Literature and literary traditions of the native city. Research work on literature "Meal Traditions on the Pages of Russian Classical Literature."

The term "literary tradition" is used in literature when it comes to a succession that unites successive literary phenomena.

The concept of literary tradition

In its meaning, the concept of literary tradition is identical to the concept of borrowing, influence and imitation. The following components of poetics can serve as the constituent elements of the literary tradition: style, composition, rhythm and subject matter. These components are often transmitted by the literary tradition not separately, but in combination with each other.

The area of ​​literary tradition is also quite wide: it can be both international creativity, and the creativity of one people. For example, Gogol created a literary tradition in Russia, which eventually spread far beyond its chapels. The literary tradition does not differ in intensity, so we see that Pushkin's traditions in different times sometimes they are amplified in the literature, sometimes they disappear almost completely.

At first glance, an extinct tradition can not only be revived, but also take a dominant place in the literary process, thanks to the influence of suitable historical conditions.

In the literary process, there is the concept of parody of the literary tradition. A striking example of this is Dostoevsky's work "The Village of Stepanchikovo", in which the author parades Gogol's style and ideology.

Eternal themes in literature

traditional problems. Literary works, in their absolute majority, have stable eternal themes, the peculiarity of which is that they are practically inexhaustible, as they will always be relevant in any society. No matter how many options for their disclosure would be, anyway, each time something remains unsaid, as well as something that lends itself to a completely different interpretation in the new historical conditions.

Getting acquainted with various literary works, we are amazed at how the same theme is seen by different writers. By by and large, many literary works that have come down to us describe the same plot, but separated and corrected over the centuries.

The eternal themes of literature can be divided into the following categories:

1. ontological- themes of unidentified eternal phenomena: space, light, darkness.

2. Anthropological themes:
- the concept of being - sin, involvement, pride, human life, death.
- epochal events - wars, revolutions, peace, civil activity.
- the sphere of social instincts - love, friendship, family, zeal for power, social transformations of a person.

Reasoning about eternal problems is also very characteristic of literary process. Basic eternal problem discussed in literary works are questions and problems of morality of man and society. Along with the description of this problem, the literature also indicates ways to solve it - for society this is a revolution or reform, for a person - moral improvement.

Another traditional eternal problem is the question of society's rejection of individual, the so-called lone hero. A special place in the literary process is occupied by the clarification of universal human problems - the search for the meaning of life, the understanding of good and evil, internal torment, etc.

literary novel realist writer

The concept of "literary tradition" in modern literary criticism lacks terminological precision. Tradition is often identified with such concepts as " artistic interactions”, “literary continuity”, “genesis of literary creativity”. These concepts should be distinguished.

Artistic interactions represent the influence of some artistic representations on others, they are “forms of cultural dialogue within the art of a given era or contemporary art with the past” [Apresyan 2001: 124].

Continuity, from the point of view of E.A. Baller, is “a connection between different stages or stages of development of both being and cognition” [Baller 1969: 93], which preserves individual elements of the whole, or changes the whole as a system. Literary continuity is a natural connection between the "old" and the "new", which is based on the universal principle of repetition. IN AND. Tyupa calls repetitive elements "forms of development", or typological correspondences that arise in the course of the evolution of literature in the field art form and content. The beginning of continuity in literary development is carried out by genres, they form a link between writers of different eras. S.S. wrote about this. Averintsev: "any writer is a contemporary of his contemporaries, comrades in the era, but also a successor to his predecessors, comrades in the genre" [Tyupa 1981: 53]. The idea of ​​the leading role of the genre was also reflected in the works of M.M. Bakhtin: “Genre is a representative of creative memory in the process of literary development”, “the genre lives in the present, but always remembers its past” [Bakhtin 1979: 32].

The term "genesis of literary creativity" is characterized as a set of incentives for the writer's activity, expressed by the author's need to embody his biographical, psychological, socio-cultural experience in the work. In the judgments of M.M. Bakhtin, the idea of ​​the genesis of literary creativity becomes a key one. The scientist used the expressions "small historical time" (the writer's present) and "great historical time" (previous experience), thereby M. Bakhtin challenged the generally accepted attitudes in literary criticism [Bakhtin 1979: 33].

Despite the lack of clear boundaries in the use of the concept of "literary tradition", most researchers operate with this term when identifying the forms and mechanisms of interaction between the artistic experience of some writers and others.

A.I. Batyuto associates traditions with the use or borrowing of methods of portrait-psychological depiction of a character, composition and plot construction. G.V. Kurlyandskaya, speaking of tradition, means "ideological and creative exchanges" with her predecessors. V. Gusev, referring to the traditions of Russian classics, writes about the similarity of problems and characters. Based on the scientific interpretation, tradition characterizes cultural memory, links the values ​​of the historical past and present, transfers cultural heritage from generation to generation, acts as a mechanism for storing and transmitting methods and skills of activity, cultural samples. The past becomes the prototype of the present, the source of the perfection of the future.

Tradition is a type of relationship between the stages of a developing object, in this case, literature, expressing the transition of the "old" into the "new". That is, literature cannot exist without relying on the experience of previous generations.

On methodological basis Marxist literary criticism began to single out "immanent" and "causal" phenomena within the framework of the literary process. "Causal" phenomena are a combination of historical, cultural, social and economic factors. They have a leading role. The appearance of "immanent" phenomena is due to the creative specifics of literature. They have a strong impact on the literary process, since the reflection of social reality is formed by the consciousness of the writer. Tradition is considered as an aspect of relations, covering the patterns of literary evolution depending on "immanent" and "causal" factors.

In the system of information received by a person, a group of sociocultural information, or biologically non-inherited, is distinguished. The condition for its storage and transmission is a communication mechanism that ensures the stability of culture in its constant evolution. This mechanism is called tradition, its special function is to maintain stability. Under the new conditions, the content of accumulated experience is transformed, constant changes reflect the procedural nature of the tradition. Since the best achievements of mankind are fixed in tradition, it correlates with the concept of the norm of culture. The accumulated experience is rethought and transformed by the new generation. The bearer of the tradition, whose work is perceived as a classic example, becomes a reference point.

But tradition includes not only the features of the work of one writer, it implies the history of numerous transformations of certain literary phenomena.

Tradition as a special mechanism of culture has its own patterns of functioning. If we talk about social tradition, which is the product of the activity of the collective, its bearer is the individual. With the exception of some written forms of tradition, it is discontinuous, expressed unidirectionally in time, selective. social tradition learned consciously and unconsciously. As for the literary tradition, it is the product of the activity of individuals and its bearer is a person with talent. Since the literary tradition is realized in the work of writers, in specific works, it is always discontinuous. The selectivity of the tradition in the field of literature is much higher. The writer uses the components of the literature of the past, corresponding to his own artistic goals. Selection and updating of traditions in the field artistic creativity depends on the literary position of the writer, it is a matter of his creative self-determination. Appeal to a certain literary tradition is the result of a conscious choice of the writer.

Tradition is the cultural and artistic experience of past eras, which has become a creative guide for writers. By linking time, tradition marks the selective and proactive creative mastering of the legacy of previous generations to solve contemporary artistic problems. As a tradition, writers assimilate themes past literature conditioned socially and historically; moral and philosophical problems and motives, genre features, form components.

Traditions manifest themselves as influences and borrowings. Traditional plots, images and motifs are a form of universal memory that preserves universal human experience; a system of value orientations is being formed. The echoes of the eternal and the modern in a literary work often arise due to the use by the writer of the method of comparing his hero with other literary and historical characters.

In literary criticism, the concept of "tradition" is considered bilaterally. R.G. Apresyan, A.A. Huseynov point to the absolutization of the past, immutability and conservatism. On the other hand, they consider tradition a necessary condition for the stability of being, "the beginning of the formation of the identity of a person, a social group and a whole society" [Apresyan 2001: 120].

Tradition can influence literary creativity spontaneously. The writer assimilates socially and historically conditioned themes, moral and philosophical problems and motives, form components. The past has always acted as a guideline for solving contemporary artistic problems.

State Autonomous Vocational Educational Institution of the Irkutsk Region

Angarsk College of Public Catering and Trade

Research work in literature

Traditions of the meal on the pages of Russian classical literature.

Completed: 2nd year student

Groups 2/2 a

Novopashina Sofia

Head: teacher of Russian language and literature

Fedorova A.B.

Angarsk, 2014

CONTENT

Introduction…………………………………………………………………………..3

The Image of Food in World Literature………………………………………………...4

Meal Traditions in Russian Literature………………………………………..6

Conclusion……………………………………………………………………… 17

Application1…………………………………………………………………18

Annex 2……………………………………………………………………18

References……………………………………………………………...19

INTRODUCTION

A person in his life can do without a lot: without a phone, clothes, the Internet, a car. But he simply needs food and drink. The theme of cooking has always been acute in literature.

The relevance of the chosen topic is due to the fact that modern people have a very vague idea of ​​​​what Russian cuisine is, and when reading literary works and meeting the names of dishes in them, they rarely want to get to know the traditions of the original Russian cuisine.

The purpose of our study is to analyze the use of the theme of cooking in literary works of XIX century, revealing the relationship between literature and cooking.

To achieve the goal, the following tasks were set:

1. Explore culinary passions writers of the 19th century (study the works of Russian classics, where there are descriptions of dishes of Russian cuisine and learn how to cook dishes).

3. Determine what our ancestors who lived in the 19th century ate and study the gastronomic preferences of a modern person.

4. Find out if students are familiar with dishes from literary works.

Object of study : students of 1-2 courses and teachers of GAPOU IO ATOPTSubject of study: culinary tastes of 19th century writers. The study is devoted to two areas of human activity: Russian literature and Russian cuisine.

Research methods Key words: study of literature, questioning.

THE IMAGE OF FOOD IN WORLD LITERATURE

In the framework of everyday life, food is usually considered as a utilitarian attribute that contains a specific function: the ability to provide people with vital functions. But this does not mean that society is not able to appreciate the art of cooks, the exquisite design of dishes, interior design and table setting, that is, to “please” not only the stomach, but also the soul.

Until now, such an enduring pure human value like talking at the table. Despite the rapid pace of life, the weakening of family and friendly ties, peers of the 21st century, like their predecessors a hundred or three hundred years ago, find time to sit in a close circle and have a pleasant conversation; not just to celebrate important events for them, but to observe the rituals appropriate to this occasion.

Images of food are traditional for all world literature. A conversation about them can be started by referring to ancient literature, in which they played an important role.

According to the myths, the ancient Hellenes imagined the gods-arbiters of their fate only as feasting high on the bright Olympus: “The gods feast in their golden palaces […] immortality, bring them ambrosia and nectar - the food and drink of the gods. […] At these feasts, the gods decide all matters, at them they determine the fate of the world and people.” (Described by N. A. Kun based on Homer's poems "Iliad" and "Odyssey" - 5, 10-11). One of the gods most revered by the ancient Greeks, the god of wine and winemaking, Dionysus (among the Romans, Bacchus, Bacchus), in myths is depicted traveling around the world, surrounded by intoxicated maenads and satyrs, feasting and dancing merrily in shady valleys. Already in antiquity there was a tradition of describing a feast, examples of which can be found in the works of Homer, Ovid, Petronius, Lucian and others. famous authors antiquity. For example, in the Iliad by Homer, the feast appears as a moment of enjoyment by the heroes of a peaceful rest after a fierce battle. As a rule, the feast precedes the sacrifice to the gods, in other words, the gods, as it were, become participants in the feast of mortals. The attitude to the feast as a sacred rite is also manifested in another custom of the ancients - proxenia, special bonds of mutual assistance that bind the host and the guest, people who have tasted food together.
In biblical stories, we also meet images of food. The well-known parable tells of the five loaves and two fishes with which Jesus fed five thousand people: “And he, taking five loaves and two fishes, and looking up to heaven, blessed them, broke them, and gave them to his disciples to distribute to the people. And they all ate and were satisfied; and the pieces that remained with them were collected in twelve baskets. (Gospel of Luke - 2, 75). The image of food in this story acquires symbolic meaning the power of faith. In the plot of the Last Supper, Jesus Christ names the bread with his body, and the wine with his blood: this is how the allegorical interpretation of bread and wine arises. (Gospel of Luke - 2, 94.). In Russian folklore, the special role of the feast is also visible - it is a happy end to trials, the triumph of the hero over the intrigues of enemies. In many epics and fairy tales, the narrative ends with a picture of a merry feast.
However, often in myths and legends at a feast, incidents occur that become the beginning of further events. For example, the history of the war between the Trojans and the Achaeans begins with the wedding feast of the hero Peleus and the sea nymph Thetis, at which three goddesses - Hera, Athena and Aphrodite - started a dispute over which of them is the most beautiful. At the feast of the suitors of Penelope, arrogantly ruling in the house of Odysseus, the returned king of Ithaca defeats the beggar Ira in single combat and announces his desire to try to shoot from his own bow, stored in the palace. On the advice of the sea king, the gusler Sadko starts a dispute with the merchants of Novgorod at the feast, as a result of which he becomes a rich man from a poor man. Also, the story itself about any significant events can unfold at the feast. So, Odysseus tells about his wanderings at a feast in the palace of the king of the Feacians.
The Russian folk tale Geese-Swans reveals the ancient tradition of a feast as a kind of brotherhood, an offer of friendship and help. By refusing to eat an apple, a pie, a jelly, the girl thereby refuses the bonds of "host - guest", and therefore does not receive help. Only by accepting the treat, that is, by showing confidence in the side to which she turns, the girl receives help. In the same way, the mouse in Baba Yaga's hut ties the bonds of friendship with the girl: having received porridge from her, the mouse gives her advice and provides real help, responding to the voice of Baba Yaga, while the girl runs away with her brother. However, already in antiquity, along with the preservation of the lofty tradition of understanding the feast, there was also a degradation of the image of the feast. For example, the degradation of the meaning of a feast as an offer of friendship or a peaceful holiday can serve as a Russian folk tale"The Fox and the Crane", the characters of which offer each other a treat, but in such a way that the guest cannot eat it. It should be noted that both for antiquity and for the work of many writers of subsequent eras, the very description of the dishes, and not just those events associated with the feast, was of great interest.

In the Renaissance, the great humanists put forward the idea that human physiology is natural, there is nothing ugly or vicious in it. This led to the protrusion of images of food in one of the foregrounds. This is most fully reflected in the novel by Francois Rabelais "Gargantua and Pantagruel". The heroes of the book, three generations of giants, like the author, are sure that good food can only benefit. The novel is replete with scenes of eating, never done in private, on the sly. Food at Rabelais is always a holiday, always a "feast for the whole world." They feast on any occasion: on the occasion of the birth of Gargantua, on the occasion of the end of the war, a successful dispute, a happy return after a boat trip, etc. At the same time, Rabelais does not have unappetizing food. Some offal that has already begun to deteriorate, or cakes made from coarse flour are described so tasty that the reader, along with the characters, wants to “lick their fingers”.

TRADITIONS OF THE MEAL IN RUSSIAN LITERATURE

Russian hospitality is of particular importance to us. Russian feasts are firmly established in historical practice. And today, no matter what financial situation family, she will show maximum hospitality and hospitality. This hospitality was reflected both in the life and in the works of Russian classics: A.S. Pushkin, D.I. Fonvizin, A.S. Griboyedov, V.G. Belinsky, N.V. Gogol, I.S. Turgenev and others

Noble estates played a unique role in the Russian tradition of dining, becoming a kind of centers of communication, entertainment, education and upbringing. Palaces and estates, most often located in an artificial park landscape, were the venue for hunting, picnics and holidays. A unique atmosphere was formed here, due to the proximity to nature and rather informal (freer) relations. Adopting the culture of the West, including the culture of food, the owners of the estates, especially those in Moscow, preserved the national flavor and formed the cuisine, the rules for serving dishes, etiquette, which later became widespread in the system of elite taverns, cafes and restaurants, which became accessible to other segments of the population .

In classical works you can find everything: plots from people's lives, descriptions of nature, way of life, after reading the work of a classic, you can find out: what dishes were on the table many years ago. Many literary works contain descriptions of culinary traditions, feasts, feasts, dinners, meals. simple peasants. Boundless variety culinary traditions and tastes exist in the world. Each nation speaks its own language. Everyone has their own special, unlike anything, customs and traditions, including culinary ones, and everything is reflected in the works of writers. Connoisseurs of good cuisine were I.A. Krylov, A.S. Pushkin, N.V. Gogol, M.A. Bulgakov and other writers and poets.

Favorite dishes of Russian writers.

A.S. Pushkin

Pushkin was not particularly picky about food. Preference was given to simple porridge, homemade soup, baked potatoes. The poet's favorite foods were also boiled apples and pickled apples.

L.N. Tolstoy

Lev Nikolaevich loved mushroom hodgepodge, scrambled eggs, duck with mushrooms, creamy porridge, cold apple pudding, rye bread pudding, semolina porridge pie, pretzels, apple water and beer.

N.V. Gogol

The writer's favorite dishes were juicy cutlets, Ukrainian dumplings with sour cream. Kulebyak and Italian pasta, packs of which he took with him, trusting no one to cook them. Of the pickles, the favorite dish was non-female cucumbers, pickled on a currant leaf with horseradish and garlic.

Our classics transferred these predilections to their literary heroes. Reading works, you can learn a lot about the culinary traditions of other countries and peoples, get acquainted with the menu of French, American, German cuisine; you can compare which dishes were favorite in the 19th, 20th, 21st century, among rich people and commoners. Some dishes and culinary traditions have been preserved and are popular even today, some are undeservedly forgotten and lost.Many authors resorted to a variety of dishes, cuisines, tastes in their works. However, not in all eras this type of detailing was in demand directly. In the era of classicism, for example, culinary realities are presented as something unearthly, sublime. In the classic odes, such a world is created, "where there is no place for ordinary objects and words" ("mind's eye" - "at the level" of the gods on Olympus, on Parnassus, "on top of the world"). Turning from the steps of Parnassus to such low, everyday human needs as food intake was impossible and unworthy. Food for the classicists was an abstract concept. In the Lomonosov odes, there are no "visible" objects familiar to modern man, images as such. Lomonosov's world is not visible, but the mind is visible: not the thing itself is depicted, but "things are a sign." The poet "tastes" the "heavenly food", and the people "nourishes" the "deep world". Lomonosov's successor, Derzhavin, in the poem "Felitsa" tries to create the appearance of a magnificent, "high calm" table, close to ideal, which only the royal person is worthy of.

Where the table shines with silver and gold,

Where thousands of different dishes;

There is a glorious Westphalian ham,

There are links of Astrakhan fish,

There are pilaf and pies,

They drink champagne waffles;

And everyone in the world forgets

Among wines, sweets and aroma.

Culinary realities in their specific versions were allowed only in the lower genres of classicism - for example, in fables: remember Demyanov's fish soup, cheese, chicken, which Vaska ate, etc. However, the food is mentioned here not so much to paint a colorful, lively picture, but to emphasize the allegorical meaning of the fable. The phrase "..and Vaska listens and eats.." remains in our minds for a long time, but no one remembers exactly what Vaska eats.

Remoteness from reality is characteristic not only of classicism, but also of romanticism. The desire for the sublime, deep "penetration into the world of the soul and heart of a person, the lyrical embodiment of his experiences and humane moods" - this is romanticism. Romantics are too far from the sinful earth, too immersed in thoughts about their souls, to think about such a trifle as food. For example, the appointment of such a thing as a goblet by the greatest romantic poet Zhukovsky determines the fate of people.

Who will search in the darkness of the depths

My cup and with it will return harmlessly,

That is why he will be a victorious reward.

And the young Lermontov wrote:

But blessed is he who can speak

That he ate to the drop of earthly honey,

That he loved both in body and soul! ..

The most appropriate time to consider the use of food details was the era of realism. It was during this period that writers turn to the everyday life of a person, to everyday life, to the simplest, everyday passions. It would seem that an insignificant detail - food, characterizes the writer to a certain extent, gives us an idea of ​​the stratum of society to which the hero belongs, and much more. In some works, referring to the national cuisine, one can trace the characteristic features given people. Each author writes about it differently. Everyone has their own specific ways, techniques. The difference lies even in the degree to which the hero is fed.

For example, in "Eugene Onegin" A. S. Pushkin, talking about love experiences heroine, along the way with humor describes a festive dinner in honor of Tatiana's name day.
Of course, not only Eugene I could see Tanya's confusion; But the purpose of glances and judgments At that time, fat was a pie (Unfortunately, oversalted); Yes, in a tarred bottle, Between roast and blancmange Tsimlyanskoye is already being carried ...

Pushkin's successor, Lermontov, who has already become a realist, retains a romantic view of food. Turning to his "Hero of Our Time", we will not find a single nutritional detail. The only mention will be only the intake of mineral waters by the heroes. Lermontov does not consider food intake such an important detail as to endow it with any special, meaningful meaning. In his works, if food is mentioned, then in passing, without particularly plunging into details.

But Chekhov devoted many works to gluttons. Particularly famous in this sense is the story "Apoplexy," where the gastric ecstasy of a gourmet, who was preparing to swallow a pancake with various snacks, was written out in detail. The secretary of the World Congress talks about food like a poet, almost hysterical with his appetite. “The best appetizer, if you want to know, is herring. We ate a piece of it with onions and mustard sauce, now, my benefactor, while you still feel sparks in your stomach, eat caviar by itself, or, if you wish, with lemon, then a simple radish with salt, then herring again, but that's all -it’s better, benefactor, salted mushrooms, if they are cut finely, like caviar, and, you know, with onions, with Provencal oil - delicious! But burbot liver is a tragedy!..”

The descriptions go on for a long time: there is cabbage soup, and borscht, and soup, and a fish dish, and great snipe, and turkey, and casserole ... And it all ends with the fact that officials, seduced by these conversations, quit their business and go to a restaurant.

Again, here the descriptions of food are not an end in themselves, not a glorification of Russian cuisine. Yes, and the dishes are simple, except that they are prepared with inspiration, which we almost forgot about today. Yes, and all Russian classics leave a cheerful impression in this sense. Heroes of literary works now and then sit down at the table, get up from the table, drink with taste, have a snack, clink cutlery, pass dishes with appetizing fillings to each other.

Even the urban intelligentsia openly declares its gastronomic passions. At the peak of his popularity, the liberal poet, successful publisher and gambler N.A. Nekrasov writes what exactly he sees the meaning of life:

In pies, in sterlet's ear,
In cabbage soup, in goose giblets,
In the nanny, in the pumpkin, in the porridge
And in mutton offal ...

Or, for example, the story of Salytkov-Shchedrin “How one man fed two generals”:“Yesterday,” one general read in an excited voice, “the venerable chief of our ancient capital had a ceremonial dinner. The table was set for a hundred people with amazing luxury. The gifts of all countries have appointed themselves, as it were, a rendezvous at this magical holiday. There was also “Sheksnin’s golden sterlet”, and a pet of the Caucasian forests - a pheasant, and, so rare in our north in February, strawberries .... "
In the novel by A. S. Goncharov "Oblomov", a feast and food are given great attention. And this is not accidental - even in the house of the main character's parents, "the main concern", the meaning and purpose of existence were "kitchen and dinner". For the Oblomov family, “taking care of food” was a sacred rite. They treated dinner almost as seriously and sublimely as the ancient Greeks treated the sacrifice to the gods and the subsequent meal. But the ancient heroes were constantly in action - they wandered and fought, and feasts were most often only a short respite in their lives, nothing more: Penelope's suitors, who only do what they feast, die at the hands of Odysseus. And what is Ilya Ilyich Oblomov doing? For him, even an ordinary walk is almost an epic feat ... And a feast consisting of numerous dishes is, according to ancient tradition, completion of business, rest from work. In the absence of activity, the feast turns into gluttony, which leads to the disease that caused Oblomov's early death. Goncharov, creating the image of Oblomov, endowed him with the main features of the Russian character, which reflected the culture of the people. And its integral part is cooking. "Each country has favorite dishes, special traditions in table decoration and cooking. There is a lot in them that is expedient, historically determined, corresponding to national tastes, lifestyle, climate. These habits have been developing for thousands of years, they contain the collective experience of our ancestors." Let's turn to "Oblomov" and consider what Russian traditions are shown in the work related to food.

Firstly, Goncharov uses culinary details as one of the features of the Russian national character. In "Oblomov" the author collected the customs and rituals of the Russian people that have developed over thousands of years. And, as you know, no holiday in Rus' is complete without a table, "bursting with food." "Fat hugs" were always open to the dear guest by the Oblomovites. It's "fat". As in a truly Russian family, the festive table here could not do without traditional pancakes for Shrovetide, without kurniks for a wedding, and without "larks" from dough in spring holidays. Whether it was christening, name day or some other celebration, it was considered the duty of each family to strictly observe all the customs and traditions, the most important part of which was a sumptuous dinner. "As soon as a child was born, the first concern of the parents was, as accurately as possible, without the slightest omission, to celebrate all the rites that required decency over him, that is, to set a feast after the christening." Thus, the author creates a unique, purely Russian way of life.

Secondly, this is the use of culinary realities as one of the aspects of the concept of Oblomovism. The image of the carefree sweet life in Oblomovka, Goncharov is accompanied by a large number of food realities. This is explained by the fact that the laziness and inertness of the Oblomovites is directly associated with food intake. Their whole life from day to day consists of expectations from breakfast to dinner, from lunch to tea, from tea to dinner. The most important event of daily care is the preparation of dinner. "The whole house conferred about dinner ... Everyone offered their dish: some soup with offal, some noodles or stomach, some tripes, some red, some white gravy for the sauce. Any advice was taken in consideration, discussed in detail and then accepted or rejected according to the final verdict of the hostess." Passion for food is present not only in the Oblomov family. This is confirmed by the large number of culinary details used by Goncharov throughout the novel. This is the life of Ilya Ilyich in the city, and with Agafya Matveevna. Thus, in addition to the laziness and lethargy of a Russian person, Goncharov also introduces a passion for food into the concept of Oblomovism.

The third function of words with reference to food is their use as one of the means of enhancing the degree of "realism", the veracity of the text. If we compare the works of Goncharov and the same A.S. Pushkin, then the first ones will be more realistic for the reader. This is due to the author's extensive use of substantive detailing, in particular, food realities. Goncharov, to the smallest detail, describes not only the state of Oblomov's room (broken legs of chairs, a sofa, dust on the mirror, etc.), but also the food he takes. "On the table, a rare morning, there was not a plate with a salt shaker and a gnawed bone, not removed from yesterday's dinner, but bread crumbs were not lying around." All this enhances the effect of the veracity of the work itself as a whole and provokes the reader to believe in its realism.

One of the clearest examples of the use of words with the semantics of food is presented in the works of the great Russian writer N.V. Gogol. Unlike Goncharov, who in his works tells about the traditions of the Russian people, Gogol with the same love and respect dedicates plays to the Zaporizhzhya Cossacks, the life of ordinary Ukrainian people, all their holidays and sorrows. These are famous works like: "Evening on the Eve of Ivan Kupala", "The Night Before Christmas", "Taras Bulba", etc. It is not difficult to recall the famous scene from "The Night Before Christmas", where the pot-bellied Patsyuk swallows dumplings and dumplings. Patsyuk opened his mouth, looked at the dumplings, and opened his mouth even more.

On the one hand, these are purely national dishes, which indicates that the author observes folk traditions. On the other hand, their extraordinary reception emphasizes the fabulousness of the plot. On the third, its colorful, lively description not only makes us believe in the reality of what is happening, but also arouses interest in this dish, a desire to try it. No wonder Gogol is called the master of detail, since all culinary realities, and those described by him, have such properties. To better consider this side of his work, let's turn to the text of the work Dead Souls. Here the author is already talking about the Russian local nobility, whose life and problems occupy Gogol no less than the Zaporizhian Cossacks. If, again, we compare the traditions of culinary realities in Gogol and Goncharov, they will be different.
In N.V. Gogol's poem "Dead Souls", the attitude to food and feasts acts as a characteristic of the landowners. At dinner, some bright features of their characters appear, and also in the process of a joint meal, Chichikov tries to find an approach to the owners of "dead" souls. But these are not sacred ties that forever bound the host and guest in ancient world but only a deal that is beneficial to both parties.

Functions of culinary traditions:

1. The use of food details as text embellishments. The plot itself turns out to be not so important for Gogol, since it comes down to the monotonous moving of the main character from one landowner to another. Thus, the subject detailing of the text takes the first place in the work, brightening up the plot. It comes down not only to detailed description locality, the landowner's house, but also to a magnificent, detailed description of culinary realities. "The side of lamb was followed by cheesecakes, each of which was much larger than a plate, then a turkey the size of a calf, stuffed with all sorts of good things: eggs, rice, livers and who knows what, that everything then lay down in the stomach." The nutritional details given in the text do not always carry any important, immediate meanings.

Gogol, how true master words, is fond of describing them, creating a picture of a feast, so many culinary realities are introduced by the author without a special purpose. The smallest details of the appearance of the dish, its components, various comparisons or bringing any facts regarding the state of this product helps the author to create a vivid, even mentally tangible picture. "... cabbage soup with puff pastry, specially saved for travelers for several weeks, brains with peas, sausages with cabbage, fried poulard, pickled cucumber and eternal puff pastry, always ready for service ..."

2. Using words with food semantics as comic details. When creating comic scenes and situations in a work, culinary details are used by the author to enhance the satirical effect. For example, the scene of a celebratory breakfast at the police chief, during which Sobakevich ".. leaving all these little things without any attention, attached himself to the sturgeon, and while they drank, talked and ate, he ate it all up in a quarter of an hour." And then he switched to a small fish, thus showing his innocence in the disappearance of the sturgeon. The same comic situations help to reveal the personality of the hero, some traits of his character.

For example, soaring in the clouds of Manilov, who eats "according to Russian custom" with light cabbage soup, the solidity of Sobakevich, who prefers to eat two dishes, but in moderation, "as the soul requires", Plyushkin's greed and stinginess. "... I had a nice liquor. The deceased also made ... Kazyavki and all sorts of rubbish were stuffed there [into the decanter], but I took out all the rubbish and now it's clean." Even describing appearance heroes, Gogol compares the faces of the Sobakevichs with cucumbers and "Moldovan pumpkins". Manilov, a pleasant person in all respects, is like a big lump of sugar. Everything is sugar in it: lips, smile, and eyes. Thus, food details are an integral part in describing not only the life of the heroes, but also their personal qualities, portraits, and actions.

The words with the semantics of food, used by the author when creating comic images of the characters, also emphasize the parody of the work itself. "Dead Souls" is a kind of gigantic parody "of historical events on a global scale and is, as it were, the "Russian Iliad". "The subject of Gogol's parody is herself heroic story. Wherever Chichikov's fate takes him, he encounters historical figures everywhere. At dinner at Manilov's, he witnesses how the young Alkid gnaws on a mutton bone, smearing all his cheeks with fat. During breakfast at the Box of the main character, Kutuzov, vigilantly looking from the portrait, watched how he devoured butter pancakes and an unleavened egg pie with appetite. During the comical journey of the hero-knight Chichikov, he meets with historical figures, becomes a witness to the battles between them (for example, Themistoclus bit Alkid's ear) and takes part in them himself. The parody nature of this journey helps the author to reveal the culinary details he uses.

Another satirical work by Gogol, in which the use of words with the semantics of food helps him in creating comic situations, is "The Government Inspector". Already at the very beginning of the work, during Khlestakov's stay in the tavern, Gogol reveals the insignificance and pettiness of the soul of the protagonist. Having no funds even to pay for the room, Khlestakov, who lost to the nines, requires a good, expensive dinner from the tavern servant. When he brings two dishes kindly provided by the owner of the inn, the protagonist mercilessly criticizes them, but nevertheless eats almost everything. "My God, what a soup! (Continues to eat) I think no one in the world has ever eaten such a soup: some feathers float instead of butter ... What is this roast? This is not a roast ... the devil knows, what is it, but not roast. It is an ax fried instead of beef. (Eats)". The culinary realities cited by Gogol show the inner squalor of the protagonist. At the climax of the comedy, showing a drunken, lying Khlestakov, it is the food details that help the author to expose the entire absurdity of the situation, to reveal all the miserable majesty of his speech. "On the table, for example, a watermelon - 700 rubles a watermelon. Soup in a saucepan came from Paris right on the ship; they open the lid - steam, which cannot be found in nature." For Khlestakov, who has not seen such luxury as pineapples and so on, watermelon is the height of a food idyll. And to give this product even more importance, the protagonist rewards it implausibly. high price. For comparison, you can give an example that for 7 rubles at that time you could buy a cow, and for 70 - a whole house.

As for the soup in the "pot", Khlestakov, who has no idea how such a dish can smell, says that "you cannot find anything like this in nature." In this work, the semantics of food helps Gogol in describing the image of the hero, and is used as a means of reflecting his character.

Thus, we made an attempt to trace the traditions of the meal from folk art to the works of Russian classics. And as a result of the research, the following conclusions were reached:

The traditions of the meal can be traced in literature from ancient times to the present, they are a kind of reflection of the time of the story.

Words meaning food are indicators of the features of the Russian national character, a means of enhancing the degree of "realism" of the text, help the author in creating a unique, purely Russian way of life. (Fox and Crane, Oblomov, Eugene Onegin, heroes of Gogol)

In the text, words with the semantics of food indicate the observance by the author of the folk traditions of the meal, the type of plot, they are used as decoration of the text, comic details. Comic details help in describing the life of the characters, their personal qualities, portraits and actions, help to reveal the parodic nature of the work.

In their works, the authors, using the traditions of the meal of the Russian people, reveal the character of the heroes, these references work either for general idea works, either to create an image of a character, or are designed to clarify any plot point. For example, in Gogol's prose, the mention of traditions most often turns out to be self-sufficient, used for the sake of pleasure, in order to enjoy its texture, materiality, tangibility.

CONCLUSION

So, in the literature we will find various images of the feast - from lofty image initiation to the feast of the gods to the treacherous poisoning of a companion. One thing is certain - the description of the feast and the events associated with it plays a big role in many works and is based on a rich tradition that has evolved over more than one century.

During the study, we came to the conclusion that in the age of progress and general employment, life itself is pushing us to forget not only the traditions of the original Russian cuisine, but also spiritual food. Accepting all the culinary innovations, we forget about our native Russian cuisine, about what has been learned by experience, passed down from fathers to children. The main advantage of Russian cuisine is the ability to absorb and creatively refine, improve the best dishes of all nations with which Russian people had to communicate on a long historical path.

How much delicious dishes prepared for us by such masters of Russian prose as Alexander Pushkin, Nikolai Gogol, Andrei Melnikov-Pechersky, Ivan Goncharov and many, many other "great chefs" of Russian literature. Derzhavin's food is perceived with the eyes, Gogol's food with the soul, Goncharov's food with the stomach only, and Chekhov's with the tongue.

I would like to hope that we will revive Russian cuisine, and not a hamburger and sushi, but jam from pine cones or dandelions, real "Pushkin's varenets" and ear from veal cheeks, porcini mushroom jelly, lamb side with porridge, pike perch and red pancakes.

Gastronomic art, like theatrical art, is fleeting: it leaves traces only in our memory. It is these memories of exciting and joyful events experienced at the table that make up the plots of culinary prose. No wonder the descriptions of food in classical literature, including Russian, are so beautiful.

So, before preparing dinner, do not forget to look at the pages of fiction, because whoever, no matter how talented masters of the pen, create national culinary myths.

APPLICATION

Remember in which literary work you met the name of these dishes.

Selyanka

Mnishki

Vareniki

Larks

Kulebyak

Nanny

sochen

Shanishki Students

Bibliography

Pushkin A.S. "Eugene Onegin", Eksmo. 2008

Pokhlebkin V.V. "From the history of Russian culinary culture", Publisher: Tsentrpoligraf, Serie: Classics of culinary art, 2009

Gogol N.V. Tales. "Inspector". "Dead Souls", publishing house: AST, 2008

Goncharov I. "Oblomov", publishing house World of Books, 2008

Literary newspaper No. 43 (6247) (2009-10-21) "Literary cooking, or the Metaphysics of food" Sergey Mnatsakanyan

Saltykov-Shchedrin M.E. "Lord Golovlevs" Publisher: Siberian University Publishing House, 2009

Chekhov A.P. Stories and novels - from Vlados, 2009

MINISTRY OF EDUCATION OF SARATOV REGION

STATE AUTONOMOUS PROFESSIONAL

EDUCATIONAL INSTITUTION OF SARATOV REGION

"ENGELS POLYTECHNIKUM"

(GAPOU SO "Engels Polytechnic")

st. Poltavskaya, 19, Engels, Saratov region, 413121

Project

Literature and

literary traditions of the native city

Completed: students gr. 310

Course 3, specialty 19.02.10.

"Product technology

Catering"

Mayer Mark Vladlenovich,

Polushkin Ilya Dmitrievich,

Wolf Anastasia Vladimirovna

Leader: Doronina

Galina Nikolaevna

Engels 2016

Introduction

Our city can rightly be proud of its "children": famous athletes, scientists, successful entrepreneurs, talented people in the field of culture and art.

How well do we know the literary traditions of our city? Do we all read our literary publications, which we (a group of researchers) consider to be real treasures and masterpieces of our native city? Are we interested in creative life Engels? The ability to answer these problematic issues became the basis relevance of our project.

Target: explore the literature and literary traditions of his native city. Tasks:

1. Update the solution of the identified problems.
2. Study the literary traditions of your native city.
3. Inform teachers, students about literary competitions held in our city, about the most significant and valuable literary publications.
4. Prepare additional material to help teachers and students.
5. Make suggestions for solving problematic issues.

Literary associations of the native land

There are interesting creative associations in our city. Among them:

1. Literary and musical association "Hope"

Literary and musical association "Nadezhda" was founded in 1986. It is headed by a member of the Union of Writers of the Russian Federation Alexander Kobylinskiy. This creative union includes the following authors: Elena Barinova, Alexander Burmistrov, Valentina Bychkova, Sergey Gorsky, Igor Gusev, Nina Gutnik, Svetlana Ermakova, Alexander Kobylinskiy, Alexander Kotov, Victor Kuzmin, Vladimir Litovchenko, Svetlana Lunina, Sergey Maksimenko, Denis Markelov, Galina Nikitina, Valentina Pavluhina, Mikhail Petrov, Yulia Rastorgueva, Vladimir Udalov , Polina Fedusenko, Alexander Khomutov, Yuri Tsvetkov, Nikolai Chepenko, Vladimir Shapovalov, Alexander Shalaev, Roalt Shlangman, Anatoly Gromov and others.

With the participation of the “nadezhdens” about a dozen new newspapers appeared in the city - Pokrovsk, Steps, School Crossing, Roads of Health ...

1. Club of Pokrovsky Geniuses - informal association creative people.The founder and head of this club is Alexander Burmistrov, a member of the Union of Writers of the Russian Federation. Club meetings are held twice a month. This club includes writers, artists, local historians and simply creative thinkers, for whom the fundamental principles of life are freedom of expression, alignment with the great, creative search. Among them: Vasily Resnyansky, Yegor Kharitonov, Ivan Levashov and others. During meetings, creative disputes take place between members of the club about literary novelties, social activities, etc.

Literary competitions

Not every one of us probably knows that in our city there are annual literary competitions in which anyone can participate. The most significant of them:

1. Competition of short stories "Between us, Pokrovchans"

On July 22, 2007, the Engels Museum of Local Lore hosted the first short story competition "Between us, the Pokrovites", in which nine authors took part. Since that day, the competition has become a tradition.

1. Literary competition in memory of the Schnittke brothers

The Engels Department of Culture, the German Embassy in the Russian Federation, the Engels Center for German Culture, the editorial office of Novaya Gazeta, the L. Kassil Museum and the literary association Nadezhda, with the approval of Ekaterina Georgievna Schnittke, the widow of Viktor Garrievich, hold an annual literary competition in memory of the Schnittke brothers among children and youth up to 25 years old (inclusive).

Announcements about this competition are placed in the media of Engels.

Also in our city there are other literary competitions, including a poetry competition dedicated to the City Day.

Masterpieces and treasures of native literature

Recently, the number of literary publications has increased in our city. We consider many of them to be real masterpieces and treasures of our native literature. The most prominent are:

1. Literary and artistic almanac "The Other Shore"

The publisher of the almanac is the Engels weekly Novaya Gazeta and the informal creative association, which, not without irony, but not without reason, calls itself the Club of Pokrovsky Geniuses. Literary and artistic almanac is published, based solely on Engel authors and those who, one way or another, are connected with our city.

This publication aroused great interest not only in our city, but also far beyond its borders. There are positive reviews about the almanac in such well-known publications as Literary Journal, New world”, “Novaya Gazeta” (Moscow), “Volga” and “Public Opinion”. They talked about him on the Kultura TV channel in the Apocrypha program.

The works of Viktor Schnittke (the story "Return to Engels" and poems) published in the magazine No. 2 in 2008 deserve special attention. And we read the story of Vera Lvova "Evil" (a genre of journalism) to all first-year students, since, in our opinion, it has a great educational value.

1. Igor Smilevets "Roads of the Polar Ring"

This is the author's third book and again "Notes of a Traveler", in which he gives a historical and geographical description of the polar regions of Russia from Salekhard to Pevek, made by him during a round-the-world trip along the Arctic Circle.

Igor Smilevets "From the Sannikov Land to the Hills of Manchuria"

The host of the TV program "Not Far Away" Dmitry Khudyakov called this book the best in quality and internal content over the past 10 years that have been published in the Saratov region about travel and history.

1. Nikolai Fedorov "We must be remembered young"

Nikolai Ulyanovich Fedorov, participant in the Great Patriotic War, member of the Union and Honored Worker of Culture of Russia, Honorary Citizen of the city of Engels, veteran of pedagogical work and candidate of philological sciences.

The main themes of all his books are the Great Patriotic War, the fate of Russia and the signs of his native land in the past and present, the spiritual life of our contemporary. They are also the main ones in this, the twelfth, book - “Remember Us Young”, which the Saratov Writers' Organization proposes to put forward for consideration on the possibility of awarding the All-Russian Literary Prize to its author.

The book consists of four sections. In the first - "Remember, front-line soldier, remember ..." - live front-line events, poems written at the front and based on fresh memories of him.

The second section - "Beloved land, native and ancient" - these are historical and modern signs of the Volga region and Russia as a whole.

The third section - "Thank you for the beauty" - the complex world of human relationships, love and friendship, philosophical reflections on the meaning of life.

The fourth section - "When I think about the memory I touch" - includes historical and socio-political poems about Russia, about her tragic but great fate, reflecting confidence in her immortal and wonderful future.

1. Literary and artistic collection "Hope"

The issue of which is dedicated to the 250th anniversary of our city and the 200th anniversary of the Saratov province. It contains a whole palette of creative searches of "hopeful". Here there are authors with a philosophical concept, and there are authors who perceive life with a certain amount of irony and humor. This collection contains the best works 27 "nadezhdens" working as poets and prose writers.

The youngest of them, a graduate of the Engels Pedagogical School, Svetlana Lunina, is 19 years old. But her works are already marked by the depth of the search. No wonder she in 1996 became a All-Russian festival young authors in Gelendzhik twice as a diploma student: the lyrics and prose of young talent made a good impression on the venerable Russian poets and writers.

1. Elizaveta Erina "Under the Protection of the Virgin"

The first volume "came out" in 2003, the fourth volume will be released soon. The wide interest in the publication is evidenced by the numerous grateful responses from readers received by E. Erina, published in newspapers. The work of the author and local historians is highly appreciated.

The Department of Archives of the Government of the Saratov Region presented the book by E.M. Erina at the All-Russian competition of journalistic and literary works "We are proud of our Fatherland." In April 204, in the nomination "documentary", the author of the book "Under the Protection of the Virgin" Diplomas of the Russian State Military Historical and Cultural Center under the Government of the Russian Federation. This is a very significant assessment of the work of E. Erina, since out of 735 participants who submitted 1000 creative works, only a few were awarded with the diploma of the organizer of the All-Russian competition.

The author of the book is convinced that knowledge of the history of one's small homeland and country is necessary for the formation of a worldview and citizenship a person, cultivating love for native land, pride in people whose deeds and talents the Fatherland is glorious. It is this conviction that has helped fruitful work on the book, work that continues.

1. L. Kassil, O. Molitvina, G. Nefedova "In the name of Kassil"

The collection "In the Name of Kassil" acquaints readers with the writer's autobiography, with the activities of the Lev Kassil Museum and the work of the Central Children's Library named after the compatriot writer.

In our city there are many editions of children's literature by Lev Abramovich Kassil. Every year on the writer's birthday, large theatrical celebrations are held with "journeys" to Shvambrania, Sinegoria, Dzhungakhora ...

And all this means only one thing: in spiritual connection and spiritual unity, those very roots are preserved that allow you to multiply cultural heritage of our region and be proud of the name of the children's writer Lev Abramovich Kassil.

8. G. Mishin "Pokrovsk"

A collection of documentary essays on the history of the city of Pokrovsk (now Engels), its glorious countrymen.

Among the heroes of the book are the president of the first republican government of the Hawaiian Islands, Nikolai Sudzilovsky, the Cassile family, artists Alexei Kravchenko, Jacob Weber, Andrey Mylnikov, cosmonaut - 1 Yuri Gagarin.

Gennady Alekseevich is a journalist, writer, artist, poet, local historian, collector. Something in it more, something less. But, undoubtedly, this is a brightly gifted personality, his versatility, breadth of interests are amazing.

You can list all publications indefinitely, but interesting creative work our local authors can be found in local newspapers. Of particular interest to us was the work of Alexander Burmistrov "Rescue Zone", published in the weekly "Novaya Gazeta".

Literary traditions of our college

Our college also has its own literary traditions. Among them:

Poetry competitions, where students present to the audience not only poems by famous authors, but also their own compositions.

Meetings with creative people.

Literary actions, one of which "In support of reading" was held with freshmen. Information about it was posted on the website of the Central Library and in the regional weekly "Courier".

Literary living rooms

Conclusion

As a result of our research, we once again became convinced that Engels is rich in talented and creative people, true patriots of our region and the country as a whole. Thanks to their energy and inexhaustible creativity, literary traditions are alive and continue to develop.

Eight authors of our city are members of the Union of Writers of the Russian Federation (Burmistrov A., Kobylinskiy A., Gutnik N., Fedorov N., Udalov V., Korneev A., ....). Vasily Resnyansky will soon join their ranks. We offer:

1. To know the literature of the native land, to be interested in literary novelties.
2. To hold meetings with interesting and talented authors of our city (for the near future we have planned a meeting with the writer Alexander Kobylinsky).
3. To issue a literary page (newspaper) of our college (both in print and on the website of the college), the authors of which could be students and teachers.

We believe that our project is very important, since the interest of citizens in literature in general and in the literature of their native city in particular has been declining lately.

We would like to thank for the informational help:

Alexander Burmistrov, editor-in-chief of Novaya Gazeta, member of the Union of Writers of the Russian Federation.

Shitt Olga Vladimirovna, head of the local history department of the Central City Library.

Yudina Anastasia Valentinovna, Leading Librarian reading room Central City Library.

As part of our project, we conducted a survey of students and teachers. The results of the survey showed that students who love to read - 32%, read on assignment (because they have to) - 75%, do not like to read - 3%. 80% of respondents have favorite poets and writers. Most of our local authors know Lev Kassil.

As part of our project, we held a number of events, which can be found on the website of our technical school.

List of used literature

1. Kassil L.A., Molitvina O.P., Nefyodova G.V. In the name of Kassil. - Saratov: OJSC "Appendix book publishing house", 2005. -116s.
2. Fedorov N.U. We must be remembered young: Poems. - Saratov: "Region. Privolzh. Publishing House "Children's Book", 2006. - 456 p.
3. Erina E.M. Under the Protection of the Mother of God: From the history of the settlement of Pokrovskaya-Pokrovsk-Engels in documents and facts: (Book 2: Essays-research). - Saratov: LLC "Privolzhsk. Publishing house ", 2007. - 320s.
4. Literary and artistic almanac "The Other Shore" - No. 1, 2, 10.
5. Socio-political weekly (Engels) "Novaya Gazeta". - No. 4 (913) January 30, 2013

General idea of ​​the literary process. Tradition and innovation

The final chapter of our book, devoted to the literary process, is perhaps the most difficult methodologically. The fact is that for an adequate understanding of the laws of the literary process, it is necessary, at least in a general way, to imagine the corpus of literary works of different eras and cultures. Then the logic of the formation of genres, and the projections of some cultures on other eras, and the patterns of stylistic development begin to emerge. But a novice philologist, of course, almost never has such a historical and literary base, so there is always a danger of turning a conversation into pure scholasticism: a student can honestly “learn by heart” some information, but the real, living content of theoretical provisions is not yet available to him. It is difficult, for example, to talk about the features of the Baroque style if the majority of readers do not know a single poet of this era.

On the other hand, it is also unrealistic to clarify each position in detail with many examples, each time plunging into the history of literature - this would require the involvement of a huge amount of material that goes beyond the objectives of our manual and which the student will not be able to physically cope with. Therefore, it is very difficult to find a balance between what is necessary and what is sufficient.

Understanding all these objective difficulties, we will be forced to strongly schematize the presentation, dwelling only on the most important aspects. There is simply no other way, in any case, the author is not aware of any manual where different facets of literary processes would be covered quite fully and accessible to a novice philologist. There are many excellent studies on different sides literary process, but to reduce together a huge and contradictory material, making it accessible to a junior student, and even within the same chapter, is a completely unrealistic task.

Therefore, the proposed chapter is only an introduction to the problem, which briefly outlines the main issues related to the study of the literary process.

The literary process is a complex concept. The term itself appeared relatively recently, already in the 20th century, and gained popularity even later, only starting from the 50s and 60s. Prior to this, attention was paid to some separate aspects of literary interrelations, but the literary process in its entirety was not comprehended. In the full sense of the word, it has not been comprehended even today, only the main components of the literary process have been determined, and possible research methodologies have been outlined. Summarizing various views, we can say that understanding the literary process involves the solution of several scientific problems:

1. It is necessary to establish links between literature and the socio-historical process. Literature, of course, is connected with history, with the life of society, it reflects it to some extent, but is neither a copy nor a mirror. At some moments, at the level of images and themes, there is a rapprochement with historical reality, at some, on the contrary, literature moves away from it. To understand the logic of this "attraction-repulsion" and to find transitional links connecting the historical and literary processes is an extremely difficult task and hardly has a final solution. As such a transitional link “from life to literature”, religious and symbolic forms, then social stereotypes were considered (or, in the terminology of A. A. Shakhov, “ public types”), which are formed in society in a certain period and are embodied in art; then the socio-psychological atmosphere in society (in the terminology of Yu. B. Kuzmenko - “social emotions”); then the structure of the aesthetic ideal, reflecting both ideas about a person and aesthetic traditions (for example, this approach is typical for the works of N. A. Yastrebova), etc. There were a lot of concepts, but the mechanism for transforming historical reality into works of art remains a mystery . At the same time, attempts to find this transitional link stimulate the emergence of interesting research, unexpected and original concepts in both domestic and foreign aesthetics. Say, it is the search for these links, at the same time concrete historical and "transhistorical" (in the terminology P. Bourdieu), then are of the same type for any moment in history, gives rise to the concept of "new historicism" - one of the most popular methodologies in modern Western European science. According to the theory of Pierre Bourdieu, the author of this concept, it is useless to "impose" any general laws on history, based on today's coordinate system. It is necessary to proceed from the “historicity of the object”, that is, every time you need to enter the historical contextthis work. And only comparing the set with such way of the obtained data, including the historicity of the researcher himself, we can notice elements of commonality, "overcome" history. The concept of P. Bourdieu is popular today, but of all questions it, of course it doesn't take off. The search for an adequate methodology continues, and definitive answers are hardly possible here.

2. In addition to "external" connections, that is, connections with history, psychology, etc., literature also has a system of internal connections i.e. constantly relates itself to its own history. No writer of any era ever begins to write "from scratch", he always consciously or unconsciously takes into account the experience of his predecessors. He writes in a certain genre, in which centuries-old literary experience has been accumulated (it is no coincidence that M. M. Bakhtin called the genre “the memory of literature”), he is looking for the kind of literature closest to himself (epos, lyrics, drama) and involuntarily takes into account the laws adopted for this kind . Finally, he absorbs many authorial traditions, correlating his work with one of his predecessors. All this is made up of internal laws development of the literary process, which are not directly related to the socio-historical situation. For example, the genre of an elegiac poem, permeated with sadness, and sometimes even tragedy, can manifest itself in different sociohistorical situations, but will always correlate itself with the genre of elegy, regardless of the desire and will of the author.

That's why the concept of "literary process" includes the formation of generic, genre and style traditions.

3. Literary process can also be viewed from another point of view: the process of formation, development and change of artistic styles. This raises a number of questions: how and why do styles arise, what impact do they have on further development culture, how an individual style is formed and how important it is for the development of the literary process, what are style dominants a certain era, etc.

It is clear that we will get a somewhat voluminous idea of ​​the literary process only if we take into account all these questions, if these questions themselves are understood systematically, interconnectedly. In the early stages of development philological science these interconnections are not yet felt, therefore, further the conversation will be conducted more in an analytical than in a synthetic manner, first you need to deal with the different components of the literary process, and only then, having more experience, establish connections between these components.

Tradition and innovation - the most important components of the literary process. There is not a single great work of literature that would not be connected by thousands of threads with the context of world culture, but in the same way it is impossible to imagine a significant aesthetic phenomenon that has not enriched world literature with something of its own. Therefore, tradition and innovation are back sides one medal: a true tradition always involves innovation, and innovation is possible only against the background of tradition.

One of the most famous philologists of the 20th century, M. M. Bakhtin, who constantly returned to this issue, wrote as follows: “Every really significant step forward is accompanied by a return to the beginning (“originality”), more precisely, to the renewal of the beginning. Only memory can go forward, not oblivion. The memory goes back to the beginning and updates it. Of course, the terms “forward” and “backward” themselves lose their closed absoluteness in this understanding, rather revealing by their interaction the living paradoxical nature of movement.

In another work, Bakhtin creates an excellent metaphor: “Great works of literature are prepared for centuries, while in the era of their creation only the ripe fruits of a long and complex process of maturation are removed. Trying to understand and explain the work only from the conditions of its era, only from the conditions of the near future, we will never penetrate into its semantic depths. Developing this idea, the author continues: “The semantic treasures invested by Shakespeare in his works were created and collected for centuries and even millennia: they hid in the language, and not only in literary, but also in such layers of the folk language that had not yet entered before Shakespeare. into literature, in diverse genres and forms of speech communication, in the forms of powerful folk culture ».

Hence one of the central ideas of Bakhtin, which is directly related to the problem of tradition and innovation, is the idea of ​​world culture as dialogue space, wherein various works and even different eras constantly echo, complement and reveal each other. Ancient authors predetermine modern culture, but the modern era also allows you to discover in brilliant creations antiquity, those meanings that in those days were not visible and were not recognized. Thus, any new work is dependent on tradition, but, paradoxically, the works of bygone eras also depend on modern culture. The modern reader is "born" by Shakespeare, but Shakespeare reveals to him such semantic depths that neither the genius playwright's contemporaries nor he himself could feel. Thus, time in the space of culture loses the "linearity" so familiar to us (from the past to the future), it turns into a living movement in both directions.

V. V. Musatov considered the problem of tradition with somewhat different accents. In his opinion, any artist strives to create an "individual hypothesis of being", so every time he correlates the experience of his predecessors with his era and his destiny. Therefore, tradition is not just a “copying” of techniques, it is always the most complex psychological act, when a foreign world is “tested” by one’s own experience.

So, "tradition" is a very voluminous concept, fundamental for an adequate perception of the literary process.

So far, we have been talking about the philosophical, general aesthetic meaning of the term "tradition". At a more specific level, there are several "problem points" associated with tradition and innovation.

First of all, it is not always easy to separate concepts "tradition", "canon", "imitation", "stylization","imitation" etc. If today we associate “epigonism” with “empty imitation”, which does not enrich culture in any way (this word itself has negative connotation), then, for example, with imitation and canon everything is more difficult. Far from every imitation is epigonism; an open orientation to some kind of model can lead to significant aesthetic results. For example, in Russian lyrics the word “imitation” is allowed as a kind of genre determinant: “In imitation of the Koran”, “In imitation of Byron”, etc. We encounter the same thing in numerous poems starting with “From ...”: “From Heine”, “From Goethe”, etc. Here, quite interesting cases are possible. For example, the famous program poem by A. S. Pushkin “From Pindemonti”, at first glance, openly refers to the work of the Italian poet, but in reality this is a hoax, I. Pindemonti never had such a poem. The question arises: why does Pushkin refer us precisely to this name; Is this an accident, a “trick” to deceive censorship, or did the poet still feel some kind of internal echo of his lines with the poetry of this author? There is no consensus among scholars on this issue. But in any case, it is in this poem that Pushkin formulates his poetic credo:

Other, better, rights are dear to me;

Another, better, I need freedom:

Depend on the king, depend on the people -

Don't we all care? God is with them.

Nobody

Do not report...

In other cases, a direct orientation to a well-known text can lead to the creation of a genuine author's masterpiece. So, Pushkin's "little tragedy" "A Feast in the Time of Plague" is, as you know, the author's translation of one act from J. Wilson's play "City of the Plague" (1816). In general, Pushkin follows Wilson's text, but adds two songs "on his own behalf": Mary's song and the famous "Hymn to the Plague":

Everything, everything that threatens death,

For the heart of a mortal conceals

Inexplicable pleasures -

Immortality, maybe a pledge!

And happy is he who is in the midst of excitement

They could acquire and know.

So - praise to you, Plague,

We are not afraid of the darkness of the grave,

We will not be confused by your calling!

We sing glasses together

And the rose-maidens drink the breath,

Perhaps ... full of Plague!

These inserts radically change the whole picture, from a not-so-famous play by John Wilson, Pushkin gives birth to a masterpiece.

However, in many cases, a work written "in imitation" does not have great artistic value, testifies to the helplessness, insufficient talent of the author. Ultimately, as always in creativity, everything is decided by talent.

It is even more difficult to separate tradition and canon. The canon is the norms accepted in a given culture and strictly observed.. The canon imposes rather severe restrictions on the freedom of the author's self-expression, thus being a "binding tradition". Archaic forms of culture, for example, many genres of folklore, were associated with the canon to such an extent that they left little room for the author's "liberties". In this sense, it is possible to speak about the "authorship" of folklore texts only metaphorically, in folklore there is a "collective author". The ancient consciousness did not draw a line between "known to me" and "born by me" (in other words, between what I I know some text and the fact that I have it created), so any text was easily assigned to those to whom it was familiar. Gradually, the boundaries of "one's own and others" became stronger, and in many cultures, for example, in medieval oriental poetry or in Russian icon painting, the canon began to be perceived as an "external" condition obligatory for the author. But inside the canon, the author's vision of the world was already manifesting. That is why, for example, the Russian icon is so diverse in strict observance of the Orthodox canon.

In modern secular culture, the canon does not play such a role, although, naturally, any artist experiences some restrictions imposed by the established tradition. However, these restrictions are no longer rigid, and the traditions of culture are so diverse that they provide the author with almost limitless possibilities.

SecondlyWhen speaking about tradition, one must remember that it manifests itself at different levels. Let's dwell on this in a little more detail.

theme tradition suggests that the author, while defining the thematic range of his work, constantly correlates his decision with those that have already been found by culture. For example, the theme of the truth of Christ, confirmed by his sufferings and death, finds thousands artistic solutions taking into account each other and arguing with each other. It is enough to recall M. Bulgakov's novel The Master and Margarita to feel that the author simultaneously continues and breaks (or develops) the established tradition. It is no coincidence that many supporters of the Orthodox canon do not accept Bulgakov's novel, considering it "the gospel from Satan."

The tradition of the image (character). The tradition of the image or its variant, the tradition of character, involves taking into account the decisions already accumulated by culture regarding this or that character. Sometimes it manifests itself directly, most often in this case some famous image becomes emblematic, sets off the character of the hero. So, N. S. Leskov, defining his heroine Katerina Lvovna as “Lady Macbeth of the Mtsensk District”, immediately creates a Shakespearean background against which the heroine looks different: more tragic and larger.

In other cases, the roll call is visible at the level of the psychology of the characters, their actions, relationships. At one time, A. D. Sinyavsky, somewhat coarsening, characterized the relationship between a man and a woman in classical Russian literature in this way: “A woman was a touchstone for a man in literature. Through relations with her, he revealed his weakness and, compromised by her strength and beauty, got down from the stage, on which he was going to play something heroic, and left, bent over, into oblivion with the shameful nickname of unnecessary, worthless, extra person» .

Sinyavsky is too straightforward, but the structure of the relationship is captured quite accurately. And it is easy to see that this structure was offered to Russian culture by A. S. Pushkin in "Eugene Onegin", other authors (I. S. Turgenev, F. M. Dostoevsky, L. N.Tolstoy) in one way or another already followed the Pushkin tradition.

Genre tradition - one of the most powerful in world culture. Genre is a form of author's self-expression found and assimilated by literature. The genre captures both the features of the narrative, and - in many cases - themes, and the types of pathos, and the features of conflicts, etc. Therefore, the chosen genre is always to some extent binding. For example, a poet writing an ode unwillingly finds himself in the bowels of a thousand-year tradition of this genre. Although there is a huge distance between the odes of M. V. Lomonosov and, for example, “Ode to the Revolution” by V. Mayakovsky, many common features dictated by the tradition of the genre are striking.

National tradition associated with the value system adopted in a particular culture: ethical, aesthetic, historical, etc. As a rule, the artist absorbs world culture through the national, way back practically impossible. The Russian writer is open to world cultural experience, but this experience is refracted through the cultural experience of the nation. This was well reflected by M. Yu. Lermontov in a youthful poem:

No, I'm not Byron, I'm different

Still unknown chosen one,

How he is a wanderer persecuted by the world,

But only with a Russian soul.

The poet declares his openness to Byron's world, his closeness to the brilliant English bard, but Byron is refracted through the "Russian soul". As a result, we have not one of Byron's innumerable imitators, but a great Russian poet who has won world fame.

Rising from the depths national culture a poet can become a poet of the world. But if one imagines some abstract "world poet", he cannot become a national poet. The now popular expression "man of the world" should not be absolutized. People of the world are not born, but become.

Artistic tradition combines lexical, syntactic, rhythmic, plot-compositional, etc. techniques for constructing a text. In many cases, the tradition of techniques is striking, for example, a poet who writes with a "ladder" will immediately find himself in line with the Mayakovsky tradition. In other cases, it is less recognizable, but any work in one way or another uses already found artistic techniques. Like any tradition, the tradition of tricks is enriched by new discoveries, becoming more and more complex and multifaceted.

Style tradition in some sense synthesizes all the above possibilities. Style is precisely the sum of figurative-thematic, genre, etc. unity. Here you can talk about the author's traditions (for example, Pushkin's or Nekrasov's) or about the traditions of certain trends or even eras (for example, the traditions of antiquity in the culture of classicism, the romantic tradition in modern poetry etc.).. 6, No. 16, Jun., 1927.

Sinyavsky A. (Abram Terts) What is socialist realism // http://antology.igrunov.ru/authors/synyavsky/1059651903.html