Features of fiction as a historical source. Works of fiction and folklore as a source on the history of Russia in modern and modern times

Fiction as a historical source

Literature refers to works of writing that have public importance, aesthetically expressing and shaping the public consciousness.

It is generally accepted that the historical ideas of a person are not formed under the influence of the works of professional historians, but are based on the works of fiction And folklore sources. According to S. O. Schmidt, "the influence of the science of history on society is determined to a greater extent not directly by the research (or educational) works of historians (calculated, as a rule, for a narrow circle of readers - mainly specialists), but by their essays that are journalistic in form or their concepts, conclusions and observations expressed in the writings of other publicists and masters of fiction".

In traditional source studies, only the most ancient literary texts were considered as a historical source. One of the reasons for the lack of attention on the part of professional historians of modern and recent times to fiction lies in the belief that the latter represents an extremely subjective, often biased, and therefore distorted picture of life that does not meet the source criteria of reliability.

Supporters of the so-called "new intellectual history", a trend that arose in the 1970s. in foreign historiography, called into question the usual understanding of historical truth, assuming that a historian would create a text in the same way as a poet or writer. In their opinion, the historian's text is a narrative discourse, a narrative that obeys the same rules of rhetoric that are present in fiction. E. S. Senyavskaya also rightly notes that not a single historian, like a writer, is able to completely recreate the past (even following the principle of “getting used to” it), since the burden of knowledge and ideas of his time inevitably weighs on him.

In Russian historiography, the question of the possibilities of using fiction as a historical source has been raised before. Back in 1899, V. O. Klyuchevsky, in a speech on the opening of the monument to A. S. Pushkin in Moscow, called everything written by the great poet " historical document":" Without Pushkin, one cannot imagine the era of the 20s and 30s, just as it is impossible to write the history of the first half of our century without his works. "In his opinion, actual material for the historian, only incidents cannot serve: "... ideas, views, feelings, impressions of people of a certain time - the same facts and very important ..."

The author of one of the first Soviet textbooks on source study, G. P. Saar, included fiction and poetry among historical sources, but preferred " social novels", created by contemporaries of the events described. In subsequent years, the point of view prevailed that works of art can be used in the study of social relations only those historical eras from which not enough other evidence has been preserved.

During the discussions that took place in 1962-1963. on the pages of the journals "New and recent history" and "Questions of the history of the CPSU", a variety of opinions were expressed about the source perspective of fiction: from categorical objections to a call not to neglect sources reflecting "the many-sided activities of the party and ideological life society".

And history is a form of self-understanding, self-expression of society, their main theme, social science, human knowledge ”S. O. Schmidt“ The Way of the Historian ”

How in historical research much depends on the intuition of the historian, and writers, literary critics at an unconscious level, they are capable of a deep comprehension of life. Traditionally, researchers have turned to fiction only in the absence of more reliable sources. In the study of the history of modern and recent times, literature was assigned only an illustrative role, but new directions of historical thought change the attitude towards the source. A literary work was considered extremely subjective, but it is in itself a fact of the history and biography of the author. Exist different points view on the significance of the artist's personality in historical and cultural research: some argue that the personality of the author is not significant, since all the details of his personal life are not available for observation. Others, on the contrary, believe that the personality of the artist is fundamentally significant, since a typological comparison can be made between the text and the biography.

The latter position is characteristic of the methodology in line with the new cultural history. For the researcher, a literary work is inseparable from the context. Knowing the biography and date of creation, we can identify the purpose of the author, his awareness of the phenomena described. A new cultural and new intellectual history was formed within the framework of historical anthropology. Many researchers prefer not to separate them, the difference between the new intellectual history is that it pays great attention high quality texts.

Jacques Le Goff also spoke about the prospects of the following three directions in modern cultural history: the history of intellectual life, the history of mentalities and the history of value orientations. According to R. Darnton, the main principle of the new direction is to “catch otherness” (“grab alienness”), since people of the past perceived the world differently, the historian must also consider the object of his research as “alien”, explain the “strangeness” of another culture, reproducing the logic of the man of that time. New cultural history rejects a clear separation of the sensual and the rational, it focuses on myths, symbols, static languages.

A distinctive feature is the recognition of the active role of language, text and narrative structures in the creation and description of historical reality. Within the framework of this approach, the boundaries between different areas of historical knowledge, cultural anthropology, the "linguistic turn" and theoretical literary criticism merge together. The interdisciplinary approach is intended to expand the possibilities of the historian, but the most debatable issues are the combination of methodologies of different scientific disciplines. New direction needs revision methodological approaches in working with "non-traditional" sources. According to A.Ya. Gurevich, “even in cases where the sources do not allow us to penetrate the level of events, they can give us important information about the ideas and beliefs of the authors of these texts and, therefore, introduce us into the circle of ideological attitudes, that is, help us to realize the nature of the spiritual life of the era ... ". Reconstruction involves the "decoding" of the source by the widest disclosure of the context of its appearance.

It is impossible to completely recreate all the circumstances, but it is necessary to comprehend the “otherness”, the originality of a person of the past. In the words of P. Burke, "we are on the way to the cultural history of everything in the world: dreams, food, emotions, travel ...". An expanded understanding of culture makes it possible to connect art and literature with the study of everyday life. According to M.K. Lubart, the author of the monograph “The Family in French Society of the 18th – Early 20th Centuries”, fiction is “an invaluable source for the reconstruction of ideas related to marriage, family, raising children, family relations... ". Historical anthropology as an independent branch of knowledge coordinates with the new cultural history in the study of the history of mentalities, which also develops under the influence of psychology. The history of mentalities is interested in hidden sides public consciousness, which the researcher can find in the sources against the will of their creators, and the events of the past are understood through the “otherness” of a person’s worldview.

The history of mentalities introduced the method of psychological reconstruction into historical science, the "accommodation" of the researcher into the inner world of the creators of history texts, which stimulated the appeal of historians to "subjective" sources. An example of this approach is the article by E.S. Senyavskaya "Literature of the Front Generation as a Historical Source". The author acknowledges military literature, written by direct eyewitnesses of the “most benign” in terms of reliability, based on the psychological motives of its creators, and reflects not only events, details of military life, but also the subjective perception of events, their assessment, the construction of a holistic image, in this case, the image of the enemy.

Also worth mentioning are the works of S.S. Sekirinsky, a recognized portrait historian, who prepared a series of articles "History and Literature" in the journal "Domestic History". In the article “Fiction P.D. Boborykin: the history of a liberal personality in artistic sketches "he uses new methodology historical hermeneutics, tracing the history of ideological currents, public life in Russia in the second half of the 19th century. based on numerous works by Boborykin and biographical information. For a historian, Boborykin is valuable as a writer of everyday life, a recognized creator of the "encyclopedia of Russian life", who himself saw, heard and felt everything himself. His advantage over the "figures of events", the authors of diaries, letters and memoirs, is that, as an outside observer, he did not exaggerate his importance, he covered the "wide periphery". Of course, a work of art must be approached with all caution, not forgetting the external and internal criticism of the source.

Today we do not say that literature "reflects" life, we do not identify history literary types and real people, like the historians of the pre-revolutionary academic school. As M. Blok noted, “literature draws a lot of inherited themes, formal techniques, old aesthetic conventions”, which, in his opinion, does not allow literature to embrace the “great life movement”. At the same time, stereotypes and stereotypes of thinking can be considered within the framework of the history of mentalities as a manifestation of socio-psychological attitudes, habits of consciousness. For example, hagiographic literature does not provide truthful information about events and personalities, but from it we can understand religious ideas, features of the worldview of a person of remote eras.

According to L.N. Gumilyov, "fiction is not a lie, but a literary device that allows the author to convey to the reader the idea for which he undertook his work" . Reality in a work of art is invariably typified, which, according to some researchers, even increases objectivity. So, the new cultural history strives to comprehend historical phenomena through the ideas of the people of the past, their spiritual life.

The field of activity of the historian is expanding, therefore, such subjective sources as fiction are becoming more and more in demand.

List of sources and literature

1. Andreichuk V.G. Concentration camp prose as a historical source // Bulletin of the Baltic Federal University. I. Kant. 2012. No. 12. P. 94–101.

2. Burke P. Historical anthropology and new cultural history // New literary review. 2005, pp. 64–91.

3. Blok M. Apology of history. M.: Nauka, 1973. 234 p.

4. Gumilyov L.N. Can a work of belles lettres be a historical source? // Russian literature. 1972. No. 1. S. 73–82.

5. Gurevich A.Ya. Historian of the end of the 20th century in search of a method // Odysseus. 1996. M.: Nauka, 1996. S. 5–10.

6. Darnton R. The Great Cat Massacre and Other Episodes from History French culture. M.: New Literary Review, 2002. 384 p.

7. Le Goff J. From heaven to earth // Odysseus. Man in history. M.: Nauka, 1991. S. 28–43.

8. Lyubart M.K. The family in French society, XVIII - early XX century. M.: Nauka, 2005. 296 p.

9. Mankevich I.A. Literary and artistic heritage as a source of cultural information // Observatory of Culture. 2007. No. 5. S. 17–23.

10. Repina L.P. Historical science at the turn of the XX-XXI centuries: social theories and historiographic practice. M.: Krug, 2011. 560 p.

11. Sekirinsky S.S. Fiction P.D. Boborykina: the history of a liberal personality in artistic sketches // ACTIO NOVA. M.: Globus, 2000. S. 426–455.

12. Senyavskaya E.S. Literature of the front-line generation as a historical source // Patriotic history. 2002. No. 1. C. 101–109.

13. Khodnev A.S. New cultural history and a new history of leisure // Historical science today: Theories, methods, perspectives / Ed. L.P. Repina; 2nd ed. M.: LKI Publishing House, 2012. S. 462–473.

14. Schmidt S.O. The path of the historian. Selected works on source studies and historiography. M.: RGGU, 1997. 612 p.

N.V. Dashkov Yaroslavl State Pedagogical University. K.D. Ushinsky, Yaroslavl Scientific adviser: Doctor of Historical Sciences, Professor Arkhipova L.M.

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Fiction as a historical source. Source analysis of a literary text.

Works of fiction, as an integral part of public consciousness, have always acted as the "voice of history". Its social and moral nuances, content level and themes were often determined by the peculiarities of the philosophical and social thought of the era. That is why the development of the art of the word at all times was influenced by the most important political events, such as wars, revolutions, civil unrest and other socio-political phenomena. In addition, everyday worries and anxieties of representatives of various strata of society are reflected in fiction. Fiction is constantly paving new ways of understanding historical realities, seeking new ways to reflect reality.

As noted by L.N. Gumilyov, literary fiction is not a lie, but a literary device that allows the author to convey to the reader the idea for which he undertook his work. In a work of art, reality is invariably typified, which, according to some researchers, even increases objectivity. The new cultural history seeks to comprehend historical phenomena through the ideas of the people of the past, through their spiritual life. The field of activity of the historian is expanding, which means that such subjective sources as fiction are becoming more and more in demand.

The final approval of fiction as a weighty historical source occurs only from the end of the 20th century. The original subjectivity of a literary text is perceived as one of the factors that form the historical and cognitive value of a literary work, since the reality presented with the help of living images is inevitably typified, thereby increasing the level of objectivity.

The source study consists of two stages:

1. origin analysis ( historical stage), which, in turn, includes the following steps: a) analysis historical conditions the origin of the source; b) analysis of the authorship of the work; c) analysis of the circumstances of the creation of the source; G)
2. analysis of the history of the text of the work; e) analysis of the publication history of the source;
   content analysis (logical stage): a) source interpretation; b) analysis of the content of the source.

Methods of source study called ways to identify, describe and analyze historical sources. They differ depending on the tasks assigned to the study, in general, the following can be distinguished methods :

• research of the text for the presence of document-forming agents;
• study of the historical personalities of the work;
• study of the source of origin of the work - the definition of the author, his biography, the details of which influenced the writing of the work;
• the dating of the source under study, or the proximity of the date of its creation to the date of the events described in the work.

Among the most important stages of source analysis the following can be distinguished;

• comparison of the information contained in the source with well-known facts, the generally accepted interpretation of the phenomenon or event under study. As a result, it is about the fallacy of the source or the need to clarify the traditional point of view;
• comparison of data from the studied source with data from other sources. This compares early and later evidence;
• comparison of source information with objective circumstances. Determination of the truth of the described phenomenon and assessment of the conditions in which this phenomenon, event occurred according to the description in the source;
• assessment of the adequacy, reliability of naming, titles of actors;
• assessment of the reliability of such details as details of weapons, clothing, everyday life, culture, etc., their correspondence to the era and time;
• assessment of the degree of documentary text;
• identification in the source of information that could not get there due to a discrepancy in the time of their application to the described era or according to a geographical criterion;
• determination of the degree of originality of the reported information - compliance with their generally accepted, stereotyped point of view or with real events;
• assessment of the origin of the information contained in the work, the source of their receipt.

An attempt to consider the techniques and methods of using fiction in teaching history. Criteria for the selection of literary texts; practical application sources of this type in history lessons.

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The inclusion of organic images of fiction in the presentation of the teacher is one of important methods its use in teaching history. The teacher uses fiction as a source from which he borrows colorful images comparisons and apt words for your presentation. In these cases, the material of the work of art organically includes the teacher in the story, descriptions, characteristics and is perceived by the student not as literary quotation, but as an inseparable element of a colorful presentation. It is useful for a novice teacher, when preparing for a lesson, to include in the plan of his story separate, small passages, epithets, brief characteristics, vivid descriptions, apt expressions from the writer's work. In teaching practice, as one of the methods of using fiction and folklore, there is a brief retelling. Being the richest source of information, fiction contains valuable material for affirming the consciousness of high school students. moral principles developed by mankind. But for a long time, in the scientific world ambiguous a clear view of literature as a historical source.

“There is an unspoken and almost generally accepted opinion that fiction is not just subjective, but is in the realm of the author's fantasies and cannot contain any historical facts; on this basis for a long time traditional source studies, especially of modern and recent history, did not consider fiction as a historical source. “Coming closer to fiction in terms of the nature of its impact on the reader, historical knowledge must remain scientific, that is, obtained on the basis of historical sources,” which are amenable to “reproduction and verification”[ 32, p. 40] . “The field of interaction between literature and history is an open system, and they are correlated in this system, first of all, as two domains of culture: culture changes, their interaction also changes”[ 28.c. 63].

With a huge body of literature on the one hand, and a community of historians with naturally differentiated interests on the other, “it makes no sense even to think of any special cataloging of literature for the historian. After the work that was done by the structuralist branch of social science in recent decades, today there seems to be no other possibility than to consider all literary texts of the past and even the present as historical documents” [Ibid. c. 63]. Fiction has value “as a source that reflects the mentality of its time [Ibid., p. 144]. Literature has the property of “groping” and fixing reality, capturing the moods existing in society on an unconscious level, long before they are systematized in the language of science and are reflected in historiography.

pre-revolutionary academic school(V.O. Klyuchevsky, N.A. Rozhkov, V.I. Semevsky and others), in the spirit of the traditions of positivist literary criticism, identified the history of literary types with the history of real people. So, the study of V.O. Klyuchevsky "Eugene Onegin and His Ancestors" (1887) was almost entirely built on the analysis of the libraries of Pushkin's time.

The position of Soviet academic source studies in relation to fiction long time was quite unambiguous: only literary texts of antiquity were considered as a historical source. The question of the historian's right to use fiction as a historical source in the study of modern and contemporary history has long been passed over in silence, although in historical works works of this period were often used as a commentary on the events and phenomena of public life. For the first time, the question of using a literary and artistic text as a historical source was raised in the book by S.S. Danilov "Russian theater in fiction", published in 1939. In the 60-80s of the XX century, a number of works were published that testify to the desire of historians to develop clearer definitions of fiction as a historical source.

Among the key issues brought up for discussion is the possibility of using fiction as a source for establishing historical facts. So, during the discussions that took place in 1962-1963. On the pages of the journal "New and Contemporary History" a variety of opinions were expressed about the source study perspective of fiction. Starting from categorical objections to securing her right to be called a historical source and ending with a noteworthy for Soviet era the judgment that "the historian of the party has no right to neglect sources that in one form or another reflect the many-sided activity of the party and the ideological life of society" .

For the first time, the question of the historian's right to use fiction as a historical source was raised in 1964 in an article by A.V. Predtechensky "Fiction as a historical source". The author drew attention to the expansion of the limits of source study by separating auxiliary historical disciplines independent branches of science. Referring to a rather extensive number of statements of public figures of the XIX-XX centuries, A.V. Predtechensky makes a conclusion about the identity of the cognitive role of fiction and the historical source as such, seeing the natural difference between one category and another in their belonging to phenomena of a different social nature. So, to substantiate scientific truth, a system of evidence is required, while in art “nothing needs to be proved,” since the criterion for the “truth” of a work of art is its “artistic persuasiveness” [Ibid., p. 81]. A.V. Predtechensky notes: “in the works of some artists, the artistic persuasiveness is so great that the line between fiction and reality is erased, and literary hero begins to exist as historical” [Ibid., p. 82].

Against the background of the above examples, the famous article by L.N. Gumilyov "Can a work of belles-lettres be a historical source?" . In this work, the author, answering the question he put in the title, noted that “Fiction is not a lie, but literary device, allowing the author to convey to the reader the idea for which he undertook his work, is always difficult. And here, even with a large number mentions of historical facts, the latter are only a background for the plot, and their use is a literary device, and the accuracy or completeness of the presentation is not only not required, but simply not needed. Does this mean that we should not use the information contained in ancient literature, to replenish the story? In no case! But the observance of certain precautions is obligatory "... continuing his thought about the veracity of the source, the author writes" Fiction in the works historical genre only sometimes involves the introduction into plot outline a hero born from the imagination of the author. But there is always a transformation of real historical figures into characters. The persona is the mask of an ancient actor. This means that, unlike business prose, not real figures of the era appear in a work of art, but images under which they are completely hidden. real people, but not those, but others that are of interest to the author, but not directly named. It is this literary device that allows the author to express his thought with the utmost accuracy and at the same time make it visual and intelligible”; “Each great and even small work of literature can be a historical source, but not in the sense of a literal perception of its plot, but in itself, as a fact that marks the ideas and motives of the era. The content of such a fact is its meaning, direction and mood, moreover, fiction plays the role of a mandatory device.

For national history and science in 1991, the article by N.O. Dumova "Fiction as a source for the study of social psychology", dedicated to the novel by M. Gorky "The Life of Klim Samgin". In the source study context, the author divides fiction into three categories. The first includes works that reflect a distant period, from which documentary evidence has not been preserved (Homer's epic, "The Tale of Igor's Campaign"). To the second - historical novels and stories written many years after the event on the basis of studying it from surviving sources (“War and Peace”, “Peter I”). The third category consists of works of art written by eyewitnesses or participants in the events (A.T. Tvardovsky "Vasily Terkin", V.S. Grossman "Life and Fate"). Works belonging to the first category serve as a historical source. Artistic texts belonging to the second category are an auxiliary source. The works of the third group are of value for the study of social psychology, inner world a person - his type of thinking, worldview.

In the 1990s, academic source studies represented by the Russian historian S.O. Schmidt expresses his the last word» on the issue of source study «opportunities» of fiction. In contrast to the humanities, who defend the educational and agitational role of literature or develop the traditions of studying " psychological types”, S.O. Schmidt turned to the history of mentalities, considering works of literature as "a source of formation of historical ideas" for the general reader, as valuable material "for understanding the mentality of the time of their creation and further existence ... ". On the evolution of the views of the domestic humanitarian early XXI centuries on the source study status of fiction in connection with global changes in the methodology of humanitarian knowledge, a visual representation is given by the materials of the collection “History of Russia in the 19th–20th centuries: new sources of understanding” . So, among the circumstances contributing to the rapprochement historical science with fiction in solving source problems, the authors of the collection name the following:

- a shift in the emphasis in historical knowledge from socio-political to individual psychological, which is due to the growing distrust of global historical constructions, which are difficult to verify at the empirical level;

- the prevailing desire of both spheres of creativity - artistic and scientific-historical - to reproduce reality; the historicity of literature as a documented expression of the country's spiritual history [Ibid. c. 63];

- the mutual inability of the writer and historian to fully “recreate all the facets of the past”, even following the “hermeneutic principle of getting used to it”, since “any person is inevitably pressured by the load of knowledge and ideas of the time in which he himself lives and acts;

- the historicity of the language of literature as a "social meta-institution", fixing "the realities, concepts and relations of its time";

- historical truth can be fully revealed only by means of art; literature has more opportunities to reveal historical truth than history itself; history-art is higher than history-science”;

Among critical factors who breed literature and history according to different sides"barrier" in relation to the problem of the source study status of fiction, historians call the following:

– “any work of art contains some pre-aesthetic reality from the field of politics, economics, social life", but" under the influence artistic techniques it is so deformed that it ceases to be a source for scientific and historical research” [Sokolov A.K. social history, literature, art: interaction in the knowledge of the realities of the XX century. ];

– there is an objective contradiction between the “linear” language style historical science and pictorial language literary creativity, allowing many interpretations when reading[ There. c. 75] ;

- scientific historical knowledge performs a socio-political function - "the formation of a common social memory as the basis for the unification of society and the information basis for political decision-making", and in this function it retains its sovereignty[Ibid. c. 40].

As for the historian, for him (provided that he does not intend to go beyond the traditional boundaries of his field), fiction as a source of information will be of interest only in three cases:

- if the text is a carrier of unique information not recorded in other documents;

- if the information about the character contained in the work is confirmed by sources of a different kind; in this case literary text can be used either as an illustration of the knowledge already obtained by other sciences, or as an additional source of evidence (or refutation) of scientific hypotheses, including in relation to the historical worldview of the author of the text.

Great importance of works of art in moral education students. Learning about actions historical personality, students often transfer themselves to the same conditions, empathizing with the hero. One of the favorite heroes is the gladiator Spartacus, the leader of the restoration of slaves in Ancient Rome. Students can be asked to prove, on the basis of fragments of literary works and stories about the uprising, that Spartacus possessed such traits as purposefulness and determination, conviction, courage and courage. On the dramatic events of the slave uprising, on behalf of the teacher, the student tells. His story can take place in the form of a memoir of a gladiator from the detachment of Spartacus (fragments from R. Giovagnoli's novel "Spartacus" are included in the story).

But it is not enough to draw the attention of students to heroic deeds prominent personalities. In the lessons, questions should be raised about the expediency of those forms of politics, about decency, dignity, kindness, and lasting friendship.

Documents are used to implement the principle of visibility in teaching history, when students get acquainted with appearance documents. The document makes the teacher's story lively and vivid, and the conclusions more convincing.

The significance of the document also lies in the fact that it contributes to the concretization of historical material, the creation vivid images and pictures of the past, a sense of the spirit of the era. When working with documents, students activate the process of thinking and imagination, which contributes to a more fruitful assimilation of historical knowledge and the development of historical consciousness. Students develop skills independent work: read documents, analyze and extract information, reason, evaluate the meaning of documents past and present.

Classification of documents based on the nature of documentary texts,

two main groups - documents of a narrative-descriptive and act character, which at one time had practical value. These documents complement each other well. Third additional group constitute monuments artistic word.

Act documents are legal, economic, political, program (letters, laws, decrees, petitions, petitions, murals, contracts, statistical and investigative documents, programs, speeches). Narrative_descriptive documents - annals, chronicles, memoirs, letters, travel descriptions. To the monuments of the artistic word of history ancient world and the Middle Ages include works of oral folk art(myths, fables, songs, idioms). Receptions: In the lesson, work is carried out with written sources both by the teacher in the process of explaining the new, and by the students different stages lesson. The teacher gives brief analysis the content and structure of the work, indicates the main ideas, the value of the document for evaluation historical events, dwells on the historical setting, time, circumstances of the appearance of the document. It is advisable to preliminarily pose questions for the document, clarify unfamiliar terms and concepts. The teacher includes a document in his story if he conveys the essence of the events, wants to increase the emotionality in the presentation of the material, if the concretization of the studied phenomena and processes is needed, in order to convincingly characterize the historical figure. The passage included in the explanation should be small, simple and clear, easy to understand by ear.

The analysis of the document is carried out by commenting it, in the form of a frontal conversation with the class, in the process of independent work with the source. The most complex and voluminous documents are studied through careful analysis. In the process of working with a document, students analyze it, reproduce individual provisions of the text, determine logically completed parts, highlight the main ideas of each part, conduct comparative analysis documents. In the course of parsing the document, vocabulary work is carried out.

Hood. Lit-ra

The literature involved in the lesson helps to concretize the historical material and form in students vivid images of the past, which are integral part their historical views. The teacher draws on fragments of works to introduce students to a historical setting or to recreate the color of the era, to give a picture or portrait description.

Classification: 1) literary sources of the period under study 2) historical fiction. The sources of the era under study include works whose authors are direct witnesses or participants in the events described. They created original documents of the era, which serve to cognize the past. These sources are not always clear to students, and only fragments pre-selected by the teacher are used in the lesson. Literary sources include the books of M.A. Sholokhov “ Quiet Don" and etc.

2) Historical fiction includes works of art about the era under study, created by writers of a later time. Books historical fiction, "reconstructing" historical reality, written on the basis of a scientific study of the past, the study of historical sources, scientific research and monographs.

Techniques: a deeper study of the work is used to recreate a picture of everyday life, social relations. For example, in the lessons of the history of the ancient world, Homer's Iliad and Odyssey are studied. The teacher can organically include images of fiction in his presentation, for example, in order to personify the phenomenon. The teacher can summarize piece of art and give a task to clarify the details so that the students are sure to read it. Most common in school practice citation of works of art.

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