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 mixed ratings 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 a choice of teacher and students to study one of three novels 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 - satiety and comfort, such means - naked calculation, the desire for profit in any way, not humiliate a person?

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 mankind is moving, V. Soloukhin concludes that the fastest way a person moves is not towards God, but towards the devil, since the path technical progress- this is the 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 talks about his childhood, about a 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". Long time in practice school study The novel emphasized 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 is 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 end 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 to understand the ideological orientation of the great novel is the study of the above last three topics of Russian literature. literature XIX century.

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 notorious 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 most big topic 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 the image of the war, close and 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 everyday, ordinary, modesty simple soldier, shrugging off the hospital, saying that the ear torn off by the shell "will dry up by itself." 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 of writers different generations provide rich material for reflection to 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 flashed 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 German captivity, cannot calmly see how our fighter escorts 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 solution to the phenomenon modern sound 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. tragic fate 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". Subject " 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 in an era of timelessness a person becomes smaller and fragmented.

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, “crushing” human personality on trifles, trifles - Chekhov's 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

Topic of the 10th grade program	A work of modern literature	Literary theory	Facets of “contact” of works	Program theme 11th grade
I.A. Goncharov "Oblomov"	V.A. Soloukhin "Laughter over the left shoulder"	Essay as a literary genre	Reflections on the ways and goals of progress, national features of the way of life	A. Platonov "Pit"; S. Yesenin "Soviet Rus'" "Anna Snegina" "Sorokoust"
A.N. Ostrovsky "Dowry"	L.N. Razumovskaya "Dear Elena Sergeevna"	Genre intellectual drama	The atmosphere of lies, self-interest, bargaining as the cause of the death of the heroine. The lack of integrity of the personality of the heroine.	The tragedy of the fate of an intellectual sixties in the 80s. Creativity of V. Aksyonov, V. Voinovich and others
I.S. Turgenev "Fathers and Sons"	N.I. Dubov "Relatives and friends"	Appeal to biblical motifs in a modern story	Fathers and children theme	A. Platonov "Return"
N.G. Chernyshevsky "What to do?"	V.F. Tendryakov "Attempt on mirages" (short story "Farewell to the shining hail")	Genre dystopia	The theme of the future in the fourth dream of Vera Pavlovna and the city of the sun Campanella	E. Zamyatin "We" and other dystopian novels
ON THE. Nekrasov. Poems. "Who in Rus' to live well"	Civil poetry contemporary poets(at the teacher's choice)	Traditions and innovation in the development of the civil theme in poetry		V. Mayakovsky S. Yesenin A. Blok A.Akhmatova A.Tvardovsky
F.M. Dostoevsky "Crime and Punishment"	V.A. Pietsukh "New Moscow Philosophy"	Literary reminiscence	Crime and Punishment. Good and evil. The meaning of religion. The decay of the soil and the causes of the emergence of spiritual weak man	Y. Trifonov "The Old Man"
L.N. Tolstoy "War and Peace"	K.D. Vorobyov "Killed near Moscow"	Tradition and innovation in modern psychological prose about war	Man at war. War and Humanity. Hatred and compassion. The problem of true patriotism	V. Nekrasov "In the trenches of Stalingrad" M. Sholokhov "The Science of Hate" V. Tendryakov "People or Non-People"
M.E. Saltykov-Shchedrin "History of one city". Fairy tales	F. Iskander "Rabbits and boas"	Genre of philosophical tale. Techniques of the grotesque, allegory. Tradition and innovation in modern satire	Temporary and eternal in works, the problem of people and power, imaginary and true values	A.M. Bitter. The personality of the writer. Gorky and Soviet reality in the 1930s.
A.P. Chekhov. stories	V.S. Makanin "The Man of the Retinue"		Tradition and innovation in the development of the themes of the “little man”, internal betrayal	Y. Trifonov "The Old Man"

How would you define the genre of this book? (The question suggests homework reference literature 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 are faced with one of the toughest questions humanity is a 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 and 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; third way - spiritual development- is lost, but 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?

Poetry 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?

Conclusions. So, an essay is a prose work small volume and free composition, interpreting a private theme 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 down 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 Elena Sergeevna, that they 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 content of the story give the mention of the old man Shevelev gospel parable about Noah and his sons?

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 individual task. 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.

Conclusions. Ironically over the fact that people were crushed, and the passions are no longer the same, the intensity of their boiling is not the same, the author of the story nevertheless maintains an optimistic view of further development of our society, on 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, on question asked the teacher can also receive a negative answer, 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 power is based on.

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).

Conclusions. 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. Bible stories, 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).

The events that took place in the last decades of the last century affected all spheres of life, including culture. There have also been significant changes in literature. With the adoption of the new Constitution, a turning point occurred in the country, which could not but affect the way of thinking, the worldview of citizens. New values ​​have emerged. Writers, in turn, reflected this in their work.

The theme of today's story is modern Russian literature. What trends are observed in the prose of recent years? What are the characteristics of 21st century literature?

Russian language and modern literature

The literary language is processed and enriched by the great masters of the word. It should be attributed to the highest achievements of the national speech culture. At the same time, the literary language cannot be separated from the folk language. Pushkin was the first to understand this. The great Russian writer and poet showed how to use speech material created by the people. Today, in prose, authors often reflect vernacular which, however, cannot be called literary.

Time frame

When using such a term as "modern Russian literature", we mean prose and poetry created in the early nineties of the last century and in the 21st century. After the collapse Soviet Union cardinal changes took place in the country, as a result of which literature, the role of the writer, and the type of reader became different. In the 1990s, the works of such authors as Pilnyak, Pasternak, Zamyatin finally became available to ordinary readers. The novels and stories of these writers were read, of course, before, but only by advanced book lovers.

Exemption from prohibitions

In the 1970s, a Soviet person could not calmly go into a bookstore and purchase the novel Doctor Zhivago. This book, like many others, was banned for a long time. In those distant years, it was fashionable for representatives of the intelligentsia, if not aloud, but to scold the authorities, criticize the “correct” writers approved by it and quote the “forbidden” ones. The prose of disgraced authors was secretly reprinted and distributed. Those who were engaged in this difficult business could lose their freedom at any moment. But forbidden literature continued to be reprinted, distributed and read.

Years have passed. Power has changed. Such a thing as censorship simply ceased to exist for some time. But, oddly enough, people did not line up in long lines for Pasternak and Zamyatin. Why did it happen? In the early 1990s, people lined up at grocery stores. Culture and art were in decline. Over time, the situation improved somewhat, but the reader was no longer the same.

Many of today's critics of the prose of the XXI century respond very unflatteringly. What the problem of modern Russian literature is, will be discussed below. First, it is worth talking about the main trends in the development of prose in recent years.

The Other Side of Fear

In times of stagnation, people were afraid to say an extra word. This phobia in the early nineties of the last century turned into permissiveness. Modern Russian literature of the initial period is completely devoid of an instructive function. If, according to a survey conducted in 1985, the most widely read authors were George Orwell and Nina Berberova, 10 years later the books "Crappy Cop", "Profession - Killer" became popular.

In modern Russian literature on initial stage its development was dominated by such phenomena as total violence, sexual pathologies. Fortunately, during this period, as already mentioned, the authors of the 1960s and 1970s became available. Readers had the opportunity to get acquainted with the literature of foreign countries: from Vladimir Nabokov to Joseph Brodsky. The work of previously banned authors positive influence on Russian contemporary fiction.

Postmodernism

This trend in literature can be characterized as a peculiar combination of worldview attitudes and unexpected aesthetic principles. Postmodernism was developed in Europe in the 1960s. In our country, it took shape in a separate literary movement much later. There is no single picture of the world in the works of postmodernists, but there is a variety of versions of reality. The list of modern Russian literature in this direction includes, first of all, the works of Viktor Pelevin. In the books of this writer, there are several versions of reality, and they are by no means mutually exclusive.

Realism

Realist writers, unlike modernists, believe that there is a meaning in the world, however, it should be found. V. Astafiev, A. Kim, F. Iskander are representatives of this literary movement. It can be said that in recent years the so-called village prose. So, often there is an image provincial life in the books of Alexei Varlamov. Orthodox faith is, perhaps, the main one in the prose of this writer.

A prose writer can have two tasks: moralizing and entertaining. There is an opinion that third-class literature entertains, distracts from everyday life. Real literature makes the reader think. Nevertheless, among the themes of modern Russian literature, the crime occupies not the last place. The works of Marinina, Neznansky, Abdullaev, perhaps, do not lead to deep reflections, but they gravitate towards a realistic tradition. The books of these authors are often called "pulp fiction". But it is difficult to deny the fact that both Marinina and Neznansky managed to occupy their niche in modern prose.

In the spirit of realism, the books of Zakhar Prilepin, a writer known public figure. Its heroes mainly live in the nineties of the last century. Prilepin's work causes a mixed reaction among critics. Some consider one of his most famous works - "Sankya" - a kind of manifesto for younger generation. And the story of Prilepin "Vein" Nobel laureate Günther Grass called it very poetic. Opponents of the Russian writer's work accuse him of neo-Stalinism, anti-Semitism and other sins.

Women's prose

Does this term have a right to exist? It is not found in the works of Soviet literary critics, yet not many people deny the role of this phenomenon in the history of literature. contemporary critics. Women's prose is not just literature created by women. It appeared in the era of the birth of emancipation. Such prose reflects the world through the eyes of a woman. The books of M. Vishnevetskaya, G. Shcherbakova, M. Paley belong to this direction.

Are the works of the Booker Prize winner Lyudmila Ulitskaya women's prose? Maybe only individual works. For example, stories from the collection "Girls". The heroes of Ulitskaya are equally men and women. In the novel "Kukotsky's Case", for which the writer was awarded a prestigious literary award, the world is shown through the eyes of a man, a professor of medicine.

Not many modern Russian works of literature are actively translated into foreign languages ​​today. Such books include novels and stories by Lyudmila Ulitskaya, Viktor Pelevin. Why are there so few Russian-speaking writers today who are interesting in the West?

Lack of interesting characters

According to the publicist and literary critic Dmitry Bykov, in modern Russian prose, the outdated narrative technique. In the past 20 years, not a single living thing has appeared, interesting character, whose name would become a household name.

In addition, unlike foreign authors who are trying to find a compromise between seriousness and mass character, Russian writers seemed to be divided into two camps. The first belongs to the creators of the above-mentioned " pulp fiction". To the second - representatives of intellectual prose. A lot of art-house literature is being created that even the most sophisticated reader cannot understand, and not because it is extremely complex, but because it has no connection with modern reality.

publishing business

Today in Russia, according to many critics, there are talented writers. But good publishers are not enough. On the shelves of bookstores regularly appear books "promoted" authors. Of the thousands of works of low-quality literature, not every publisher is ready to look for one, but worthy of attention.

Most of the books of the writers mentioned above reflect events not early XXI century, and Soviet era. In Russian prose, according to one of the famous literary critics, nothing new has appeared in the last twenty years, since writers have nothing to talk about. Under the conditions of the disintegration of the family, it is impossible to create a family saga. In a society that prioritizes material matters, an instructive novel will not arouse interest.

One may not agree with such statements, but in modern literature there really is no modern heroes. Writers tend to look to the past. Perhaps soon the situation in the literary world will change, there will be authors who can create books that will not lose popularity in a hundred or two hundred years.

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Saint Petersburg State University

The Experience of Narrative Analysis of Modern Popular Literature

M. S. Chernovskaya, Art. Lecturer, Competitor, Department of Sociology

St. Petersburg, Russia

annotation

The article is devoted to the analysis of works of mass literature (American women's novel) using the narrative method. Based on the synthesis of various approaches to the analysis of the narrative (the approach of R. Bart, the approach of V. Dyck and the structural-event approach of K. Griffin), as well as the theories of V.Ya. Propp and K.G. Jung, a study of the narrative structure of the American female romance, actualizing social myths and archetypes, acting as a scheme for organizing social relations and a mechanism for the reproduction of cultural norms and patterns

Keywords: Narrative method, narrative structure, social myth, archetype, cosmogonic model of social myth, American women's novel.

To date, in sociological science there is not a single study of mass literature texts that would use the narrative method. This gap is explained, firstly, by the fact that the analysis of narratives within the framework of literary texts remains the diocese of philologists and linguists, and, secondly, by the fact that sociologists and culturologists traditionally use content- analysis. The method of content analysis as a quantitative method of collecting and analyzing data about the document under study, the content (content) of which "fits" into the social context, into the social problem studied by the researcher, was developed in the first half of the 20th century. However, since the middle of the last century, positivist methods of text analysis, including the technique of content analysis, have been criticized in connection with the problem of the difference between cultural (culturological) and actually social meanings and interpretations of what is depicted in literature. In addition, in our opinion, for a deep, qualitative analysis of structures and meanings, the content analysis method, which implies a quantitative approach to collecting data about the phenomenon under study and using mathematical methods of data processing, is unacceptable. There was a need to use other, qualitative research techniques, one of which was narrative analysis as a method of studying individual and social practices, historical and socio-cultural context. Narrative analysis allows, on the one hand, to make an intensive analysis of the text, regardless of the number of books studied, and, on the other hand, to reveal the deep socio-cultural context of the content. Subject to study are plot structures, characters, situations, literary formulas, considered as symbolic samples. social interaction and behavior as socio-cultural mechanisms that ensure the integration of modern society, the identification and integration of the individual, the reproduction of traditional and the assimilation of new cultural norms and patterns (within the theories of J. G. Mead, E. Cassirer, S. Langer, K. Burke) 1 .

When analyzing works of fiction (and, in particular, mass) literature, it is advisable to apply various methods narrative analysis. As part of our empirical research, we used elements of different approaches to the analysis of narrative: the approach of R. Bart (functions-actions of characters in the narrative) 2 , the approach of W. Dyck (the concepts of "microstructure" and "macrostructure") 3 and the structural-event approach K Griffin (establishing the causal connections of the narrative) 4 . The latter approach served as the basis for our synthetic method, since the object of analysis - the novel as a literary genre "suggests a detailed narrative about the life and development of the personality of the protagonist / heroine, that is, a clear, logical and interconnected sequence of events and actions" 5 .

The object of our empirical study is the narrative structure of the modern American women's novel as a genre of popular literature. The goal was to analyze the narrative structure of the American women's novel, which actualizes social myths and archetypes as value-role patterns and schemes for organizing social relations. For the study, 18 of the most popular novels-screen adaptations of contemporary American writers Daniela Steele, Nora Roberts and Mary-Higgins Clark over the past twenty years were selected according to the ratings of amazon.com, the world's largest American company in the world in terms of turnover selling consumer goods and services via the Internet, and IMDb.com, the world's largest movie database and website.

So, the procedure of empirical research included the following stages: literature novel narrative

1. The trajectory is considered life path the main character in each novel in the form of a chronology of actions that form events.

This provision is the starting point in the procedure of structural-event analysis, in which the analyst must carry out this preliminary procedure, independently deciding which actions determine the event. Selected events lay the so-called. “macrostructure” (the term of T. van Dyck) as a hierarchy of semantic blocks in the text relative to the main idea (the life path of the heroine).

1.1. The selection of events that are significant in the biographies of the heroines is made on the basis of the following indicators, identified in the context of the social cosmogonic myth.

In selecting events, the proposition of "significance" is paramount to the procedure of narrative analysis as a whole. Narrative constructions are significant, on the one hand, they are not assessments and descriptions, and, on the other hand, they follow the logic of the cosmogonic model of the social myth, which is reflected in the set of indicators. These indicators are based on the approach of V. Vasilkova, who combined the structural method of V. Ya. as a violation of integrity - the wandering of the Heroine - meeting with a false hero - recognizing / denouncing a false hero - meeting with a giver / assistant - finding a magical remedy - meeting with a true hero - struggle / confrontation with the forces of evil / fatal circumstances - final battle / struggle with the forces of evil - restoration of integrity to a new level.

2. The selected events are narrated using the grammatical method (verbs as action markers). During the “through reading” of the text, unimportant information is reduced by selection, generalization of propositions and their construction into “topics” of the text (the method of T. van Dyck). These "topics" describe the functions (actions) of the characters in the narrative (R. Bart's method) and are represented by verbs. Let us give an example of the narrativization of Danielle Steele's novel " more love can not be":

* Edwina, daughter of a newspaper owner (age 20) returns from England to America on the Titanic with her family members (parents, siblings) and her fiancé Charles.

* The Titanic is sinking.

* During the wreck of the Titanic, the mother, not wanting to be separated from her husband, entrusts her brothers and sisters to Edwina, remains on the ship and dies.

* Edwina's fiancé, giving way to others, also perishes.

* In America, Edwina stands at the head of her father's business, heading the publishing house. She also runs the household and takes care of her siblings.

* One of Edwina's brothers Philip, after graduation, volunteers for the front and dies.

* Another brother George is going to Hollywood with the goal of making a career as a director. His mentor is directed by Sam Horowitz, who meets Edwina's family and takes a liking to her.

* Alexis, sister of Edwina (age 17), goes to visit George in Hollywood. There she meets an elderly playboy Stone and becomes interested in him.

* Stone kidnaps Alexis, takes her to New York and then to London and makes her his mistress.

* In search of his sister, Edwina goes to London for them.

* On the ship, she meets Patrick Sparks-Kelly, the cousin of her deceased fiancé Charles.

* They fall in love with each other and become lovers. But Patrick is married and cannot get divorced. he is a catholic.

* Upon arriving in London, Patrick helps Edwina find Alexis.

* He pretends to be a judge and threatens Stone with prison for seducing a minor.

* Stone refuses Alexis.

* Edwina breaks up with Patrick and returns with her sister to America.

* There she accepts Sam Horowitz's proposal to marry him.

3. Based on the indicators, a causal sequence of the chain of events is built for each novel.

The provision on the causal (causal) sequence is necessary both for the structural-event analysis (SCA). The causal sequence lays the so-called. the “microstructure” of the narrative (T. van Dyck’s term), describing the connections between actions. The SSA methodology assumes that a subsequent action cannot occur if it is not due to the previous one; thus, the logic of unrolling actions in an event is extremely important. As part of our empirical study, this principle is used to logically build a chain of events that form the social world of the heroine and reflect social mobility and changing social and gender roles. Here is an example of a narrative sequence for Danielle Steele's novel "There is no greater love" 7: P (engagement) - GS (death of family members) - ZUN (acquisition of knowledge, skills and abilities) -PS (kidnapping of family members by an antagonist) - ND, CHZD ( finding a new friend who saves a life) - SUAG (symbolic elimination of the antagonist by the hero) - PO (engagement / betrothal). This narrative sequence corresponds to the logic of the selected indicators within the framework of the cosmogonic cycle.

4. By comparing the causal connections of actions that form the chronology of events in each individual romance, a general narrative structure stands out, which is interpreted in the context of a social cosmogonic myth.

Comparison of the semantic blocks of the macrostructure, causally related to each other, makes it possible to single out a generalized narrative structure, or “superstructure” of the narrative (T. van Dyck’s term), which, like the narrative scheme of R. Bart, is an invariant structure of an event in the form of enlarged blocks (“actional” names).

As a result of performing such operations as comparing the causal connections of actions that form the chronology of events in each individual novel and their generalization, the following structure-forming narrative sequence is singled out within the framework of the cosmogonic myth model, which, with the exception of variable components, includes the following basic components: the state of the initial integrity - harm / loss as a violation of integrity - finding a magical remedy - fighting / confronting the forces of evil / fatal circumstances - restoring integrity to a new level.

5. Based on the obtained narrative sequences, archetypal female role models are distinguished within the framework of the cosmogonic model of myth and the feminist theory of archetypes.

Based on the obtained narrative structures that describe each novel under consideration, the main functions and roles performed by the Heroine are singled out (using the terminology of V. Ya. Propp and C. G. Jung), and role models are built in the context of the cosmogonic model of the social myth and the feminist theory of archetypes. These types are then generalized into archetypal role models that are actualized in the modern American women's novel.

Based on the results of the study, we have identified non-traditional archetypal functions that the Heroine performs. So, for example, in the example of the analyzed novel given by us, the Heroine performs the archetypal function of the Hero, descending into Chaos, acquiring a magical tool (new skills and an Assistant in the fight against the antagonist) and, in the finale, restoring the disturbed world order. As for the archetypal female role model, in this novel the transitional type of gender-role behavior is actualized: the traditional model - the non-traditional model - the mixed model, within which the expressive (female) role of behavior as the role of a friend, wife and mother is first supplanted by the radically opposite, instrumental (male) role of behavior in the public and work sphere, and then a mixed model of gender-role behavior is already being established (non-traditional in the social and work spheres and traditional in the family sphere and the sphere of love relationships).

Thus, the narrative analysis of the life path of the characters of the modern American women's novel ( social behavior and interaction) fits into the framework of the production, functioning and dynamics of social institutions (family) and allows you to determine how social change taking place in modern society (for example, feminist movements and theories) affect the structure of the social myth, actualizing certain aspects of it (non-traditional archetypal functions of heroines, reflecting non-traditional for the patriarchal Western culture the role of women in society). These changes are then fixed in mass culture as new cultural patterns and norms of behavior, influencing social structure generally.

So, we can conclude that the application of the method of narrative analysis to the study of works of mass literature in the framework of sociology is very promising, since it allows a qualitative (deep) study of the semantic structures of the narrative. On the other hand, within the framework of this methodology, the researcher must adhere to a strictly sociological vision, since there is a danger of replacing the sociological method of research with literary criticism. It must be borne in mind that it is not linguistic, but semantic, structural units that are analyzed, not themselves characters and plot conventions perse, but values, ideas, collective representations and attitudes rooted in the socio-cultural context of the narrative.

Literature

1. Gudkov L., Dubin B., Strada V. Literature and society: an introduction to the sociology of literature. - M.: RGGU, 1998.

2. Bart W. Introduction to structural analysis narrative text // Foreign aesthetics and theory of literature of the 19th-20th centuries: Treatises, articles, essays. - M.: MGU, 1987. S. 387-422.

3. Dyck T.A. van. Language. Cognition. Communication. - B.: BGK im. I. A. Baudouin de Courtenay, 2000.

4. Griffin L. Historical sociology, narrative and structural-event analysis. Fifteen years later // Sociological research. 2010. №2. pp. 131-140.

5. Literature news. Literary genres. [Electronic resource] / http://novostiliteratury.ru/2009/01/literaturnye-zhanry/ (accessed 23.06.2013).

6. Vasilkova V.V. Order and Chaos in Development social systems: (Synergetics and the theory of social self-organization). Series: "The World of Culture, History and Philosophy" - St. Petersburg: Lan Publishing House, 1999

7. Steel D. No Greater Love. Dell; First edition 1992

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Not what you think - Nature,
Not a cast, not a soulless face.
It has a soul, it has freedom,
It has a language that is obedient to us.
Tyutchev
Literature has always reacted sensitively to all the changes taking place in nature and the surrounding world. Poisoned air, rivers, earth - everything is crying for help, for protection. Our difficult and contradictory time has given rise to a huge number of problems: economic, moral and others, but, according to many, among them important place takes ecological problem. Our future and the future of our children depends on its decision. The catastrophe of the century is an ecological state environment. Many areas of our country have long become dysfunctional: the destroyed Aral, which they could not save, the Volga, poisoned by the effluents of industrial enterprises, Chernobyl contaminated with radiation, and many others. Who is guilty? A man who exterminated, destroyed his roots, a man who forgot where he came from, a man-predator who became scarier than the beast. A number of works are devoted to this problem, such as famous writers like Chingiz Aitmatov, Valentin Rasputin, Viktor Astafiev, Sergey Zalygin and others.
Chingiz Aitmatov's novel “The Block” cannot leave the reader indifferent. The author allowed himself to speak on the most painful, topical issues of our time. It is a scream novel, a novel written in blood, it is a desperate appeal addressed to everyone. In the center of the "Plakha" there is a conflict between a man and a pair of wolves who lost their cubs through the fault of a man. The novel begins with the theme of wolves, which develops into the theme of the death of the savannah. Through the fault of man, the natural is dying natural environment wolf habitat. Akbar's she-wolf after the death of her brood meets with a man one-on-one, she is strong, and the man is soulless, but the she-wolf does not consider it necessary to kill him, she only leaves him from new cubs. And in this we see the eternal law of nature: not to harm each other, to live in unity. But the second brood of wolf cubs also perishes during the development of the lake, and again we see the same baseness of the human soul. Nobody cares about the uniqueness of the lake and its inhabitants, because profit, profit is the most important thing for many. And again, the boundless grief of the wolf mother, she has nowhere to find shelter from the flame-spewing colossus. The last refuge of the wolves is the mountains, but even here they do not find peace. There comes a turning point in Akbara's mind - after all, evil must be punished. A sense of revenge settles in her sick, wounded soul, but Akbara is morally higher than a person. Rescuing a human child, a pure being, not yet touched by dirt surrounding reality, Akbara shows generosity, forgiving people the harm done to her. Wolves are not only opposed to man, they are humanized, endowed with nobility, that high moral strength that people are deprived of. Animals kinder than a person because they take from nature only what is necessary for their existence, and man is cruel not only to nature, but also to the animal world. Without any feeling of regret, meat procurers shoot defenseless saigas at close range, hundreds of animals die, and a crime against nature is committed. In the story "The Scaffold" a she-wolf and a child die together, and their blood mixes, proving the unity of all living things, despite all the existing disproportions.
A man armed with technology often does not think about what consequences his affairs will have for society and future generations. The destruction of nature is inevitably combined with the destruction of everything human in people.
Literature teaches that cruelty to animals and to nature turns into a serious danger for the person himself to his physical and moral health. Nikonov’s story “On the Wolves” is about this, she talks about a huntsman, a man who, by profession, is called upon to protect all living things, in reality, a moral deformity that causes irreparable harm to nature. Feeling burning pain for the perishing nature, modern literature acts as its defender. Vasiliev's story "Don't Shoot the White Swans" evoked a great public response. For the forester Egor Polushkin, the swans he settled on the Black Lake are a symbol of pure, lofty and beautiful.
In Rasputin's story "Farewell to Matera" the theme of the extinction of villages is raised. Grandma Daria, main character, hardest of all accepts the news that the village of Matera, where she was born, who has lived for three hundred years, is living out her last spring. A dam is being built on the Angara, and the village will be flooded. And here grandmother Daria, who had worked for half a century without fail, honestly and selflessly, receiving almost nothing for her work, suddenly resisted, defending her old hut, her Matera, where her great-grandfather and grandfather lived, where every log was not only her , but also her ancestors. Pity the village and this son Pavel, who says that it does not hurt to lose it only to those who "did not water every furrow afterwards." Pavel understands today's truth, he understands that a dam is needed, but grandmother Daria cannot come to terms with this truth, because the graves will be flooded, and this is a memory. She is sure that "the truth is in the memory, whoever has no memory has no life." Daria is grieving at the cemetery at the graves of her ancestors, asking their forgiveness. The farewell scene of Daria in the cemetery cannot but touch the reader. A new village is being built, but it does not have the core of that village life, that strength that a peasant gains from childhood, communicating with nature.
Against the barbaric destruction of forests, animals and nature in general, writers constantly hear from the pages of the press who seek to awaken in readers the responsibility for the future. The question of attitude to nature, to native places is also a question of attitude to the Motherland. There are four laws of ecology, which were formulated more than twenty years ago by the American scientist Barry Commoner: "Everything is interconnected, everything has to go somewhere, everything costs something, nature knows this better than we do." These rules fully reflect the essence of the economic approach to life, but, unfortunately, they are not taken into account. But it seems to me that if all the people of the earth thought about their future, they could change the environmentally dangerous situation that has developed in the world. All in our hands!

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7. The lyrics of N. A. Zabolotsky are philosophical in nature. His poems are imbued with thoughts about nature, about the place of man in it, about the struggle between the forces of chaos and the forces of reason, harmony. N. A. Zabolotsky’s understanding of nature goes back to the traditions of Russian classical literature, and above all Read More ......

Man and nature in modern literature (analysis of 2-3 works)

Yevgeny Yevtushenko (1932-2017) - poet, writer, screenwriter, publicist. "Prayer before the poem": "a poet in Russia is more than a poet", he must evaluate his time. And the lyrical hero turns to the poets of the past for help. From Pushkin, he asks for a light style, from Lermontov - causticity and hidden kindness, from Nekrasov - a feeling of pain for the fate of the people, from Blok - the ability to foresee and feel the mysterious, from Pasternak - a sense of the connection between man and nature, from Yesenin - tenderness for everything that exists , while Mayakovsky has decisiveness and the ability to cut through any resistance in order to have his say.

Yevgeny Yevtushenko (1932-2017) - poet, writer, screenwriter, publicist. "Prayer before the poem": "a poet in Russia is more than a poet", he must evaluate his time. And the lyrical hero turns to the poets of the past for help. From Pushkin he asks for a light style, from Lermontov - causticity and hidden kindness, from Nekrasov - a feeling of pain for the fate of the people, from

Joseph Brodsky (1940-1996) - outstanding poet, playwright, translator, essayist. "Don't leave the room": an ironic monologue of the lyrical hero calling not to leave the room, to give up the Sun in favor of Shipka cigarettes, not to ride a taxi and not to enter into relationships with girls. The wall and the chair of this room are equal to the most interesting things in the world. Outside the room - only suffering. The lyrical hero calls to be content with this domestic discomfort and not write anything else - why?

Joseph Brodsky (1940-1996) - an outstanding poet, playwright, translator, essayist. "Don't leave the room": an ironic monologue of the lyrical hero calling not to leave the room, to give up the Sun in favor of Shipka cigarettes, not to ride a taxi and not to enter into relationships with girls. The wall and chair of this room are equated with the most interesting things in the world. outside the room

Nikolai Mikhailovich Rubtsov (1936-1971) - poet. “Good Filya”: Filya, who lives in a simple hut “without gas and a bathroom”, is a nice hard-working person, almost a fairy-tale character due to his disinterestedness. The silent, inconspicuous hero of our time does not attract attention to himself ("What to talk about?").

Bulat Okudzhava (1924-1997) - poet, prose writer, singer-songwriter. "Midnight trolleybus": the night trolleybus becomes a magical assistant for the lyrical hero, a friend who helps out in difficult situation miraculous pain reliever. His silent kindness indicates that the world is basically good and all is not yet lost.

Vladimir Semyonovich Vysotsky (1938-1980) - poet, actor, singer-songwriter. "Ballad of the struggle": the poem speaks of the post-war generation, to which the author himself belongs. The cruelty of the war did not affect these children: the war was for them only a field for finding out their own strengths and capabilities. The boys fought and excitedly read books about the life that they saw as real. And suddenly everything changed. Adult life puts everything in its place: if, having “wound tears on your mustache”, you continue to fight, it means that you read in childhood necessary books. And if you look at everything from the outside, without taking part, - you have nothing to do with life.

Vladimir Semyonovich Vysotsky (1938-1980) - poet, actor, singer-songwriter. "Ballad of the struggle": the poem speaks of the post-war generation, to which the author himself belongs. The cruelty of the war did not affect these children: the war was for them only a field for finding out their own strengths and capabilities. The boys fought and excitedly read books about the life that they saw as real. And suddenly

Idea and plot: This ode reveals Lomonosov's rationalistic approach to understanding the world. He raises many questions that troubled the creative minds of his time. The text of the work: The day hides its face, The dark night covered the fields, The black shadow ascended the mountains, The rays leaned away from us, The abyss opened, the stars are full, There are no stars, the abyss is bottom. The lips of the wise say to us: There are many different lights, Innumerable suns burn there, The peoples there and the circle of centuries: For the common glory of the deity There, the power of nature is equal. What does the ray of clear night vibrate? That a smoky flame smashes into the firmament? Like lightning without menacing clouds Strives from the earth to the zenith? How can it be that frozen steam in the middle of winter gives rise to a fire? Your answer is full of doubts About what is around nearby places. Tell me, how vast is the light? And what about the smallest distant stars? The ignorant creatures are the end of you? Tell me, how great is the creator?

Idea and plot: This ode reveals Lomonosov's rationalistic approach to understanding the world. He raises many questions that troubled the creative minds of his time. The text of the work: The day hides its face, The dark night covered the fields, The black shadow ascended the mountains, The rays leaned away from us, The abyss opened, the stars are full, There are no stars, the abyss is bottom. The mouth of the wise

LOVE. Bunin's concept of love is tragic. Moments of love become the pinnacle of a person's life. Only by falling in love can a person truly feel another person, only feeling justifies high demands on oneself and on one's neighbor. Only a lover can overcome his egoism. One example of an unusual interpretation of love is the story "Chang's Dreams". The story is written in the form of memories of a dog, which, feeling the inner devastation of its owner, recalls the time when both of them were happy. Moments of happiness are highlighted. Chang carries the idea of ​​loyalty and gratitude. In them, according to the writer, there is the meaning of life that a person is looking for. DEATH. IN lyrical hero Bunin, the fear of death is strong, but in the face of death, many feel inner spiritual enlightenment, reconcile with the end, do not want to disturb their loved ones with their death (“Cricket”, “Thin Grass”). NATURE. Bunin is characterized special way images of phenomena, the world and spiritual experiences of a person by contrasting them with each other. So, in the story Antonov apples» Admiration for the generosity and perfection of nature coexists with sadness over the dying of noble estates.

LOVE. Bunin's concept of love is tragic. Moments of love become the pinnacle of a person's life. Only by falling in love can a person truly feel another person, only feeling justifies high demands on oneself and on one's neighbor. Only a lover can overcome his egoism. One example of an unusual interpretation of love is the story "Chang's Dreams". The story is written in the form of the memories of a dog who, feeling

“He (the author) presents you with a living image and vouches only for its resemblance to reality; and there it is up to you to determine the degree of dignity of the objects depicted: he is completely indifferent to this. “In the first part, Oblomov lies on the couch; in the second, he goes to the Ilyinskys and falls in love with Olga, and she with him; in the third, she sees that she made a mistake in Oblomov, and they disperse; in the fourth, she marries his friend Stolz, and he marries the mistress of the house where he rents an apartment ... But Goncharov wanted to ensure that the random image that flashed before them, raise it to a type, give it a generic and constant value. Therefore, in everything that concerned Oblomov, there were no empty and insignificant things for him. “The story of how the good-natured sloth Oblomov lies and sleeps, and no matter how friendship or love can awaken and raise him, is not God knows what an important story. But Russian life is reflected in it, it presents us with a living, modern Russian type, minted with merciless rigor and correctness, it reflects the new word of our community development, pronounced clearly and firmly, without despair and without childish hopes, but with a full consciousness of the truth. This word is Oblomovism; it serves as a key to unraveling many phenomena of Russian life... In the type of Oblomov and in all this Oblomovism we see something more than just the successful creation of a strong talent; we find in it a product of Russian life, a sign of the times ... We find the generic features of the Oblomov type back in Onegin and then we meet their repetition several times in our best literary works. The fact is that this is our indigenous, folk type, from which none of our serious artists could get rid of. But over time, as society consciously developed, this type changed its forms, took on a different relationship to life, acquired a new meaning ... What are the main features of Oblomov's character? In the perfect inertia that occurs

“He (the author) presents you with a living image and vouches only for its resemblance to reality; and there it is up to you to determine the degree of dignity of the objects depicted: he is completely indifferent to this. “In the first part, Oblomov lies on the couch; in the second, he goes to the Ilyinskys and falls in love with Olga, and she with him; in the third she sees that she made a mistake

From the article and A. Goncharova "a million torments" The article was written in 1871. About the comedy “Some people appreciate in comedy a picture of Moscow customs famous era, the creation of living types and their skillful grouping ... Others ... cherish the more epigrammatic salt of the language, lively satire - morality, which the play still, like an inexhaustible well, supplies to everyone for every everyday step of life. “The comedy Woe from Wit is both a picture of morals, and a gallery of living types, and an eternally sharp, burning satire, and at the same time a comedy, and let's say for ourselves - most of all a comedy - which is hardly found in other literature, if accept the totality of all other conditions expressed. As a painting, it is without a doubt huge. Her canvas captures a long period of Russian life - from Catherine to Emperor Nicholas. In a group of twenty faces reflected, like a ray of light in a drop of water, all the former Moscow, its drawing, its then spirit, historic moment and mores. And this with such artistic, objective completeness and certainty, which was given to us only by Pushkin and Gogol. In the picture, where there is not a single pale spot, not a single extraneous, superfluous stroke and sound, the viewer and reader feel themselves even now, in our era, among living people. Both the general and the details, all this is not composed, but is completely taken from Moscow living rooms and transferred to the book and to the stage, with all the warmth and with all the “special imprint” of Moscow, from Famusov to small strokes, to Prince Tugoukhovsky and to lackey Petrushka, without whom the picture would not be complete. ABOUT Famus society“This husband (Gorich), recently still a vigorous and lively person, now descended, clothed, like in a dressing gown, in Moscow life, a gentleman, “husband-boy, husband-servant”, the ideal of Moscow husbands ... This Khlestova, the remnant of the Catherine’s century , with a pug, with a black-haired girl - this princess and Prince Pyotr Ilyich - without a word, but such a talking ruin of the past - Zagoretsky, an obvious swindler, escaping from prison in the best

From the article and A. Goncharova "a million torments" The article was written in 1871. About comedy “Some people appreciate in comedy the picture of Moscow customs of a certain era, the creation of living types and their skillful grouping ... Others ... value the more epigrammatic salt of the language, lively satire - morality, which the play still, like an inexhaustible storehouse, supplies everyone with at every everyday step life."

About the composition "Gradual penetration into inner world hero... In all stories there is one thought, and this thought is expressed in one person, which is the hero of all stories. In "Bel" he is some kind of mysterious person, as if shown under an assumed name so that he would not be recognized. And now the author immediately shows it to you when meeting with Maxim Maksimych, who told him the story about Bel ... Finally, in the hands of the author, Pechorin's journal. IN the highest degree In the poetic story "Taman" the hero of the novel is an autobiographer, but the riddle from this only becomes more tempting, and the answer is not yet there. Finally you move on to "Princess Mary" and the fog clears... the basic idea of ​​the novel, like a bitter feeling, sticks to you and haunts you. You are finally reading The Fatalist, and although in this story Pechorin is not a hero, but only the narrator of the incident ... a strange thing! You understand him even more, think about him more, and your feeling is even sadder and more sorrowful. Remarks on the system of images Maksim Maksimych. “The type of an old Caucasian campaigner ... The mental outlook is very limited ... What a warm, noble, even tender heart beats in an iron chest!” Azamat. "A savage, a robber by birth, for whom there is nothing in the world more precious than weapons and horses, and for whom desire is a slow torture on a small fire." Bela. “One of those deep female natures who fall in love with a man as soon as they see him, but confess their love to him not immediately, will not surrender soon, but having surrendered, they can no longer belong either to another or to themselves.” Grushnitsky. "The ideal young man ... to produce an effect is his passion ... In their souls there are often many good qualities, but not a penny of poetry." Mary. “This girl is not stupid ... it’s not enough for her to love a person to whom her feelings would attract, it is imperative that he be unhappy and walk in a thick gray soldier’s overcoat.” Faith. "It's more of a satire of a woman than a woman." Pechorin. “His passions are stormy, purifying the sphere of the spirit, his delusions are acute illnesses in

About the composition “Gradual penetration into the inner world of the hero… In all stories there is one thought, and this thought is expressed in one person, which is the hero of all stories. In "Bel" he is some kind of mysterious person, as if shown under an assumed name so that he would not be recognized. And now the author immediately shows it to you when meeting with Maxim Maksimych,