historical figures into characters. The persona is the mask of an ancient actor. This means that, unlike business prose, not real figures of the era appear in a work of art, but images under which quite real people are hidden, but not those, but others that are of interest to the author, but not directly named. It is this literary device that allows the author to express his thought with the utmost accuracy and at the same time make it visual and intelligible”; “Each great and even small work of literature can be a historical source, but not in the sense of a literal perception of its plot, but in itself, as a fact that marks the ideas and motives of the era. The content of such a fact is its meaning, direction and mood, moreover, fiction plays the role of a mandatory device.

For national history and science in 1991, an article by N.O. Dumova "Fiction as a source for the study of social psychology", dedicated to the novel by M. Gorky "The Life of Klim Samgin". In the source study context, the author divides fiction into three categories. The first includes works that reflect a distant period, from which documentary evidence has not been preserved (Homer's epic, "The Tale of Igor's Campaign"). To the second - historical novels and stories written many years after the event on the basis of studying it from surviving sources (“War and Peace”, “Peter I”). The third category consists of works of art written by eyewitnesses or participants in the events (A.T. Tvardovsky "Vasily Terkin", V.S. Grossman "Life and Fate"). Works belonging to the first category serve as a historical source. Literary texts belonging to the second category are an auxiliary source. The works of the third group are of value for the study of social psychology, inner world a person - his type of thinking, worldview.

In the 1990s, academic source studies represented by the Russian historian S.O. Schmidt expresses his "last word" on the issue of source study "possibilities" of fiction. Unlike the humanists, who defend the educational and propaganda role of literature or develop the traditions of studying “psychological types”, S.O. Schmidt turned to the history of mentalities, considering works of literature as "a source of formation of historical ideas" for the general reader, as valuable material "for understanding the mentality of the time of their creation and further existence ... ". On the evolution of the views of the domestic humanist at the beginning of the 21st century on the source study status of fiction in connection with global changes in the methodology of humanitarian knowledge, a visual representation is provided by the materials of the collection “History of Russia in the 19th–20th centuries: new sources of understanding” . Thus, among the circumstances that contribute to the convergence of historical science with fiction in solving source problems, the authors of the collection name the following:

- a shift in the emphasis in historical knowledge from socio-political to individual psychological, which is due to the growing distrust of global historical constructions, which are difficult to verify at the empirical level;

- the prevailing desire of both spheres of creativity - artistic and scientific-historical - to reproduce reality; the historicity of literature as a documented expression of the country's spiritual history [Ibid. c. 63];

- the mutual inability of the writer and historian to fully “recreate all the facets of the past”, even following the “hermeneutic principle of getting used to it”, since “any person is inevitably pressured by the load of knowledge and ideas of the time in which he himself lives and acts;

- the historicity of the language of literature as a "social meta-institution", fixing "the realities, concepts and relations of its time";

- historical truth can be fully revealed only by means of art; literature has more opportunities to reveal historical truth than history itself; history-art is higher than history-science”;

Among critical factors who breed literature and history according to different sides"barrier" in relation to the problem of the source study status of fiction, historians call the following:

– “any work of art contains some kind of pre-aesthetic reality from the field of politics, economics, social life", but" under the influence artistic techniques it is so deformed that it ceases to be a source for scientific and historical research” [Sokolov A.K. social history, literature, art: interaction in the knowledge of the realities of the XX century. ];

– there is an objective contradiction between the “linear” language style historical science and pictorial language literary creativity, allowing many interpretations when reading[ There. c. 75] ;

- scientific historical knowledge performs a socio-political function - "the formation of a common social memory as the basis for the unification of society and the information basis for political decision-making", and in this function it retains its sovereignty[Ibid. c. 40].

As for the historian, for him (provided that he does not intend to go beyond the traditional boundaries of his field), fiction as a source of information will be of interest only in three cases:

- if the text is a carrier of unique information not recorded in other documents;

- if the information about the character contained in the work is confirmed by sources of a different kind; in this case, the literary text can be used either as an illustration of the knowledge already obtained by other sciences, or as an additional source of evidence (or refutation) of scientific hypotheses, including in relation to the historical worldview of the author of the text.

The importance of works of art in the moral education of students is great. Learning about the actions of a historical person, students often transfer themselves to the same conditions, empathizing with the hero. One of the favorite heroes is the gladiator Spartacus, the leader of the restoration of slaves in Ancient Rome. You can ask students to prove on the basis of fragments literary works and tales of rebellion that Spartacus possessed such traits as purposefulness and determination, conviction, bravery and courage. On the dramatic events of the slave uprising, on behalf of the teacher, the student tells. His story can take place in the form of a memoir of a gladiator from the detachment of Spartacus (fragments from R. Giovagnoli's novel "Spartacus" are included in the story).

But it is not enough to draw the attention of students to heroic deeds prominent personalities. In the lessons, questions should be raised about the expediency of those forms of politics, about decency, dignity, kindness, and lasting friendship.

Archaeological sites of the Paleolithic Age According to archaeological data, the oldest archaeological site of Primorye, dated by radiocarbon - the cave of society - has an age of 32570 ± 1510 years ago. broadleaf forests in the lower belt of mountains, cedar-broad-leaved forests in the middle mountains, dark coniferous taiga in the upper belt of mountains. cedar-broad-leaved forests dominated in the northern coastal region. The commercial fauna identified on the basis of excavation materials is represented mainly by ungulates - sika deer, red deer, roe deer, bison, horse, goral. of predators, man hunted wolves, brown bears, hyenas, and tigers. other monuments of this era belong to the Osinovskaya culture - parking near the village of Osinovka, on Ilyushkina Hill, parking near the village. astrakhanka, on the bank expedition. at these sites, rough pebble tools were found - choppers, flakes, split pebbles. the next period - the maximum cooling - the Upper Paleolithic - is represented by the Ustinovskaya culture and is dated by radiocarbon from 18170 ± 150 to 10780 ± 50 years ago. from the beginning of the cooling to the maximum, the nature of the vegetation changed. at that time, monotonous landscapes of birch-deciduous light forests were common in most of the territory of Primorye. the upper and middle tiers of the mountains were occupied by bald mountains and mountain tundra. in the highest mountain ranges of the central and northern Sikhote-Alin, there were small karst glaciers. in the south of Primorye, islands of dark coniferous forests remained; in the basin of Lake Khanka, there were extensive swamps framed by birch and birch-larch forests. in this era, people inhabited mainly the mountain-taiga and forest-steppe regions of the inland part of Primorye. The ecosystem of birch-deciduous forests had a sufficiently high productivity, which allowed a person to provide himself with food resources, mainly hunting and gathering. human impact on environment was insignificant and amounted to burning and trampling of vegetation near settlements and campsites. Ustinovsky-type monuments are characterized by a more advanced (lamellar) stone processing technique. The following fairly certain traces of human habitation date back to the period of the Pleistocene-Early Holocene boundary (12-10 thousand years ago, at that time the climate was drier and 3-4 degrees colder than today. then some warming occurs (9.3 - 8.0 liters. The climate was somewhat warmer than the present one by 1-2 degrees. The settlements of this time are mainly traced along (sides) the edges of small valleys, near small tributaries of medium-sized rivers, streams and springs. population of Primorye at this time develops the technological traditions formed in the previous era.The following monuments belong to this time: ustinovka (upper horizon), deer 1 (lower horizon), etc. according to the traceological analysis, several groups of tools for specialized operations can be distinguished - for cutting and processing products of hunting, fishing The economy of the population of that time, in a slightly more severe climate, was of a complex nature - hunting, seasonal fishing, gathering wild plants. paleolandscape analysis indicates the presence of various types of settlements - seasonal fishing sites, relatively permanent sites (associated with the presence of several types of natural resources in a favorable place), sites, to sources of readily available raw materials for the production of stone tools.