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The system of lessons on modern literature in the 10th grade

I AM GOING TO THE LESSON

Tatiana KULIGINA

Russian teachers' lessons

The system of lessons on modern literature in the 10th grade

KULIGINA Tatyana Viktorovna (1949) - teacher of Russian language and literature. Lives in Ivanovo.

The material was prepared by N.V. Vasilyeva, methodologist of the Ivanovo IPK and PKK.

Photos from the publication: Kultur & Jugend were used in the design. 2003. No. 3.

The proposed system of lessons is based by the author on the following principles:

• comprehension of the works of modern literature named below in context of the literary process, in their complex interaction with Russian literature of the second half of the 19th century;
• analysis of the content, problems of works of modern literature also involves addressing questions literary theory, monitoring the development of traditions and innovation, the dialectical interaction of genres, artistic techniques;
• appeal to the studied works (the questions posed in them, the problems depicted in them, the characters, genre features, and so on) in the 11th grade, the inclusion of these works in the broader context of Russian literature;
• communication of literary works with other arts;
• as a teacher-practitioner, the author sought to include in the list of works mainly small volume, since it took into account the large workload of students in the 10th grade;
• appeared in the last 10-15 years, received ambiguous assessments and responses, all these works aroused keen reader interest, including teacher's interest- the author of the proposed program. This system of lessons can be used both in a regular class of a general education school and in a class of a humanitarian profile (in the latter, it is necessary to increase the number of hours for a deeper, in comparison with work in a regular class, work with a text, for a more detailed consideration of theoretical issues, and also to other art forms).

Yu.V. Lebedev for students of the 10th grade of secondary school. Literature. Parts 1 and 2 (M.: Enlightenment, 1992).

The first monographic topic in the 10th grade - "Ivan Aleksandrovich Goncharov". Program edited by T.F. Kurdyumova offers teachers and students the choice of studying one of the three novels of the writer. We chose the novel "Oblomov" because of the ambiguous interpretation of the content, especially the contradictory and even mutually exclusive views of contemporary critics on the protagonist and the fertile opportunity for students to compare the assessments of N. Dobrolyubov and A. Druzhinin, to argue their point of view. It will be interesting for a modern student to reflect on what the images of Oblomov and Stolz carry in themselves. Questions that worried the Russian writer I.A. Goncharov, who had the opportunity to personally observe capitalist, bourgeois relations in the countries of Western Europe, are surprisingly modern.

• Has the European and American world gone in the same direction with its technical progress?
• Will mankind be brought to bliss by the violence it inflicts on nature and the soul of man?
• Does not the goal of such progress humiliate a person - satiety and comfort, such means - bare calculation, the desire for profit in any way?

These thoughts are expressed by the writer in his book of essays "Frigate" Pallada "" with journalistic sharpness, their echoes, of course, are also contained in the work of art - the novel" Oblomov ".

With the development of civilization, these questions have not only not been softened, they have become dangerously acute. Such progress brought humanity to a fatal milestone: either moral self-improvement - or the death of all life on earth.

In this context, Goncharov’s thoughts are consonant with the thoughts of a modern writer Vladimir SOLOUKHIN expressed in his essay "Laughter over the left shoulder". Reflecting on the three paths of progress along which humanity is going, V. Soloukhin concludes that the fastest way a person moves is not towards God, but towards the devil, since the path of technical progress is a disastrous path that the “evil one” pushes us to. The path to God is the path of moral self-perfection. But, alas, our train derailed along the way. The event that caused this catastrophe is the October Revolution of 1917, and the consequence of this revolution is the excommunication of the people from religion as the basis of their spiritual life.

Students are encouraged to think about the range of these problems.

V. Soloukhin in the book tells about his childhood, about the strong peasant family in which he grew up. The position of the writer in covering the pre-revolutionary past of our country (he tells the story of his kind) is close to that expressed by the famous film director S. Govorukhin in his documentary film “The Russia We Lost”. Let us leave the determination of the degree of objectivity of the writer and film director to specialists. In our opinion, in such an image of the past there is a certain amount of idealization, this is clearly a nostalgic look, a look through rose-colored glasses. How else to explain that in a prosperous, prosperous country, which was Russia before 1914, a handful of troublemakers were able to captivate the people and create so many terrible, bloody deeds?

However, the essay genre, by definition, involves the author's subjectivism. At the lesson on the book by V. Soloukhin, tenth-graders have the opportunity to get acquainted in detail with this literary genre.

As for the problems, in the 11th grade we turn to this range of issues in connection with the study of creativity. Sergei Yesenin(his nostalgia for the “hut”, patriarchal Rus' and fear of the advancing “iron guest”, which crowds his homeland and his soul), as well as in connection with the study of A. Platonov’s story “The Pit” (remember Voshchev with his “thoughtfulness among the general pace of work).

Work with a work studied in the 10th grade in the final grade can be carried out in a variety of forms: students performing individual and group tasks, essays, written answers to questions, a selection of parallel quotes, messages, reports. Thus, schoolchildren learn to see a certain complex of cross-cutting problems, learn to draw parallels, make generalizations.

In the topic "Alexander Nikolaevich Ostrovsky" one of the playwright's plays is offered to choose from - "Dowry", "Snow Maiden", "Thunderstorm". In our opinion, the playwright is closer to the problems that today's generation of young people live in in his late play - "Dowry". In addition, today's high school students are well aware of the film "Cruel Romance", based on the play by E. Ryazanov. There is an opportunity to compare, review, argue about the principles of adaptation of the classics.

In the 9th grade, the children got acquainted with the dramaturgy of A. Vampilov (on the example of the play "Elder Son"). In the 10th grade, there is an opportunity to introduce students to another work of modern drama. We settled on a play Lyudmila RAZUMOVSKAYA "Dear Elena Sergeevna".

If "Dowry" A.N. Ostrovsky is defined in modern literary criticism as a psychological drama, then “Dear Elena Sergeevna” by L. Razumovsky is an intellectual drama. This play depicts not so much a clash of heroes as a clash of ideas and views. The disciples of Elena Sergeevna, who actually drive the heroine to suicide, tell her: “Personally, we have nothing against you, Elena Sergeevna.” And indeed it is. What ideas collide in drama? Why is their collision so tragic? Here are questions that can be pivotal in the lesson. Both dramas end with the death of the heroines. In both plays, the motif of trade, the motif of buying and selling, persistently sounds. Perhaps both Larisa and Elena Sergeevna are victims of not only meanness, deception, heartlessness, but also self-deception. Perhaps these are external similarities. The conflicts of the plays are inherently incomparable. However, an interesting fact is that both of these plays have attracted the attention of a modern filmmaker. The film “Dear Elena Sergeevna” by E. Ryazanov was also seen by many students, and this makes it possible to discuss the merits and miscalculations of the tape, evaluate the acting of the actors, and most importantly, to trace what the director focuses on, what is important to him.

There are no children's parents on the stage, but they are present in the play as off-stage characters, each of the characters talks about their parents. The theme of relationships between generations, fathers and children is, in our opinion, the most important theme of this drama. In the 11th grade, we turn to this work in connection with the study of such authors as V. Aksyonov, V. Voinovich, whose fates clearly show the drama of the Russian intellectual of the sixties. It is to them that the question of one of the heroes of the play is addressed: “Ay, where are you?”

Roman I.S. Turgenev "Fathers and Sons". For a long time in the practice of school study of the novel, emphasis was placed on its socio-political aspect. Of course, this question endlessly worried the author in that era, but the novel is not only about the conflict of democrats-raznochintsev with the liberal nobility. He is also about fathers and children in the most direct, literal sense of these words. Let's take a closer look at this aspect of the novel today, trying to extract universal truths that will make us more humane, more tolerant, wiser...

The tragedy of misunderstanding of the closest people - father and sons, the tragedy of loneliness befell the members of the Shevelev family, the heroes of the story Nikolai DUBOV "Relatives and friends". Who is responsible for the illness and death of the mother? The common grief did not unite, but even further separated the father and adult children. Who's guilty? What is the reason? The story begins and ends with biblical motifs. At the beginning, this is a mention of the legend of Noah and the sin of his sons, in the finale, the expectation of the old man Shevelev for the second coming of Christ and the Last Judgment.

We think that the material of this story cannot but confirm high school students in understanding the need for sympathy, tolerance, forgiveness, and love for their loved ones. Non-observance of the commandment “honor your father and your mother” is both a sin and the cause of a common tragedy.

On the example of this story, it is possible to trace the use of biblical motifs in a modern work, which will enrich the spiritual experience of students.

From the section "Literature of the 60s of the XIX century" the program offers to choose one of several topics. We choose a topic “N.G. Chernyshevsky", since without reading at least fragments of the novel “What is to be done?” students will not understand the stormy controversy that was in full swing in society, the controversy in which I.S. Turgenev, and F.M. Dostoevsky, with whose novel acquaintance is ahead. Comparing the “new people” N.G. Chernyshevsky with Turgenev's Bazarov, women "emancipe" in both novels, let's turn to utopian pictures of a beautiful and bright future in Vera Pavlovna's fourth dream. After working with this fragment of the novel, we get acquainted with the book Vladimir TENDRYAKOVA "Attempt on mirages". Briefly introducing students to the content of the novel, we suggest reading the fifth, the last of the inserted short stories - “Farewell to the shining hail”. On this material, schoolchildren get acquainted with the genre of dystopia, and in the 11th grade they will continue to study this genre, turning to the novels by E. Zamyatin "We", V. Nabokov "Invitation to Execution". If the topic is of interest to students, they can turn to the works of foreign writers: D. Orwell, O. Huxley, R. Bradbury. And in the novel by V. Tendryakov, the author of the utopia "City of the Sun" Tommaso Campanella finds himself in his fabulous city, in which he sees a horrific picture of destruction, poverty, general suspicion, suppression of freedom. What happened? Where did the beggars come from? Why did the city of a beautiful dream become a nightmare city? “You sinned with simplicity,” says the ruler of the city of Sol, who is languishing there, in the Campanelle prison. Utopian socialists, believing that a person is initially good, and the environment makes him evil, considered it possible to change life by changing society. The structure of society according to an invented scheme inevitably leads to trouble. In the 60s, a contemporary of N.G. Chernyshevsky F.M. Dostoevsky understood that human nature is more complex than it appears to the "gentlemen of the socialists." However, in the 20th century, the theory of building a just society of equals was put into practice. The picture of the city-nightmare is recognizable to us in its main features. Dystopia, according to the definition of journalist A. Bosart, is a description of the future, where the vices of the present are depicted in a grotesque form, logically brought to a frightening absurdity. The fact that this path was not mentally traversed by the theoreticians of socialism was a misfortune for a huge number of people in the 20th century.

We will turn to the work of V. Tendryakov in the 11th grade. Basically, these will be works published posthumously: “A Pair of Bay”, “Bread for a Dog”, “Paranya”, “Donna Anna”, “Hunting”, “People or Inhumans”.

Theme "Nikolai Alekseevich Nekrasov" it would be logical to finish with a lesson on modern poetry. This may be a lesson on civil lyrics, since the image of the poet N. Nekrasov appears to students primarily as the image of a poet-citizen. With Nekrasov's love-pain, love-hate, it will be interesting to compare the pathos of the poetry of the "quiet lyricists" - V. Sokolova, N. Rubtsova, A. Zhigulina. The book "Pages of Modern Lyrics" - a collection compiled by Vadim Kozhinov - will help you select the necessary material for this lesson. Important for the teacher is also the introductory article to this collection, written by the compiler - "Poems and Poetry".

There are many poetic topics in the 11th grade program, so the conversation started in the 10th grade will be possible to continue when studying poetic creativity V. Mayakovsky, S. Yesenin, A. Blok, A. Akhmatova, A. Tvardovsky.

Fedor Mikhailovich Dostoevsky. "Crime and Punishment". To a certain extent, the preparation of students for understanding the ideological orientation of the great novel is the study of the last three themes of Russian literature of the 19th century indicated above.

In modern literature, an interesting phenomenon is, in our opinion, the story Vyacheslav PIETSUKHA "New Moscow Philosophy". The tone of the narration is clearly ironic, sometimes joking, there are many satirical colors in the story. But satire, according to the author himself, is “only an excuse to start a conversation on more serious topics.” S. Taroshchina notes that literary reminiscence is declared from the first pages of the story. In the "New Moscow Philosophy" they also kill an old woman (ten square meters of her were urgently needed), they kill, however, not with an ax, but in a very sophisticated way. However, the writer continues to pedal the technique: whole pieces from Crime and Punishment are introduced into the text, a well-known character named Luzhin, parallels with the St. Petersburg version of events are constantly emphasized. What is the meaning of such artistic technique?

Thinking about the nature of good and evil, their complex dialectics, about the fact that events occurring in life and reflected in literature have some invariance, V. Pietsukh “explores the decay of the soil ... where does the internally lost, ready for anything, spiritually weak man” (L. Anninsky).

The consciousness of the "Neanderthal" did not tell the tenth grader Mitya Nachalov that his act was a direct crime. The decline of religion has led to the fact that our society has remained aloof from the spiritual experience accumulated by previous generations. Perhaps Russian literature is capable of at least to some extent fulfilling this mission - to inspire the need to observe certain commandments. It never occurs to a modern schoolboy, the hero of the story, that the classics are not in themselves, they are about him too.

Perhaps these thoughts will seem like direct reasoning, too frontal. However, as a teacher-practitioner, I can note that tenth-graders perceive the story with great interest.

We will turn to the problems of the collapse of the connection of times, the consequences of the “abolition of the Greek-Russian religion”, tragic voluntary and involuntary delusions in the 11th grade in connection with the study of the novel Y.Trifonova"Old man".

Leo Nikolaevich Tolstoy. "War and Peace".

The largest theme of the 10th grade ends with our acquaintance with the works of modern prose about the war. It could be short stories or novels. Vasily BYKOV, Vyacheslav KONDRATIEV, Konstantin VOROBYOV. We took for textual study the story of Konstantin Vorobyov "Killed near Moscow".

Artistic and human heights reached by L.N. Tolstoy in depicting the war are close to the modern writer. According to a well-known expression, he "stands on the shoulders of a giant." K. Vorobyov also shows the terrible, not the front side of the war. Genuine heroism and patriotism are manifested in the everyday, ordinary, in the modesty of a simple soldier, brushing aside the hospital, saying that an ear torn off by a shell “will dry itself up”. As if following Tolstoy, K. Vorobyov shows that miracles do not happen, in a war a person manifests what he has accumulated in himself in a peaceful life. The inner world of a person, the "dialectic" of his soul is the object of close attention of the above-mentioned contemporary writers. The main conclusion that the reader comes to is the denial of the war, which we are familiar with from L.N. Tolstoy: “Either war is madness, or if people do this madness, then they are not rational creatures at all, as we somehow usually think” 10 .

The problem of pacifism is very relevant for modern society; works about the war by writers of different generations provide rich material for reflection for our high school students.

In the 11th grade, we turn to these topics (war and humanism, “holy” hatred of the enemy and compassion, elementary human pity) when studying such works as the novel V. NEKRASOVA "In the trenches of Stalingrad", story M. SHOLOHOVA "The Science of Hatred", essay V. TENDRYAKOVA "People or Non-People".

Here are just a few small quotations from these works, given here in order to show the complexity of these issues, as if tied in a tight knot. “Suddenly he [Lieutenant Gerasimov] fell silent, and his face instantly changed: swarthy cheeks turned pale, under the cheekbones, rolling, the jaws came, and ... his eyes flared up with such unquenchable, fierce hatred that I involuntarily turned in the direction of his gaze and saw. .. three captured Germans” (M. Sholokhov, “The Science of Hate”). Lieutenant Gerasimov, who survived the horrors of German captivity, cannot calmly see how our fighter escorts the prisoners. And here's another quote:

“They [the Germans] are trudging towards the Volga in a long green line. They are silent. And in the back, a young, snub-nosed sergeant... He winks at us as we walk.

I lead tourists. They want to see the Volga ...

And he laughs merrily, contagiously” (V. Nekrasov. “In the trenches of Stalingrad”).

When is a people truly great, when does it show the true loftiness of the spirit: during merciless revenge on the enemy or in moments of forgiveness? Uncle Pasha and Yakushin, the fighters who warmed the German soldier Willy and ate with him from the same pot, the next day made an “ice bell” out of him, pouring water in the cold. This question, in fact, does not stand before V. Tendryakov (“People or Non-People”). The writer seeks to understand how it gets along in one people and whether the people are always right, as the classics taught us.

Let us recall Andrei Bolkonsky, speaking on August 25, 1812, on the eve of the Battle of Borodino, to Pierre that the French are all criminals, according to his (Prince Andrei) concepts, and everyone should be killed and no prisoners taken. And literally the next day, being wounded, in the hospital tent, Prince Andrei feels a feeling of love and pity not only for the suffering Anatole Kuragin, but for all people in general, including the French.

Thus, the novel by L.N. For students, Tolstoy turns out to be included in the context of works about the war of the second half of our century.

Mikhail Evgrafovich Saltykov-Shchedrin. "Tales", "History of one city". We conclude this topic with the study of a philosophical tale Fazil Iskander "Rabbits and boas".

Working with the texts of the works of the great Russian satirist, we strive to notice in them the content not only social, socio-political, but also universal. The key to the phenomenon of the modern sounding of many thoughts of Saltykov-Shchedrin, many of his fairy tales, “The History of a City”, lies, in our opinion, in the fact that Saltykov-Shchedrin is not only a satirist writer, but also a philosopher writer.

Turning to F. Iskander's fairy tale, we deepen students' ideas about conventions in art, about grotesque techniques, and Aesopian language. In Iskander's fairy tale, modern high school students will certainly see a satire on our recent social structure. But it is noteworthy that the author himself gives the subtitle "Philosophical Tale". Satire here, too, is just an excuse to start talking about things more serious. The nature of power, power and violence, power and deceit, people and power, the nature of betrayal and its psychology, the fate of the individual who has risen above the masses are just some of the questions that the author reflects on. As critic Natalya Ivanova 11 points out, two totalitarian systems coexist in the same mythological space in a fairy tale: Stalin's (boa constrictors) and Brezhnev's (rabbits). However, the questions listed above go beyond the framework of these two systems, they are really philosophical questions, questions for all time. Just as in the court Poet, a lover of petrels, the founder of socialist realism is guessed, in the Great Python - the father of peoples, at the same time, of course, these are not the images of Gorky and Stalin, but the images of the court Poet and the insidious dictator for all time.

In the 11th grade, when starting to study the topic "Aleksey Maksimovich Gorky", it is quite appropriate to turn to a familiar image and recall that Iskander showed a largely tragic figure. Indeed, at the beginning of his journey, serving the authorities, the Poet sincerely believed that this authority was designed to make the rabbits happy. The tragic fate of the Poet, who did not find the strength to break with the authorities, whose deceit and hypocrisy he realized - as it is familiar to many people, I think, not only in our country.

The theme ends the 10th grade program "Anton Pavlovich Chekhov". The theme of the “little man”, traditional for Russian literature, receives in the work of A.P. Chekhov's further development. Chekhov's "little man" has turned into a petty man, he humiliates himself voluntarily, he not only realizes his pettiness, but also does not try to "squeeze out" a slave out of himself. Most of the writer's characters in the first half of the 80s - petty officials Chervyakovs, Podzatylkins, Kozyavkins - are a vivid illustration of how a person becomes smaller and fragmented in an era of timelessness.

We see the familiar features of not just a “small” - a small person in the hero of the story Vladimir Makanin "Man of the Retinue" Mitya Rodiontsev. Mitino “a place under the sun” (the title of the collection of stories by V. Makanin 12) is the mercy of the all-powerful secretary of the director Aglaya Andreevna. The deprivation of this favor for Mitya is a terrible tragedy. The "elastic" spine of a forty-year-old engineer, for everyone - just Mitya, is still ready to bend in front of Aglaya Andreevna, but the secretary no longer needs this "priceless" quality of his.

The theme of internal betrayal of oneself, the “crushing” of the human personality into trifles, trifles is a Chekhovian theme in the story of a modern writer. You can continue the conversation on this topic in the 11th grade by referring to the works Y.Trifonova, in particular, to the already mentioned novel "The Old Man".

Thus, having outlined the system of lessons on modern literature in the 10th grade, we tried to show how they are included in the context of the lessons of Russian literature of the second half of the 19th century and the lessons of modern literature in the 11th grade (see table on p. 14 ).

Materials for lessons

“I would consider only that progress to be true, which increases the total amount of happiness on earth” (based on the book by V. Soloukhin “Laughter over the left shoulder”)

The purpose of the lesson on the book by V.A. Soloukhin - to introduce students to a new literary genre and show that many questions that we consider the product of our era, our society, are not new to one degree or another and have already been heard from the pages of the classics.

After a short word about the writer (this can be a prepared message from a student or a story from a teacher), we ask questions.

What contemporary issues do you think are reflected in the book?

• assessment of the historical path of the country;
• what is humanity heading towards?
• the theme of memory, awareness of one's "I" in the chain of generations;
• the problem of good and evil;
• morality and its connection with religion;
• the fate of the peasantry and the patriarchal way of life, and others.

The system of lessons-conversations on modern literature in the 10th grade

How would you define the genre of this book? (The question assumes reference work homework with the term "essay".) Maybe it's an autobiographical story? Essays? Just an autobiography?

If you think that the genre can be defined as an essay, then on what basis?

In the book there is no chronological sequence in the presentation of certain events; free flow of thought, mainly directed by associations that arise in the mind; childhood memories alternate with philosophical digressions, historical observations; everything is subordinated to the individualistic self-expression of the author.

- Explain the title of the book.

In connection with this name, we face one of the most difficult questions of mankind - the question of progress.

Do you think that this question is born of our time?

We assume that, after thinking, the students will remember that this problem worried thinking people in the 19th century. I.A. Goncharov is one of them.

What is our contemporary V. Soloukhin concerned about? What ways of human development does he think about? What conclusions does it come to? Do you accept his conclusions?

Modern progress, according to V. Soloukhin, goes in three ways. The first path - physical perfection - leads to an animal (in a good sense of the word); the second path - the development of technology, science - leads to the multiplication of evil on earth, to the devil; the third way - spiritual development - has been lost, and only it leads to God, to goodness. We turn to the title of the lesson. The conclusions of the author - there is no true progress. The practice of working with children shows that most of them do not want to agree with such conclusions.

What kind of impressions does V. Solukhin call “foreign”? Why?

What do you remember most of these foreign impressions? Try to convey the state of mind of the child when reading and telling.

Work with text. Reading fragments:

• grandfathers “Garden of Eden” (ch. 5, p. 9) ;
• a trip to Karavaevo (ch. 7, p. 19);
• a peasant's house, the feeling associated with it (ch. 9, p. 26);
• pictures of labor with the father at the bee house, etc.

And how many thoughts and feelings are caused by just an old linden tub without a bottom! Why is it important for the writer that he managed to show it to his children?

Which literary hero's childhood do you remember while reading these pages?

The poetry of village life, the atmosphere of serenity, the fullness of life, kindness, love, care - all this appears as a distant, long-standing idyll and in many ways resembles Ilyusha's life in Oblomovka.

Work with text. Reading and commenting fragments:

• “It has fallen into decay, disintegrated, squandered, transferred ...” (about the grandfather’s household - ch. 5, p. 10);
• “Installation “the poorer, the better and cleaner” - does it not contradict common sense” (ch. 6, p. 13);
• “The train had long since left the rails, and life went on solely by inertia” (p. 15).

What does V. Soloukhin see as the main cause of the tragedy of the Russian peasantry and the entire Russian people? Do you agree with him?

Findings. So, an essay is a prose work of small volume and free composition, treating a particular topic and representing an attempt to convey individual impressions and considerations, one way or another connected with it. In conclusion, try to convincingly answer the question: is the writer in this book subjective or objective, in your opinion?

“We are your blood children” (based on the play by L.N. Razumovskaya “Dear Elena Sergeevna”)

High-sounding words are not to be feared. ( B. Okudzhava)

From playwright A.N. Ostrovsky, we turn to modern dramaturgy. Today we will talk about a play written in 1980. Its author is Lyudmila Nikolaevna Razumovskaya, behind whom is the theater department of GITIS and the Higher Theater Courses. The play "Dear Elena Sergeevna" was staged on the Leningrad stage in 1982, but soon the performance was excluded from the repertoire. After the play was banned, many theaters eagerly attacked it: Tallinn, Vilnius, Riga, Tashkent, Ufa, Khabarovsk, Rostov, Sverdlovsk, and so on.

The play was staged in the Ivanovo Drama Theater in 1987.

What do you think, how could this play “stir up” theaters, especially youth ones? What impression did she make on you?

The author of the afterword to the first collection of plays by L. Razumovskaya, I. Myagkova 14, notes: “She [L.R.] managed to find the most painful, time-determining deadlock situations, the most acute ... intractable conflicts.”

The “school theme” in the play acquires the character of a dispute on the fundamental issues of being:

• the problem of fathers and children;
• the nature of the era, what kind of people and what principles of this era are needed;
• idealism or the ability to compromise is the highest virtue;
• “blooming of unsown rye” - unforeseen consequences in the upbringing of a generation, etc.

The genre of the play is an intellectual drama. In it, not so much characters collide as ideas, life principles. In a limited, closed space, behind a closed and even locked door, not characters, not heroes, but ideas in a specially created situation violently collide.

What ideas do you think collide in this play?

Early pragmatism, calculation - old-fashioned disinterestedness; self-affirmation of one's "I", egocentrism - the assertion of moral ideals; the search for a compromise is its stubborn denial; moral irresponsibility - conscientiousness.

Elena Sergeevna proudly calls herself a man of the 60s. What does she mean by these words? Who do we call the sixties? (A fragment of B. Okudzhava's song "Let's exclaim ...".) In the second act of the play there is an episode where Volodya and Pasha, on their knees, sing the same words.

What do they mean for Elena Sergeevna and what do they mean for her students? Why?

- “The sight-seeing” Elena Sergeevna is horrified: “My God! Not a word of truth! Hypocrites! Who are we raising?”, to which Pasha objects to her: “Looking at you, we learn to be hypocrites from childhood ... we are your children. Blood children...” Do you agree with Pasha's statement?

Can Pasha’s words be attributed to Elena Sergeevna: “Your soul is overgrown with cliches, false slogans ... you yourself do not believe either yourself or what you are trying to inspire”?

The tragedy of Elena Sergeevna, in our opinion, is the tragedy of an intellectual of the sixties in the era of the 80s. It seems that the student of Elena Sergeevna is largely right when he says that now she is not defending high humanistic ideals, but the bureaucratic machine with its thoroughly false narrow-minded morality. With the maximalism characteristic of a seventeen-year-old youth, Pasha does not utter the quite appropriate words “partly”, “largely”, “involuntarily”, and so on, but in essence he is right. More than in the play, this idea, in our opinion, is emphasized in the film by E. Ryazanov. High words about duty, honor, talent that will always make its own way, about military service as a privilege of a real man, the young generation of the 80s and 90s cannot be perceived in the same way as the generation of Elena Sergeevna. Young people have already learned other lessons from life. In this context, the conclusion suggests itself that “pompous words” should be feared. In response to Elena Sergeevna's remark that the state will take care of her sick mother, the children laugh. Their teacher is an idealist in a society of buying and selling, hypocrisy.

In addition to Elena Sergeevna, there are no people of the older generation on the stage. But the parents of each of the students are present in the play as off-stage characters.

What can you say about the problem of fathers and children in the play? Does Razumovskaya show the reasons for the formation of early pragmatism, egocentrism, moral irresponsibility, which we talked about at the beginning of the lesson?

It is possible to refer to the text of the play, read the fragments: Vitya about his father (the end of the 1st act, p. 75) 15 , Pasha - about his own (p. 76) and other passages.

Answering this question, students usually say that all four characters are written out by the playwright as individuals, each of them has bright distinctive features. At the end of the play, each of them is left alone. They came together and left one by one. And in this regard, in the final part of the lesson, you can turn to the name of F.M. Dostoevsky, acquaintance with which the guys have ahead.

You probably noticed that the play is, as it were, riddled with references to the name of one Russian writer. Pasha studies his work and even sends his articles to the competition, Elena Sergeevna says: “... like Raskolnikov, you won’t go”, the well-read Volodya addresses the problem - is morality for everyone, and even Vitya’s loser says: “I have seizures, like Fyodor Mikhailovich's. This writer is F.M. Dostoevsky. This name brings depth to the play. Questions that worried the great writer: good and evil; who is responsible for evil, can a person free himself from responsibility if life is unfair; Are all means acceptable if the end is good? F.M. Dostoevsky did not lay aside responsibility from the individual for the evil that is happening in the world. Will the heroes of the play come to this conclusion - four former students of Elena Sergeevna, who leave her one by one? The teacher herself, in our opinion, understood this. That was the reason for the tragic ending of the play.

“Do not judge, so that you will not be judged” (according to N. Dubov’s story “Kin and Friends”)

For if you forgive people their sins, then your Heavenly Father will also forgive you. (Matthew 6:14)

The stories of Nikolai Ivanovich DUBOV (1910-1983), probably already familiar to students, since in the recommended lists of programs for extracurricular reading, his stories "The Boy by the Sea" and "The Fugitive" were offered for discussion. The story that we took for discussion in the 10th grade after studying the novel by I.S. Turgenev "Fathers and Sons", changes our understanding of the writer, whose work is addressed to teenagers. In a simple plot, the writer seeks to convey the truths that are accessible to mature souls.

The lesson can begin by reading the first lines of the story.

So the family scene. At a mother's funeral, a father slaps his son. What sound does the mention of the gospel parable of Noah and his sons by the old man Shevelev give to the content of the story?

What does the elder Shevelev accuse of his son Dimka? Is the father right in calling him by the name of one of the sons of Noah - Ham?

According to I.S. Turgenev, tragedy takes place only where both sides are right to a certain extent. Do you think Dimka is right in blaming his father?

Like the biblical Noah, Ivan Shevelev also had three sons. He is surprised to see that they are not like him, they each live their own lives, the value systems of the father and each of the sons are different.

Ivan Shevelev's old friend, Ustyugov, says: "Children are like the demolition of time, and not like their parents."

Do you agree with this statement? Show this on the example of the sons of Shevelev.

What problems are posed in the story in connection with each of the sons - Sergei, Dmitry, Boris?

Which of them evokes your sympathy? Why?

Why is father so lonely? Do you think he is responsible for what happened?

What is the significance of the long history with Mariyka in the family drama?

Who do you think was the toughest judge?

What is the meaning of the writer's address at the end of the story to the biblical theme - the lonely expectation of the old man of the Last Judgment?

Has the problem been solved in the story?

“And the reason for this was a too simple view of life” (based on the short story “Farewell to the shining hail” from the novel “Attempt on Mirages” by V. Tendryakov)

Don't be afraid of the sum, don't be afraid of the prison
Do not be afraid of pestilence and famine,
And fear the only thing
Who will say: “I know how to do it!”
(A. Galich)

“I know how to!” - I know what to do so that a bright, just, happy life will soon come for everyone, where everyone will be equal, there will be no self-interest, envy, enmity. Of course, not only N.G. Chernyshevsky (remember the picture of the “bright future” in the fourth dream of Vera Pavlovna). You are familiar with the names of other utopian socialists who lived long before the leader of revolutionary democracy. One of them is Tommaso Campanella, an Italian monk and philosopher of the 16th-17th centuries, whose utopia "City of the Sun" played a huge role in the development of social thought. Campanella's utopia was also created in the prison where he was thrown after severe torture. In an ideal society living in the City of the Sun, there is no private property, universal labor guarantees abundance, but there is a strict regulation of life.

In the novel by V. Tendryakov, old Fra Tommaso, disfigured by torture and expelled from his homeland, shortly before his death, sees his cherished City of the Sun in delirium.

What did Campanella see and what feelings did he experience?

What is revealed to Campanella in Sol's story? How did the “plague” that destroyed the city begin?

So, unlike the utopian picture of the future, in this short story we see a dystopia, that is, a grotesque, frightening picture, but this future life with its absurdity had its origins in the present (see the definition of dystopia above).

The fates of the authors of the two utopias we are talking about are similar in many respects: prison, long exile, fortitude and courage shown in severe trials. Passionate desire to teach people, show them the right path. But in real life, and not invented, the truth was confirmed that the road to hell is paved with good intentions.

The 20th century clearly showed us that utopias tend to turn into dystopias. “Any utopia,” writes V. Voinovich, “be it good or bad, will certainly give rise to vile methods, because utopia is unrealizable in principle. Those who try to realize it are faced with the impossibility of doing this - and inevitably use force, moving reality away from the ideal. It seems, well, a little more, let's sacrifice this, kill some more of these, and then everything will be fine with us ... and in the end, utopia involves an increasing number of people in crime” 16 .

Do you agree with this writer's statement? Support your opinion with historical facts.

Can this be correlated with the paintings described by V. Tendryakov?

Our historical experience has taught us to be afraid of utopias, but this experience has come at a very high price. But back in the early 20s, the Russian writer Yevgeny Zamyatin wrote a warning novel “We”, laying the foundation for a new genre with this novel - dystopia. We will talk about this novel in the 11th grade.

You can finish the lesson with the words of the Russian philosopher N. Berdyaev: “Utopias turned out to be much more feasible than it seemed before. And now there is another painful question, how to avoid their final realization... Utopias are feasible... Life is moving towards utopias. And perhaps a new century of dreams of the intelligentsia is opening... about how to avoid utopias, how to return to a non-utopian society, to a less “perfect” and more free society” 17 .

The Moscow version of the St. Petersburg events (V.A. Pietsukh's story "The New Moscow Philosophy")

Maybe literature is able to tell much more about life than life about itself. ( V. Pietsukh)

In previous lessons, tenth graders studied the novel by F.M. Dostoevsky "Crime and Punishment". In this lesson, we will focus on the story of a modern writer, but our conversation will be in many ways a direct continuation of previous conversations.

A few words about the writer. Vyacheslav Alekseevich PIETSUKH (1946), lives in Moscow, historian by education. He was a high school history teacher. He was a radio journalist, a mechanic, a carpenter. Author of the collections "Alphabet", "Merry Times", "Prediction of the Future", "New Moscow Philosophy" and others. For a short time after the death of S. Baruzdin, he was the editor-in-chief of the Friendship of Peoples magazine.

An employee of Literaturnaya Gazeta, in an interview with the writer, called the story a reminiscence.

What is the meaning of this term? (Students' answers assume their homework with special dictionaries, reference books, CLE 18.)

This artistic technique enriches and deepens the perception of the work.

What is the link between the story and the novel, what in it leads us to remember the novel by F.M. Dostoevsky?

• Direct quotes from the novel. Reading a fragment of the story, p. 165 (Raskolnikov leaves his closet) or other fragments at the choice of students - a murder scene, a commemoration.
• Similar intrigue.
• Parallels between actors.

Reading a fragment of the story - p. 258 (part 4, ch. 1).

• parallel situations.

A beaten woman at a grocery store - a drunken girl on the boulevard, the arrival of Luzhin from Yaroslavl, etc.

• Events fit into a small interval in time.

In the novel by Dostoevsky - 2 weeks, in the story - 4 days.

• The most important thing, of course, are the questions that the author reflects on.

We will address the questions a little later, but for now:

What can you say about the tone of the story?

Do you agree that this is satire?

What?

Good and evil, their history and dialectics. Literature, its role in life and in the struggle between good and evil.

As critic Lev Anninsky noted, “Pietzukh explores the decay of the soil ... where does an internally lost, ready for anything, spiritually weak person come from.”

The historical mission of our society. So, the eternal question - good and evil.

Which of the characters in the story cares about this issue?

Who are they? What is the essence of their philosophical disputes? What evil do they face? Do they want to fight him? How?

A student who has received an individual task can answer the range of these questions. Moreover, understanding the essence of the disputes between Chinarikov and Belotsvetov requires detailed attention. In the message, the student needs to touch on such points: what is the history of evil, why does it exist; does it make sense; is it eternal; what is the meaning of Belotsvetov's construction - human life is a model of the history of society.

Do you think the author is an optimist or a pessimist?

Who is the bearer of specific evil in the story?

Tenth grader Mitya Nachalov.

Is Mitya capable of realizing what he has done?

Reading according to the roles of the dialogue between Mitya and Lyubov (part 4, ch. 2, p. 268).

Do you think that this episode is a moment of spiritual enlightenment and the rebirth of Mitya's soul?

This is hardly the case, because shortly after this dialogue, Mitya shows another ghost - this time to Luzhin.

Because of everything he has done, life, one might say, drives Mitya into a corner. This corner is the bathroom. Mitya, like Raskolnikov (albeit in a somewhat parodic way), moved away from people. And here, at the end of the story, the name of the great novel by F.M. Dostoevsky.

Episode reading: Mitya, Lyubov, Belotsvetov (part 4, ch. 4, pp. 284–285).

What is the significance of the reference to Crime and Punishment in this episode?

The answer to this question can be given by a student who prepared in advance.

So, Pietsukh believes that “in a happy case, literature can take on the functions of a religion that has been canceled seven (almost eight already. - T.K.) decades ago. Let us turn to the thought of L. Anninsky about the research by the writer of the decay of the soil.

Mitya and Lyuba give "Red Banner upbringing" to Lyuba's little brother - Peter.

And what can be said about the education of the entire population of the apartment? Why is old Pumpyanskaya a stranger to everyone?

Reading a fragment - Mitya Nachalov: “I share our theory ...” (part 3, ch. 2, p. 230).

So what is the new Moscow philosophy?

Reading the fragment - Belotsvetov's words at the commemoration of the purpose of our society (p. 280).

Does this thought sound familiar to you?

In a simplified form, this is the idea of ​​the messianic role of the Russian people.

Findings. Ironically over the fact that people have been crushed, and the passions are no longer the same, not the same intensity of their boiling, the author of the story nevertheless affirms an optimistic view of the further development of our society, the possibility of its revival and even the ability to become a stronghold of spirituality in the future.

So reminiscence, evoking complex associations, enriches our perception of the contemporary story.

Five days of Lieutenant Yastrebov (based on the story by K. Vorobyov "Killed near Moscow")

forties, fatal,
Lead, gunpowder...
War walks in Russia,
And we are so young!
(D. Samoilov)

As reference publication 19 notes, the hero of many of K. Vorobyov's works is his peer, endowed with autobiographical features. Lieutenant Alexei Yastrebov from the story "Killed near Moscow" is one of these heroes.

Konstantin Dmitrievich VOROBYOV- World War II, a participant in the battles near Moscow described in the story. He was born in the Kursk region in 1919, went to war immediately after graduating from a military school. He was captured, fled, fought in a partisan detachment in Lithuania. The experience of a young man, almost a boy, who survived the horrors of Nazi captivity - in his story "This is us, Lord!", Published forty years after it was written. Back in 1943, K. Vorobyov wrote in a way that our prose did not dare to talk about the war even three or four decades later.

And what is your reader's impression of the story "Killed near Moscow"?

The modern critic and literary critic I. Zolotussky says that K. Vorobyov in the story “the romantic veil has been torn off the war”. Can you confirm this thought of the critic?

Here it is possible to refer, for example, to the scene of a night battle, the murder of a German by Yastrebov (pp. 180–181).

What can you say about the participants in the described events? Who are they, "240 people, and all of the same height - one hundred and eighty-three"?

Of all two hundred and forty people, five days later, only one Lieutenant Yastrebov was destined to survive. In those five days, he changed.

How does Lieutenant Yastrebov perceive the “incredible reality of war” at the beginning of the story? What, in his view, is the front?

Reading the fragment “With an even more fuzzy and unsteady consciousness, he perceived the war ...” (p. 152–153).

The causeless happiness of youth, imitation of Captain Ryumin, lack of military experience, the desire to hide fear (the scene with Gulyaev), etc.

How did the Hawks comprehend this terrible “reality of war” in just five days?

The significance of the meeting with the NKVD detachment, with Major General Pereverzev, then with an ordinary soldier (pp. 162–163).

The lieutenant is already at war, however, the front turned out to be completely different from what he was in Yastrebov's imagination. Like any person, he fears for his life, hoping to survive.

How does Yastrebov characterize his attitude towards death?

What was the main thing that he saw at the front?

Death - shelling of cadets, practically unarmed in the trench; the death of political instructor Anisimov (pp. 167–168); the death of a German killed by Yastrebov in a night battle; the death of cadets during a massive bombardment; death, when the remnants of the company were ironed by German tanks; the suicide of Captain Ryumin.

Has the lieutenant's attitude toward death changed? How?

What were these five days for Yastrebov?

Can you say that in the fate of this company and the fate of Yastrebov, K. Vorobyov managed to show the fate of a generation?

What is the role of this generation in the history of the country? (Refer to the epigraph of the story.)

The fruit of bitter thoughts, or the crushing content of humor (philosophical tale by F.A. Iskander "Rabbits and boas")

Truth is a landmark of diamond strength.(F. Iskander)

In this lesson, we get acquainted with the work of the modern writer Fazil Iskander, in which he acted both as a satirist writer and as a philosopher writer. Speaking of satire M.E. Saltykov-Shchedrin in previous lessons, we noted both the temporary, socio-political aspects of the content of his works, and the eternal, philosophical problems that confront humanity again and again in every era. The purpose of today's lesson is, firstly, to try to see how these motives are complexly combined in F. Iskander's fairy tale - temporary, relating to a certain era, a very specific society, and eternal - something that has always worried and will worry people; and secondly, to try to correlate what was read with the well-known examples of the classic satirist, to determine the measure of innovation and inheritance from the traditions of Shchedrin's satire 20 .

A few words about the author. Fazil Abdulovich ISKANDER was born in 1929 in Sukhumi. By mother - Abkhazian. The writer's father, a native of Iran, was repatriated and subsequently died. F. Iskander graduated from school in Sukhumi with a gold medal, then the Literary Institute in Moscow. Printed since 1952. Poet, prose writer, publicist, screenwriter, author of the collections of prose "Forbidden Fruit", "The Tree of Childhood", "Man's Parking Lot" and others, the novel "Sandro from Chegem". Currently lives in Moscow.

Let us now turn to the great Russian satirist M.E. Saltykov-Shchedrin. He, by the way, did not bequeath himself to new generations: “... My writings are so imbued with modernity, so closely adjusted to it, that if one can think that they will have any value in the future, then ... solely as an illustration of this modernity.” He is not entirely right.

Here is the basis for a positive answer to the question: in a fairy tale written in the first half of the 70s, the writer reproduces the structure of the hierarchy of a society based on lies and embellished with demagogic slogans.

But far from all today's high school students know this with their own eyes, and not all hints that are transparent to people of the older generation are clear to them. For example, the infamous Brezhnev slogan “The economy must be economical” is no longer familiar to today's high school students. The words of the rabbits: “O king, you yourself teach us the regime of economy” - today's fifteen-year-old readers do not cause a smile of recognition. Therefore, the teacher can get a negative answer to the question asked, which is very good, since any answer creates a problem situation.

What is the pseudo-democratic nature of the way rabbits live?

• Hierarchy in society: King - Admitted to the table - Aspiring to be admitted - ordinary rabbits;
• total surveillance of all over all;
• the feeling of proximity of the enemy supported by the authorities;
• false slogans and promises;
• system of getting rid of objectionable.

Critic Natalya Ivanova notes that in the fairy tale, in one mythical space, Iskander fits several types of authoritarian power at once: Stalin's (boa constrictors) and Brezhnev's (rabbits). Remember the Great Python - he is both a terrible dictator and at the same time a “father of his own”. Dissent in this system, even involuntary, based on naivety or ignorance, is a crime that entails death. And everyone takes it for granted.

The power of the Great Python and the Rabbit King is based on the worship of certain symbols.

What are these symbols? Expand their meaning.

Students talk about the meaning of cauliflower images, the flag, the anthem, hypnosis and others. Along with the analysis of the content, work is underway on the artistic device of allegory.

The listed symbols are attributes of ideology. The writer shows us an ideological society.

When does an ideology become dangerous?

The writer himself considers any ideological society to be cruel. In the article “The Ideologized Man,” published in one of the issues of the Ogonyok magazine, Iskander writes: “Why is such a society so incredibly cruel? Because an ideologized person gives ideology the secret of his life, his true value, his moral freedom, his personality. And having given it willingly, he begins to take from others by force.

Fragment reading: “The worst thing for rabbits was to fall under patriotic anger ...” (p. 35) 21 .

How are the boas doing in this regard?

The procedure for the destruction of objectionable is shorter and more frank - the execution is indicative.

But we will impoverish the content of the tale, considering it a political satire. Critic Stanislav Rassadin considers it "a fairy tale, free(highlighted by us. - T.K.) from slave hints” 22 . The writer himself spoke about the meaning of his work as follows: “In one review, the author ... is trying to say that by rabbits I mean a certain people. But this is very naive and stupid, because then I had to mean another specific people by boas, and a third specific people by natives. This is a very superficial look at a philosophical parable.”

What are the philosophical questions raised in the story?

• Power and the masses, power and violence, power and deceit;
• the psychology of a traitor and the nature of betrayal;
• the fate of the individual who has risen above the masses;
• purpose and means of achieving it;
• the consequences of the “shattered consciousness” of the masses and many others.

“Rabbits and Boas” is Iskander’s attempt to tell in a very abstract form about what holds power.

Tell the story of the Rabbit King. How did he come to power, what were his goals, did he achieve them?

Reading the fragment: “... you are bitterly convinced that all the forces ...” (p. 34).

What turned into his power and with what help did he stay on the throne?

The ideal of cauliflower, fear of boas, authorities - the Poet, the Wise Old Rabbit, the system of handouts, exercise, breeding table, betrayal and so on.

Shchedrin's technique of the grotesque is a combination of the funny and the ugly, the terrible. Both Shchedrin's and Iskander's characters, however, do not see this ugliness and perceive it as the norm.

What new things did Iskander discover for you in the nature of betrayal?

Reading fragments about Resourceful (p. 38, 39).

What is the tragicomic aspect of the image of the Poet?

Reading a fragment (p. 35).

Most often, traitors themselves are betrayed. At the same time, they are surprised at the rudeness and treachery of the one who betrays them, since they believe that they themselves betrayed much more delicately and subtler.

Reading a fragment: the scene with the Resourceful in the square (pp. 44–45).

Is the Ponderer's Widow a traitor, in your opinion? Are all rabbits traitors?

How is the destiny of the Ponderer reflected in the fate of the individual who has risen in consciousness above the masses?

What was his goal and did he achieve it? Refer to the lesson heading.

Reading fragments (p. 51, 55, 62).

Findings. Peering into the usual course of things, Iskander discovers the monstrous features of time. The “submission reflex” is a huge social evil. Little has changed in this regard since the Shchedrin era. Will we find true freedom even if we get rid of fear? Perhaps this philosophical tale, the fruit of the writer's bitter reflections, is Iskander's most hopeless work in thought.

“I could have lived a completely different life” (according to the story of V. Makanin “The Man of the Retinue”)

I was awakened from oblivion
With a soul, like a bag of bag.
And I heard: this is my life
She called me while I slept like the dead.
(Oleg Chukhontsev)

The author of the introductory article to the collection of stories by V. Makanin “A Place in the Sun” A. Zhukov writes: “A place in the sun in the broad interpretation of Makanin’s heroes ... is not at all a warm or privileged place ... namely, a place in life, a place among people 23 .

Can this statement be attributed to the heroes of the story "The Man of the Retinue" - Mitya and Vika? Why?

In classical literature, we know works in which the theme of the “little man” is explored.

Name the works you know and their characters. How did the attitude towards such heroes of Russian writers change?

Is it possible to consider the content of Makanin's story as a study of the theme of the "little man" in modern literature?

Mitya and Vika are petty employees, and Aglaya Andreevna is something like a head clerk. She is free to punish and pardon them, bring them closer to her and deprive them of a high position. It is noteworthy that the hero of the story, Mitya Rodiontsev, is an engineer, has a higher education, he is already 40 years old, but for everyone he is Mitya.

Is it possible to talk about the drama of Mitya and Vicky?

There are students who perceive the story as a drama. They say about the hero: “He was reduced ...” This is how the realities of the present day influence the reading of a literary text. In this situation, it would be appropriate to discuss the following questions:

The author could sympathize with the little people who fell into disgrace and denounce Aglaya Andreevna. But he is ironic. Subtle irony is a feature of the writer's artistic gift, but after the first reading of the story, not all students catch it, which, by the way, happens when reading Chekhov's stories. Mitya's torment due to an insignificant event, his bouquet handed to the secretary, the mention of his "elastic" spine, Aglaya's tea drinking as a sign of belonging to the elite, and so on - the details that the guys should pay attention to.

Does your attitude towards the characters match with the author's?

It is quite possible that here some of the students will take the heroes under their protection. The more interesting the lesson will be.

The main “wormhole” of the hero is that he does not even try to “squeeze a slave out of himself”, his slavery is voluntary, he feels comfortable in it.

Has Mitya changed since his “retirement”?

At the age of 40, Mitya thinks for the first time with bitterness: “I could have lived a completely different life.” What is the reason for the unfinished life?

How do you understand the end of the story? Did Mitya hear the call of life? (See lesson epigraph.)

An unfamiliar woman tells Mitya, who has drunk with grief, that now he is on his own, free. Rodiontsev smiles: “Free from his retinue, this is a wonderful idea!” And soon falls asleep, drunk, on the street. This question, like many in the lesson, does not require a clear answer.

Exam questions on modern literature for the 10th grade of the humanities profile

1. Thoughts about the socialist future in the novel by N.G. Chernyshevsky "What to do?" and in the novel by V.F. Tendryakov "Attempt on mirages".

2. Philosophical and socio-political issues in F.A. Iskander "Rabbits and boas".

3. Themes of good and evil, crime and punishment, the meaning of literature in society in V.A. Pietsukha New Moscow Philosophy.

4. The traditions of Russian classical literature and the innovation of modern prose about the war (one or two works each at the choice of students).

5. Plays by A.N. Ostrovsky on stage and in cinema (oral review of a theatrical production or film adaptation).

6. The theme of the “little man” in V.S. Makanin "The Man of the Retinue".

7. Essay genre. V.A. Soloukhin about the Soviet period in the history of the country (based on the book "Laughter over the left shoulder").

8. Genre of intellectual drama. “We are your blood children” (based on the play by L.N. Razumovskaya “Dear Elena Sergeevna”).

9. The theme of “fathers and children” in N.I. Dubov family and friends. Reasons for the writer's appeal to biblical images and motifs.

Exam questions on the presented material for the 11th grade of the humanitarian profile

1. Is there a place for humanity in war? (According to the works of M. Sholokhov, V. Nekrasov, K. Vorobyov, V. Tendryakov).

2. The history of the country in the history of the family (based on the works of M. Sholokhov, N. Dubov, A. Tvardovsky, V. Soloukhin).

3. Causes of "soil decay". Man and history. (According to the novel by Yu. Trifonov "The Old Man" and the story by V. Pietsukh "The New Moscow Philosophy").

4. The genre of anti-utopia in world and Russian literature (on the example of the novels of E. Zamyatin, V. Nabokov, D. Orwell, O. Huxley, F. Kafka - based on two or three works).

5. The theme of memory in the literature of the second half of the 20th century (based on the works of A. Akhmatova, V. Rasputin, V. Astafiev, V. Soloukhin).

6. Biblical plots, motifs, images in Russian literature of the XX century (M. Bulgakov. "Master and Margarita"; V. Tendryakov. "Attempt on Mirages"; N. Dubov. "Relatives and friends").

7. The theme of the “little man” in Russian classical and modern literature (based on the works of A. Pushkin, N. Gogol, F. Dostoevsky, A. Chekhov, M. Bulgakov, V. Makanin).

8. What is close to me in modern poetry (according to the work of one or two poets at the student's choice).

9. The measure of a person's responsibility for himself and society in modern drama (based on the plays by A. Vampilov, L. Razumovskaya).

10. Temporary and eternal in modern satire (based on the works of F. Iskander, V. Voinovich, A. Arkanov - one or two works of the student's choice).

Modern literature (at the choice of the applicant)

Modern Literature (60-80s)

2-3 works of the applicant's choice from the following recommendation list:

F. Abramov. Wooden horses. Alka. Pelagia. Brothers and sisters.

V.P. Astafiev. King fish. Sad detective.

V.M. Shukshin. Villager. Characters. Conversations under a clear moon.

V.G. Rasputin. Deadline. Farewell to Mother. Live and remember.

Yu.V. Trifonov. Waterfront house. Old man. Exchange. Another life.

V.V. Bykov. Sotnikov. Obelisk. Wolf Pack.

The concept of "modern literature" covers a fairly large and, most importantly, full of important social and political events period, which, of course, had an impact on the development of the literary process. Within this period, there are quite pronounced chronological "sections", qualitatively different from one another and at the same time interdependent, developing common problems at one or another turn of the historical spiral.

Second half of the fifties - the beginning of the sixties was called the "thaw", according to the story of the same name by I. Ehrenburg. The image of the thaw as a symbol of the time was, as they say, on the minds of many, it is no coincidence that almost simultaneously with the story of I. Ehrenburg, even a little earlier, a poem by N. Zabolotsky with the same title was published in Novy Mir. This is due to the fact that in the country after the death of Stalin (1953) and especially after the XX Congress of the CPSU (1956), the rigid framework of political censorship in relation to works of art was somewhat weakened, and works appeared in the press that more truthfully reflect the cruel and contradictory past and present of the Fatherland. First of all, such problems as the image of the Great Patriotic War and the condition and fate of the Russian countryside were largely subjected to revision and reassessment. Time distance, beneficial changes in the life of society created an opportunity for analytical reflection on the paths of development and the historical fate of Russia in the 20th century. A new military prose was born, associated with the names of K. Simonov, Yu. Bondarev, G. Baklanov, V. Bykov, V. Astafiev, V. Bogomolov. They were joined by the growing theme of Stalinist repressions. Often these themes were intertwined, forming a fusion, exciting the minds of the public, activating the position of literature in society. These are “The Living and the Dead” by K. Simonov, “Battle on the Road” by G. Nikolaeva, “One Day in the Life of Ivan Denisovich” by A. Solzhenitsyn, “Silence” and “Last Salvos” by Y. Bondarev, “A Common Business” by V. Belov, “ Potholes” and “Bad weather” by V. Tendryakov. The "non-conflict" period was rejected without regret. Literature returned to the wonderful traditions of the classics, putting forward the "difficult questions" of life, enlarging and sharpening them in works of different styles and genres. All these works are to some extent marked by one common quality: the plot, as a rule, is based on the fact that the intervention of the authorities in the fate of the characters leads to dramatic and sometimes tragic consequences. If in the previous period, marked by "conflictlessness", the unity of power and people, party and society was affirmed, now the problem of confrontation between power and the individual, pressure on the individual, humiliation of it is outlined. Moreover, the heroes of various social groups recognize themselves as a person, from military leaders and production directors (“The Living and the Dead”, “Battle on the Road”), to an illiterate peasant (B. Mozhaev “From the Life of Fyodor Kuzkin”).

By the end of the 60s censorship is tightened again, marking the beginning of "stagnation", as this time was called fifteen years later, on a new round of the historical spiral. A. Solzhenitsyn, some village writers (V. Belov, B. Mozhaev), representatives of the so-called “youth” direction of prose (V. Aksenov, A. Gladilin, A. Kuznetsov), who were forced to emigrate later to preserve creative freedom, and sometimes political freedom, as evidenced by the references of A. Solzhenitsyn, I. Brodsky, the persecution of A. Tvardovsky as the editor-in-chief of Novy Mir, who published the sharpest works of those years. In the 1970s, however, a weak attempt was made to rehabilitate the consequences of Stalin's "personality cult", especially his role as Commander-in-Chief during the Great Patriotic War. Literature again, as in the 1920s and 1940s, is divided into two streams - official, "secretary" (that is, writers who held high positions in the Union of Soviet Writers), and "samizdat", distributing works or not published at all or published abroad. B. Pasternak's novel "Doctor Zhivago", "The Gulag Archipelago" and "The Cancer Ward" by A. Solzhenitsyn, poems by I. Brodsky, journalistic notes by V. Soloukhin "Reading Lenin", "Moscow - Petushki" by V. Erofeev passed through "samizdat" and a number of other works published in the late 80s - early 90s and continuing to be published to this day ...

Nevertheless, lively, sincere, talented literature continues to exist, even despite the tightening of censorship. In the 1970s, the so-called "village prose" became more active, coming to the fore in terms of depth of problems, brightness of conflicts, expressiveness and accuracy of the language, in the absence of special stylistic and plot "frills". Village writers of the new generation (V. Rasputin, V. Shukshin, B. Mozhaev, S. Zalygin) are moving from the social problems of the Russian village to philosophical, moral, and ontological problems. The problem of recreating the Russian national character at the turn of the epochs, the problem of the relationship between nature and civilization, the problem of good and evil, momentary and eternal are being solved. Despite the fact that in these works the acute political problems that disturb society were not directly touched upon, they nevertheless gave the impression of opposition; The discussions about “village” prose that took place on the pages of Literaturnaya Gazeta and the journal Literaturnaya Uba in the early 1980s literally split criticism into “soilers” and “Westerners,” just like a hundred years ago.

Unfortunately, the last decade has not been marked by the appearance of such significant works as in previous years, but it will forever go down in the history of Russian literature with an unprecedented abundance of publications of works that, for censorship reasons, were not published earlier, starting from the 1920s, when Russian prose was essentially and split into two streams. The new period of Russian literature is passing under the sign of obscurity and the merging of Russian literature into a single stream, regardless of where the writer lives and where he lived, what his political preferences are and what his fate is. The hitherto unknown works by A. Platonov "The Pit", "The Juvenile Sea", "Chevengur", "Happy Moscow", E. Zamyatin "We", A. Akhmatova "Requiem", the works of V. Nabokov and M. Aldanov are published, the works of V. Nabokov and M. Aldanov are being returned in Russian literature, emigrant writers of the last wave (70s - 80s): S. Dovlatov, E. Limonov, V. Maksimov, V. Sinyavsky, I. Brodsky; there is an opportunity to evaluate firsthand the works of the Russian "underground": "courtly mannerists", Valery Popov, V. Erofeev, Vik. Erofeeva, V. Korkia and others.

Summing up this period of development of Russian literature, we can conclude that its most striking achievement was the work of the so-called "village writers", who managed to raise deep moral, social, historical and philosophical problems based on the material of the life of the Russian peasantry in the 20th century.

The novels and short stories by S. Zalygin, V. Belov, B. Mozhaev show how the process of depeasantization began, deeply affecting not only the country's economy, but also its spiritual and moral foundation. What all this led to is eloquently evidenced by the stories of F. Abramov and V. Rasputin, the stories of V. Shukshin and others.

F. Abramov (1920-1982) reveals the tragedy of the Russian peasantry, behind which stands the tragedy of the whole country, on the example of the northern Russian village of Pekashino, the prototype of which was the native village of F. Abramov Verkola. The tetralogy "Pryasliny", which includes the novels "Two Winters and Three Summers", "Brothers and Sisters", "Crossroads", "Home", tells about the life of the inhabitants of Pekashin, who, together with the whole country, went through difficult trials of pre-war, military and post-war years until the 1970s. The central characters of the tetralogy are Mikhail Pryaslin, who from the age of 14 remained not only for the head of an orphaned family, but also for the main peasant on the collective farm, and his sister Liza. Despite their truly inhuman efforts to raise and put younger brothers and sisters on their feet, life turned out to be unkind to them: the family is disunited, broke up: who goes to jail, who is forever dissolved in the city, who dies. Only Mikhail and Lisa remain in the village.

In the 4th part, Mikhail, a strong, thick-set forty-year-old man, whom everyone respected and obeyed before, turns out to be unclaimed due to numerous reforms that destroyed the traditional way of life in the northern Russian village. He is a groom, Liza is seriously ill, his daughters, with the exception of the youngest, look at the city. What's next for the village? Will she be destroyed like her parents' house, or will she endure all the trials that have befallen her? F. Abramov hopes for the best. The finale of the tetralogy, for all its tragedy, inspires hope.

F. Abramov's short stories "Wooden Horses", "Pelageya", "Alka" are very interesting, in which, using the example of three women's destinies, the far from encouraging evolution of the female national character in difficult and critical times can be traced. The story "Wooden Horses" introduces us to Vasilisa Melentievna, a woman with a fabulously epic name and the soul of a righteous person. From her appearance, everything around brightens up, even her daughter-in-law Zhenya is waiting, she can’t wait for Melentyevna to come to visit them. Melentievna is a person who sees the meaning and joy of life in work, whatever it may be. And now, old and infirm, she even goes to the nearby forest for mushrooms, so that the day will not be lived in vain. Her daughter Sonya, in the difficult post-war period, found herself in logging and deceived by her beloved, commits suicide not so much from shame in front of people, but from shame and guilt in front of her mother, who did not have time and could not warn and stop her.

This feeling is incomprehensible to Alka, a modern village girl who flutters through life like a moth, either clinging with all her might to city life, to the dubious share of a waitress, or striving for the luxurious, in her opinion, life of a stewardess. With her seducer - a visiting officer - she cracks down cruelly and decisively, seeking his dismissal from the army, which in those years actually meant civil death, and thus obtaining a passport (as you know, in the 50s and 60s, peasants did not have a passport, and to move to the city, one had to get a passport by hook or by crook). Through the image of Alka, F. Abramov drew the attention of readers to the problem of the so-called “marginal” person, that is, a person who had just moved to the city from the village, who had lost his former spiritual and moral values ​​and did not find new ones, changing them to external signs of urban life.

Problems of the "marginal" personality V. Shukshin (1929-1974), who experienced the difficulties of growing a “natural” person, a native of the Altai village, into urban life, into the environment of the creative intelligentsia, also worried a semi-urban, semi-village person.

But his work, in particular, short stories, is much broader than the description of the life of the Russian peasantry in a critical era. The problem with which V. Shukshin came to literature of the 60s , in essence, remained unchanged - this is the problem of the fulfillment of the personality. His heroes, who “invent” another life for themselves (Monya Kvasov “Stubborn”, Gleb Kapustin “Cut Off”, Bronka Pupkov “Mil Pardon, Madam”, Timofei Khudyakov “Ticket for the Second Session”), crave fulfillment at least in that fictional world . Shukshin's problematic is unusually acute precisely because behind the bright, as if from the face of the hero, narrative, we feel the author's anxious reflection on the impossibility of real life, when the soul is occupied with "the wrong thing." V. Shukshin passionately affirmed the seriousness of this problem, the need for each person to stop and think about the meaning of his life, about his purpose on earth, about his place in society.

V. Shukshin called one of his last books "Characters". But, in fact, all his work is devoted to depicting bright, unusual, unique, original characters that do not fit into the prose of life, into its ordinary everyday life. According to the title of one of his stories, these original and unique Shukshin characters began to be called "freaks". those. people who carry in their souls something of their own, unique, distinguishing them from the mass of homogeneous characters-types. Even in his basically ordinary character, Shukshin is interested in those moments of his life when something special, unique, highlighting the essence of his personality, appears in him. Such is Sergei Dukhavin in the story “Boots”, who buys insanely expensive, elegant boots in the city for his wife, the milkmaid Klava. He is aware of the impracticality and senselessness of his act, but for some reason he cannot do otherwise, and the reader understands that this instinctively manifests a feeling of love for his wife, hidden behind everyday life, that has not cooled down over the years of living together. And this psychologically precisely motivated act gives rise to a response from the wife, just as sparingly expressed, but just as deep and sincere. The unpretentious and strange story told by V. Shukshin creates a bright feeling of mutual understanding, harmony of “complex simple” people who are sometimes forgotten behind the ordinary and petty. Klava awakens a feminine sense of coquetry, youthful enthusiasm, lightness, despite the fact that the boots, of course, turned out to be small and went to the eldest daughter.

Respecting the right of a person to be himself, even if the exercise of this right makes a person strange and absurd, unlike others, V. Shukshin hates those who seek to unify the individual, bring everything under a common denominator, hiding behind ringing socially significant phrases, shows that often envy, pettiness, selfishness are hidden behind this empty and sonorous phrase (“My son-in-law stole a firewood machine”, “Unscrupulous”). In the story "Unscrupulous" we are talking about three old men: Glukhov, Olga Sergeevna and Otavikha. Socially active, energetic and decisive Olga Sergeevna in her youth preferred the modest and quiet Glukhov to the desperate commissar, but, finally left alone, she returned to her native village, maintaining good and even relations with her aged and also lonely admirer. The character of Olga Sergeevna would never have been unraveled if the old man Glukhov had not decided to start a family with a lonely Otavikha, which aroused Olga Sergeevna's anger and jealousy. She led the fight against the elderly, using the phraseology of public condemnation with might and main, talking about the immorality and immorality of such a union, emphasizing the impermissibility of intimate relationships at this age, although it is clear that it was primarily about mutual support for each other. And as a result, she aroused shame in the old people for the viciousness (non-existent) of their thoughts about living together, the fear that Olga Sergeevna would tell this story in the village and thereby completely disgrace them. But Olga Sergeevna is silent, quite satisfied that she managed to humiliate, trample people, maybe she is silent for the time being. Glad someone else's humiliation and Gleb Kapustin in the story "Cut off".

V. Shukshin's favorite heroes are extraordinary thinkers, who are in an eternal search for the meaning of life, often people with a subtle and vulnerable soul, sometimes doing ridiculous, but touching deeds.

V. Shukshin is a master of a short story, which is based on a vivid sketch “from nature” and a serious generalization contained in it based on this sketch. These stories form the basis of the collections "Villagers", "Conversations under a clear moon", "Characters". But V. Shukshin is a writer of a universal warehouse, who created two novels: “Lubavins” and “I came to give you freedom”, the screenplay “Kalina Krasnaya”, the satirical plays “And in the morning they woke up” and “Until the third roosters”. Fame brought him both directing and acting.

V. Rasputin (b. 1938) is one of the most interesting writers belonging to the younger generation of the so-called village writers. He became famous thanks to a series of stories from the life of a modern village near the Angara: “Money for Mary”, “Deadline”, “Live and Remember”, “Farewell to Mother”, “Fire”. The stories are distinguished by the concreteness of the sketches of the life and life of the Siberian village, the brightness and originality of the characters of peasants of different generations, the philosophy, the combination of social, environmental and moral issues, psychologism, an excellent sense of language, poetic style...

Among the characters of the heroes of V. Rasputin, who brought him fame, first of all, it is necessary to single out a gallery of images that critics have defined as "Rasputin's old women" - his peasant women, who endured all the hardships and hardships on their shoulders and did not break, retaining purity and decency, conscientiousness, how one of his favorite heroines, the old woman Daria from Farewell to Matera, defines the main quality of a person. These are truly the righteous on whom the earth rests. Anna Stepanovna from the story “The Deadline” considers the biggest sin in her life to be that during collectivization, when all the cows were herded into a common herd, after the collective farm milking, she milked her cow Zorka in order to save her children from starvation. Once, her daughter found this occupation: “Her eyes burned me to the very soul,” Anna Stepanovna repents before her death to her old friend.

Daria Pinigina from the story "Farewell to Matera" is perhaps the most vivid and in a good way declarative image of the old righteous woman from the stories of V. Rasputin. The story itself is deep, polyphonic, problematic. Matera is a huge island on the Angara, a prototype of the Siberian paradise. It has everything that is necessary for a normal life: a cozy village with houses decorated with wonderful wooden carvings, which is why almost every house has a sign nailed: “protected by the state”, forest, arable land, a cemetery where ancestors are buried, meadows and mowing, pasture, river. There is the Royal Foliage, which, according to legend, attaches the island to the main land, therefore, is the key to the strength and indestructibility of being. There is the owner of the island - a mythological creature, his amulet, patron. And all this must perish forever, go under water as a result of the construction of another hydroelectric power station. Residents perceive the change in their fate in different ways: the young are even glad, the middle generation comes to terms with the inevitability of what is happening, some even burn their houses ahead of schedule in order to quickly receive compensation and drink it away. And only Daria rebels against the thoughtless and fleeting farewell to Matera, seeing her off into inevitable oblivion slowly, with dignity, decorating and mourning her hut, cleaning up the graves of her parents in the cemetery, praying for those who offended her and the island with their thoughtlessness. The weak old woman, the dumb tree, the mysterious owner of the island rebelled against the pragmatism and frivolity of modern people. They could not radically change the situation, but, having stood in the way of the inevitable flooding of the village, they delayed the destruction even for a moment, made their antagonists think, among them the son and grandson of Daria, and readers. Therefore, the finale of the story sounds so ambiguous and biblically sublime. What's next for Matera? What awaits Humanity? There is protest and anger in the very posing of these questions.

In recent years, V. Rasputin has been engaged in journalism (the book of essays "Siberia! Siberia ...") and social and political activities.

AT 60s - 80s The so-called “military prose” also announced itself quite loudly and talentedly, illuminating everyday life and deeds, “days and nights” of the Great Patriotic War in a new way. "Trench Truth", i.e. the unvarnished truth of being a “man at war” becomes the basis for moral and philosophical reflections, for solving the existential problem of “choice”: the choice between life and death, honor and betrayal, a majestic goal and countless sacrifices in its name. These problems underlie the works of G. Baklanov, Yu. Bondarev, V. Bykov.

This problem of choice is solved most dramatically in V. Bykov's stories. In the story "Sotnikov" one of the two captured partisans saves his life by becoming the executioner for the other. But such a price of his own life becomes prohibitively difficult for him too, his life loses all meaning, turning into endless self-accusation and finally leads him to thoughts of suicide. In the story "Obelisk" the question of heroism and sacrifice is raised. Teacher Ales Moroz voluntarily surrenders to the Nazis in order to be next to his students, taken hostage. Together with them, he goes to his death, miraculously saving only one of his students. Who is he - a hero or a lone anarchist who disobeyed the order of the commander of the partisan detachment, who forbade him to do this? What is more important - the active struggle against the Nazis as part of a partisan detachment or the moral support of children doomed to death? V. Bykov affirms the greatness of the human spirit, moral uncompromisingness in the face of death. The writer earned the right to this with his own life and fate, having gone through the long four years of the war as a warrior.

In the late 1980s and early 1990s, literature, like society as a whole, was going through a deep crisis. The history of Russian literature in the 20th century so developed that, along with aesthetic laws, its development was determined by circumstances of a socio-political, historical nature, which were by no means always beneficial. And now attempts to overcome this crisis through documentary art, often striving for naturalism (“Children of the Arbat” by Rybakov, Shalamov), or by destroying the integrity of the world, peering into the gray everyday life of gray, inconspicuous people (L. Petrushevskaya, V. Pietsukh, T. Tolstaya) have not yet led to significant results. At this stage, it is rather difficult to catch any creative tendencies of the modern literary process in Russia. Time will show everything and put it in its place.