Literature lesson in grade 5
Topic. Literature as an artistic reflection of reality
Purpose: to introduce students to the world of literature; concept of literature as a science,
literature; the concept of an artistic image; ratio of real and
fictional in literature; the role of books and reading in human life.
During the classes
Organizational moment.
a) class readiness for the lesson (books, notebooks)
b) sign notebooks
New topic.
There is only one way to become
a cultured person is reading.
1. The word of the teacher.
Guys, until now in elementary school you learned to read. the subject you studied was called Reading.
This is a magical item. Do not wonder! The most ancient magic is magic - WORDS. Prove?
Close your eyes and listen to me.
Red currants. Here it shines, shimmers in the sun, through its transparent peel you can see the pulp of the berry. You pick off a bunch of currants and put it in your mouth. You feel the berries roll in your mouth. You crush them with your tongue, the berries burst... And you feel...
What did you feel?
Quite right, the sweet and sour taste of the currant, but we don’t eat it.
We have created an image of a red currant and the memory immediately helpfully prompted you to taste the berry and smell.
You agree that the word is magic.
You, too, can become magicians if you diligently study your native language and literature.
2. Theory of literature.
The word "literature" comes from the Latin language.
A letter is a letter, that is, it is everything that is written down, printed, that can be read or retell.
Fiction is an art form that reflects life through the word, written or oral (before the development of writing). In the center of literature is the image of man in all his material and spiritual life in the process of social development.
3. Work with the textbook.
Reading and discussion of the introductory article (page 3)
4. Teacher.
In ancient, ancient times (even when people could not write, and literature was oral (UNT, folklore), there were people who walked the earth and told about everything that happened in the world. These storytellers (narrators) were called bayans (from the old Russian bayati- talk). And only much later they began to be called writers - masters of the word.
In addition to fiction, there are popular science books that tell about plants, the animal world, historical events, and scientific discoveries.
What is the difference between fiction and non-fiction?
In popular science literature, facts and hypotheses are stated, and in fiction, along with real events, there is an author's (artistic) fiction.
Fiction is one of the most important features of artistic creativity, associated with the writer's ability to imagine, imagine what could be in reality. Depicting the fate of people, characteristic of them, the writer does not always meet in the very life of a person who embodies the features of the time, or finds a situation in which the character of his hero can manifest itself.
Work on the poem by M. Tsvetaeva "Books in red cover"
a) reading a poem
What do you understand by the expression "red-bound books"?
What are the unforgettable childhood impressions that M. Tsvetaeva told about?
What feelings experienced during reading does the poetess remember all her life?
And what is the significance of books and reading for the Belarusian poet Petrus Brovka and the German poet I. Goethe?
You are right, books teach life, reveal the world to us. We learn to think, think, feel, experience, love people close to us, our history, country, help to discover something new, unknown in ourselves.
And here is how Dmitry Kugultinov said about it
In my closet is crowded to that volume.
And every volume on the shelf is like a house
Cover - the door, open in a hurry -
And you entered, and you are already a guest.
Like an alley - every book row.
And my whole closet is wonderful book row
When you enter this city,
You will pass from the Past to the Future.
4. Understanding.
Conclusion: so, literature is:
All works of art of a particular people, era or
of all mankind.
Literature is the art of the word, artistic creativity
Sources of literature: UNT, historical chronicles (summer - year)
The basis of literature: the life and life of the people, its history, culture.
Working with a table.
| Distinctive features |
|
| Literature |
|
| 1. Oral form of existence | 1. Written form of existence |
| 2. Direct contact is assumed between the one who reproduces the text and the one who perceives this text. | |
| 4. Literature uses the artistic potential of UNT |
|
In literature, unlike other forms of art, there is an artistic image.
An artistic image is a verbal representation of events, people, phenomena,
objects and ideas of the writer;
verbal drawing based on fiction.
The difference between fiction and untruth is that untruth distorts the idea of real people, events, and fiction creates a whole world that comes to life in the mind of the narrator and the listener.
The creation of an artistic world in which people live, exist according to their own laws, is called art.
Literature - art form in which the world is created with the help of language
lifelike fantasy
works of fiction
Both life-like works and fantastic ones are different ways of artistic convention, the rules of which the artistic world of the work is subject to.
Conventionality (artistic) is an essential feature of literature (as well as art), consisting in the fact that the images created by the writer are perceived by readers not as identical to reality. (For example, Sherlock Holmes).
1. What did you learn about literature?
What is fiction? Its basis and origins?
Expand the concept of fiction? How is it different from untruth?
Distinctive features of CNT?
Distinctive features of fiction?
What is an artistic image? Conventional? What do they serve?*
6. D / z. Page 3-6, write in a notebook to learn.
Literature (from the Latin litera - letter, writing) is an art form in which the main means of figurative reflection of life is the word.
Fiction is a kind of art capable of revealing the phenomena of life in the most multifaceted and broad way, showing them in motion and development.
As the art of the word, fiction originated in oral folk art. Songs, folk epic tales became its sources. The word is an inexhaustible source of knowledge and an amazing means for creating artistic images. In the words, in the language of any people, its history, its character, the nature of the Motherland are imprinted, the wisdom of centuries is concentrated. The living word is rich and generous. It has many shades. It can be formidable and affectionate, inspire horror and give hope. No wonder the poet Vadim Shefner said this about the word:
With a word you can kill, with a word you can save, With a word you can lead the shelves behind you. The word can be sold and betrayed and bought, The word can be poured into smashing lead.
1.2. Oral folk art and literature. Genres un.
1.3. Artistic image. Artistic time and space.
Artistic image is not only an image of a person (the image of Tatyana Larina, Andrei Bolkonsky, Raskolnikov, etc.) - it is a picture of human life, in the center of which is a specific person, but which includes everything that surrounds him in life. So, in a work of art, a person is depicted in relationships with other people. Therefore, here we can talk not about one image, but about many images.
Any image is an inner world that has fallen into the focus of consciousness. Outside images there is no reflection of reality, no imagination, no cognition, no creativity. The image can take sensual and rational forms. The image can be based on a person's fiction, it can be factual. Artistic image objectified in the form of both the whole and its separate parts.
Artistic image can expressively affect the senses and the mind.
It gives the maximum capacity of content, is able to express the infinite through the finite, it is reproduced and evaluated as a kind of integrity, even if created with the help of several details. The image can be sketchy, unfinished.
As an example of an artistic image, one can cite the image of the landowner Korobochka from Gogol's novel Dead Souls. She was an older woman, thrifty, collecting rubbish. The box is extremely stupid and slow to think. However, she knows how to trade and is afraid to sell too cheap. This petty frugality, commercial efficiency puts Nastasya Petrovna above Manilov, who has no enthusiasm and knows neither good nor evil. The lady is very kind and caring. When Chichikov visited her, she treated him to pancakes, an unleavened egg pie, mushrooms, and cakes. She even offered to scratch the guest's heels for the night.
The course of Literature of the V class begins with an introductory lesson on the topic "Literature as an artistic reflection of life", which is a natural continuation of the work begun in the IV class ("Initial concept of literature as the art of the word"), and is subordinated to the task of giving students an initial idea at an accessible level about fiction as a special form of knowledge of reality. This idea, formulated in the most general terms in the lesson, forms the basis of the entire subsequent course of literature of the 5th grade as a guideline for the methodological efforts of the teacher aimed at overcoming the naive-realistic perception of literary works by schoolchildren and the formation of special reading skills in them (the ability to recreate pictures depicted by the writer life, empathize with the characters, understand and evaluate their behavior, motives for actions, relationships, etc.; the ability to see the attitude of the author to the world he created).
Naturally, the complexity of the topic forces the teacher to limit its consideration to any one aspect. It seems necessary already at the first stages of literary education to direct the attention of students to the peculiarities of the artistic reproduction of life, to the difference between a work of art and the facts of life underlying it.
It is advisable to start a conversation about fiction with the question of what a literary work can give a person, what a reader should be in order for the work to be revealed to him in all the wealth of thoughts, feelings, and aesthetic value.
In order for this conversation to become meaningful and not be limited to the groundless guesses of the children, it is necessary to work together with the students to comprehend the texts proposed for the introductory lesson: “Love the book” by M. Gorky, “The Ballad of the Boy” by F. Iskander, a fragment from the article by V. Kaverin "Memory and imagination" and an excerpt from the memoirs of K. G. Paustovsky about V. Lugovsky. Let us first of all turn to M. Gorky's statement "Love the book." Its deep meaning can be revealed in the process of discussing the following questions: what was the significance of the book in the life of M. Gorky? What attitude towards a person and his deeds did M. Gorky develop under the influence of reading?
Carefully reading the text, students will note that the books revealed to M. Gorky the richness and diversity of life, showed how “great and beautiful a person is in striving for the best”, sharpened attention to people, caused respect for his work. Schoolchildren should realize that books helped the writer to determine his attitude to the world around him already in his childhood. Reflections on the text “Love the book” allow the teacher to draw the attention of the fifth graders and how thoughtful the reader was, why he believed that the book can make life easier for a person, help to understand the “confusion of thoughts, feelings, events”, teach to respect the person and themselves . At the same time, the teacher tries to update, revive the personal reading experience of students and encourage them to evaluate themselves as readers.
Fifth graders can meet another type of reader when they get acquainted with F. Iskander's "The Ballad of a Boy":
- A long time ago, the whole house fell asleep ...
- book open wide,
- Reading at the table
- Excited boy.
- The boy is sitting at the table
- And in the stillness of the night
- Like around the corner
- He hears this fight.
- They drove the "legions of darkness,
- and each - a dozen,
- And he wants to scream
- "Not properly! Can not be so!"
- The legion presses Spartacus,
- And on four sides
- He is surrounded by the Romans.
- Everything is on the line!
Spartak is calling his friends, But where are his friends? Above them are dust and clouds, They are not damp on the ground. They don't see Spartak, They don't hear the commander. The teacher himself will read the ballad in class, and then offer the children the following questions and tasks: Did you like this poem? How does a boy read a book? How does he respond to what he reads? Can he see, in his imagination, the pictures drawn by the author? Does he experience them, does he evaluate the characters and events? Support your opinions with the text of the poem. Pay attention to the last part of the poem. What does the boy's dream tell us? What high human qualities are manifested in a boy under the influence of reading?
It is important that the children appreciate the boy's lively reaction to the fate of the characters in the book, become infected with his feelings, and understand his desire to change the course of events. And at the same time, the teacher needs to show the children that unbridled fantasy when reading sometimes leads beyond the limits of the world created by the writer, preventing them from perceiving the author's intention, depicted time and historical circumstances with sufficient depth and completeness.
All this work should help the student to get, on the one hand, an idea of the enormous possibilities of the book, on the other hand, about different readers: a qualified, experienced reader and a beginner reader who perceives a work of art as real life. Especially convincing confirmation of these conclusions for the fifth graders will be the testimony of an authoritative writer.
Let's read to them an excerpt from an article by V. A. Kaverin, the author of a beloved teenager. mi of the novel “Two Captains”: “A rare work of art does without fiction, without imagination. The imagination is involved both in thinking about the character of the hero and in drawing up a plan. Many readers intertwine literature with life so closely, with such captivating, touching persistence accept literature as a photographically accurate record of what really happens, that it is not uncommon to receive a letter asking how this or that hero is now, how he is doing, whether he got married, etc.
In fact, one cannot put an equal sign between a real person and the hero of a literary work. The basis of the personality that the writer tells about is almost always a true, real biography. But the writer selects from it only those features that he needs to create his hero. The character that he intended to depict is subordinate to the general concept of the work, its main idea, its plan. Let's ask after reading: what kind of readers does V. A. Kaverin write about?
As a variant of the introductory lesson, based on the repetition of material already familiar to students in grade IV about a work of art, its compositional elements, we can offer a comparison of the fate of the literary character Gerasim from the story "Mumu" and the history of the real prototype - the mute janitor Andrei, serf mother I.S., .
Most Popular Articles:
Homework on the topic: Literature as an artistic reflection of life.
I agree that Russia is such a country where the writer does not need to invent anything, it is enough to take a closer look. What may seem like fiction to others, is actually happening to us!
I believe that two trends can be conditionally identified in modern literature: literature that suggests not to think (“send your brains on vacation”), and literature that invites you to think (provides food for the soul and mind). The first is clearly focused on entertainment, recreation, delight for the reader (consumer). This literature is a business, or part of a business! The main goal of the representatives of this literature is to earn! And they are not ashamed to admit it.
The second trend is literature of a spiritual content (not to be confused with religious), which invites you to think about what is happening around and in yourself. This literature, if not completely disinterested, then, in any case, is not a business, since its goal is not to earn money, but to familiarize the reader with the highest ideals of human culture and patterns of human life.
In fact, the ageless criterion by which these two trends in literature can be distinguished is the understanding of art, and how it affects a person. I mean catharsis. If, as a result of reading a literary work, a person experiences catharsis, spiritual purification, renewal, transformation, then this work can be called art, and, accordingly, a model of spiritual literature. If such a transformation does not occur, then this is entertainment literature, which also has the right to exist! It is only important to strike a balance between these two trends: so that entertainment literature, which has always been and will be in demand, does not supplant spiritual literature, which has always made its way to the reader with difficulty, since it required the work of the soul and mind.
And another interesting question. What is more important in literature: the beauty of fiction or correspondence to the truth of life?
For me personally, the veracity of what is stated is more important than the perfection of style. Because I see the purpose of literature in the analysis of life and the search for answers to the burning questions of the world and man.
Some writers believe that a beautiful presentation is more important than truthfulness, because without the perfection of style there is no good literature, and journalism gives the truth of life. Others believe that without talent and skill there is no work of art. But I, perhaps, agree with those who believe: "the main thing is that a person be good." In my opinion, even if the writer skillfully owns the word, but at the same time represents by no means the best example of human behavior, then, as an author of entertaining reading, he is perhaps beyond criticism. But if this writer writes about spiritual ideals, and at the same time does not correspond to these ideals in life, then for me this is not a writer. For in Russia the writer has always been the conscience of the people!
Now, when the period of games of postmodernism ends, the question arises of which direction modern Russian literature will develop. Everyone feels the need for a bright, eternal, reviving idea that would give both literature and life a new impetus. Russia as a country cannot live without a great unifying idea.
But there is no need to invent and look for anything. You just need to remember, using the long-known method of remembering, that we are Russians, that we have a universal soul, re-read Dostoevsky, and then this old-new idea “what will save the world?” Will give real literature an impetus, and save real literature from the dominance of literature commercial.
Lectures for…
Literature
as an artistic reflection of the historical life of the people since ancient times.
Human studies orientation of Russian literature:
setting and attempting to solve moral and ethical problems in it ...
1. Researcher of ancient Russian life and literature D.S. Likhachev wrote: “Appreciating the beautiful in the past, protecting it, we thereby, as it were, follow the testament of A.S. Pushkin: “Respect for the past is the feature that distinguishes education from savagery…”. In life, one can often come across opinions that oppose natural sciences to humanitarian knowledge: some are considered “exact”, others are denied this incarnation. However, in reality, they are hardly different, because they are similar in the way of the historical approach: even among the natural sciences there are purely historical studies that become, as it were, the basis for the further development of science: "History of flora", "History of fauna", "History of the geological structure of the earth's crust" etc. The humanities deal with the statistical laws of random phenomena, but many natural sciences only seem to be exact, because mathematics at the highest level of development is not as accurate and unambiguous as in an elementary school textbook. There is not a single methodological feature that would not be applied in all the variety of sciences and scientific schools.
But in literature, as in knowledge, there is one feature that distinguishes it from other forms of knowledge of the world: it carries an educational value, enhances and improves the social and ethical qualities of a person. What does literature study? What is the subject of her research? First of all, the subject of literature research is always a person in the fullness of his material and spiritual activity. Literature as a form of art, studying a person, comprehends him in a multidimensional spiritual-ethical and historical-social aspects, in the context of historical (reality) or pseudo-historical reality (fantasy), depicting and comprehending it as a process changing in time. Medicine also studies a person, but it does not deal with his spiritual needs and his relationship with reality. Chemistry studies the organic essence of a person, the chemical reactions that take place in his body, the essence of these reactions and their impact ... But it is necessary to make a reservation, today many researchers believe that the mutual influence of any essence and hypostasis on the world is so great that science cannot explain this now. For example, numerology believes that indexes of numbers can influence a person and his life, others talk about the influence of a name on the appearance, behavior and even the fate of a person ... In my opinion, literature is still such a comprehensive science, trying to explain a person to a person in all his relationships with the universe and its interdependencies…
The variety of literature is studied by the science of "literary criticism", which develops the reader's interest and depth of perception of the text by readers, their social feeling, which allows developing in a person tolerance for manifestations of other cultures, other historical eras, foreign-language or other-national communities.
The artist, on a mental level based on the foregoing, depicts something individual, putting into it the essence of generalization, so that the reader feels his involvement in the world of the heroes of the work. It is the gift of artistic imagination that allows the author to turn his generalizations into images that excite the reader. To see the big in the small, to embody the big, the general in the small - this is the main principle of literature, the search for truth always begins with a small fact, their accumulation, but the same thing happens in any science.
The ability to think abstractly contributes to the creation of an artistic image of reality. The more developed the abstract thinking of the author, who creates an image (of the world, a person, a country, a historical picture of life), the more associations the reader will have when getting to know him.
A figurative generalization arises in the author on the basis of his own life and spiritual experience, on the basis of the ambiguity of the depicted reality, always correlates with a multitude of patterns that he needs to isolate, separating from each other, and then, grouping in his own way, create a single, recognizable "typical" image. It is with the help of imagination that he revives the created figurative world, breathes life into it, but if he does not do this, the reader says: “this does not happen, and there are no such heroes in life ...”
The nature of artistic talent is the ability of the author to imagine vividly and strongly. Here's what different word artists think about it.
I.A. Goncharov: “The work is going on in my head, faces are haunting, pestering, posing in scenes, I hear excerpts of their conversations - and it often seemed to me, God forgive me, that I didn’t think it up, but that all this is worn in the air around me, and I have to look and think about it"
I.S. Turgenev: “You feel that someone is standing near you, walking with you, and now a living face has developed. It's kind of like a dream. You walk among the heroes of the novel, you see yourself between them ... "
L.N. Tolstoy: “Until he (the hero) becomes an old, good friend to me, until I see him and hear his voice, I don’t start writing”
Without the gift of imagination, which turns generalizations into images that excite the reader, touching his spiritual strings, the writer, even if he has the knowledge of life, the ability to generalize, language culture and many other virtues, he will not be able to create a complete picture of life, make the reader believe in depicted. But in order for the reader to become sensitive to literature, it must use its main advantage - the figurative system.
An image is a concrete and at the same time generalized picture of life, created with the help of fiction and having aesthetic value.
Here is the image of Russia in three lyric poets of Russia:
A.S. Pushkin:
Comrade, believe, she will rise
Dawn of captivating happiness
Russia will wake up from sleep
And on the ruins of autocracy
Write our names...
ON THE. Nekrasov:
Native land, name me such an abode,
I didn't see that angle.
Wherever your sower and keeper,
Wherever a Russian peasant would not moan ...
A. Block:
Russia, poor Russia!
I have your gray huts,
Your songs to me, windy,
Like tears of the first love.
…
Let him lure and deceive
You won't disappear, you won't die
And only care will cloud
your beautiful features.
The richness of the image arises due to the many individual features and details, the life details of its time. All three poets write about Russia, believe in its better future, but with different figurative systems, these lines are perceived differently.
A.P. Chekhov wrote about this: “I thought that the instinct of an artist is sometimes worth the brains of a scientist, that both have the same goals, the same nature, and, perhaps, with time, with the perfection of methods, they are destined to merge together into a giant monstrous a force that is now difficult to imagine ... "
The greatest value of Russian literature lies in its kindness, which only a strong beginning always possesses; as a part of Russian culture, it accepts an open system, creatively comprehending and processing all human values.
But if an artist, sculptor, etc. a whole set of materials that allow you to create an image, then for a poet, writer, the main and only material is the word.
The birth of Russian literature was facilitated by the excellent flexible and succinctly accurate Russian language, which had reached a high level of development by the time written literature arose. Rich and expressive, it was presented in oral folklore, business writing, in oratory speeches at veche and princely congresses. It was a language with an extensive vocabulary, with a developed terminology: legal, military-feudal, ecclesiastical, technical, abundant synonyms capable of reflecting the emotional shades of understanding, allowing for diverse forms of word formation.
Russian literature from the very beginning has been closely connected with Russian historical reality, therefore the history of Russian literature is an artistic presentation of the history of the Russian people, its universal human quest, the history of the Russian state, which determines its artistic originality.
Critic, public figure, V.G. Belinsky wrote: “Since art, in terms of its content, is an expression of the historical life of the people, this life has a great influence on it, being in the same relation to it as oil is to the fire that it supports in a lamp, or, even more like soil to the plants to which it nourishes"
It was the high level of general ancient Russian culture, literacy, the development of crafts, architecture, icon painting, extensive military and trade relations with countries and peoples that required legal and diplomatic support, and advanced production techniques that became the initial foundation for the emergence of ancient Russian literature.
Therefore, the works of ancient Russian literature occupied a special original place as the basis for the further development of Russian artistic thought: “The Tale of Igor's Campaign ...”, “The Tale of the Law” by Illarion, “Teachings of Vladimir Monomakh”, “The Prayer of Daniel the Sharpener”, “Kiev-Pechersk Patericon ”, “The Tale of Bygone Years” and many other works of later times.
Already the literature of the new time, the 18th century, became a consequence and artistic reflection of the changes, reforms and transformations of Peter I, subsequent reigns, including the daughter of Peter Elizabeth I and later Catherine II, decades of absolutism turned out to be beneficial for the emergence of secular literature in the Russian Empire , which began its countdown with the satire of a contemporary and colleague of Peter I, Antioch Cantemir.
Russian classicism is being formed, which absorbed the best of Western European, but also had its own characteristics:
1. In the best works of classicism, Russian literature declared its intransigence to all manifestations of moral evil.
2. Classicism in Russia did not question the social structure of society, although their works, with national pathos, contained the demand of humanism for the weak and orphans ...
3. Russian classicists, in contrast to the Western ones, turned not only to the history of Ancient Greece and Ancient Rome, but more often to domestic history.
4. Russian classicism, represented by its brightest representatives: Fonvizin, Trediakovsky, Sumarokov, Lomonosov, Derzhavin, Karamzin, prepared the appearance of the geniuses of Russian literature A.S. Griboyedov and A.S. Pushkin, with their close attention to the real life of Russian society.
2. Artistic features and discoveries of literature of the second half of the 19th century
After the defeat in the Crimean War (1853-1855), when the Russian aristocratic bureaucracy showed its inability to govern the country, losing a local war on its territory, although Turks, Greeks, French and British raided the Crimea with the quiet support of the Austrian and German power structures, but she failed to prepare either the infrastructure for the transfer of troops and army supplies, or the army, or the state diplomatic service itself. Immediately after the signing of peace in 1856, speaking to the deputies of the nobility, the new Tsar Alexander II said: “It is better to start destroying serfdom from above than to wait until it starts to destroy itself from below”
Due to the complexity of Russian life, the multi-layered nature of its social, economic, political and social structures, the social movement of the 1960s can conditionally be divided into three stages, and Russian literature has always been rigidly tied to the history of its country and the state-social tendencies manifested in it.
From 1855 to 1858, there is a stage of the “liberal spring”, which replaced strict control during the reign of Nicholas I, but disagreements immediately begin between the “revolutionary democrats” and “liberals”, there are discussions about the “Pushkin” and “Gogol” direction in literature . Although there were no particular contradictions: Pushkin was liberal, but did not share the views of his friends from the Decembrists on the violent change in the structure of Russian life ... Gogol, in general, was a supporter of preserving the main bonds of Russian statehood, autocracy and Orthodoxy, with the moral self-improvement of representatives of the upper classes and destruction through reforms the shame of serfdom...
The delimitation between those who advocated the complete and speedy abolition of serfdom and those who advocated the gradual abolition of serfdom, with the preservation of its elements for some time, was also complicated by the different cultural and historical orientation of the public. A struggle ensued between Western liberals and Slavophiles - this opposition to one degree or another persists to this day, corroding the social movement in Russia like rust.
Westerners believed that Russia had a great future, as a developing national entity, only if it was oriented towards Western achievements and values transferred to the Russian socio-political reality, that Russia needed to move in line with the Western tradition of common Christian civilization.
The Slavophiles, rejecting and criticizing all social theories that were not present in the experience of the Russian historical past, asserted the idea of Russia's cultural and historical identity. They contrasted the Western formal "association" with the rule of the majority, the Russian "cathedralism", which is not a legal formalization of relations, but a cordial agreement between people, they considered the peasant community with the solution of all issues "in peace" an example of such catholicity.
1859 - 1861 the second stage in the development of public life: views on the peasant reform became clearer, it became clear that, as always happened in Russia, when reforms are carried out “from above”, they remain half-hearted and contradictory. The revolutionary democrats broke with the liberals, strife and disputes on their part were supported by the magazines Sovremennik and Whistle (1859), which considered the peasant community to be the core of the socialist hostel, hoping for its opposition to the authorities, but the community had to be shaken .
The 1861 manifesto on the liberation of the peasants aggravated the contradictions between the radicals and the gradualists, and the government began to persecute the extreme left: N.G. Chernyshevsky, D.I. Pisarev, the publication of Sovremennik has been suspended. Contradictions also arose within left-wing journalism: Sovremennik (Dobrolyubov, Chernyshevsky, Nekrasov) and Russkoe Slovo (Pisarev, Zaitsev), the former insisted on the natural revolutionary nature of the Russian peasantry, the latter considered the “mental proletariat”, raznochintsy, representatives of the from different strata of society. To some extent, these disputes were reflected in the “Fathers and Sons” by I.S. Turgenev and "Thunderstorm" by A.N. Ostrovsky.
1862-1869 the third stage in the development of social movements ...
There was a decline in extreme revolutionary sentiment, especially after the Polish uprising, when the majority of the liberal intelligentsia supported the government in its confrontation with the Polish nationalists, and in 1866 Karakozov fired at the emperor, declaring the hopes of the extreme wing of the revolutionary democrats to achieve change through political terror, to which the government responded with a wave of arrests and a violent political backlash.
Russian literature during the period of the 60s tried to answer the main questions about the ways of the country's development, the participation of its people in this and the responsibility of an educated society for the state of affairs. In general, Russian literature of the middle of the 19th century is called the literature of three questions, formulated by the names of famous works of widely read authors, to which society has not found an answer ...
1st "Who is to blame?", it was put by A.I. Herzen with his work of the same name.
2nd "What to do?" asked N.G. Chernyshevsky, when he tried to understand the task of the intelligentsia and give in his novel of the same name positive examples of the life of heroes for the happiness of the people.
3rd “Who is it good to live in Rus'?” wanted to find out in the poem of the same name by A.N. Nekrasov.
With the acceleration of social processes, the growth of political and social confrontation in the life of the population of Russia, there is a differentiation and specialization of literary creativity. In fact, Pushkin's artistic universe turned out to be unique, there were no authors who could reflect all the twists and turns of Russian life in such a multifaceted and multi-genre way. L.N. Tolstoy entered literature as the creator of unique novels, including the epic novel War and Peace. A.N Ostrovsky realized himself as a playwright. Honored by contemporaries and now almost forgotten writers A.I. Levitov, G.I. Uspensky, N.V. Uspensky mainly remained essayists of contemporary Russian life, M.E. Saltykov-Shchedrin entered literature as a satirist and author of The History of a City. I.S. Turgenev tried to preserve universalism in his work, but did not achieve either the epoch-making visual power of Tolstoy, or the tragic intensity of internal conflicts and passions of F.M. Dostoevsky. The fiction of the majority of revolutionary democrats, due to the passion for some one facet of social and social life, turned into a loss of completeness and a comprehensive artistic display of life. The writers of the 60s of the XIX century were faced with the need for artistic understanding of the mobile, fluid, rapidly and spontaneously changing reality. I.S. Turgenev complained in a letter to the writer K.S. Aksakov: “Simplicity, calmness, clarity of lines… – all these are still ideals that only flicker in front of me… Life hurries and drives – and teases, and beckons… it is difficult for a modern writer, especially a Russian one, to be calm – neither from outside, nor from within him does not breathe peace "
These words of Turgenev can, unfortunately, be attributed to all Russian literature, not only of the 19th, but also of the 20th century ...
