Analysis of the work "The Dawns Here Are Quiet..."

war poem character story

I recently read Boris Vasiliev's story "The Dawns Here Are Quiet...". Unusual theme. Unusual, because so much has been written about the war that one book is not enough, if you remember only the titles of books about the war. Unusual, because it never ceases to excite people, reopening old wounds and souls. Unusual, because memory and history merged together in it.

I, like all my peers, do not know war. I do not know and do not want war. But after all, those who died did not want it, not thinking about death, that they would no longer see the sun, or grass, or leaves, or children. Those five girls didn't want war either!

The story of Boris Vasiliev shook me to the core. Rita Osyanina, Zhenya Komelkova, Lisa Brichkina, Galya Chetvertak. In each of them I find a little of myself, they are close to me. Each of them could be my mother, could tell me about the beautiful, teach me how to live. And I could be in the place of any of them, because I also like to listen to the silence and meet such “quiet, quiet dawns”.

I don't even know which one is closer to me. They are all so different, yet so similar. Rita Osyanina, strong-willed and gentle, rich in spiritual beauty. She is the center of their courage, she is the cement of achievement, she is the Mother! Zhenya... Zhenya, Zhenya, cheerful, funny, beautiful, mischievous to adventures, desperate and tired of war, of pain, of love, long and painful, for a distant and married man. Sonya Gurvich is the embodiment of an excellent student and a poetic nature - a “beautiful stranger”, who came out of a volume of poetry by Alexander Blok. Lisa Brichkina... “Oh, Liza-Lizaveta, you should study!” Learn to see Big city with its theaters and concert halls, its libraries and art galleries. And you, Liza... The war got in the way! Do not find your happiness, do not write lectures to you: I did not have time to see everything that I dreamed about! Galya Chetvertak, never matured, funny and awkwardly childish girl. Notes, an escape from the orphanage and also dreams... to become new love Orlova.

None of them had time to fulfill their dreams, they just did not have time to live their own lives. Death was different for everyone, just as their fates were different: Rita had an effort of will and a shot in the temple; Zhenya's is desperate and a little reckless, she could hide and stay alive, but she did not hide; at Sonya - a dagger stab at poetry; Gali's is as painful and merciless as she herself; from Liza - “Ah, Liza-Lizaveta, she didn’t have time, she couldn’t overcome the quagmire of war ...”.

And there remains the foreman of the Basques, whom I have not mentioned yet, alone. Alone in the midst of pain, flour; one with death, one with three prisoners. Is it one? He has five times more strength now. And what was best in him, human, but hidden in his soul, everything was suddenly revealed, and what he experienced, he felt for himself and for them, for his girls, his “sisters”.

How the foreman laments: “How can we live now? Why is it so? After all, they don’t need to die, but give birth to children, because they are mothers!” Tears well up as you read these lines.

But one must not only cry, one must also remember, because the dead do not leave the lives of those who loved them. They just do not age, remaining forever young in the hearts of people.

Why, then, is this particular work memorable to me? Probably because this writer is one of the best writers of our time. Probably because Boris Vasiliev managed to turn the theme of the war to that unusual facet, which is perceived especially painfully. After all, we, including myself, are used to combining the words “war” and “men”, but here women, girls and war. Vasiliev managed to build the plot in such a way, to tie everything together in such a way that it is difficult to single out individual episodes, this story is a single whole, merged. A beautiful and inseparable monument: five girls and a foreman, who stood in the middle of the Russian land: forests, swamps, lakes - against an enemy, strong, hardy, mechanically killing, who significantly exceeds them in number. But they did not let anyone through, they stood and stand, poured out of hundreds and thousands similar fates, deeds, from all the pain and strength of the Russian people.

Women, Russian women who won the war and death! And each of them lives in me and other girls, we just don't notice it. We walk the streets, we talk, we think, we dream like them, but there comes a moment, and we feel confidence, their confidence: “There is no death! There is life and struggle for Happiness and for Love!”

Library
materials

Content.

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

ChapterI. The problem of studying the story of B. Vasiliev "The dawns here are quiet ..." in scientific and school literary criticism.

1. Biography of B.L.Vasiliev…………………………………………………………..……….5

   Holistic Analysis B. Vasiliev's story "The Dawns Here Are Quiet..." in the unity of content and form. The system of images………………………………………..............6

   A film by S. Rostotsky based on the story by B. Vasiliev “The Dawns Here Are Quiet…”………….…..11

   The serial film “The Dawns Here Are Quiet…” by Chinese director Mao Weining……………………………………………………………………………………..13

   Audiobook by B. Vasiliev “The Dawns Here Are Quiet…”…………………………………….…15

   Narrative organization…………………………………………………….….16

   The story of B. Vasiliev "The dawns here are quiet ..." in school study

Programs…………………………..……………………………………….…..…17

Textbooks……………………………………………………………………..............21

22

ChapterII. Lesson extracurricular reading in Russian literature in the 11th grade on the topic: “B. Vasiliev“ And the dawns here are quiet ... ”……………………………………………...………….…..24

Conclusion…………………………………………………………………………..……....28

Bibliography…………..…………………………………………………………...……..…30

Bibliography.

Andreev A. Love is proved by deeds: to the 85th anniversary of B.L. Vasilyeva [Electronic resource] / A. Andreev // Our power. Cases and faces: . - 2009. - No. 5 (97). - URL: http://nashavlast.ru/article_description/104/955.html (14.02.2010).

Balagurova M.I. Integrated lessons as a way to form a holistic perception of the world. "Open Lesson", 2003-2004 academic year.

Bartkovskaya A. The moral force of goodness: [on the work of B. Vasiliev] / A. Bartkovskaya. - Literature at school. - 1974. - No. 1. - S. 11-18

Bogdanova O.Yu. Methods of teaching literature: A textbook for university students studying in ped. specialties. M., 2003.

Vasilyev B. Boris Vasilyev: where are we all from ...: [conversation with the writer] / B. Vasilyev; recorded by T. Arkhangelskaya // Literary newspaper. - 1982. - 17 Feb. - S. 6.

Vasiliev B.L. Tomorrow was the war; And the dawns here are quiet…: stories / B.L. Vasiliev; [artist: V. F. Reznikov]. - M.: Politizdat, 1991. - 349 p.

Kulnevich S.V., Lakotsenina T.P. Modern lesson. Publishing house "Teacher", 2006.

Polotovskaya I.L. The lists included: Vasiliev B.L.: [biography, creativity, bibliography, scenography] / I.L. Polotovskaya // Bibliography. - 2005. - No. 2. - S. 75-88.

Rogover E.S. Russian Literature of the 20th Century: To Help School Graduates and Applicants. St. Petersburg, Parity, 1999.

Russian literature of the twentieth century. Grade 11: Lesson development. Guidelines for the teacher / V.V. Agenosov, E.L. Beznosov, N.S. Vygon and others; Ed. V.V. Agenosov. M.: Bustard, 2000.

Russian literature of the twentieth century. Grade 11: Textbook for general educational institutions. At 2 h. Part 2. / Ed. V.V. Agenosov. M.: Bustard, 1999.

Russian literature of the twentieth century. Grade 11. Textbook for educational institutions. At 2 h. Part 2. / Ed. V.P. Zhuravlev. M.: Education, 1999.

Russian literature of the twentieth century. Grade 11: Textbook for general education. institutions / Ed. Yu.I. Lyssogo. Moscow: Mnemosyne, 2003.

Russian literature of the twentieth century. Second half. Grade 11. Issue 1. / Ed. L.G. Maksidonova. M., 2002.

Tesemnitsina M.S. The story of B. Vasiliev “The Dawns Here Are Quiet ...” at the lessons of extracurricular reading / M.S. Tesemnitsina // Literature at school. - 1974. - No. 1. - S. 50-61.

Audiobook by B. Vasiliev “The Dawns Here Are Quiet…”(Abstract author: Igor Yakushko, read by: Alexei Rossoshansky, duration: 4 hours 49 minutes recording format: mp3, quality: 64 kbps, volume: 130 Mb, number of files: 24 mp3 files in 6 archive files).

Literature program (V-XI grades)./ Edited by V. Ya. Korovina.// Enlightenment.- 2006.- P.127.

Literature program (V-XI grades)./ Edited by A.G. Kutuzov.// Education.- 2007.- P.84.

Literature program (V-XI grades) for schools and classes with in-depth study literature, gymnasiums and lyceums for the humanities. Edited by M.B. Ladygin.

Literature: Literature program for educational institutions. 5-11 grade / T.F. Kurdyumova, N.A. Demidova, E.N. Kolokoltsev and others; ed. T.F.Kurdyumova. M., 2005.

Asmus V.F. Questions of the theory and history of aesthetics. M., 1969.

Bozhovich L.I. Personality and its formation in childhood. M., 1968.

Introduction.

The changes taking place in our society require a shift in the emphasis of school education from the acquisition of knowledge to the development of key competencies, that is, the ability to solve complex life-oriented problems.

The integration of subjects at school is one of the areas of active search for new pedagogical solutions that contribute to the transition to a competency-based model of education, and will update its structure and content.

Integration involves eliminating the contradictions between the rapidly growing amount of knowledge and the possibility of their assimilation. It contributes to overcoming the fragmentation and mosaicity of students' knowledge, ensures their mastery of complex knowledge, a system of universal human values, and serves to form a system-holistic view of the world.

In conditions of rapid growth in the volume of information, the possibility of its perception and comprehension sharply decreases. The way out is seen in the assimilation of structured knowledge, which is a certain complex, system. The future of the school is connected with the synthesis of various subjects, and above all subjects of the humanities cycle, the development of integrated courses, the interconnection and interpenetration of all school disciplines. Ideas of integration are increasingly penetrating into school practice. Now it is no longer a surprise to see lessons in which different subjects are combined.

In accordance with the modern tasks of reforming secondary education, one of the priority goals of the educational process is the formation of a person who is able to perceive cultural phenomena not as an object, but from the standpoint of a subject, that is, to actualize the accumulated cultural potential in their own communicative practice.

Main value personality is the ability to develop, the presence of cognitive potential. The need to know is the main component of human spirituality, along with the need to do good and compassion. “A reasonable person - and only he is able to optimally determine the future of mankind, and not predetermine his death by his activity” (V. Vernadsky). The process of cognition is endless, and the "modern achievements" of science are only the achievements of a specific period of time, which will be continued in the future.

Integration problem educational information in teaching in this paper is considered on the example of B. Vasiliev's story "The dawns here are quiet ..." (as a review topic in grade 11).

The urgency of the problem lies in the fact that modern schools very often they use integrative lessons (this is a special type of lesson that combines learning simultaneously in several disciplines while studying one concept, topic or phenomenon).

Analyzing the literature on this issue, we can formulate the following definition of integration: integration is a natural interconnection of sciences, academic disciplines, sections and topics of academic subjects based on the leading idea and leading provisions with a deep, consistent, multifaceted disclosure of the processes and phenomena being studied. Therefore, it is necessary not to combine different lessons, but to supplement the material of one subject with the material of another, combining selected parts into a single whole. Moreover, with any combination of material, the idea of ​​the subject to which the lesson is devoted should remain the leading, main one.

object scientific study is the problem of integration of educational information. To do this, I reviewed the story of B. Vasilyev “The Dawns Here Are Quiet…” interpreted by S. Rostotsky (in the two-part film of the same name), Mao Veinin (in the 20-episode series of the same name), Alexei Rossoshansky (in the audio book) and a school textbook for grade 11 .

Subject The present study is B. Vasiliev's story "The Dawns Here Are Quiet...". The choice of this work is due to many reasons. Firstly, this is a work of a great artist who is known and appreciated all over the world. The story is a "clump" of ideas that are personally significant for the writer. Secondly, “The Dawns Here Are Quiet…” accumulated eternal, socially significant questions about the history of the war, about the meaning of life, about the responsibility of a person for society, the problem of Russian national character in the tragic context of the era of the Great Patriotic War.

The topic of this work puts before the researcher the following target: to formulate in students the skills of a comprehensive analysis of a literary text in the unity of content and form using various integrated means - audio, video recordings and the text of fiction.

To achieve the goal, the following tasks.

Analyze the story in the unity of content and form;

To trace the relationship of the story with other types of art (cinema, audio recording);

To characterize the age-related features of the perception of fiction by high school students;

To develop a system of lessons for studying the story of B. Vasiliev "The dawns here are quiet ...".

In accordance with the object of study, the following tasks were used to solve the tasks: methods:

systematic analysis of scientific literature at the interdisciplinary level;

design and modeling of the pedagogical process.

Practical significance work lies in the fact that the use of this thematic planning for the study of B. Vasiliev's story "The dawns here are quiet ..." will allow:

to increase the level of students' knowledge on the work of B. Vasiliev and, in particular, on the story “The Dawns Here Are Quiet…”;

to form the skills of a holistic analysis of the features of the writer’s artistic method on the example of the work “The Dawns Here Are Quiet…”;

to develop the creative potential of the student's personality through the use of active teaching methods.

Conclusion

The introduction of multi-level integration into pedagogical practice convinces us that the very ideas of integration in improving the educational function are very fruitful.

Firstly, the knowledge gained in integrative lessons acquires a systematic character, becomes generalized, complex.

Secondly, the ideological orientation of the cognitive interests of students is enhanced, their conviction is more effectively formed and the comprehensive development of the personality is achieved.

Thirdly, an integrative lesson creates an atmosphere of cooperation and search, encourages dialogue, and contributes to the formation of imaginative thinking in students.

Fourthly, integrative lessons demonstrate to students the unity of the processes taking place in the world around us, allow them to see the interdependence of various sciences.

In this work, a pedagogical model was created for the review topic “Integrative lesson of literature and cinematography in grade 11. The image of the feat of a woman in the war in the story of B.L. Vasiliev “The Dawns Here Are Quiet…”, which implements a cultural approach to a literary work and is aimed at developing the skills of a holistic analysis of a literary text. The philological and methodological model is universal, that is, it can be applied to the design of a system of lessons for any other epic work of the 11th–20th centuries. Its introduction into the educational process will improve the quality of students' oral answers, help students better understand the material, activate thinking, increase motivation to complete creative assignments, make it easier to assimilate and memorize theoretical and literary concepts, realize the logical and conceptual relationships between them, improve classification skills and systematization of information, development associative thinking, creative skills.

Philological and pedagogical tasks for the formation of practical skills in working with a literary text are solved based on the latest achievements of literary and methodological science and seem to be modern, relevant, and promising.

Chapter I. The problem of studying the story of B. Vasiliev"The Dawns Here Are Quiet..." in Scientific and School Literary Criticism.

1. Biography of Vasiliev Boris Lvovich.

VASILIEV BORIS LVOVYCH

(b. 1924)

Vasiliev Boris Lvovich - prose writer, screenwriter, playwright. He studied at the city school, without much success. In the summer of 1941, two weeks after the start of the war, he went to the front straight from school. At the front, he was seriously wounded, but by 1943 Boris Vasiliev's condition had improved, he was recovering. After the end of the war, he decided to follow in his father's footsteps and entered the Academy armored forces, but the craving for creativity took over. Member of the Great Patriotic War. By profession - a military test engineer. Until demobilization (1954) he remained a regular military man. The experience of the war formed the basis of almost all of his works, starting with the play "Officer" (1955), staged at the Central Academic Theater of the Soviet Army and the story "The Dawns Here Are Quiet ..." (1969), which brought him wide fame and became a kind of "classic" work in prose about the Great Patriotic War (awarded with the State Prize, filmed in 1972; director - S. Rostotsky). Before this story (and after it), Vasiliev worked a lot in the cinema, creating several screenplays, including those based on own works. Since 1960 he has been a member of the Union of Cinematographers of the USSR.

B. Vasiliev's talent is most clearly revealed in the theme of the Great Patriotic War. The novel "Not on the Lists" (1974) - about the last, remaining unknown defender Brest Fortress; lyrical-dramatic narrative "Tomorrow there was a war" (1984) - about the young generation plunged into the abyss of suffering.

Tragedy is also characteristic of works devoted to peacetime - the novel "Don't Shoot White Swans" (1975) and the autobiographical story "My Horses Are Flying..." (1984), the story "Once Upon a Time Klavochka" (1986) and others.

Peru Boris Vasiliev owns works not only about the past war, but also about the distant past. Quests and paths of the Russian intelligentsia in the context of national history of the 19th-20th centuries. - the main content of the novels "There were and weren't" (1977-1980), "And there was an evening and there was a morning" (1987), "Greetings to you from Baba Lera ..." (1988; another name is "The same age as the century"), Satisfy My Sorrows (1997), Gambler and Breter, Gambler and Duellist: Notes of a Great-Great-Grandfather (1998), The House that Grandfather Built (1991), largely built on the facts of the collective biography of Vasiliev's family.

The problems of the "Time of Troubles" (the historical "dead end" and the search for a way out of it) are central in Vasiliev's historical novels " Prophetic Oleg"(1996) and "Prince Yaroslav and his sons" (1997), "Olga, Queen of the Rus" (2002), "Prince Svyatoslav", "Alexander Nevsky". Similar questions are raised by the writer in his numerous journalistic articles of the 1980-1990s, calling for the establishment of the priority of national culture over politics.

In 1997, the writer was awarded the Prize. HELL. Sakharov "For Civil Courage", Prize of the President of the Russian Federation (1999), "Nika" in the nomination "For Honor and Dignity" (2003), Special Prize "For Honor and Dignity" of the literary award "Big Book" (2009).

Boris Vasiliev - honorary citizen of Smolensk (1994); awarded the Order of Merit for the Fatherland, II degree (July 14, 2004) - for outstanding services in the development of national literature and many years of creative activity; Order "For Merit to the Fatherland" III degree (May 21, 1999) - for outstanding contribution to the development of Russian literature.

In response to criticism of the story “The Dawns Here Are Quiet,” B. Vasiliev writes: “I am not Vaskov, although I look like him to many.” Undoubtedly, the writer reflected his feelings in the dialogue:

While the war is understandable. And then when will there be peace? Will it be clear why you had to die? Why didn’t I let these Fritz go further, why did I make such a decision? What to answer when they ask: what is it you, men, couldn’t protect our mothers from bullets? ...

No need, - she said quietly, - the motherland does not begin with canals. Not from there at all. And we protected her. First her, and then the channel.

1.2. A holistic analysis of B. Vasiliev's story "The Dawns Here Are Quiet..." in the unity of content and form. Character system.

The uncompressed rye sways,

Soldiers are walking along it.

We are walking, girls,

Similar to guys.

No, it's not the huts that are burning -

That my youth is on fire ...

Girls go to war

Similar to guys.

Y. Drunina "Oh, roads"

Woman and war - are these concepts compatible? A feat, its facets, its humanistic essence is the goal of my research.

“Our cause is right. The enemy will be defeated. Victory will be ours!" With this faith, the Soviet people went through the most terrible war that humanity has ever experienced. For what is right, for Soviet people was free and happy, millions gave their lives Soviet people. They all wanted to live, but they died so that people could say: “The dawns here are quiet…” Quiet dawns cannot be in tune with war, with death. They died, but they won, they did not let a single fascist through. They won because they loved their Motherland selflessly.

The role of women in war is great. Women - doctors and nurses under shelling and shots carried the wounded from the battlefield, provided first aid, sometimes at the cost of own life rescued the wounded. Separate women's battalions. The girls-fighters of a harsh time are the subject of my work.

It is no coincidence that Boris Vasilyev made the girls the heroes of his story to show how cruel the war is. After all, women are the beginning of all life. Killing women is more than a crime.

B. Vasiliev's story "The Dawns Here Are Quiet..." about the war and ruthless battles in which the bodies of thousands of soldiers fell on the damp earth, singing "a farewell ode to memory with a divine voice."

On the horizon of quiet dawns militantly waiting for the enemy: Rita Osyanina, Zhenya Komelkova, Galya Chetvertak, Liza Brichkina, Sonya Gurvich and their courageous foreman Vaskov. Enjoying the coolness of a calm evening, the heroes do not suspect that they will be the last in their lives. And these historical sunsets will form bright lines in their biography, because they showed ingenuity when they played the role of lumberjacks and ordinary villagers ... Who would have known that these masterful roles would be the first jerks of victory ...

Each of the heroes had their own life path, fate, unfulfilled dreams, aspirations, but they were merged together by the terrible force of war.

In this story, the author highlights the most heart-wrenching issue - the problem of war. But is it only her? No! First, we often say: “War! how terrible and cruel it is,” and at the same time we walk on a humble earth, not remembering our defenders and defenders. Secondly, what was going on in their wounded souls, what emotions were burning at that exciting moment of the battles? The author proposes to our consideration the problem psychological state heroes during the war. Let's go back to the pages of the past for a moment: the girls said goodbye to life one after another, as if everything was decided in one moment ... When Sonya died, a terrifying picture stood before the eyes of Galya Chetvertak: “Sonia's gray, pointed face, her half-closed, dead eyes and hardened with blood tunic. And ... two holes on the chest. Narrow as a blade." A fiery battle broke out in Gali's thoughts: a struggle of revenge and grief for the already close and dear girls. Her heart was beating with incredible speed, creating a melody of fearlessness and combat readiness. Here on the battlefield there was no place for tears, because from now on, these five fragile girls are fighters and protectors.

The story takes place in May 1942. The place is the unknown 171st junction. Soldiers of the anti-aircraft machine-gun battalion are serving in a quiet junction. These are female fighters. “And the dawns here are quiet...” And in this quiet, beautiful place, where it would seem that there is no war, five anti-aircraft gunner girls die, defending their homeland.

What is the originality of the character of each of the five girls, what makes each unique?

Liza Brichkina grew up in the forest, she understands nature, she is a sincere girl.

Galya Chetvertak - a subtle, romantic nature; I always thought that in the war, people accomplish feats. A big dreamer, able to transform reality.

Sonya Gurvich is fragile, unprotected, smart and talented, reciting Blok's poems "in a chant, like a prayer."

Zhenya Komelkova is desperate, brightly beautiful, her beauty was admired by men, women, friends and even enemies.

Rita Osyanina is the only girl who has known the happiness of a married woman and mother. It has a strong sense of duty.

The girls are different, but they are united by one thing - the defense of the Motherland. They are not made for war, but forced to shoot.

Each of the girls has her own account with the Nazis: on the second day of the war, Rita Osyanina's husband dies in a morning counterattack. At Zhenya's - "mother, sister, brother - they all laid down with a machine gun. The families of the command staff were captured - and under the machine gun. Sonya's family ended up in occupied Minsk. Lisa Brichkina lived in anticipation of happiness, and now, it seemed, it had found her - Lisa feels it. But everything was destroyed by the outbreak of war. Jackdaw Chetvertak believed in her fantasies, and perhaps they would become a reality, but this was prevented by the war.

It is important to see in general what is still contained in all anti-aircraft gunners. What is this? It is necessary to consider the scene of arrival at the siding and arrangement: (“And I was dumbfounded ... over the last month.”, “And the anti-aircraft gunners began to recklessly beat ... they will giggle until the fall.”).

Femininity. Kindness, love of life, charm, tenderness are common features that are characteristic of girls.

There are many examples where the above qualities are given:

Rita Osyanina shot down a German plane and shot the paratroopers. “The girls, screaming with delight, kissed Rita, she smiled with a pasted smile. She was shaking at night."

Zhenya Komelkova, pursuing saboteurs together with Vaskov, saves him, killing the fascist with a rifle butt. Zhenya suddenly dropped her rifle and, shuddering, went behind the bushes, staggering like a drunk. She fell on her knees there: she was sick, throwing up, and she, sobbing, kept calling someone - her mother or something ... "

These episodes show that the girls are having a hard time with the death of their enemies. The enemy for them is first of all a person. They are forced to kill - there is a war. They have no doubts whether they are doing the right thing when they express their readiness to go into battle on a territory where there are no front-line operations. After all, this is what they have in common.

The feat is performed not only by girls, but also by the foreman Vaskov. The concept of "evolution" applies to this hero.

Introducing the reader to Vaskov, B. Vasiliev resorts to the direct author's characteristic(“For a long time Vaskov felt older ... in his attitude”), and to improperly direct speech (“Still, it’s a big hindrance that ... Unless an impolite bear”), and to excursions into the hero’s past (“Shortly before the Finnish ... for ingenuity "). The foreman's past explains a lot in him, in today's. First of all, he considered it “a big hindrance that he is a person with almost no education”, although it’s not his fault: “at the end of ... the fourth (grade) his father’s bear broke him and from the age of 14 he became“ both a breadwinner and drinker and earner "in the family." Vaskov felt older than he was. And this explains in turn. Why was he a foreman in the army not only by rank, but also by his "senior essence", which became a peculiar feature of his attitude. In the seniority of Vaskov, the author sees a kind of symbol. A symbol of the supporting role of people like Vaskov, conscientious workers, hard workers in military life and in peace. The author writes: "... in the punctual execution of someone else's will, he saw the whole meaning of his existence." He meticulously follows the charter - this betrays the limited horizons of the foreman, and often puts him in a ridiculous position. At first, the relationship between the foreman and the anti-aircraft gunners is difficult precisely because, from the point of view of Vaskov, the girls constantly violate the charter, and, from the point of view of the girls, that Vaskov blindly follows the Charter, not taking into account life. For them, he is "a mossy stump: there are twenty words in reserve, and even those from the charters." The word Charter and other military terms do not descend from Vaskov's language. Even expressing his impression of the piercing beauty of Zhenya Komelkova, he says: "The incredible power of the eyes, like a hundred and fifty-millimeter howitzer cannon." The mortal battle with the saboteurs became the test in which the character of Vaskov is revealed more deeply. To keep the spirits of the girls up, he must "adjust a smile with all his might to his lips." He penetrates with sympathy and warmth to the grief of each, knowing them closer. Comparing them with misfortune, the desire to win, Vaskov says: “What kind of foreman am I to you, sisters? I'm kind of like a brother now." This is how the soul of the stern Vaskov straightens out in battle, and the girls are imbued with respect for him.

But even more significant is another change in character. We see that Vaskov, by his habits, by his way of thinking, is a conscientious performer. Sometimes funny in his pedantry. And the situation in which he found himself demanded from him the ability to independently make decisions, guess about the plans of the enemy, and warn them. And overcoming the initial confusion, apprehension, Vaskov acquires determination, initiative. And he does what in his position could be the only right and possible. He argues: “War is not just about who shoots whom. War is about who changes their minds. The charter was created for this, in order to free your head, so that you could think in the distance, on the other side, for the enemy.

Boris Vasiliev sees the basis of the spiritual transformation of the foreman in his primordial moral qualities, primarily in the ineradicable sense of responsibility for everything in the world: for order at the junction and for the safety of state property, for the mood of his subordinates and for their compliance with statutory requirements. So in the story "The Dawns Here Are Quiet" the connection between conscientiousness, diligence of a working person and his ability for high civic activity is revealed.

…

The narration is conducted on behalf of the commandant of the junction Vaskov. The whole story is based on his memoirs. Within the framework of the post-war period, there is a story about the past horrors of an inhuman war. And this plays an important role in the ideological and artistic perception of the story. This story is written by a man who has been and gone through the entire war, so the whole of it is written believably and excitingly, with a vivid highlighting of all the horrors of the war. The author devotes his story to the moral problem of the formation and transformation of the character and psyche of the individual in war conditions. The painful theme of war, unfair and cruel, the behavior of different people in its conditions is shown on the example of the heroes of the story. Each of them has his own attitude to the war, his own motives for fighting the Nazis, except for the main ones, and they are all different people. It is these soldiers, young girls, who will have to prove themselves in the conditions of war; some for the first time and some not. Not all girls show heroism and courage, not all remain firm and steadfast after the first battle, but all the girls die. Only the foreman of the Basques remains alive and brings the order to the end.

The theme of war is relevant at any time, because people die there. And the author, with the help of his talent and skill, was able to prove once again its relevance. The author describes all the hardships, injustices and cruelties with inimitable simplicity and brevity. But this does not harm the perception of the story. Scenes from the life of girls are capacious and brief, but give a complete picture of each heroine. In his characters, the author shows different types of people, their behavior, and Vasilyev, in my opinion, does this especially well. Vasiliev is not just a writer, but a writer-psychologist. And he learned this not from books, but life itself, or rather, the war taught and helped to understand the psychology of people.

In my opinion, the work is written interestingly and convincingly, everything is truthful and natural. Every detail, from the description of the crossing, the forest, the roads, to the characters and the scenes of their death, is important for a single, whole perception of the story. And Boris Vasiliev, it seems to me, did not exaggerate anywhere.

The whole story is written in easy, colloquial language. Thanks to this, it is easy to understand the thoughts of the characters and what they are doing. Against the backdrop of the terrible events of May 1942, this junction looks like a resort. At first it really was like this: the girls sunbathed, arranged dances, and at night they “recklessly thrashed from all eight trunks on flying German planes.”

Very interesting picture of nature. Beautiful views. Drawn by the author. Shades everything that happens. Nature, as it were, looks at people with regret, participation, as if saying: "Stupid children, stop."

“And the dawns here are quiet…” Everything will pass, but the place will remain the same. Quiet, silent, beautiful, and only marble tombstones will turn white, reminding of what has already passed. This work serves as a magnificent illustration of the events of the Great Patriotic War.

The main idea of ​​Vasiliev's story is the invincibility of people fighting for the freedom of the Motherland, for a just cause.

1. A film by Stanislav Rostotsky based on the story by B. Vasiliev “The Dawns Here Are Quiet…”

Continuing from one time to another, passing from epic to lyrical genres, from the pages of prose to the screen and the stage - this theme resulted in a short story by Boris Vasiliev. It aroused great reader and artistic interest. Yuri Lyubimov's play at the Taganka Theatre, Stanislav Rostotsky's film, their primary source - the story itself - formed a union of different arts, concluded on the frontline plot, on plot material from the "second echelon". Obviously, there was something in him that justified this interest and the effort expended.

The conflict of films about the war is not limited to the firing line. She goes deep into characters subjected to severe trials. This general moral issue is inextricably linked with the choice of one or another director's concept. Let's say - a temporary composition ...

The film "The Dawns Here Are Quiet ..." was staged by the film studio. M. Gorky under the direction of director S. Rostotsky in 1972.

In the film "The Dawns Here Are Quiet ..." one episode is called "In the Second Echelon", the other - "Fight of Local Importance". The headlines are clearly polemical. The front is reduced to a small northern village, where a platoon of anti-aircraft gunners lodges. Five of them make their last stand on the narrow isthmus between the lake and the forest. The geographical scale is emphatically small.

In an interview, Stanislav Rostotsky said that while working on the picture, he wanted to escape from the magic of large numbers, which count the victims suffered by the people. Each dead man had his own fate, his own battle, his last frontier, and for each of them the whole war was contained in this little one.

"And the dawns here are quiet..." It is not by chance that they are divided into two series. The first is peace, the second is war. Chronologically, this is not the case: the action of the picture takes place in May 1942. And in the first episode there is a fight...

Fiery trails go up, machine-gun "quads" furiously knock, cartridge cases roll with a ring, and the smoky trail of a fallen aircraft traces the sky. The battle is colorful, enchanting, not like the war that will begin for anti-aircraft gunners not in the sky, but on marshy ground. In Boris Vasiliev's story, this "peaceful" prehistory occupies a little over twenty pages. The director unfolds it into a detailed image, when one line or replica turns into an episode, into a montage fragment.

Stanislav Rostotsky translates small volumes of prose into a large cinematic form.

Hence - peace and war, scrapped from one life to another. True, not quite an ordinary "world", where a river splashes in the morning mist, clothes dry, an ax knocks and the eyes of the soldiers see off the only man here, foreman Vaskov. Together with the actors, the director found a common denominator for different characters: anti-aircraft gunners do not live according to the charter, but how they live in the countryside, where it is difficult to hide from the eyes and protect yourself from rumors, where they sit on a mound, heat a bathhouse, but on the other hand they arrange an evening of dances in a city way. Life is semi-peaceful, semi-village. And its very half-heartedness, shiftiness justifies the carefully written everyday surroundings, the unhurried, colorful manner of the story. About the late woman's passion of the hostess of the hut to the guest, about the first girl's love ...

In the multi-figured composition, the central place belongs to Vaskov. Played by the young actor A. Martynov, he approached the intonation and thought of the author of the story more than others, where it is said about his hero: “And the foreman is the foreman: he is always old for the fighters ... Therefore, the girls who had to command, he looked as if from a different generation, as if he had been a participant in the Civil War and personally drank tea with Vasily Ivanovich Chapaev near the city of Lbischensk.

As if a playful intonation, but the very idea of ​​generations is serious, thanks to it additional coordinates of time appear, hidden this time in the acting game.

Foreman Vaskov - active, economic, always busy with something, thorough in a peasant way, knowing nature like a hunter - does not remain motionless within the boundaries of the image. The feeling of soldierly and masculine responsibility that he experienced when he first saw the line of girls sent under his command - this feeling became the source of the moral maturity of the young guy. Then the feeling turned into a haunting, painful thought: he did not save the girls in a terrible war ... How to answer for this before their mothers and children who will never be born? From here, from the thought, Vaskov's actions come, born like an animal, the precise habit of a large body in a moment of danger, the indomitable fury of hand-to-hand combat.

In the story, Vaskov is both exalted, feeling Russia behind his back, and reliable when he presents his war with the Germans as a card game: who has trump cards, who has to play. This inner monologue is brought to the surface in the film. Behind the figures of people, a forest, boulders, a lake are visible. The northern Karelian landscape, in which there is something epic since ancient times, is connected to the character of the hero.

The director consciously relies on the emotional memory of the audience. One of the screen compositions quite accurately reproduces "Above Eternal Rest". The cultural layer introduced into the film is not limited to this frame, which looks like a painting by I. Levitan. They sing Larisa's romance from "Dowry" to the guitar. There are poems by A. Blok, E. Bagritsky, M. Svetlov. The idea, which takes into account perception, can be traced in the adventure element, which does not reduce the heroic-romantic style, but, as it were, controls the viewer's attention from within.

The director also provided for an open - declarative - way out of the military calendar. The life-like structure of frames is suddenly interrupted by flames that grow from under the lower edge, and in clean, bright colors appear on the screen pictures of the pre-war happiness of each of the five heroines.

The image looks like a splint.

Rather, it is an imagination that has taken a visible form with the help of V. Shumsky's camera. Filmed in the manner of a cinematic "primitive" (to use a term from the dictionary of painting), the shots caused a lively discussion and were not accepted by a number of critics, who generally praised "The Dawns Here Are Quiet ...".

The point here is not only in the stylistic difference, although it is sharp. The psychological process gave way to a sonorous, open color, red tongues flared up like an eternal flame at the foot of the frame, the motive of the requiem sounded in the cinematic digressions. And it seemed that the living girls, played by actresses O. Ostroumova, E. Drapeko, I. Shevchuk, I. Dolganova, E. Markova, with a sense of youth, their own and the heroines, did not fit on this cinematic pedestal.

Retrospectives are no longer a novelty in the cinema. The mental return to the past, the memory materialized in the frames, at first looked like an unusual, shocking device, but soon became familiar. Aesthetic necessity began to disappear in their divergence.

Stanislav Rostotsky felt such a need. He considered that the heroines of his film have the right to count on integral destinies, starting from peaceful days. He was supported by Boris Vasiliev: "... the difficulty was that each character in the story did not have so much winning dramatic material. Each character had to be recreated so that it was supplemented, "played out" by all the others."

In the story, the youngest, Galya Chetvertak, covering her head with her hands, rushes under the fire of German machine guns. "She has always lived in an imaginary world more actively than in the real one.." - the author writes, talking about the girl-inventor from the orphanage, about her dreams, with ghosts or solo parts in long dresses. The death in front of her friend, Sonya Gurvich, and the horror born of this death pushed her to a desperate act. A tragic intimacy arose between one and the other heroine.

The director inherits the plot and semantic motive, but solves it in his own way - in these vivid cinematic digressions.

The fates of five girls are, as it were, enclosed in a single outline of a feat. Zhenya Kamelkova, who caused fire on herself. Lisa Brichkina, who was in a hurry for help and failed to be careful in the bog. The quiet cry of Sonya Gurvich, who warned her. Shot by Rita Osyanina, who did not want to get the enemy alive. The death of each, as it were, continues at the last frontier that very, only life.

The material of the war contains a moral criterion, which is often relied on the thoughts and actions of contemporaries. Obviously, the very position of the artist must contain the same moral principle. Boris Vasiliev spoke about the director of the film: "Rostotsky has an amazing ability to sympathize, to feel someone else's pain as his own ... He made a film about himself and about his peers who did not live to see the Victory, about his friends. He made a very personal picture."

The memory of 1941-1945 gives rise to a special artistic reverence. Stanislav Rostotsky did a lot so that the memory of the war hard times was imprinted in the minds of the audience different generations. And the audience answered him with recognition. "The Dawns Here Are Quiet..." were watched by 135 million - an unthinkable figure, especially against the backdrop of post-perestroika distribution reports. Painting received the main prize All-Union Film Festival (1972), the State Prize of the USSR (1975) and the "Memorial Prize of the Festival" in Venice (1972).

1.4. The serial film "The Dawns Here Are Quiet" by Chinese director Mao Weining.

Directed by: Mao Weining

Producers: Alexander Lyubimov, Alexander Chaldranyan, Zhang Guangbei

Country: China, Russia

Year: 2006

Series: 12

Actors: Tatyana Ostap, Daria Charusha, Elena Maltseva, Aleksandra Teryaeva, Snezhana Gladneva, Lyudmila Kolesnikova, Andrey Sokolov (II)

Genre: war movie

The idea of ​​​​creating the painting “The Dawns Here Are Quiet...” based on the story of the same name by front-line writer Boris Vasilyev was born on Central Television(CCTV) People's Republic of China on the eve of the celebration of the 60th anniversary of the Victory over fascism. The producers decided to make a TV remake of the incredibly popular 1972 Soviet film directed by Stanislav Rostotsky in China. The preparatory period lasted two years. The script, written by Chinese screenwriters, was edited by the author of the story, Boris Vasiliev. All roles in the film were invited by Russian and Ukrainian actors. The filming period lasted 110 days. Filming took place both in China in the city of Hei He, and in Russia - in Moscow, St. Petersburg and the Amur Region. The most significant filming facility "Railroad crossing in the North-West of the RSFSR in 1942" was built from scratch near the town of Hei He near the Amur, right next to the border.

The version for showing in China has 19 episodes, the version for Russian viewers has 12 episodes (scenes where human dramas are deliberately and meaningfully played out, as well as episodes that look implausible to the Russian audience) have been cut. The remake of the 1972 film The Dawns Here Are Quiet uses the artistic solutions of Stanislav Rostotsky to a large extent. The material of the story by Boris Vasiliev was not enough for a 19-episode picture, and it had to be supplemented. Writer Boris Vasilyev took part in editing the remake script.

The TV series “The Dawns Here Are Quiet”, which was released after the TV show “How the Steel Was Tempered”, filmed at the initiative of the Cinematography Department of the Main International Television Company of China, was also filmed and edited by Chinese filmmakers, and exclusively foreign actors are involved in it. The difference between this television series and the previous one is that, in addition to several location shootings in Russia, in Moscow and the Amur Region, most of them took place in the Chinese province of Heilongjiang, in the city of Heihe. In order to recreate as realistically as possible the unique image of the Russian village during the Second World War, the efforts of the film crew for approximately 1.5 months brought a batch of wood from Russia to the bank of the Amur River, which flows within the aisles of China, at a distance of approximately 700 meters from the Russian city Blagoveshchensk to recreate the real look of the Russian village of the 40s of the last century. In this village there were more than 30 wooden huts, a storehouse, a small church, as well as a fortification strip - an old narrow gauge railway.

Due to the unique beauty of the filming location, the Heilongjiang provincial government has now turned the filming location of the TV series into one of the provincial landmarks.

The plot of the television series is about touching story that took place during the Great Patriotic War. In the summer of 1942, a group of young anti-aircraft gunners full of youthful enthusiasm was transferred to the 171st battalion. Their future commander, foreman Vaskov, was very surprised at such a “female” replenishment, because shortly before that he constantly asked Lieutenant Rostov to transfer soldiers “non-drinkers and not womanizers” to his battalion. However, what was his surprise when he saw that the new recruits consisted of young girls! Young anti-aircraft gunners brought a lot of joy to the everyday life of a small battalion, but there were also many funny cases with them, since each of them had her own unique history. Once it became known that a group of German troops landed in the area where the battalion was located. Commander Vaskov decided to send the girls to reconnaissance. No one could have thought that this task would be completed at the cost of the lives of anti-aircraft gunners ...

In the 70s of the last century, based on the story of Boris Vasilyev "The Dawns Here Are Quiet", the Soviet director Stanislav Rostotsky made a film of the same name; The release of this film literally shook the whole world. In the 80s. this movie met with the Chinese audience and caused a huge response among them. But on different reasons, this outstanding work of literature was not made into a television series. Until today, what the Russian filmmakers could not do, the Chinese did for the first time. It is worth mentioning that in order to clearly depict in the series the severe hardships that the war of conquest brought with it, the scenes during the bathing, in which there is nudity, in the television series received a real embodiment.

Beginning in 2002, the Cinematography Department repeatedly turned to the author of the novel, 81-year-old Boris Vasilyev, for clarification, from whom the copyright for the film adaptation was eventually acquired. The film crew also received enthusiastic support from the author. However, making a 19-episode television series out of a 70,000-word novel required some plot addition. That's why, general producer TV series Wei Ping and screenwriter Lang Yun made a special trip to Moscow to show the draft script to Vasiliev, to ask his opinion about the script. On the eve of filming, director Jia Xiaochen and other members of the film crew again went to Moscow to Vasiliev, where they told him the script in detail. After listening to the Chinese filmmakers, the gray-haired Vasiliev exclaimed excitedly: “So much time has passed, I never thought that you, the Chinese, would decide to shoot my story. Be calm when you come to shoot me, I will be in great shape!”. Now, when the TV show is successfully being released on the screens of the country, Vasiliev certainly feels deep gratitude.

The entire cast of the television series, including extras, consists of Russians. Samples for the main roles of the television series - five actresses and one actor - were carefully selected among numerous applicants in Moscow and the Amur Region. Andrey Sokolov, a student of the Moscow Institute of Cinematography, was approved for the main male role of "foreman Vaskov", and the pretty, talented Russian actress Daria Simonenko was approved for the main female role of "anti-aircraft gunner Zhenya". The other roles are played by students of the Moscow Institute of Cinematography and artists of the Amur academic theaters. There is a battle scene in the television series when the soldiers swear allegiance to the Red Banner. More than 200 people are employed in this scene, it is noteworthy that all these 200 people are Russians. This is the first time in the history of TV dramaturgy of our country.

The filming of the TV series in Russia attracted the close attention of ordinary Russians. People expressed their hope that soon they too would be able to see on the screen a Chinese-produced television series with Russian actors. The Cinematography Department of China's Main International Broadcasting Company is currently working on the implementation of this proposal.

All roles in the film are played by Russian actors. Foreman Fedot Vaskov was played by Andrey Sokolov, Rita Osyanina by Tatiana Ostap, Zhenya Komelkova by Daria Simonenko, Sonya Gurvich by Elena Maltseva, Lisa Brichkina by Snezhana Gladneva, Galya Chetvertak by Alexandra Teryaeva, Sergeant Kiriyanova by Lyudmila Kolesnikova.

The director of the film, Mao Weining, highly appreciated the skill and talent of Russian actors. According to him, they "worked very selflessly and stubbornly." At first, communication on the set went through an interpreter, but after a few weeks, the actors began to speak a little. Chinese, and the director learned some Russian words. When the TV series aired in China in May 2005, more than 400 million people watched it.

1. Audiobook by Boris Vasilev "The Dawns Here Are Quiet..."

An audiobook is a book voiced, as a rule, by a professional actor (and sometimes by a whole group), which is recorded on an audio cassette, CD or other audio medium. Audiobooks are a kind of radio play. There are programs to automatically convert e-books into audio books, by speech synthesis.

Currently, the most popular audio books are in ogg, mp3 format. They can be bought on CD at a bookstore, ordered online, or downloaded online.

Audiobooks have been around for a very long time and were first released on audio cassettes. They have always been popular in the west, where the rhythm of life does not allow one to find time to read ordinary books, and people listen to them in the car on the way to work.

In the presented catalog you can find the famous works of domestic and foreign writers in such an accessible format - an audiobook.

As far as possible, the database of audiobooks, which is available without registration, is constantly expanding in online stores, new works and new authors are added. In addition to links for downloading audio books, information is provided about the writers themselves, their biographies, photographs; there are accompanying texts to books, illustrations.

Audiobooks about the war are not a frequent visitor to the modern listener. Today's restless life itself seems to us too “combat”. But if you think about it, the best examples of military literature are not about explosions and shots at all. They, like any real art, are primarily about a person. About that Man, looking back at whom, one becomes ashamed both for oneself and for our petty “battles” ... The author of this audiobook is the writer Boris Lvovich Vasiliev.

Audiobook "The Dawns Here Are Quiet" - a story by Russian writer Boris Vasiliev. This heartfelt, piercing, soul-wounding work tells about the feat of five female anti-aircraft gunners, who, led by their commander, foreman Vaskov, had to confront a group of enemy paratroopers during the Great Patriotic War. Finding themselves in a dense forest, in complete isolation from the outside world, all five sacrificed themselves in the name of the Motherland, victory over the enemy and the future of their country.

Despite all the tragedy of the story, the audiobook “The Dawns Here Are Quiet” is saturated with a powerful lyrical feeling that does not allow the listener to become discouraged and indulge in sadness: the strength of this work is that it gives a clear understanding of important truths. People often cry over this story, but they learn to understand that there are tears that should not be ashamed. It is difficult to tear oneself away from this book, but, empathizing with its heroes, one realizes that the work of the soul is the real cause of what is happening, and events are only the consequences of this work. Thinking about what they read, they understand what a moral choice is and what the words really mean: "War has no woman's face." In a word, imperceptibly from the pages of this book, the battle moves into the soul of the reader, and if that soul is young, it tempers it; if it is callous, it softens that soul. Isn't that the point of art itself?

Every year the events of that distant war recede into the past. But somehow the war itself continues to be a reality. Cities are burning, snipers are shooting, mines are exploding. Soldiers return home in coffins, violence is torn in the minds of children, and the crowd is still out for blood. Did five innocent girls give their lives for this? Of course not. The feeling of shame generated by an agitated conscience is another reason, perhaps the main reason why such books should not gather dust on the shelves. The conscience should burn, if only it is important for the reader that someday someone would say about him: "So, necessary books you read as a child. That is why the audiobook “The Dawns Here Are Quiet” is listened to with the heart and not with the mind.

You can download the audiobook by Boris Vasilyev "The Dawns Here Are Quiet" for free on the Alphabook.Ru website. There is also an opportunity to express your opinion, leave your comment on what you heard for other audiobook lovers. Perhaps it is your advice that will open your favorite audiobook for someone else.

1. 1. Narrative organization

Recreating the image of a simple Russian person, B. Vasilyev achieves an almost complete fusion of the author's voice and the hero's speech.

It is characteristic that in this story the writer uses reception of indirect speech when the narrator’s speech is in no way separated from the hero’s internal monologue (“Vaskov’s heart was slashed from this sigh. twenty-eight intermittent overruns. And at the same time, the major who sent the girls in pursuit could be rinsed in lye. You look, and it would feel better, but instead you have to put a smile on your lips with all your might"). Thus, the narrative often takes on intonations tale, and the point of view on what is happening takes on features that are characteristic of the people's understanding of the war. Throughout the story, the foreman’s speech itself changes: at first it is stereotyped and resembles the speech of an ordinary warrior, replete with statutory phrases and army terms (“there are twenty words in reserve, and even those from the statutes” characterize his girls), he even comprehends his relationship with the hostess in military categories (“On reflection, he came to the conclusion that all these words are only measures taken by the hostess to strengthen own positions: she ... sought to gain a foothold in the conquered frontiers). However, approaching the girls, Vaskov gradually “thaws”: caring for them, striving to find his own approach to each one makes him softer and more human (“God damn, this word popped up again! Because it’s out of the charter. Forever hacked. Bear you , Vaskov, deaf bear ... "). And at the end of the story, Vaskov becomes just Fedya for the girls. And most importantly, being a once diligent "executor of orders", Vaskov turns into free man on whose shoulders lies the burden of responsibility for someone else's life, and the awareness of this responsibility makes the foreman much stronger and more independent. That's why Vaskov saw his personal guilt in the deaths of the girls (“I put you, I put all five of you, but for what? For a dozen Fritz?”).

In the image of anti-aircraft gunners, the typical fates of women of the pre-war and war years were embodied: different social status and educational level, different characters and interests. However, with all the accuracy of life, these images are noticeably romanticized: in the image of the writer, each of the girls is beautiful in her own way, each is worthy of her biography. And the fact that all the heroines die underlines the inhumanity of this war, affecting the lives of even the most distant people from it. Fascists reception of contrast opposed to romanticized images of girls. Their image is grotesque, deliberately reduced, and this expresses the main idea of ​​the writer about the nature of a person who has embarked on the path of murder (“Man, after all, separates one thing from animals: the understanding that he is a man. And if there is no understanding of this, he is a beast. About two legs. About two hands and - a beast. A fierce beast, more terrible than a terrible one. And then nothing really exists in relation to him: no humanity, no pity, no mercy. You must beat. Beat until he crawls into the lair. And then beat until he remembers that he was a man until he understands this"). The Germans are opposed to girls not only outwardly, but also by how easy it is for them to kill, while for girls, killing an enemy is a difficult test. In this, B. Vasiliev follows the tradition of Russian battle prose - killing a person is unnatural, and how a person, having killed an enemy, experiences, is a criterion of his humanity. War is especially alien to the nature of a woman: “War does not have a woman's face” - the central thought of most of the military works of B. Vasiliev. This thought illuminates with particular clarity that episode of the story in which Sonya Gurvich's dying cry sounds, which escaped because the knife was intended for a man, but fell on a woman's chest. With the image of Liza Brichkina, a line of possible love is introduced into the story. From the very beginning, Vaskov and Liza liked each other: she was to him - figure and sharpness, he to her - male solidity. Liza and Vaskov have a lot in common, however, the heroes did not succeed in singing together, as the foreman promised: the war destroys the nascent feelings in the bud.

The end of the story reveals the meaning of its title. The work closes with a letter, judging by the language, written by a young man who became an accidental witness to the return of Vaskov to the place of death of the girls along with Rita's adopted son Albert. Thus, the return of the hero to the place of his feat is given through the eyes of a generation whose right to life was defended by people like Vaskov. This is the affirmative idea of ​​the story, and not without reason, just like M. Sholokhov's "The Fate of a Man", the story is crowned with the image of a father and son - a symbol of eternal life, the continuity of generations.

1.7. The story of Boris Vasiliev "The Dawns Here Are Quiet" in school study

Review of school programs in literature

basis literary education in the schools of the Russian Federation is reading and studying Russian and foreign literature. The works of art included in the literature course of V-XI classes are divided into three sections.

The first section is works for detailed study (or, as they say, for textual analysis) in the classroom. They are placed in the headings of program topics.

The second section is works for additional reading, also indicated in the program. They expand students' understanding of the writer's work, allow you to talk about the direction and problems of his work, about the creative path. Reading these works is mandatory, and the nature of the analysis is determined by the teacher, depending on the plan for studying the topic.

The third section is works for independent extracurricular reading. In order to direct independent reading of students in the 11th grade, the program includes review topics on modern Soviet and foreign literature.

IN I X-XI classes historical and literary principle is the main thing in the construction of the course. It is achieved not by the completeness of the exposition of the history of literature, but by the consistent application of the principle of historicism.

Artistic works are considered as a product and reflection of a certain era with its social, moral, aesthetic problems - and this allows us to perceive them as artistic values ​​that will not lose their significance in the distant future.

The writer appears as living face with his unique biography and at the same time as the son of the people, the spokesman for its ideals and aspirations; we see in him the features of his time and at the same time we understand that he is a participant in today's life, influencing the spiritual world of more and more reader generations.

The program topics of classes I X-XI are clearly divided into two types: review and monographic.

Review topics cover the leading problems of the course, the main periods in the development of Russian literature or the development of literature in a certain period of history. The main task of review topics is to show the continuity and internal lines of development literary process so that the school course does not turn into the study of separate, unrelated works.

The main task of monographic topics is to create a real basis for understanding the specifics of literature and the laws of its development.

Review and monographic topics in interconnection should gradually expand the historical and literary base of the course, form fundamental scientific concepts that run through all topics (literature and the liberation movement, artistic specificity literature, artistic method, folk literature, etc.).

The nature of the organization of the material in the 11th grade contributes to the understanding of the historical and literary process. The correlation of the universal and concrete historical approach makes it possible to turn to "eternal themes". This makes it possible to bring the work of the past closer to the present, to strengthen their moral and aesthetic impact on students.

The cycle of lessons devoted to understanding the military theme in the literature of the 1950s-1990s is a review topic. This topic includes the following authors: Yu.Bondarev, V.Bogomolov, G.Baklanov, V.Nekrasov, K.Vorobiev, V.Bykov, B.Vasiliev. The teacher himself determines which author to study.

The name of this writer first appeared when studying Soviet literature in the 8th grade of the story “He wasn’t on the lists”, so the teacher’s task is to give more complete description the personality of the author himself in relation to a specific historical period and analyze his main works. Here the teacher can choose which of the works require a deeper analysis, and with which it is enough just to acquaint the students as a review topic.

The purpose of our further study is to familiarize with the literature programs of various groups of authors.

1. Literature Program (V -XI classes). Scientific editor T.F.Kurdyumova.

Compiled by: T.F.Kurdyumova, S.A.Leonov, E.N.Kolokoltsev, O.B.Maryina.

The purpose of literary education is the formation spiritual world of a person, creating conditions for the formation of the internal need of the individual in continuous improvement, in the implementation and development of their creative possibilities. At the same time, the student masters the skill of the reader, free and vivid own speech.

The structure and content of the literature course program are subordinated to these goals.

The structure and content of the program is divided into two parts: the basic school (grades V-I X) and the senior grades (X-XI) (a course on a historical and literary basis).

1) The content of the middle school program is determined by the world of interests of adolescent students.

The range of studied works has been significantly enriched: the composition of folklore genres (fairy tales, riddles, epics, proverbs, sayings, legends, myths, folk songs, etc.) has been expanded; . The inclusion of new and interesting works for the young reader will help to more emotionally and at the same time consciously perceive native Russian literature in the context of world culture and literature.

2) The content of the course on a historical and literary basis is primarily reading and studying works of art. The nature of the organization of the material contributes to the understanding of the historical and literary process. The correlation of the universal and concrete historical approach makes it possible to turn to "eternal themes". This makes it possible to bring the work of the past closer to the present, to strengthen their moral and aesthetic impact on students.

The literature course of grades X-XI includes review and monographic topics, the combination of which allows not only to acquaint students with outstanding works of art, but also to show their place in the historical and literary process.

Monographic themes give a fairly complete picture of the life and work of the writer. Some of them allow you to reveal the life and work of the writer in more detail, others more briefly, but they all include textual study artistic works.

Review topics introduce the features of a particular era, literary trends and various creative groups of writers.

This group of authors offers to study the review topic of the Great Patriotic War. At the choice of the teacher, the authors of the 50-90s of the Second World War are studied, where the work of B. Vasiliev “The Dawns Here Are Quiet” is considered. [Program and methodological materials 2006, p. 75].

2. Literature Program (V - XI classes) for schools and classes with in-depth study of literature, gymnasiums and lyceums in the humanities. Edited by M.B. Ladygin.

“To form an idea of ​​literature as a form of art, to teach to understand its internal laws, to apply the acquired knowledge in the process of creative reading, to distinguish genuine works of art from the phenomena of “mass culture”.

To teach the student to analyze a literary work as an objective artistic reality.

To develop an idea of ​​the artistic world of a literary work, the patterns of the writer's work, literature and the world literary process.

Show specific feature literature as the poetic memory of the people. Based on the principle of historicism, determine the dialectical relationship between tradition and innovation, the continuity of literary eras.

Define national identity and world significance of Russian literature.

Explain the phenomenon of "classics", which allows a work of art to be a fact of different historical eras while maintaining its aesthetic, cognitive and educational value for different generations of mankind.

Reveal the nature and principles of the interaction of literature with other types of art and general patterns of development artistic culture humanity.

Cultivate a sustainable artistic taste in students.

Develop good oral and written communication skills.

To develop the potential creative abilities of schoolchildren” [Program and methodological materials 2001, p.207-208].

Literary education at school consists of three main stages. Teaching literature in grades X-XI is the third stage. " the main objective this stage - the study of the literary process in Russia in the 19th - 20th centuries. (including Soviet literature), mastering the Russian literary classics, mastering the elements of historical and functional analysis.

The selection of material for the program is subject to several basic principles.

Firstly, literary education should be based on the study of works of art that have undeniable aesthetic value; moreover, the works should be read and studied in full (without opportunistic distortion of the text, including adaptation).

Secondly, the works selected for study should be accessible to the reader's perception of students, correspond to the interests and age characteristics of schoolchildren.

Thirdly, the works should correspond to the educational goals of this section of the program, contribute to the solution of the tasks outlined in the program” [Program and methodological materials 2001, p.209].

In this methodological guide the topic is considered: Heroic and tragic motives in the literature about the war, artistic truth about the fighting people, about a man in the war, about a difficult victory; humanistic pathos of literature, the search for genuine moral values ​​(a review with a generalization of what has been studied, reading and analyzing works, chapters and pages). [Program and methodological materials 2006, p.293].

3. Literature program (V - XI classes). Edited by A.G. Kutuzov.

“The content and structure of this program is based on the concept of literary education based on creative activity. In general, the program is focused on the basic component of literary education, developed by the Ministry of Education of Russia, according to which two concentrations are allocated in literary education (grades V-IX and grades X-XI), which corresponds to the level of basic secondary and complete secondary school, as this is provided for in the Education Act.

Literary education is understood as the development of literature as the art of the word. A literary work is studied as a result of creative activity, as a culturally significant phenomenon, as an aesthetic transformation of reality.

In accordance with this, the goal of literary education becomes the formation of a reader capable of a full perception of literary works in the context of the spiritual culture of mankind and prepared for independent communication with the art of the word.

The tasks of literary education are determined by its purpose and are connected both with reading activity schoolchildren, and with the aesthetic function of literature:

the formation of ideas about literature as a cultural phenomenon that occupies a specific place in the life of a nation and a person;

comprehension of literature as a special form of development of cultural tradition;

formation of a system of humanitarian concepts that make up the ethical and aesthetic component of art;

the formation of aesthetic taste as a guideline for independent reading activity;

the formation of an emotional culture of the individual and a socially significant value attitude to the world and art;

formation and development of skills of competent and fluency in oral and written speech;

the formation of basic aesthetic and theoretical-literary concepts as conditions for the full perception, analysis and evaluation of literary and artistic works.

The means of achieving the goals and objectives of literary education is the formation of a conceptual apparatus, emotional and intellectual spheres of thinking of a young reader, therefore, a special place in the program is given to the theory of literature” [Program and methodological materials 2004, p.133].

This program suggests the following topic for consideration when studying the story “The Dawns Here Are Quiet”: “Problems of historical truth and human justice in Vasiliev’s story “The Dawns Here Are Quiet” and “A Man at War in the Literature of the 19th-20th Centuries”. [Program and methodological materials 2007, p.86].

4. Literature program (V - XI classes). Edited by V. Ya. Korovina.

“The course of literature at school is based on the principles of the connection of art with life, the unity of form and content, historicism, traditions and innovation, understanding of historical and cultural information, moral and aesthetic ideas, mastering the basic concepts of theory and history of literature, developing the ability to evaluate and analyze works of art , mastering the richest expressive means of the Russian literary language.

The purpose of studying literature at school is to familiarize students with the art of the word, the wealth of Russian classical and foreign literature. The basis of literary education is the reading and study of works of art, acquaintance with biographical information about the masters of the word and historical and cultural facts necessary for understanding the works included in the program.

Purpose: to acquaint students with the classic examples of world verbal culture, which have high artistic merit, express the truth of life, general humanistic ideals, and bring up high moral feelings in a person reading.

The content of school literary education is concentric - it includes two large concentres (grades 5-9 and grades 10-11).

In grades 10-11, the study of fiction is provided on a historical and literary basis, a monographic study of the work of the classics of Russian literature.

In this program, in grade XI, it is proposed to consider the following topic: “A new understanding of the military theme in the literature of the 50-90s. Y. Bondarev, V. Bogomolov, G. Baklanov, V. Nekrasov, K. Vorobyov, V. Bykov, B. Vasiliev (works at the choice of the teacher)”. Two hours are allotted for studying the literature of the Great Patriotic War in the 11th grade, which are held in the form of a seminar. [Programs of educational institutions 2007, p.247].

***

Thus, when analyzing the four literature programs, their main goals and objectives were identified, as well as the structure and content of the section “Comprehension of the military theme in the literature of the 50-90s in the 11th grade”, which is given 2 hours to study.

1 lesson. The Great Patriotic War in the Literature of the 50-90s. Y. Bondarev, V. Bogomolov, G. Baklanov, V. Nekrasov, K. Vorobyov, V. Bykov, B. Vasiliev (works of the teacher's choice)” (lecture).

Survey of school textbooks.

Russian literature of the twentieth century. Grade 11. Textbook for educational institutions. At 2 o'clock Part 2. // Ed. V.P. Zhuravleva. 2006, p. 269-275.

This textbook does not give a specific topic about the work of B. Vasiliev. the works of the Great Patriotic War, the features of the language manner of the writers, the artistic images of the characters are analyzed in detail. The works of V. Bykov and B. Vasiliev are also compared. in addition, additional materials are provided: a range of concepts and problems, questions and tasks, topics of abstracts, we recommend reading (list of references).

Russian literature of the twentieth century. Grade 11. Textbook for educational institutions. At 2 o'clock Part 2. // Ed. V.V. Agenosov. M.: 2006, pp. 362-366.

The chapter on the Great Patriotic War considers such topics based on the work of B. Vasiliev “The Dawns Here Are Quiet…” as features military prose B.Vasilyeva, the action of the story, the image of Vaskov, the reception of improperly direct speech, the images of female anti-aircraft gunners, the ending of the story, the meaning of the name, symbolization. Additional didactic materials include: assignments and questions for repetition, topics of essays, recommended literature.

The textbook briefly describes the main stages of the biography and analysis of the work of writers of the Great Patriotic War. A minimal narrative organization is given, a system of artistic images of the characters in B. Vasiliev's story "The Dawns Here Are Quiet...".

Russian literature of the twentieth century. Grade 11. Textbook for educational institutions. At 2 o'clock Part 2. // Ed. V.Ya.Korovina. M.: 2007, pp. 233-236.

The survey theme of the Great Patriotic War is most fully disclosed. The facts of the biography of B. Vasiliev, the narrative organization of the story “The Dawns Here Are Quiet…”, the system of characters, artistic organization are given.

***

So, when reviewing state school programs and school textbooks on literature, we paid special attention to the study of B. Vasilyev’s story “The Dawns Here Are Quiet…”, and the following problem was identified: there is no correspondence between the tasks of state programs on literature and the content of school textbooks. So, in these textbooks, the topic “The system of images as the basis for depicting the social structure in a work” is practically not covered, only small characteristics of the heroes of the story are given, and in some textbooks and manuals, the story of B. Vasiliev is not considered at all.

1.8. Age features of high school students' perception of fiction

According to the observations of psychologists, a student in his development goes through a number of stages: younger (early) adolescence (10-12 years old), older (mature) adolescence (13-14 years old) and early adolescence (15-17 years old), which correspond to different levels of analysis of a literary work. So, students of the period of early youth (15-17 years old, IX-XI classes) are characterized by "the era of connections, awareness of causes and effects" [Rez 1977, p.96].

With all the relativity of age characteristics, diversity and even inconsistency overall picture development of students of the same age group students of the same age and same class there is a lot in common. About these general trends in the literary development of students in the period of early youth and will be discussed.

During the onset of early adolescence (grades IX-XI), outwardly everything can look decent: students sit quietly, listen (or pretend to listen), say and write not always what they feel and think, but what they want from them hear. At the same time, high school students can love and appreciate art, but in no way correlate it with what is done in literature classes. In such cases, the literary development of students becomes uncontrollable at the very moment when they most of all need skillful and tactful guidance.

Early youth is the time of the spiritual and physical flourishing of a person, the period when the worldview is especially intensively formed, a system of views and beliefs is formed. Despite the less intensive growth than in the VIII grade, literary development, the interest of high school students in art is becoming deeper and more permanent. Along with literature, music is becoming a favorite form of art, and interest in the theater, especially drama, is growing (opera and ballet are much less popular among students). And reading is a necessity for many, although due to lack of time, schoolchildren in grades IX-XI read less than, say, seventh graders.

In early youth, an aesthetic attitude to art in general and literature in particular is fixed. When reading, high school students realize that “the images moving in the field of vision are images of life, and they understand that this is not life itself, but only its artistic reflection” [Asmus 1969, p.57].

A qualitatively new stage in the literary development of high school students is also reflected in the fact that in grades IX-XI there are extremely rare cases (or even completely absent) when a work serves only as an impetus for expressing one's own thoughts and feelings. Psychologists explain such a turn towards an objective perception of art by a change in the direction of the personality during the transition from adolescence to youth.

“Unlike a teenager, who is largely focused on knowing himself, his experiences,” writes L.I. Bozhovich, “in contrast to elementary school student who is completely absorbed in attention to the outside world, high school students strive to know this outside world in order to find their place in it, and also in order to get support for the views and beliefs that are forming in them ”[Bozhovich 1968, p. 384] .

High school students are able to perceive various forms of artistic conventions, complex socio-psychological collisions, difficult compositional and stylistic decisions. In a word, in senior class the literary development of the student rises to a new level, he is prepared for independent reading of complex works.

At the final stage of literary education, the shortcomings of teaching literature of all previous years are especially clearly manifested, and the level of literary development of students in various grades IX-XI sometimes differs significantly from each other.

If in previous years the teaching of literature was mainly of a reporting nature, then the work of schoolchildren in grades IX-XI suffers from dryness and sketchiness. The majority of high school students do not convey the individual uniqueness of the artistic image, they, as a rule, strive to formulate the idea of ​​​​the work, to bring together all the richness, all the multidimensionality artwork to a logical conclusion. And some students even try to interpret the artistic image as an allegory. This trend is especially noticeable in the analysis of lyrics. Complexity program works, their saturation with philosophical, moral, aesthetic problems leads to an increase in the load on thought in the upper grades. The development of abstract thinking in these years is especially intensive and sometimes suppresses the emotions and figurative vision of the student. However, if intellectual perception is accompanied by at least a little emotionality and aesthetic feeling, then this leads to a deeper understanding of the author's intention and the ideological and artistic content of the work.

***

From the teacher of the senior classes both a great literary culture and great pedagogical skills are required. high culture analysis, differentiated approach to different groups students, tact, the ability to spare youthful pride and at the same time the desire to instill in them self-esteem and arouse love for art - this is the way that helps the teacher overcome the difficulties that arise and maximize the development of opportunities inherent in adolescence.

It is important for the teacher to know what psychological characteristics are characteristic of high school students. This will allow him to flexibly, tactfully, skillfully manage the moral, "human" development of his pupils in the process of teaching literature.

Chapter II. Integrative lesson of literature and cinematography in grade 11.

The image of the feat of a woman in the war in the story of B.L. Vasiliev "The dawns here are quiet ..." in the film of the same name by S. Rostotsky and the series Mao Weinina.

Lesson Objectives:

educational: in the process of analyzing B. Vasiliev’s story “The Dawns Here Are Quiet…” to lead students to comprehend the images of women anti-aircraft gunners and Vaskov as a Russian national character;

developing: to develop logical thinking, the ability to compose a syncwine, to give a detailed answer to the teacher's question;

educative: to help students understand the meaning of such moral concepts as kindness, mercy, sensitivity, humanity, conscience; think about the meaning of human life.

Lesson objectives:

1. To develop cognitive abilities, communicative and informational competencies; unleash the creative potential of students.

2. Contribute to the formation of the worldview position of students. To instill a sense of patriotism and pride in the country and its people.

3. Improve the ability to analyze the text, reason, reflect.

Lesson type: explanation of new material.

Type of lesson: mixed (reading and text analysis).

Equipment: films of the same name (for the analysis of Boris Vasiliev's story “The Dawns Here Are Quiet…”), the texts of the work.

Methods and techniques: reproductive (the word of the teacher, the correct conclusions of entries in a notebook), creative (commenting, expressive reading, watching and commenting on video clips, compiling a syncwine), heuristic (analytical conversation).

Study path: problem-thematic.

Program: Literature program (V-XI grades). Edited by A.G. Kutuzov.

Textbook: Russian literature of the twentieth century. Grade 11. Textbook-workshop for educational institutions.// Ed. Yu.I. Lyssogo. Moscow: Mnemosyne, 2003, p. 450-461.

You burn, the dawn is a narrow strip,

Fire smoke creeps on the ground ...

We are you, native land, Russian,

We will never give up to our enemies!

I. Molchanov

War has no feminine face.

S. Aleksievich

During the classes

1 .The teacher's word about the topic and objectives of the lesson (reproductive).

Why are we writing about World War II again? Probably not because the weakness of the human race is the fear of death, and not because the instinct of self-preservation dominates the mind. No, we remember the war because a person is the greatest value. this world, and his courage and his freedom is the liberation from fear, from the evil that separates people.

(B.Vasiliev).

The writers showed us that honest, courageous and just people are valuable even in war, that friendship in war is something more than just friendship - it is an inseparable bond sealed by blood. Writers have shown us that mistakes in war are something more than just mistakes, because behind them lies the lives and destinies of people.

2. Conversation on questions: (heuristic).

A) Name the works about the Great Patriotic War and their authors.

B) Your associations with the word "war".

War is grief, tears, suffering of mothers, hundreds of dead soldiers, hundreds of orphans and families without fathers, terrible memories of people, horror, savagery.

C) Do you agree with the statement “war has no woman’s face”?

A woman for me is the embodiment of the harmony of life. And war is always disharmony. And a woman at war is the most incredible, incongruous combination of phenomena. And our women went to the front and fought on the front line next to the men ...

(Boris Vasiliev)

D) What works tell about the participation of women in the war?

3. The student's story about the life and work of B. Vasiliev, the history of the creation of the story "The dawns here are quiet ..." (creative).

Boris Lvovich Vasiliev was born on May 21, 1924 in Smolensk in the family of a military man. Refers to the generation of young men who were destined to step into the heat of war from school. He fought in the airborne troops.

After the war, he graduated from the Military Academy of Armored Forces (1948), served in the army, was a test engineer for transport vehicles in the Urals. B. Vasiliev's literary debut took place in 1955, when the play "Officer" was published, then the following - "Knock and it will open" (1939), "My Fatherland, Russia" (1962).

In 1969, the story “The Dawns Here Are Quiet…” appeared in print, which brought the author wide fame. The story was staged, and in 1972 the film of the same name was released, which was very popular and became a classic of Soviet cinema. Many theaters have included the play of the same name in their repertoire.

The following works by B. Vasiliev invariably aroused the interest of the public, confirming the talent of the writer: the story "The Very Last Day" (1970); the novel Don't Shoot the White Swans (1973); novel "The lists did not appear" (1974). All three works were filmed, Peru B. Vasiliev owns the historical novel "There were and weren't" (1977-80), the autobiographical story "My horses are flying ..." (1982), the books "Burning Bush" (1986) and "And there was evening and there was morning" (1987).

In 1991, two stories "Drop by Drop" and "Carnival" were published, the next year - a new work - "The House that Grandfather Built", in 1990 - an essay "There is such a profession". Recently finished a new historical novel "Yaroslav and his sons", dedicated to the time of Alexander Nevsky. He is currently working on the work "Assuage My Sorrows". Lives in Moscow.

Teacher: That is the longest day of the year

With its cloudless weather

He gave us a common misfortune

For all, for all four years.

She made such a mark

And laid so many on the ground,

That twenty years and thirty years

The living can not believe that they are alive ...

(K. Simonov).

The war left its mark in the history of many states, in the fate of the people and every family. It had a huge impact on public consciousness. What is the role of your families in WWII? (creative)

Student performances (students talk about their relatives who participated in the Second World War).

Teacher: You got acquainted with many works, films about the war. What trace did the lessons of literature about the Great Patriotic War leave for you?

1. Of course, the heroism and courage of ordinary soldiers amaze our imagination, but my feelings are even more affected by stories about those situations when a person faces a moral choice, when he finds himself in good and evil, courage and fear, devotion and betrayal.

2. In order to win for everyone, it was necessary to win for everyone individually. It helped to withstand a sense of responsibility, when everyone considered the war their own business. Love for the Motherland made people unlike each other a single whole, helped to survive and win. Each person tried to do everything to win.

3. Much is surprising, a lot can be done by a person if he knows in the name of what and for what he is fighting. Themes tragic fate Soviet people will never be exhausted. Nobody wants the horrors of war to be repeated. Let children grow up peacefully, not being afraid of bomb explosions, let Chechnya not repeat itself, so that mothers do not have to cry for their dead sons. human memory keeps in itself the experience of many generations that lived before us, and the experience of each. “Memory resists the terrifying power of time,” said D.S. Likhachev. Let this memory and experience teach us kindness, peacefulness, humanity. And let none of us forget who and how fought for our freedom and happiness.

4. The teacher's story about the history of the creation of the story "The dawns here are quiet ..." (reproductive).

In 1969, the magazine "Youth" published the story "The dawns here are quiet ...". The story was read then and is being read today, a film of the same name was staged based on the story, which was successfully shown on the screens of many countries. The story of B. Vasiliev became my reference book, because it told me the truth about the war through the mouth of a man who saw a lot of grief on the roads of the war, lost his front-line friends. And here is the episode that B. Vasiliev recalls:

“... The idea of ​​the story was born from a “thump of memory”. I got to the front, barely finishing 10 classes, in the first days of the war ... as part of a fighter battalion, I went on a mission to the forest. And there, in the midst of a living green forest glade, so peaceful in its silence… I saw two dead village girls killed by the Nazis… I later saw a lot of grief, but I could never forget these girls…”.

5. Creative work of the class in groups: (creative).

Tell about the girl's life before the war, during the war, about participation in intelligence, about death. Make a characterization, express your attitude to the heroine of the story. Characterize Vaskov

The work of students of the 1st group:

Boris Vasiliev himself does not stop admiring Zhenya: "tall, red-haired, white-skinned. And children's eyes: green, round, like saucers."

Zhenya's family: mother, grandmother, brother - all were killed by the Germans, but she managed to hide. She got into the women's battery for having an affair with a married commander. Very artistic, emotional, she always attracted male attention. Her friends say about her: "Zhenya, you should go to the theater ...". Despite personal tragedies, Komelkova remained cheerful, mischievous, sociable and sacrificed her life for the sake of others, for the sake of saving her wounded friend. Cheerful, funny, beautiful, mischievous to adventures, desperate and tired of war, of pain, of love, long and painful, for a distant and married person.

We read an excerpt from the story about Zhenya’s death: “She wanted to do something to help Rita, who was mortally wounded, and Vaskov, who had to finish the job. Zhenya understood that by leading the Germans away from her comrades-in-arms, she thereby saved them from certain death.

Zhenya Komelkova is one of the brightest, strongest and most courageous representatives of the girls - fighters shown in the story. Both the most comical and the most dramatic scenes are connected with Zhenya in the story. Her benevolence, optimism, cheerfulness, self-confidence, implacable hatred of enemies involuntarily draw attention to her and cause admiration. In order to deceive the German saboteurs and force them to take a long road around the river, a small detachment of female fighters made a noise in the forest, pretending to be lumberjacks. Zhenya Komelkova played a stunning scene of carefree swimming in icy water in full view of the Germans, ten meters from enemy machine guns.

Here Zhenya “... stepped into the water and, screaming, noisily and cheerfully began to splash. The spray sparkled in the sun, rolled down the elastic warm body, and the commandant, without breathing, waited in line in horror. Right now, now Zhenya will hit and break, throw up his hands ... ".

Together with Vaskov, we see that Zhenya “smiles, and his eyes, wide open, full of horror, like tears. And this horror is alive and heavy, like mercury.

In this episode, heroism, courage, desperate courage were fully manifested.

In the last minutes of her life, Zhenya called fire on herself, just to ward off the threat from the seriously wounded Rita and Fedot Vaskov. She believed in herself, and, leading the Germans away from Osyanina, she did not doubt for a moment that everything would end well.

And even when the first bullet hit her side, she was simply surprised. After all, it was so stupid, absurd and implausible to die at nineteen...

“And the Germans wounded her blindly, through the foliage, and she could have hidden, before, and maybe leave. But she shot while there were bullets. She shot prone, no longer trying to run away, because strength was leaving along with the blood. I could lay low, wait it out, and maybe leave. And she did not hide, and she did not leave ... ".

The work of students of the 2nd group:

Liza Brichkina lived all nineteen years in the feeling of tomorrow. Every morning she was burned by an impatient foreboding of dazzling happiness, and her mother's immediately exhausting cough postponed this meeting with the holiday until the next day. Didn't kill, didn't cross out - moved away.

Our mother will die, - my father strictly warned, For five years, day after day, he greeted her with these words. Liza went into the yard to feed the piglet, the sheep, and the old government gelding. She washed, changed, and spoon-fed her mother. She cooked dinner, tidied up the house, went around her father's squares and ran to the nearby general store for bread. Her girlfriends had finished school a long time ago: some left to study, some were already married, and Liza fed, washed, scraped and fed again. And looking forward to tomorrow. Tomorrow was never associated in her mind with her mother's death. She already hardly remembered her healthy, but so much was invested in Lisa herself. human lives that the idea of ​​death simply did not have enough space. Unlike death, about which my father reminded me with such tedious severity, life was a real and tangible concept. She was hiding somewhere in the shining tomorrow while avoiding this cordon lost in the woods, but Liza knew firmly that this life existed, that it was destined for her and that it was impossible to bypass it, just as it was impossible not to wait for tomorrow.

“Just one step away. And the legs immediately lost their support, hung somewhere in the unsteady void, and the swamp squeezed the hips with a soft vise. The horror that had been simmering for a long time suddenly splashed out at once, resonating with a sharp pain in the heart. Trying to hold on, to climb out onto the path, Liza leaned heavily on the pole. The dry pole cracked loudly, and Liza fell face down into the cold liquid mud. There was no land. His legs slowly, terribly slowly dragged him down, his hands rowed the swamp to no avail. And Liza, panting, panting, wriggled in the liquid mass. And the path was somewhere nearby: a step, half a step, but these half steps could no longer be done ... ".

The work of students of the 3rd group:

Sonya Gurvich from Minsk. Her father was a local doctor. They had a very friendly and very large family: children, nephews, grandmother, unmarried mother's sister, some other distant relative, and there was no bed in the house on which one person would sleep, and the bed on which three slept was .

She herself studied for a year at Moscow University, knows German.

Even at the university, Sonya wore dresses altered from the dresses of her sisters - gray and deaf, like chain mail. And for a long time I did not notice their severity, because instead of dancing I ran to the reading room and to the Moscow Art Theater, if I managed to get a ticket to the gallery.

Sonya is “thin as a spring rook”, her boots are two numbers larger, she stomps them; on the back is a duffel bag. In the hands - a rifle. She "became very tired, as much as the butt dragged along the ground." And the “face” is “sharp, ugly, but very serious.” Vaskov thinks of her “pitifully” and involuntarily asks her a question, like a child: “Are your aunt and mother alive with you? Or are you an orphan?" And after Sonya’s answer and sigh, “Vaskov’s heart was slashed from this sigh. Ah, you little sparrow, is it possible for you to grieve on a hump? .. "

“Were the Germans waiting for Sonya, or did she accidentally run into them? She ran without fear along the twice-traversed path, in a hurry to drag him, foreman Vaskov, that shag. I curse three times. She ran, rejoiced, and did not have time to understand where the sweaty heaviness fell on her fragile shoulders, why her heart suddenly rushed with a piercing bright pain. No, I did. And I managed to understand, and to shout, because I didn’t get the knife to the heart from the first blow: my chest was in the way. Or maybe it wasn't like that? Maybe she was waiting for her?

Sonya Gurvich - "translator", one of the girls of the Vaskov group, "city" pigalitsa; thin as a spring rook.

The author, talking about Sonya's past life, emphasizes her talent, love for poetry, theater. Boris Vasiliev recalls: “The percentage of intelligent girls and students at the front was very high. Mostly freshmen. For them, the war was the most terrible ... Somewhere among them, my Sonya Gurvich also fought.

And now, wanting to do something nice, like an older, experienced and caring comrade, foreman, Sonya rushes after the pouch, forgotten by him on a stump in the forest, and dies from an enemy knife in the chest.

The work of students of the 4th group.

Jackdaw is a skinny "fuzzy", "she did not fit the army standards either in height or age." Imagine her, a small one (“Quartet”), also with a rifle. With a duffel bag, without a boot, “in one stocking. The thumb sticks out in the hole, blue from the cold. “With her growth,” Vaskov thinks, “and a bucket is a barrel.” Galka herself determined Fedot Evgrapych’s attitude towards her “with indignation”: “How small you are ...” He wants to cover her, protect her, he takes her in his arms so that she does not wet her feet once again. She cries like a little one: "bitterly, offended - as if a child's toy was broken."

Endowed by nature with a vivid, imaginative fantasy, Galya “always lived in an imaginary world more actively than in the real one,” therefore now (when she put on the boots of the murdered Sonya) “she physically, to the point of faintness, felt a knife penetrating the tissues, heard the crunch of torn flesh, felt a heavy smell of blood... And it gave rise to a dull, cast-iron horror...” And nearby were enemies, death.

“- The Germans walked in silence, crouching and holding their machine guns.

The bushes rang out with a noise, and Galya suddenly jumped out of them. Arching, clasping her hands behind her head, she rushed across the clearing in front of the saboteurs, already seeing nothing and not thinking.

Ah-ah-ah!

The automatic hit briefly. From a dozen steps he hit a thin one. Her back tense in running, and Galya poked her face into the ground without removing her hands, twisted in horror, from her head. Her last cry was lost in a gurgling wheeze, and her legs were still running, still beating, digging into the moss with the toes of Sonya's boots. Everything froze in the meadow ... "

Gali Chetvertak is an orphan, a pupil of an orphanage, a dreamer. Endowed by nature with a vivid figurative fantasy. The skinny, little "fuzzy" Jackdaw did not fit the army standards either in height or age.

“The reality that women faced in the war,” says B. Vasiliev, “was much more difficult than anything that they could come up with in the most desperate time of their fantasies. The tragedy of Gali Chetvertak is about this.

The work of students of the 5th group:

“Rita knew that her wound was fatal and that it would be long and difficult to die. So far, there was almost no pain, only it was getting hotter in the stomach and I was thirsty. But it was impossible to drink, and Rita simply soaked a rag in a puddle and applied it to her lips.

Vaskov hid it under a spruce turd, covered it with branches, and left...

Rita shot in the temple, and there was almost no blood.

Courage, composure, humanity, a high sense of duty to the Motherland distinguish the squad leader, junior sergeant Rita Osyanina. The author, considering the images of Rita and Fedot Vaskov to be central, already in the first chapters talks about the past life of Osyanina. school evening, acquaintance with lieutenant - border guard Osyanin, lively correspondence, registry office. Then there is the border post. Rita learned to bandage the wounded and shoot, ride a horse, throw grenades and defend against gases, the birth of a son, and then ... war. And for the first time during the war days she was not at a loss - she saved other people's children, and soon found out that her husband died at the outpost on the second day of the war in a counterattack.

They wanted to send her to the rear more than once, but each time she reappeared at the headquarters of the fortified area, they took her as a nurse, and six months later she was sent to study at a tank anti-aircraft school.

Rita learned to quietly and mercilessly hate enemies. In position, she shot down a German balloon and an ejected spotter.

When Vaskov and the girls counted the Germans coming out of the bushes - sixteen instead of the expected two. The foreman said to everyone at home: “It’s bad, girls, it’s business.”

It was clear to him that they would not last long against heavily armed enemies, but then Rita's firm remark: “Well, watch how they pass by?” - obviously, Vaskova strengthened a little in decision. Twice Osyanina rescued Vaskov by taking fire on herself, and now, having received a mortal wound and knowing the position of the wounded Vaskov, she does not want to be a burden to him, she understands how important it is to bring their common cause to an end, to detain fascist saboteurs.

The work of students of the 6th group.

Fedot Vaskov is thirty-two years old. He completed four classes of the regimental school, and in ten years he rose to the rank of foreman. Vaskov experienced a personal drama: after the Finnish war, his wife left him. Vaskov demanded his son through the court and sent him to his mother in the village, but the Germans killed him there. The foreman always feels older than his years. He is executive.

Vaskov felt older than he was. And this, in turn, explains why in the army he was a foreman not only by rank, but also by his "sergeant's essence", which became a peculiar feature of his attitude. In the seniority of Vaskov, the author sees a kind of symbol. A symbol of the supporting role of people like Vaskov, conscientious workers, hard workers both in civilian life and in the military. As a "senior" he takes care of the fighters, takes care of the order, achieves the strict fulfillment of the task. The author writes: “…..I saw the whole meaning of my existence in the punctual execution of someone else’s will.” He meticulously follows the charter - this betrays the limited horizons of the foreman, and often puts him in a ridiculous position. The relationship between the foreman and the anti-aircraft gunners is difficult at first precisely because, from the point of view of Vaskov, the girls constantly violate the Charter, and, from the point of view of the girls, that Vaskov blindly follows the Charter, does not take into account living life. For them, he is "a mossy stump: there are twenty words in reserve, and even those from the charters." The word Charter and other military terms do not descend from Vaskov's language. Even expressing his impression of the piercing beauty of Zhenya Komelkova, he says: "The incredible power of the eyes, like a 152-millimeter howitzer cannon." The mortal battle with the saboteurs became the test in which the character of Vaskov is revealed more deeply. To keep the spirits of the girls up, he must "adjust a smile with all his might to his lips." He is imbued with sympathy and warmth for the grief of each, getting to know them better. Affiliated with them by misfortune, the desire to win, Vaskov says: “What kind of foreman am I to you, sisters? I'm kind of like a brother now." This is how the soul of the stern Vaskov straightens out in battle, and the girls are imbued with respect for him.

But even more significant is another change in character. We see that Vaskov, by his habits, by his way of thinking, is a conscientious performer. Sometimes funny in his pedantry. And the situation in which he found himself demanded from him the ability to independently make decisions, guess about the plans of the enemy, and warn them. And overcoming the initial confusion, apprehension, Vaskov acquires determination, initiative. And he does what in his position could be the only right and possible. He argues: “War is not just about who shoots whom. War is about who changes their minds. The charter was created for this, in order to free your head, so that you could think in the distance, on the other side, for the enemy.

6. Conversation on the story: (heuristic).

The title emphasizes all the horror, all the savagery of this war

The anti-aircraft gunners returned silence to the dawns, and the dawns, in turn, keep the memory of the events that took place, keep sacred, as before, silence.

B.Vasiliev expressed the title main idea, which runs through the whole story: the girls died in the name of a brighter future, in the name of always having clear skies and quiet dawns over our country.

2. Describe Vaskov. How does Boris Vasilyev show this hero in the story? Under the influence of what events does it change? (hero evolution)

- Meeting of anti-aircraft gunners: harsh, dry, cold, secretive, adhering only to the charter, illiterate, unable to make decisions.

- The capture of the Germans: deeply worried, suffering, able to be firm.

7. Viewing fragments of the film. (creative, heuristic).

Teacher:

Front-line directors leave, their films remain - the best thing that was said from the screen about the war. In one year, 2001, following Grigory Chukhrai, the creator of "The Ballad of a Soldier", ended his life and creative way Stanislav Rostotsky, director of the film "The Dawns Here Are Quiet...".

War measured by the female share - this theme was not interrupted in the cinema. She was characterized by a special humanistic tonality, sometimes exalted to the point of tragedy, sometimes reduced to everyday life and yet retaining poetic spirituality.

Conversation on fragments from the film by S. Rostotsky:

Viewing a fragment (the beginning of the film - landscape) - 30 seconds.

It was in these places, the Karelian forests, that the events described in the story took place. How do you understand the title of the story? How does the landscape help to reveal the meaning of the title of the work? (The Karelian landscape is beautiful: green forests, clear rivers, calm expanse of water, high deep sky. Silence. Quiet dawns. And all this is destroyed by automatic bursts. War should not destroy peaceful life. And everyone should remember this and save the Earth. The land where quiet dawns.Remember those who kept the peace).

Teacher:

In the film "The Dawns Here Are Quiet ..." one episode is called "In the Second Echelon", the other - "Fight of Local Importance". The headlines are clearly polemical. The front is reduced to a small northern village, where a platoon of anti-aircraft gunners lodges. Five of them make their last stand on the narrow isthmus between the lake and the forest. The geographical scale is emphatically small.

Why do you think the director divided the film into "peace" and "war"? ("And the dawns here are quiet..." It is no coincidence that they are divided into two series. The first is peace, the second is war. Chronologically, this is not the case: the action of the picture takes place in May 1942. And in the first series there is a battle ... Peace and war , scrapped from one life to another. True, not quite an ordinary "world" where a river splashes in the morning mist, linen dries, an ax clatters and the eyes of the soldiers see off the only man here, foreman Vaskov. Together with the actors, the director found a common denominator for different characters : anti-aircraft gunners do not live according to the charter, but as they live in the village, where it is difficult to hide from the eyes and protect themselves from rumors, where they sit on the mound, heat the bathhouse, but on the other hand they arrange an evening of dances in a city way. Life is semi-peaceful, semi-village. the shift justifies the carefully written everyday surroundings, the unhurried, colorful manner of the story.. About the late woman's passion of the hostess of the hut for the guest, about the first girl's love ...)

How is the war shown in Rostotsky's film? (Fiery trails go up, machine-gun "quads" furiously knock, shells roll with a clang, and the smoky trail of a fallen aircraft traces the sky. The battle is colorful, enchanting, not like the war that will begin for anti-aircraft gunners not in the sky, but on swampy ground. In Boris Vasiliev's story, this "peaceful" backstory occupies a little more than twenty pages. The director unfolds it into a detailed image, when one line or remark turns into an episode, into a montage fragment. Each deceased had his own fate, his own battle, his last frontier, and for each, the whole war was contained in this small one).

The central place in the story and the film is occupied by the figure of Vaskov. How is Vaskov's internal monologue shown in the film and in the story? (In the story, Vaskov is exalted, feeling Russia behind his back, and reliable when he presents his war with the Germans as a card game: who has trump cards, who has to play. In the film, this internal monologue is brought to the surface. Forest, boulders, lake are visible behind the figures of people. The northern Karelian landscape, in which there is something epic since ancient times, is connected to the character of the hero).

How is the peaceful life of girls shown? (The director also provided for an open - declarative - way out of the military calendar. The life-like structure of shots is suddenly interrupted by flames that grow from under the lower edge, and pictures of the pre-war happiness of each of the five heroines appear on the screen in pure, bright colors).

And now let's look at fragments from the film of the Chinese film director and compare these two films.

Teacher:

The script, written by Chinese screenwriters, was edited by the author of the story, Boris Vasiliev. All roles in the film were invited by Russian and Ukrainian actors. The filming period lasted 110 days. Filming took place both in China in the city of Hei He, and in Russia - in Moscow, St. Petersburg and the Amur Region.

The idea of ​​​​creating the film “The Dawns Here Are Quiet...” based on the story of the same name by front-line writer Boris Vasiliev was born on the Central Television (CCTV) of the People's Republic of China on the eve of the celebration of the 60th anniversary of the Victory over fascism.

What is the main difference between the film of the same name by S. Rostotsky and the series Mao Weinina "And the dawns here are quiet ..."? (The film by Rostotsky is divided into two series, and the series by the Chinese director is 20 series).

Teacher:

The difference between this television series and the previous one is that, in addition to several location shootings in Russia, in Moscow and the Amur Region, most of them took place in the Chinese province of Heilongjiang, in the city of Heihe.

The TV show, based on the famous novel (by Boris Vasiliev), showed the cruel fate that befell young girls during the war, which violated the beauty of life. The entire television series is imbued with strong feelings of hatred of ordinary people for the fascist invaders.

Did you like the Chinese director's film? Why?

Compare the story and the films based on the work.

The creator of the film S. Rostotsky increased the emotional return. By means of cinematography, it was possible to deepen the contrast between a peaceful happy life and war, death, which is the basis of the story.

Why is the war in the film in black and white, and the peaceful life of girls (remember the fragments of the first part of the film that you watched earlier) and modern life in color? (The presence of color reminds that the beauty of nature does not touch anyone, does not hurt. All forces are given to the struggle).

In the film, our contemporaries are given more space than in the book. Therefore, the theme of memory has become more significant.

Watching a fragment from the films (epilogue) - three minutes.

8. Creative work: compose a syncwine with the word "patriotism". (creative).

Listening to the song "Do Russians want wars?"

9. Summing up the lesson.

Boris Vasiliev sees the basis of the spiritual transformation of the foreman in his primordial moral qualities, primarily in the ineradicable sense of responsibility for everything in the world: for order at the junction and for the safety of state property, for the mood of his subordinates and for their compliance with statutory requirements. So in the story “The Dawns Here Are Quiet…” the connection between conscientiousness, diligence of a working person and his ability for high civic activity is revealed.

At the end of the story, the author raises his hero to the height of conscious heroism and patriotism. The author's intonation, merging with Vaskov's voice, reaches pathos: “Vaskov knew one thing in this battle: do not retreat. Do not give the Germans a single piece on this shore. No matter how hard, no matter how hopeless - to keep.

…And he had such a feeling, as if it was behind his back that all of Russia had converged, as if it was he, Fedot Evgrafovich Vaskov, who was now her last son and defender. And there was no one else in the whole world: only he, the enemy and Russia.

A single feat - the defense of the Motherland - is equalized by foreman Vaskov and five girls who "hold their front, their Russia" on the Sinyukhin ridge. Thus, another motive of the story arises: each on his own sector of the front must do everything possible and impossible for victory so that the dawns are quiet. This is the measure of the heroic, according to Vasiliev.

To whom is the story addressed?

(For the younger generation to remember - this is mentioned in the epilogue).

Homework: write a review " Artistic media, the language of the work. (creative).

Find material for any lesson,

And the dawns here are quiet...

Boris Vasiliev - famous writer, in the past a participant in the Great Patriotic War. He saw with his own eyes the cruelty and horrors of the war, he knows firsthand what he later, in peacetime, decided to tell his readers. His the best works, in my opinion, “I didn’t appear on the lists” and “The dawns here are quiet.”

Recently, a lot of talented and truthful has been written, but the stories of B. Vasiliev have not been lost in all the variety of military topics. This is primarily due to the bright and heroic images created by the author.

“The Dawns Here Are Quiet” - a story about women in the war. Many works are devoted to this topic, but this one is special. The story is written without excessive sentimentality, in a tough laconic manner. She tells about the events of 1942.

German saboteurs are thrown into the location of the anti-aircraft machine-gun battery, commanded by the Basque foreman. At first, the foreman thinks that there are two Germans, so he decides to destroy the Nazis with the help of his unit, in which there are only girls.

Five anti-aircraft gunners were selected for this task. The foreman performs the task, but at what cost?!

Basque - a participant in the Finnish war, knows the area where the saboteurs go. Therefore, he confidently leads his unusual fighters to complete the task. At first, the girls had a low opinion of their commander: “a mossy stump, twenty words in reserve, and even those from the charter.” The danger brought all six together, revealed the extraordinary spiritual qualities of the foreman, who was ready to take on any difficulties, but only to save the girls.

Undoubtedly, Basque is the core of the story. He knows a lot and knows how, he has front-line experience, which he is trying to pass on to his fighters. He is laconic and appreciates only deeds. The foreman absorbed the best qualities of a defender, a soldier, thanks to the feat of such Vaskovs, and a victory was won.

The assistant foreman in the group was Sergeant Osyanina. Baskov immediately singled her out among others: “Strict, never laughs.” The foreman was not mistaken - Rita fought skillfully, she avenged her dead border guard husband, for her ruined life, for desecrated Motherland. Before her inevitable death, Rita tells the foreman about her son. From now on, she entrusts the boy to Vaskov, a reliable and congenial person.

Zhenya Komelkova has her own scores to settle with the Germans. She saves the foreman and the group three times: first, at the canal, stopping the Germans from crossing. Then he stabbed the German who was attacking Vaskov. And, finally, at the cost of her life, she saved the wounded Rita, leading the Nazis further into the forest. The author admires the girl: “Tall, red-haired, white-skinned. And the children's eyes are green, round, like saucers. Sociable, mischievous, a favorite of others, Komelkova sacrificed herself for the sake of a common cause - the destruction of saboteurs.

All of them - Liza Brichkina, Sonya Gurvich, Chetvertak, Rita Osyanina and Zhenya Komelkova - died, but the foreman Basque, shocked by such losses, brought the matter to an end.

This Russian soldier was on the verge of insanity. He realized that he would not live if he allowed the Nazis to fulfill their plan. No, he must finish what he started. The author showed that there is no limit to human capabilities. The Basque does not so much take revenge on the enemies for the murdered girls, as he fulfills his military duty.

He was able to survive, go through the war and stay alive in order to raise his son Rita Osyanina, in order to justify his life for the dead girls.

It's not easy to live with such a burden, but it strong man. The merit of B. Vasiliev as a writer is that he was able to create an image of the heroic generation of our fathers and grandfathers.

About B. Vasiliev's story "The Dawns Here Are Quiet"

Materials for work on the story.

B. Vasiliev - famous Russian writer, his works “He was not on the lists”, “The dawns here are quiet”, “Do not shoot at white swans”, “Tomorrow there was a war” were most famous, B. Vasiliev is also the author of historical novels.

B.Vasiliev was born in 1924 in the family of a professional military man. In 1941 he volunteered for the front. That is why his works military theme sound so piercingly sharp, touching our souls whenever we turn to them.

The story “The Dawns Here Are Quiet” brought fame and popularity to B. Vasiliev as a writer, in 1969 he was even awarded the State Prize for this story. The innovation of this work was in the subject matter: B. Vasiliev raised the theme of “a woman in war”.

The works of B. Vasiliev about the Great Patriotic War have entertaining plots, the development of which the reader follows with great interest. For example, when reading the story “The Dawns Here Are Quiet,” we all hope that the girls and foreman Vaskov will cope with the enemy, defeating him and staying alive. Following the plot of the story “He was not on the lists”, we are worried about the main character, who, losing friends and strength, left alone, continues to fight the enemy, and together with him we really want him to destroy as many fascists as possible and stay live.

However, not only the fascination of the plot is the merit of B. Vasiliev's works. The main thing for the writer has always been the desire to conduct a conversation on moral topics: about cowardice and betrayal, about self-sacrifice and heroism, about decency and nobility.

The story “The Dawns Here Are Quiet” attracts with its unusual plot: in a cruel, inhuman war, where it is difficult for a man to cope with emotions and endure physical hardships, girls who voluntarily go to the front become the same soldiers of the war. They are 18-19-20 years old. They have a different education: some of them studied at universities, some have only elementary education. They have different social status: someone from an intelligent family, someone from a remote village. They have different life experiences: some have already been married and lost their husbands in the war, while others only lived in dreams of love. Their commander, watching them, foreman Vaskov, tactful and sensitive, pities his fighters, understands how hard army science is given to them. He is infinitely sorry for these girls, who performed an impossible combat mission with him and died in a collision with an enemy superior in strength and power. These girls died at the dawn of their years, in the prime of their beauty and youth.

The central characters of the story “The Dawns Here Are Quiet” are five anti-aircraft gunners and the foreman, 32-year-old Fedot Evgrafovich Vaskov. Fedot Vaskov is a village man with four grades of education. However, he graduated from the regimental school and for 10 years on military service, rose to the rank of foreman. Even before the Great Patriotic War, he participated in military campaigns. He was unlucky with his wife: he got frivolous, walking and drinking. The son of Fedot Evgrafovich was raised by his mother, but she did not save one day: the boy died. Fedot Evgrafovich is wounded by life and fate. But he did not harden, he did not become indifferent, he is sick of everything with his soul. At first glance, he is a dense goof, who knows nothing but the provisions of the Charter.

Five female anti-aircraft gunners are like five types of women.

Rita Osyanina. The wife of a career officer, married for great conscious love, a real officer's wife. She, unlike the ex-wife of foreman Vaskov, devoted her whole life to her husband and went to the front to continue his work as a defender of the Fatherland. Rita for sure beautiful girl, but for her the main thing in life is duty, whatever it may be. Rita is a man of duty.

Zhenya Komelkova. A girl of divine beauty. Such girls are created in order to admire them. Tall, long-legged, red-haired, white-skinned. Zhenya also experienced a personal tragedy - in front of her eyes, the Nazis shot her entire family. But Zhenya does not show his spiritual wound to anyone. Zhenya is a girl-decoration of life, but she became a fighter, an avenger.

Sonya Gurvich. girl from Jewish family that valued education. Sonya also dreamed of getting a university education. Sonya's life is theater, library, poetry. Sonya is a spiritual girl, but her war forced her to become a fighter.

Liza Brichkina. A girl from a remote village may be the most useful fighter of all five, because it is not in vain that Vaskov gives her the most difficult task. Living in the forest with her father, a huntsman, Lisa learned many wisdoms of life outside of civilization. Lisa is an earthly, folk girl.

Galya Chetvertak. Girlfriend of Zhenya and Rita. Nature has not endowed her with any hint of feminine beauty, she did not give her luck. Galya is a girl from whom fate, or God, or nature took away beauty, intelligence, spirituality, strength - in general, almost everything. Galya is a sparrow girl.

The action takes place in May 1942. It can be said that the first year of the Great Patriotic War is coming. The enemy is still strong and in some ways surpasses the Red Army, in which even young girls become fighters, replacing dead fathers and husbands. Somewhere far along the entire front, fierce battles are going on, but here, in the wilderness of the forest, there is not the front line of defense, but the enemy is still felt, and the war here also indicated its presence, for example, enemy air raids. The place where the anti-aircraft gunners serve is not so dangerous, but an emergency situation suddenly arises.

Characteristics of the characters.

Sergeant Major Vaskov is the commander of a small anti-aircraft point located in the rear, whose task is to destroy enemy aircraft that raid our land. The place in which he serves as a commander is not the front line, but Vaskov is well aware that his task is also important, and he treats the task assigned with honor. He worries about the fact that in this relatively calm place the soldiers are losing, so to speak, their combat form, drinking themselves from idleness. He receives reprimands for poor educational work, but still writes reports to the authorities and asks to send non-drinking fighters. He did not even think that, fulfilling his request to send non-drinkers, they would send him a whole detachment of girls. It was difficult for him with his new fighters, but he tried to find a common language with them, although he, who is shy in terms of the female sex, accustomed not to sharpen his hair, but to prove his worth by deed, is very difficult with sharp-tongued women. Vaskov does not enjoy their authority, rather, serves only as an object for ridicule. The girls did not see in him a very extraordinary personality, a real hero.

He is the epitome of a hero folk tales. He is one of those soldiers who cook porridge from an ax and “shave with an awl and warm themselves with smoke.” None of the girls, except maybe Lisa Brichkina, in relatively peaceful circumstances understood the essence of his heroic nature. And his heroism, of course, did not lie in the ability to shout loudly “Follow me!” and rush to the embrasure, closing his eyes. He is one of those "essential", rare, maybe now people who can be relied on in any situation. He is a real man, whom the enemy will not frighten, no matter how many he appears before him. Vaskov first thinks and then acts. He is a humanistic nature, because he cares for his fighters with his soul, he does not want them to die in vain. He does not need a victory at any cost, but he does not spare himself. He is a real living man, because he is not an ascetic. He shares a bed with the owner of the apartment simply out of vital necessity, simply because the circumstances have developed, and he is used to living in harmony with the world around him, and this is not disgusting to him.

Rita Osyanina is a man of duty. A true Komsomol member, because she loves her Motherland. And she marries a border guard, because the border guard stands guard over the Motherland. Probably, Rita married the idea to a greater extent, albeit for love. Rita is the ideal that the Party and the Komsomol brought up. But Rita is not a walking idea. This is really an ideal, because she is also a real woman: mother and wife. And also a good friend. Rita is also one of those people you can always rely on.

Zhenya Komelkova, rather, is the opposite of Rita in terms of the female essence. If Rita is more of a social being, then Zhenya is purely personal. People like Zhenya never do like everyone else, like the majority, and even more so, like it should be. People like Zhenya always break the law. They feel that they have such a right, because they are special, they are Beauty. Any man will forgive any beauty any guilt. But behind the external fragility and crystalness of the wife's beauty lies a very strong nature. As you know, the life of beauties is not easy. They meet with envy, they constantly have to prove that they are worth something in this life, life-struggle hardens them. Zhenya is a fighter for life. This allows Zhenya to fight to the last in the war. Zhenya died like a hero. Being a beauty, she did not demand privileges for herself.

Lisa Brichkina is not a beauty, unlike Zhenya. But what brings Lisa closer to Zhenya is that she also lives with her heart, her gut. She did not receive a school education due to her mother's illness (as Vaskov once did due to the death of her father), but she developed her soul by thinking about what surrounded her. Liza passionately dreamed of love and even crossed the laws of female behavior herself, but God did not let her make a mistake. And now, at the outpost, Liza met her ideal in the gloomy, taciturn foreman Vaskov. Lisa rushed headlong to fulfill Vaskov's order. Despite the fact that it was very dangerous, Liza did not think about it for a minute. Anything, she was ready to do for him and even, if necessary, sacrifice her life, if only he would say: "Well done, Brichkin's fighter."

Sonya Gurvich is a person of a completely different history and culture. Sonya is a person of Jewish culture. Her religion is a global culture. Sonya studied to be a translator from in English to be even closer to the world achievements of spirituality or to bring them closer to their homeland. Sonya is characterized by restraint and asceticism, but under her "armored" dresses, and under a soldier's tunic, a quivering and at the same time stoic heart beat.

Jackdaw Chetvertak is a weak person who sticks around strong girls, her girlfriends. She had not yet had time to learn the same stamina as theirs, but she probably really wanted to. If the world had not been broken by the war, Galka could have become an actress, because she had been trying on various roles all her life, maybe she would have become a writer, because her imagination was limitless.

Ideological and thematic analysis.

Subject.

The theme of the story is "Woman in War". The choice of this theme is humanistic. It is very important to raise such a topic, to consider the nuances of the existence of a woman in a war.

Idea.

The idea of ​​the story is to show the unnaturalness of such a fact as a woman in a war. The natural task of a woman is to give birth and raise children. And in war, she must kill, going against her natural essence. In addition, the very phenomenon of war kills women who continue life on earth. And therefore, kills life on earth. It is also well known that it was after the war that smoking among women spread in our country, a phenomenon that disfigures women's nature.

Conflict.

There is an internal and external conflict in the story.

External conflict on the surface: this is the struggle of anti-aircraft gunners under the command of foreman Vaskov with a superior enemy. This is a conflict of tragic sounding, because inexperienced girls are faced with a deliberately invincible enemy: the enemy is superior in quantity and quality. The enemy of girls are trained, physically strong, trained men.

Internal conflict is a clash of moral forces. The evil, criminal will of a political figure, guided by delusional immoral ideas, opposes life on earth. The struggle of these forces. And the victory of good over evil, but at the cost of incredible efforts and losses.

Analysis artistic features.

Of the artistic features that you can pay attention to, it should be noted the use of words and expressions of the colloquial style. This feature is most clearly represented in Vaskov's speech. His speech characterizes him as an uneducated, rural person. Here he says: “theirs”, “if anything”, “shuffle”, “girls”, “accurate”, etc. He formulates his thoughts with phrases similar to proverbs: “This war is like a hare for men, and for you ... ”,“ Twitter to a military man is a bayonet in the liver ”... But this is completely from folk speech:“ There is something nice to look at. It was Vaskov with his popular speech forms the outline of the story. He organizes the dialogues. And they are always filled with jokes, his personal aphorisms, official and business expressions from the charter, adapted to the situation. He consoles in sorrows, gives wise instructions, directs the life and activities of the detachment in the right direction.

Here is an example of such a dialogue.

Oh, my girls, my girls! Have you eaten at least a piece, slept at least with half an eye?

I didn’t want to, comrade foreman ...

What kind of foreman am I now, sisters? I'm kind of like a brother now. That's what you call Fedot. Or - Fedya, as my mother called.

And Galka?

Our comrades died a heroic death. A quarter in a shootout, and Liza Brichkina drowned in a swamp. Not in vain they died: they won a day. Now it's our turn to win the day. And there will be no help, and the Germans are coming here. So let's remember our sisters, and there the battle will have to be accepted. Last. apparently.

Story analysis.

Source event.

The initial event is, of course, the beginning of the war. It was the outbreak of war that changed the lives of the heroes, forced them to live in a new way, in new conditions, in new circumstances. For some heroes, the war destroyed everything that was valuable in their lives. Heroes have to defend their right to live on their land with weapons in their hands. The heroes are filled with hatred for the enemy, but they understand that the enemy is cunning, cunning, strong, and just like that, with one desire, you can’t cope with him, it will be necessary to sacrifice something. However, they all hope that happiness will still come to them. For example, Rita Osyanina is already happy that, having transferred to the road, she has the opportunity to see her son two or three times a week. Yes, and other girls, although they have not forgotten about the pain that the enemy caused them, are still not in a depressed mood, and even in these conditions, performing a combat mission, they find an opportunity to enjoy life.

main event.

The plot of events is that Rita, returning to the unit, saw the saboteurs. This meant that the enemy had already made his way to the rear of the army and was beginning to create a threat from within. This enemy must be destroyed. Sergeant Vaskov, having learned from Rita that there are only two saboteurs, takes on this task, having calculated that he and the assistant girls will be able to cope with such an enemy on their own. He creates a group of five girls, leads this group, and they go to complete the task. The fulfillment of this task becomes the central event, during which the characters of the heroes are revealed, their essence is revealed.

central event.

The central event is the struggle of the girls and Vaskov with the fascist saboteurs. This encounter takes place in the forest near Howl Lake. At the very beginning of this event, the girls and Vaskov find out that they were mistaken: not two saboteurs, as they expected, but sixteen people. They do not leave their chosen position, hoping that they will be able to deceive the enemy. Of course, this was not a naive hope, they understood that the forces were unequal, but duty would not allow them to escape, saving their lives. Vaskov tried to foresee possible dangers, but the impulsiveness and emotionality of the girls cannot be controlled or planned.

Liza Brichkina is the first to die. She did not listen to Vaskov's warnings about caution and did not take the slip, without which it is impossible to go through the swamp. She was so eager to fulfill the order of the foreman as quickly as possible that she neglected her own safety. Then Sonya Gurvich dies, recklessly rushing for Vaskov's pouch, because, out of the kindness of her soul, she wanted to do something pleasant for the commander. The next was Galya quarter. She ran out of hiding in a panic and came under machine-gun fire.

These girls died precisely as a woman, that is, because they committed impulsive, thoughtless actions, and this is not allowed in a war. However, a woman is different for a woman. Rita Osyanina and Zhenya Komelkova showed an example of true courage and heroism, grappling in this fierce struggle with a four times superior enemy. The enemy retreated, but the girls died. They died like heroes. They did not succumb to the enemy, but lost to him, giving their lives in this struggle.

Final event.

After the battle, which was accepted by Vaskov, Zhenya and Rita, only six Germans survived. They retreated to their hiding place. Vaskov, having lost Zhenya and Rita in battle, vowed to avenge the girls. Wounded himself, barely on his feet from fatigue and pain, he kills the sentry and catches the sleeping Germans by surprise. Of the weapons, he had only a grenade without a fuse and a revolver with the last cartridge. But the will, determination, courage, surprise and pressure, as well as the fact that the Germans did not believe that he attacked them alone, helped him not only shoot them, taking possession of the machine gun, but he captured them and brought them to the location of the Soviet troops .

Main event.

Post-war period. In those places where the events of the play unfolded, vacationers (born after the war) fish and enjoy the silence and beauty of these places. They see that an old man without an arm and a military man, whose name is Albert Fedotovich, are arriving there. These men came to erect a monument in those places. We understand that this old man is the same foreman Vaskov, and the military man is his adopted son Albert Osyanin. The beauty of these places is especially visible in the final scene, and it is clear to us that the girls died so that the dawns in these places and throughout Russia were always quiet.

Super task.

The author's super-task is to show that Good triumphs over Evil. Even after dying, Good still triumphs over Evil. The victory of Evil, if it happens, is only temporary. Such is the law of divine justice. But in order to win, Good almost always has to die. So it was in the story of Jesus Christ. And yet, despite death, Good perishes for the continuation of life. And she continues. And that means there is no death for him. So, for us, if we do good.