Kravchuk Leonid Makarovich was born on January 10, 1934 in the village of Veliky Zhitin, Rivne region. Higher education, graduated in 1958 from Kiev State University, in 1970 - the Academy social sciences under the Central Committee of the CPSU, candidate of economic sciences.

In 1958-1960. - teacher of the Chernivtsi Financial College, in 1960-1967. - consultant-methodologist of the House of Political Education, lecturer, assistant secretary, head of the department of agitation and propaganda of the Chernivtsi regional committee of the Communist Party, in 1967-1970. - Post-graduate student of the Academy of Social Sciences under the Central Committee of the CPSU.

In 1970-1988. - head of the sector, inspector, assistant secretary, first deputy head of the department, head of the department of agitation and propaganda of the Central Committee of the Communist Party of Ukraine. In 1988-1990. - Head of the ideological department, secretary of the Central Committee of the Communist Party of Ukraine, in 1990 - second secretary of the Central Committee of the Communist Party of Ukraine.

In 1989-1990 - candidate member of the Politburo, in 1990-1991. - Member of the Politburo of the Central Committee of the Communist Party of Ukraine. In March 1990 he was elected as a deputy Verkhovna Rada Ukraine from the Yampol constituency No. 39 (Vinnitsa region).

In 1990-1991 - Chairman of the Verkhovna Rada of Ukraine.

On December 1, 1991, Leonid Kravchuk was elected president of Ukraine in the first direct presidential elections, gaining 61.59% of the vote. In December 1991 - July 1994. - President of Ukraine.

In the 1994 presidential election, he lost in the second round to former Prime Minister Leonid Kuchma, gaining 45.1% of the vote. In September 1994, he was elected to the Verkhovna Rada in the Terebovlyansky constituency No. 364 (Ternopil region), in the Verkhovna Rada he entered the deputy group "Constitutional Center".

In 1998 he was elected to the Verkhovna Rada of Ukraine. As the leader of the party list of the Social Democratic Party of Ukraine (united), he overcame the 4% barrier. Member of the Verkhovna Rada of Ukraine Committee on International Affairs and Relations with the CIS. Since 1998 - member of the SDPU (o) and the Politburo of the SDPU (o). He was a member of the Central Committee of the CPSU since 1990, announced his withdrawal from the ranks of the CPSU on August 19, 1991.

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Other writings:

1. At the end of his creative way Saltykov-Shchedrin turned to the fairy tale genre. Here he got the opportunity to use such a technique as allegory, “Aesopian language”. This allowed the writer, under the guise of fictional stories, to talk about vices. modern life. So, in the fairy tales of Shchedrin, as in Read More ......
2. The talent of the greatest Russian satirist Saltykov-Shchedrin was revealed in all its splendor in his fairy tales. This genre allows you to hide the true meaning of the work from censorship. In fairy tales, Shchedrin reveals the theme of the exploitation of the people, gives devastating criticism to the nobles, officials - all those who live folk labor. Read More ......
3. Raised a fairy tale to the top of political journalism great satirist M. E. Saltykov-Shchedrin. There lived a landowner, he says, his body was “soft, white and crumbly”; he had enough of everything: peasants, and bread, and cattle, and land, and gardens, and the landowner began to fear, Read More ......
4. Tales of Saltykov-Shchedrin are usually defined as the result of the work of the great satirist. And this conclusion is justified to some extent. Fairy tales chronologically complete the actual satirical works writer. As a genre, Shchedrin's fairy tale gradually matured in the writer's work from the fantastic and figurative elements of his satire. A lot of Read More ......
5. Tales of Saltykov-Shchedrin are usually defined as the result of his satirical work. And this conclusion is justified to some extent. Tales chronologically complete the satirical work of the writer. As a genre, Shchedrin's fairy tale gradually matured from the fantastic and figurative elements of his satire. A lot of them and Read More ......
6. Saltykov-Shchedrin was the successor satirical traditions Fonvizin, Griboyedov, Gogol. Shchedrin's gubernatorial activity allowed him to see more deeply the "vices of Russian reality" and made him think about the fate of Russia. He created a kind of satirical encyclopedia of Russian life. Fairy tales summed up the 40-year work of the writer and were Read More ......
7. Saltykov-Shchedrin Mikhail Evgrafovich (1826-1889) - Russian satirist writer. Democrat-educator, ideological student of V. G. Belinsky ... Creativity is directed against the autocratic-feudal system (“ Provincial essays”, “Pompadours and pompadourses”, “ Poshekhonskaya antiquity”, “Tales”, etc.). Big encyclopedic Dictionary Many writers and poets have used fairy tales in their work. Read More ......
8. The theme of serfdom and the life of the peasantry played important role in the work of Saltykov-Shchedrin. The writer could not openly protest the existing system. Saltykov-Shchedrin hides his merciless criticism of the autocracy behind fabulous motifs. He writes his political fairy tales from 1883 to 1886. In them, the sender is truthfully Read More ......

Essays on literature: Fairy tales for children of a fair age

Creativity M. E. Saltykov-Shchedrin is extremely diverse. He wrote novels, dramas, chronicles, essays, reviews, stories, articles, reviews. Among the huge heritage of the satirist, his fairy tales occupy a special place.

form folk tale used by many writers before Shchedrin. , written in verse or prose, recreated the world folk performances, folk poetry, and sometimes contained satirical elements, for example, Pushkin's fairy tales "About the priest and his worker Balda", "About the golden cockerel". Shchedrin creates sharply satirical tales, continuing the Pushkin tradition.

Fairy tales are the result of many years of life observations, the result of the entire creative path of the writer. The fantastic and the real are intertwined in them, the comic is combined with the tragic, the grotesque, hyperbole are widely used in them, and amazing art Aesopian language. In fairy tales we meet all Shchedrin's heroes. Here are the stupid, ferocious, ignorant rulers of the people, their exploiters ("Bear in the Voivodeship", "Eagle-philanthropist", " wild landlord") here is the people themselves, hardworking, talented, powerful and at the same time submissive to their exploiters ("The Tale of How a Man Feed Two Generals", "Konyaga") here and the awakening people, truth seeker and overthrowing the yoke of autocracy ("Raven-petitioner", "By the way", "Bogatyr"). Fairy tales depict the betrayal of liberals ("Liberal", " Dried vobla"), the cowardly narrow-mindedness of the layman ("The Sane Hare").

In many of Shchedrin's tales there is a belief in the final triumph of positive ideals. This belief illuminates the sad pages of his satire with the light of optimism. So, in the fairy tale "Conscience Lost" Shchedrin denounces the world of predators, money-grubbers and covetous people - a society that has lost its conscience. But the writer expresses confidence that conscience, thrown away like an unnecessary old rag, once in the cradle where a small Russian child lies, will find its protector in it.

Tales "for children of a fair age" as a work of a new genre in Russian literature. The history of the creation of "Tales"

M.E. Saltykov-Shchedrin was the successor of the satirical traditions of D.I. Fonvizin, A.S. Griboyedov and N.V. Gogol. Shchedrin's gubernatorial activity allowed him to see more deeply the "vices of Russian reality" and made him think about the fate of Russia. He created a kind of satirical encyclopedia of Russian life. "Tales" Shchedrin in miniature contain the problems and images of the entire work of the great satirist. If Shchedrin wrote nothing besides "Fairy Tales", then they alone would give him the right to immortality. Of the thirty-two tales of Shchedrin, twenty-nine were written by him in last decade his life (most from 1882 to 1886) and only three tales were created in 1869. Fairy tales, as it were, sum up the forty-year creative activity writer.

The satire of Saltykov-Shchedrin is a special phenomenon in Russian literature. Addressing "Tales" to "children of a fair age", he immediately introduced readers to the special atmosphere of his book. On these pages, "children of a fair age", that is, adults who have retained the naive illusions of a beautiful-souled youth, are treated harshly. They do not sympathize, they are cleverly and evilly ridiculed. Saltykov-Shchedrin set himself a fundamentally new creative task: hunt down, expose and destroy.

V. G. Belinsky, talking about the writer's work, called his humor "formidable and open, bilious, poisonous, merciless." This characteristic deeply reveals the essence of Saltykov-Shchedrin's satire. To illustrate the impact of his works on listeners, I. S. Turgenev’s note is interesting: “I saw how the listeners writhed with laughter while reading some of Saltykov’s essays. There was something terrible about that laugh. The audience, laughing, at the same time felt how the scourge whipped itself.

A number of reasons prompted Saltykov-Shchedrin to turn to fairy tales. The difficult political situation in Russia: moral terror, the defeat of populism, the police persecution of the intelligentsia - did not allow revealing all social contradictions society and directly criticize the existing order. On the other hand, the fairy tale genre was close to the nature of the satirist writer. Elements fairy tale fiction is also in the "History of a City", and in satirical novel « Modern idyll"and the chronicle" Abroad "complete fairy tales are included. Fantasy, hyperbole, irony, common to fairy tales, are very characteristic of Shchedrin's poetics. In addition, the fairy tale genre is very democratic, accessible and understandable. wide circles readers, the people and corresponds to the journalistic pathos, civil aspirations of the satirist. Evil, angry mockery slave psychology- one of the main tasks of the fairy tales of Saltykov-Shchedrin. He not only states such features of the Russian people as their long-suffering, unresponsiveness, not only anxiously seeks their origins and limits, but also mercilessly denounces, caustically ridicules, castigates, because it is precisely here that he sees the main misfortune of the time.

The writer essentially created new genre - political fairy tale. The fantasy of a folk tale is organically combined in Shchedrin with realistic image reality. The life of Russian society is the second half of XIX centuries was imprinted in the richest gallery of characters. Shchedrin showed the entire social anatomy, touched on all the main classes and strata of society: the nobility, the bourgeoisie, the bureaucracy, the intelligentsia.

In this gallery of Saltykov-Shchedrin's characters, there is an intellectual dreamer ("Karas the idealist"), and an autocrat playing the role of a patron of the arts ("Eagle the Patron"), and useless generals ("The Bear in the Voivodeship"), and the submissive " selfless hare", hoping for the mercy of" predators ", and many others who repelled historical era, with its social evil and democratic ideas.

The heroes of the fairy tales of Saltykov-Shchedrin are satirical allegories, where the wolf, hare, bear, eagle, crow and other animals, birds and fish do not belong to the animal world. Following the traditions of Krylov, Saltykov-Shchedrin involuntarily puts certain masks on his characters and seeks to "give everyone their due." In his fairy tales, in each disguise are concentrated character traits, accurately defining the social or human type. The people appear under the masks of kind and defenseless animals and birds, the exploiters - in the images of predators.

However, fairy tales about animals are only one type of fairy tales by Saltykov-Shchedrin. In fairy tales of a different type, people act (“The Wild Landowner”, “The Tale of How One Muzhik Feed Two Generals”, etc.). Their characters are not covered by masks of animals, fish and birds, and the author uses other satirical devices: hyperbole and grotesque. The heroes of these tales, however, are also revealed as symbolic masks: the author creates collective images social types.

The language of Shchedrin's fairy tales is deeply folk, close to Russian folklore. The satirist uses not only traditional fabulous tricks, images, but also proverbs, sayings, sayings. Dialogue actors colorful, speech draws concrete social type: an imperious, rude eagle, a beautiful-hearted idealistic crucian, an evil reactionary voblaushka, a hypocrite priest, a dissolute canary, a cowardly hare, etc.

In fairy tales, Shchedrin showed himself to be a brilliant artist, a master of the Aesopian language, with the help of which he was able to convey sharp political thoughts to the reader and convey social generalizations in allegorical form. The works of the Shchedrin fairy tale cycle are combined not only genre features, but also some general ideas and themes. These general ideas and themes connect the tales with each other, give the whole cycle a certain unity and allow it to be considered as complete work covered by a common ideological and artistic concept.

In difficult ideological content Shchedrin's fairy tales can be divided into four main themes: 1) satire on the top government of the autocracy and on the exploiting classes, 2) denunciation of the behavior and psychology of the philistine-minded intelligentsia, 3) depiction of the life of the masses in tsarist Russia 4) exposure of the morality of predatory owners and propaganda of a new social ideal and a new morality. But, of course, it is impossible to draw a strict thematic distinction between Shchedrin's tales, and there is no need for this. Usually the same tale, along with its own main theme also affects others. So, in almost every fairy tale, the writer touches on the life of the people, contrasting it with the life of the privileged strata of society.

All of Shchedrin's tales were subjected to censorship and alterations. Many of them were published in illegal publications abroad. “Documentary and memoir sources testify that Shchedrin's tales were constantly in the arsenal of Russian Narodnik revolutionaries and served as an effective weapon for them in the struggle against the autocracy. Those of the fairy tales that were banned by the tsarist censorship (“The Bear in the Voivodeship”, “The Eagle-Maecenas”, “The Dried Vobla”, etc.) were distributed in illegal publications - Russian and foreign. F. Engels showed interest in "Tales" by Shchedrin See: K. Marx and F. Engels. Works, ed. 2nd. M., Goslitizdat, 1964, vol. 36, p. 522. They were repeatedly used by Russian Marxists in their journalistic activity. For example, V.I. Lenin brilliantly interpreted many of the ideas and images of Shchedrin's fairy tales, applying them to the conditions of the political struggle of his time.

Tales of Saltykov-Shchedrin had a great impact on further development Russian literature and especially the genre of satire.

Lessons 103-104 FAIRY TALES (FAIRLY AGED CHILDREN)

Lessons 103–104
"Tales (for children of a fair age)"

Goals : find out the reasons for the writer's appeal to fairy tales; what opportunities this genre opened up for the satirist; highlight the main themes of fairy tales, their ideological orientation; what artistic originality fairy tales.

Course of lessons

Epigraph to the lessons:

Fairy tales are powerful in their thought, amusing and at the same time tragic in their poisonous malice, enchant with their linguistic perfection.

A. V. Lunacharsky

I. introduction teachers.

Tales of Saltykov-Shchedrin

The fairy tale genre attracted the attention of Saltykov-Shchedrin. Back in 1869, he wrote three fairy tales ("The Tale of How One Man Feeded Two Generals", "The Wild Landowner", "The Conscience Lost").

In the 80s XIX years century Saltykov-Shchedrin for short term created fairy tale book(about 30). “My head is still full of ... by the way, fairy tales. It is necessary to abandon this book, which would not harm me ... ”the satirist wrote.

The 80s - the "rampant" reaction, censorship persecution, closed " Domestic notes". The writer, in his words, "was taken away, crumpled and sealed soul." Shchedrin's appeal to fairy tales cannot be explained only by the arbitrariness of censorship; content of fairy tales.

The tales were printed with the significant subtitle: "for children of a fair age." One of the censors said: “What Mr. Saltykov calls fairy tales does not at all correspond to its name; his tales are the same satire, and caustic satire ... directed against our social and political structure. Many fairy tales never appeared in print during the writer's lifetime.

II. Identification of the main themes of fairy tales.

1. People and autocracy. (“The Bear in the Voivodship”, “The Eagle-Patron”, “The Tale of the Zealous Chief.”)

2. The people and the ruling classes. (“The Wild Landowner”, “The Tale of How One Man Feeded Two Generals”, “Konyaga”.)

3. The people and the bourgeois philistine intelligentsia. ("The wise scribbler", "Liberal", "Karas-idealist", "Dried vobla".)

III. Work on literary terms.

Questions :

1. Remember what "grotesque" is. Give examples of the grotesque from Shchedrin's famous works.

2. How do you understand the meaning of the words "satire", "Aesopian language" or "Aesopian speech"?

3. What is "fantasy", "parody", "irony", "sarcasm", "litote"?

(Fantastic- non-existent in reality, invented.

Parody - a work that imitates another work, author or movement with the aim of ridiculing them. Parody consists in "imitation", "reversal" of the original.

Irony - a negative assessment of an object or phenomenon through its ridicule. The comic effect in an ironic statement is achieved by disguising the true meaning of the event. Irony says exactly the opposite of what is meant.

Sarcasm - a caustic sarcastic mockery with a frankly accusatory, satirical meaning. Sarcasm is a kind of irony.

Litotes - this is a figurative expression, a turnover, which contains an artistic understatement of the size, strength, significance of the depicted object or phenomenon.)

IV. Analysis of the fairy tales of Saltykov-Shchedrin.

1. "The wise scribbler" (1882-1883)

The time of writing and publishing a fairy tale is a difficult time of reaction and terror in the country. Saltykov-Shchedrin: "A very bad time is coming." Distrust, suspicion, cowardice, indifference penetrate the moral atmosphere of life.

Questions :

1) How do you understand the meaning of the title of the fairy tale "The Wise Scribbler"? What does the epithet "wise" mean?

2) What advice does the old scribbler give to his son?

3) How are Shchedrin's different narrative plans connected: historical, concrete everyday, fantastic?

4) What is the life position of the scribbler?

5) The result of the life of a scribbler. What kind of thoughts "visit" him before his death?

6) Why, in your opinion, does the satirist resort to allegory and depict not a person, but a fish endowed with philistine features?

M.E. Saltykov-Shchedrin writes: “And he lived wise scribbler like this for over a hundred years. Everyone trembled, everyone trembled. He has no friends, no relatives; neither he to anyone, nor anyone to him ... he only trembles and thinks one thought: thank God! seems to be alive! Depicting the pitiful fate of a cowardly scribbler who walled himself up in a tight hole, the satirist expressed his contempt for all those who, submitting to the instinct of self-preservation, left public life into the narrow world of personal interests. Saltykov-Shchedrin attributed to a small and miserable fish human features and at the same time showed that "fish" features are inherent in man.

The writer reminded his contemporaries about the price human life, about its meaning, about human dignity, about courage and honor.

2. "Dried vobla"

Questions :

1) How does the story begin? (Everything is dried up, and brains too, everything is weathered.)

2) How did the vobla live? How does he explain his mind-reason? (It’s smart that they withered in time, deprived of thoughts, feelings, conscience. The words sound like a refrain: “Ears do not grow above the forehead.”)

3) What phenomena of modern reality does the satirist ridicule in this tale? (By preaching the ideal of accuracy and moderation in the name of self-preservation, with his salutary speeches, the vobla justifies and glorifies the vile existence of cowardly and miserable “wise scribblers.” The satirist shows the process of “drying”, necrosis and debasement of souls.

The vulgar speeches and calls of the vobla helped people who had lost their civil dignity to "live", without thinking about anything, without looking into the future.)

3. "Bear in the province" (1884)

Questions :

1) What are your impressions of reading the fairy tale?

3) Tell us about the fate of the Toptygins. What do they need? ("Bloodshed" - that's what you need. The fate of Toptygin I - "got burned on nonsense, though then he smashed everything - was expelled. Toptygin II - unbelted, destroyed everything, but the peasants" blew up ", they taught him a lesson with a horn. Toptygin III chose golden mean: did nothing, but he "suffered the fate of all fur-bearing animals.")

The political meaning of the tale was clear to the writer's contemporaries. (The tale was written three years after the assassination of Alexander II.) At the request of censorship, Shchedrin's work was withdrawn from the Otechestvennye Zapiski magazine.

4) What phenomena of modern reality did the satirist ridicule? Who is the story directed at? (M. E. Saltykov-Shchedrin introduces topical political motives into the world of fairy tales, reveals difficult problems modernity. A bear, under the pen of a satirist, acquires the features of an obscurantist - an administrator who oppresses the people, exterminates sedition, and destroys education.)

V. Explanation of new material.

I'm the teacher's story.

Artistic originality of fairy tales

The tales of Saltykov-Shchedrin are political satire tales, but they are connected with oral folk art. The writer uses traditional fabulous images, fabulous formulas and beginnings, as well as proverbs and sayings.

As a realist writer, Shchedrin created many typical images and artistic generalizations in fairy tales. Fairy tales combine the real and the fantastic, the fabulous. The writer skillfully used the Aesopian style of writing (“Aesopian language”), resorted to sharpening images with the help of hyperbole, grotesque, irony.

2. Analyze (in writing) one of the fairy tales read by yourself.