Topic: Moral problems in the works of Russian writers
Goals: Understanding the problem of morality.
Evaluate the actions and relationships between loved ones.
Form an idea of the personality of the characters.
Tasks:
1. Shape:
idea of goodness, kindness, good, kind deeds;
the ability to correctly evaluate oneself and others, to teach to see positive qualities in people, heroes, characters.
3. Learn to analyze literary texts.
4. To educate in children such personality traits as kindness, generosity, responsiveness;
Lesson script:
Org. Moment
Psychological attitude
Cryptographer
Introduction to the topic of the lesson and goal setting
Let's turn to the dictionary for the interpretation of the word - morality. I am definitely a moral person.” It turns out that there are certain problems with the spiritual and spiritual qualities of many people. That's what our lesson today is about.
What is the topic of our lesson?
Moral problems in the works of Russian writers.
What goals do we set for ourselves?
5. "Tree of predictions"
In order for our lesson to be successful, what can you suggest for today's work.
Pay attention to our tree and evaluate your mood for work in the leaflet.
6. Work on the topic of the lesson
Today at our lesson “Virtual guest. This - Vasily Alexandrovich Sukhomlinsky. Sincere love for children, romantic aspirations of the personality, passion and conviction distinguished the outstanding teacher Vasily Aleksandrovich Sukhomlinsky. A wonderful teacher - an innovator, a passionate publicist, first of all, he cared about the problems of children and adolescents. Over two decades, he published 35 books and hundreds of scientific articles - reflections. We have already studied his stories - parables this fall. ("I want to have my say"). Until the last day, he remained the director of the Pavlysh school, an ordinary rural school where ordinary village children studied.
Today we will get acquainted with another story - the parable "The Birthday Dinner". Before you anticipate what this story is about, let's find out what a parable is. (" Parable- this is a small instructive story in the literary genre, containing a moral or religious teaching (wisdom). Close to fable. In the parable there is no depiction of characters, indications of the place and time of action, showing phenomena in development: its purpose is not to depict events, but to report on them.
What do you think this parable is about? (children's answers)
Let's read and clarify your assumptions.
(Reading by teacher with interruption)
Evaluation after the initial audition
Uncomfortable - embarrassing.
Do not believe your eyes - very surprised.
No good - very bad
Grab your head - be horrified, in despair
Whatever - no matter
So-so - neither bad nor good
Choose and point to the chosen phraseological unit.
Remember your choice, it will be useful to us in summing up.
7. Radio play
Now let's read the text by roles in groups. You are 4 people: 2 authors, mother and Nina. 1 author reads to the words: Nina's birthday is coming soon.
Let's listen to the second part of the story with the words "Guests have come ..."
8. "Six Hats"
And now let's start the discussion. 6 hats will help us with this.
Hats are on your desks, you know what to do. Let's repeat the algorithm of work in groups. We got to work.
We listen to the answers of the speakers. Additions only after the performance of the leaders.
Let's return to phraseological units, have your opinions changed, evaluating Nina's act?
Define Nina's act in one word. (betrayal)
9. Results of the work
- Diagnostics
- Put + - yes, - if no.
- A mark on the tree of predictions.
10. Estimate on the itinerary
11. Homework
Moral problems in the literature of the 60-80s.
The sixties of the twentieth century went down in history as a period of "thaw". Mass rehabilitation of the repressed, social policy, liberalization of various aspects of life formed a new type of personality, unusual for Soviet generations - “sixties. They were children of the war, their youth fell on the thaw, they made up the bulk of the emigration in the 80s. Vysotsky, and Okudzhava, and Galich, and Shukshin, and Brodsky belonged to them ...
The prose of these decades was defined by such names as Viktor Astafiev, Valentin Rasputin, Yuri Trifonov. According to themes and problems, the prose of the 60-80s is usually divided into urban and rural. Rural prose (Shukshin, Astafiev, Rasputin, Abramov) explored the consequences of man's rupture with the earth. The authors of urban prose (Granin, Trifonov, Bitov) paid attention to social processes. One of the most striking works of urban prose is Trifonov's story "The Exchange".
The story begins at the culminating moment in the life of the protagonist - Viktor Dmitriev - the fatal illness of his mother and the exchange of an apartment initiated by his wife in connection with this. When Lena, Dmitriev's wife, talked to him about this delicate topic, he felt neither pain nor anger. The thought flashed about the mercilessness of life, and Lena was part of this ruthlessness.
The author puts the hero in a situation of choice, when the essence of a person is best manifested. Dmitriev needs to decide: who is he with, with his wife, who does not love her mother-in-law, but is ready to forget it in order to become the owner of her own apartment, or is he with his mother, an uncompromising and impeccably honest woman. Dmitriev is not a hero, he is not ready for this choice, he is used to making compromises. His model of behavior is avoiding solving the problem, responsibility, striving at all costs to maintain the usual order of things. The result of the choice is a sense of guilt and one's own inferiority after the death of the mother.
The meaning of the name is not just in the exchange of an apartment. Trifonov gives us a biography of two families, the Dmitrievs (the husband's family) and the Lukyanovs (the wife's family). Following Tolstoy, Trifonov sees a person as a representative of the family, he carries in himself the level of personality development, the type of thinking. The family is a combination of two "worlds", and it cannot be conflict-free. A new family, for Trifonov, is a complex combination of two different elements, which of them will win, at what cost, according to what laws the family will live, what compromises it is ready to make - this is the subject of the writer's research. The Dmitriev family differs from the Lukyanov family in that they have ancient roots, they are attentive to their past, this ensures the continuity of moral principles. The drama of the hero is that he makes a substitution of these principles. The fusion of the spiritual and the practical leads to the victory of the latter.
The position taken by the hero, detachment. 20 years of spiritual isolation in the family cannot but leave a trace. Spiritual impoverishment occurs, and now the mother no longer recognizes her son, it is difficult for her to communicate with him. She is the conscience of the family, while she is alive, the son at least remembers moral principles, he is "uncomfortable" in front of his mother. Once Dmitriev's grandfather, the head of the family, told him: "You are a good person, but not surprising." It sounded like a sentence. There is no passion in the life of the hero, an inspiring beginning, which is why he turns out to be helpless in the confrontation with Lena's family.
The Lukyanovs are people of practical acumen, "knowing how to live." This in itself is not bad, but relations even between close relatives are based on the principles of benefit, there is no love, warmth, human participation. Dmitriev's mother says that Lena has a "mental defect", "underdevelopment" of feelings, tactlessness.
Egoism, as you know, is a powerful engine of life, but where does reasonable egoism end and unreasonable begin?
The ending of the story - the exchange took place, Dmitriev's mother died, he had a hypertensive crisis, and after three weeks he looked like he was not yet an old man, but already an elderly person.
Exchange is a difficult spiritual and psychological situation. It strikes with its sharpness also because life becomes the main test of a person. During the war and other upheavals, moral problems are exacerbated, they require endurance, courage, courage from a person, but, according to Trifonov, ordinary everyday life requires no less courage. Philistinism, the vulgarity of an ordinary soulless existence is a favorite theme of both Chekhov and Trifonov.
Trifonov's story is a reflection on the waning relations between relatives, the culture of the family, raising children in the spirit of the family, the inheritance of spiritual principles is leaving.
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A large place in the literature of the 70-80s of the XX century is occupied by works about the complex moral searches of people, about the problems of good and evil, about the value of human life, about the clash of indifferent indifference and humanistic pain. It can be clearly seen that the growing interest in moral problems is combined with the complication of the moral search itself. In this respect, from my point of view, the work of such writers as V. Bykov, V. Rasputin, V. Astafiev, Ch. Aitmatov, V. Dudintsev, V. Grossman and others is very significant.
In the stories of V. Bykov, the moral problem always serves as a second turn of the key, opening the door to the work, which, at the first turn, is some kind of small military episode. This is how “Kruglyansky Bridge”, “Obelisk”, “Sotnikov”, “Wolf Pack”, “His Battalion” and other stories of the writer are built. Bykov is especially interested in such situations in which a person, left alone, should be guided not by a direct order, but only by his moral compass.
Teacher Frost from the story "Obelisk" brought up in children a kind, bright, honest attitude to life. And when the war came, his students staged an assassination attempt on a policeman nicknamed Cain. The children were arrested. The Germans promised to let the guys go if the teacher who had taken refuge with the partisans appeared. From the point of view of common sense, it was useless for Frost to appear to the police: the Nazis would not have spared teenagers anyway. But from a moral point of view, a person (if he is really a person!) must confirm with his life what he taught, what he is convinced of. Frost could not live, could not continue to teach, if at least one person thought that he was afraid, left the children at a fatal moment. Frost was executed along with the guys. Moroz's act was condemned by some as a reckless suicide, and after the war, his name was not found on the obelisk at the site of the execution of schoolchildren. But precisely because the good seed that he planted with his feat sprouted in the souls, there were those who managed to achieve justice: the name of the teacher was added to the obelisk along with the names of the hero children.
But even after that, Bykov makes the reader a witness to a dispute in which one of "today's wise men" disparagingly says that there is no special feat behind this Frost, since he did not even kill a single German. And in response to this, one of those in whom a grateful memory is alive, sharply says: “He did more than if he had killed a hundred. He put his life on the line. Myself. Voluntarily. Do you understand what this argument is? And in whose favor...” This argument refers precisely to the moral concept: to prove to everyone that your convictions are stronger than threatening death. Frost stepped over the natural thirst to survive, to survive. From this begins the heroism of one person, so necessary for raising the moral spirit of the whole society.
Another moral problem - the eternal battle between good and evil - is explored in V. Dudintsev's novel "White Clothes". This is a work about the tragedy that befell Soviet genetics, when its persecution was elevated to the rank of state policy. After the infamous session of VASKhNIL in August 1948, the civil execution of genetics as a bourgeois pseudoscience began, the persecution of stubborn and unrepentant genetic scientists began, repressions against them, and their physical destruction. These events slowed down the development of domestic science for many years. In the field of genetics, breeding, treatment of hereditary diseases, in the production of antibiotics, the USSR remained on the side of the road, along which those countries rushed forward that did not dare to even think of competing with Russia in genetics, which was headed by the great Vavilov.
The novel "White Clothes" depicts a campaign against genetic scientists with almost documentary accuracy. At the end of August 1948, F. I. Dezhkin arrived at one of the agricultural universities of the country, who fell under suspicion, on behalf of the “people's academician” Ryadno (his prototype is T. D. Lysenko), who was supposed to “clean up the underground kublo”, expose the Weismanists -Morganists at the institute. But Dezhkin, having become acquainted with the experiments of the scientist Strigalev on growing a new variety of potatoes, seeing the disinterested devotion to science of this person, who gives, not takes, without thinking, makes a choice in favor of Strigalev. After the arrest and exile of Strigalev and his students, Fyodor Ivanovich saves the scientist's legacy from Ryadno - a variety of potatoes he bred. In the era of the cult of Stalin in the country and the cult of Lysenko in agriculture, Dezhkin, a man of good will, is forced to play a “double game”: pretending to be faithful to “dad” Ryadno, he goes to forced, painful, but heroic acting, saving for a righteous cause, for truth . It is scary to read (although interesting: it looks like a detective story) that Dezhkin had to live in peacetime in his own country as an underground fighter, a partisan. He looks like Stirlitz, with the only difference that he is a resident of goodness and true science... in his homeland! Dudintsev solves a moral problem in the novel: good or true? Can you allow yourself to lie and pretend in the name of good? Isn't it immoral to lead a double life? Is there any justification for unscrupulousness in such a position? Is it possible to give up moral principles in some situation without soiling the white robes of the righteous? The writer claims that a good person who feels that he is called to fight for some higher truth should say goodbye to sentimentality. He must develop tactical principles of struggle and be prepared for heavy moral losses. In a conversation with the correspondent of "Soviet Culture" Dudintsev, explaining this idea, repeated the parable from the novel about good that pursues evil. Good is chasing evil, and the lawn is on the way. Evil rushes straight across the lawn, and good with its high moral principles will run around the lawn. Evil, of course, will flee. And if so, then, undoubtedly, new methods of struggle are needed. “You give the novel a toolkit for good,” one reader told Dudintsev. Yes, this novel is a whole arsenal of weapons of good. And white clothes (purity of soul and conscience) are armor in law and combat. Very complex moral problems are posed by V. Grossman in the novel “Life and Fate”. It was written in 1960, then arrested in manuscript, only a third of a century later it was released, rehabilitated and returned to Russian literature.
“Life and Fate” is a novel about freedom. The author captured in it the efforts of a person aimed at morally straightening up. The war is the main event in the novel, and the Battle of Stalingrad (like the Battle of Borodino in "War and Peace") is the crisis point of the war, because it began a turning point in the course of the war. Stalingrad in Grossman's novel, on the one hand, is the soul of liberation, and on the other, a sign of Stalin's system, which is hostile to freedom with its whole being. At the center of this conflict in the novel is the “six fraction one” house, Grekov’s house (remember Pavlov’s house?!), located “on the axis of the German strike”. This house is like a bone in the throat for the Germans, as it does not allow them to move into the depths of the city, into the depths of Russia.
In this house, as in a free republic, officers and soldiers, old and young, former intellectuals and workers do not know superiority over each other, here they do not accept reports, they do not stand at attention before the commander. And although the people in this house, as Grossman notes, are not simple, but they make up one family. In this free community, selflessly sacrificing themselves, they fight with the enemy not for life, but for death. They are not fighting for Comrade. Stalin, but in order to win and return home, in order to defend their right “to be different, special, in their own way, to feel, think, live in the world separately.” “I want freedom, and I’m fighting for it,” says the “house manager” of this house, Captain Grekov, implying not only liberation from the enemy, but also liberation from the “universal coercion”, which, in his opinion, was life before the war. Similar thoughts come to Major Yershov in German captivity. It is clear to him that, “fighting the Germans, he is fighting for his own Russian life; victory over Hitler will also be victory over those death camps in Siberia where his mother, sisters and father died.”
“The Stalingrad triumph,” we read in the novel, “determined the outcome of the war, but the silent dispute between the victorious people and the victorious state continued. The fate of man and his freedom depended on this dispute. Grossman knew and was not deceived by the fact that it would be terribly hard to endure life against fate in the form of camp towers, various immeasurable violence. But the novel “Life and Fate” is filled with faith in a person and hope for him, and not with disastrous disappointment in him. Grossman leads the reader to the conclusion: “Man will not voluntarily give up freedom. This is the light of our time, the light of the future.”
Moral problems in the works of modern Russian writers. Our life, the life of our state, its history is complex and contradictory: it combines the heroic and the dramatic, the creative and the destructive, the desire for freedom and tyranny. The general crisis, in which our country found itself, led to an understanding of the need for a radical restructuring in the field of economics and politics, education, science, culture, and the spiritual world of man.
The path of democracy, the path of reforms, the path of reviving human dignity has no alternative, but it is difficult, thorny, fraught with searches and contradictions, struggles and compromises.
A worthy life is not bestowed from above and does not come by itself, without labor and effort. And only when every person lives and works with honor and conscience, the life of the whole country, the life of the whole people will become better, happier. Who can reach the soul of everyone? I took it clear: literature, art. It is no coincidence that in the works of a number of our writers a new hero has long been identified, thinking about the meaning of life and morality, looking for this meaning, understanding his responsibility in life. Thinking about the problems and vices of society, thinking about how to fix them, such a hero begins with himself. V. Astafiev wrote: “You always have to start with yourself, then you will reach the general, national, universal problems.” Today the problem of morality Becomes leading. After all, even if our society manages to move to a market economy and become rich, wealth cannot replace kindness, decency, and honesty.
Many writers reflect on moral problems in their works: Ch. Aitmatov, F. Abramov, V. Astafiev, V. Rasputin, V. Belov and others.
Leonid Soshnin from the novel reflects on the causes of cruelty, immorality, selfishness and rejection of the good
V. Astafiev "The Sad Detective". Throughout his life, Soshnin has been fighting evil, which is embodied in specific people and their actions. Astafiev, together with his hero, want to understand “the truth about the nature of human evil”, to see “the places where it matures, picks up stench and grows fangs hidden under the cover of thin human skin and fashionable clothes, the most terrible, self-devouring beast.” In the fight against criminals, the hero of the novel becomes disabled. Now he is deprived of the opportunity to fight evil as a guardian of order. But he continues to reflect on the nature of ... evil and the causes of crime, and becomes a writer.
The pictures of evil, violence, cruelty depicted in the novel shock us with their everydayness and realism. Only the selfless devotion to duty of such people as Soshnin gives reason to hope for the victory of good over evil.
In V. Rasputin's short story "Fire", we see a special situation. There was a fire in the Siberian village: the Ors warehouses caught fire. And in its flame, the soul and high morality of the hero Ivan Petrovich Yegorov, as well as the positions of other residents of the logging industry village of Sosnovka, are highlighted. The fire in the story, as it were, divides people into two groups: those who, forgetting about the danger, seek to save the perishing good, and those who maraud. V. Rasputin develops here one of his favorite themes: about the roots of a person, about his connection with the place where he was born and raised, about the fact that the absence of moral roots leads to moral degeneration.
About the Chernobyl disaster and its consequences, two documentary stories were written almost simultaneously - "Chernobyl Notebook" by G. Medvedev and "Chernobyl" by Y. Shcherbak. These works amaze us with their authenticity, sincerity, civic responsiveness. And the philosophical and journalistic reflections and generalizations of the authors help us understand that the causes of the Chernobyl disaster are directly related to moral problems.
"Live not by lies!" - so called his appeal to the intelligentsia, youth, to all compatriots, written in 1974 by A. Solzhenitsyn. He addressed each of us, to our conscience, to our sense of human dignity with a passionate reminder: if we ourselves do not take care of our soul, no one will take care of it. Purification and liberation of the social organism from the power of evil can and must begin with our own purification and liberation - with our firm determination in nothing and never to support lies and violence, by ourselves, by our own will, consciously. Solzhenitsyn's word retains its moral meaning even today and can be a solid guarantee of our civic renewal.
Writers are intensely looking for answers to the most burning questions of our life: what is good and truth? Why so much evil and cruelty? What is the highest duty of man? Reflecting on the books we read, empathizing with their heroes, we ourselves become better and wiser.
Questions of morality, the struggle between good and evil are eternal. In any literature, we will find works in which they are affected in one way or another. Even after decades and centuries, we again and again turn to the images of Don Quixote, Hamlet, Faust and other heroes of world literature.
The problems of morality and spirituality, good and evil, also worried Russian writers. One had to be a very brave person to speak the way the unknown author of The Tale of Igor's Campaign did; as did one of the first Russian preachers, the Kiev-Pechersk hegumen Theodosius, for which he incurred the prince's wrath. In subsequent times, advanced Russian writers continued to realize themselves independent of the will of princes and tsars. They understood their responsibility to the people and national history, they felt themselves higher in their vocation than the powers that be. It is worth remembering the thread of Radishchev, Pushkin, Lermontov, Gogol, Leo Tolstoy, Dostoevsky, and many other names of Russian writers of the new time.
At the present time, when we have just entered the 21st century, when in everyday life literally at every step we have to deal with immorality and lack of spirituality, we, more than ever before, need to responsibly turn to the lessons of morality.
In the books of the remarkable writer Ch. Aitmatov, the characters are always looking for their place in life. They are able to “ascend from day to day to the radiant perfection of the spirit.” For example, in the novel The Scaffold, the writer tried to "reflect the complexity of the world, so that the reader would go through spiritual spaces with him and rise to a higher level."
The protagonist of the work is the son of the priest Avdiy Kallistratov. According to the spiritual mentors of the seminary, he is a heretic. Obadiah strives to bring kindness and justice to a world full of cruelty and indifference. He believes that he can influence the youths who collect marijuana, cleanse their souls from callousness and indifference to themselves and those who are close to them. Obadiah strives for love and truth and does not at all realize what an abyss of immorality, cruelty and hatred will open before him.
The meeting of the hero with marijuana collectors becomes a kind of test of strength and capabilities. Obadiah tries his best to convey to them the bright ideas of justice. But neither the leader of the "anashists" Grishan, nor his partners can understand these ideas. They collect hemp for money, and the rest is not important to them. They consider Obadiah a crazy "priest-perepop", a stranger in their circle.
Obadiah naively believes that the main weapon in the struggle for human souls, for morality in relations between people is the word. But gradually it turns out that the "anashists" and the Ober-Kandalovites speak different languages with him. As a result, the anashists throw him out of the train car, and the Ober-Kandalovites crucify him on a saxau-le. With a naive belief in the possibility of cleansing the world from evil and immorality, with a sincere sincere word, Obadiah ascended his chopping block.
What makes a person turn off the right path? What are the reasons for the changes happening to him? Unfortunately, the literature cannot give an unambiguous answer to such questions. A literary work only represents the typical manifestations of the moral diseases of the time. The main choice remains with us - real people living in real time. material from the site
Moral problems are a kind of second turn of the key in the stories of V. Bykov, which opens the door to the work, while the “first turn” is an insignificant military episode. Most of all, the writer is interested in the circumstances in which a person should be guided not by a direct order, but exclusively by his own moral principles. Ivanovsky (“Survive Until Dawn”), Moroz (“Obelisk”), Sotnikov (“Sotnikov”), Stepanida and Petrok (“Sign of Trouble”) - this is not a complete list of V. Bykov's heroes who find themselves in a situation of moral choice and walk out with honor. Ales Moroz dies. But before his death, he "did more than if he had killed a hundred Germans." The death of Sotnikov turns out to be more honorable than the life bought by Rybak. Stepanida and Petrok die, defending their personal moral principles until the last minute of their lives.
“The true indicator of civilization is not the level of wealth and education, not the size of cities, not the abundance of crops, but the appearance of a person,” said R. Emerson. When we improve ourselves, we thereby improve the world around us. And it seems to me that only through moral development can human society reach the heights of perfection.
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