Literature of the first post-revolutionary years. Russian Federation Federal State Budgetary Educational Institution of Higher Education "Tyumen Industrial University" Literature of the Great Patriotic War
Assessment tasksU5, U10, U11, U13; Z1,Z6, Z7, Z9; OK1, OK2, OK4, OK7, OK8:
1) Independent work No. 22. “M.I. Tsvetaeva (1892-1941)"
Research and preparation of an abstract (message, report):
“M.I. Tsvetaeva in memories of contemporaries»,
"M. Tsvetaeva, B. Pasternak, R.M. Rilke: dialogue of poets",
“M.I. Tsvetaeva and A.A. Akhmatova",
« M.I. Tsvetaeva is a playwright."
1. Organize an exhibition: “Photos of the Writer.”
2. Select illustrations by Russian artists for the works of M.A. Bulgakov.
3. Select fragments of the films “Days of the Turbins” (dir. V. Basov), “The Master and Margarita” (dir. V. Bortko)
3) Independent work No. 24. "A.N. Tolstoy (1883-1945)"
Tasks for independent work:
1. Screen adaptation of the work.
2. Fragments from the films “The Youth of Peter”, “At the Beginning of Glorious Deeds”, W. Scott. "Ivanhoe."
4) Independent work No. 25. “M.A. Sholokhov (1905-1984)"
Assignment for independent work:
Research and report preparation:
“Cossack songs in the epic novel” Quiet Don“and their role in revealing the ideological, moral and aesthetic content of the work.”
Section 2.Russian language. Morphology and spelling.Functional parts of speech
Assessment tasksU10; Z4, Z5; OK3, OK5, OK6, OK8, OK9:
1) Practical lesson №18 . "Preposition as part of speech"
Tasks to complete:
Analyze the phrases below from newspapers and essays and identify errors in their construction. Explain the essence of each error. Suggest the correct option.
The attending physician was moderately puzzled by the patient’s condition, but did not lose confidence in the best. Even at the famous house on Petrovskaya Embankment there were no guards on duty.
Despite all the difficulties, the district administration is making every effort to improve the quality of roads. I slowly took computer and English courses from the owner.
For the month that I was there (on new job. - Comp.) lasted, the workers changed endlessly. Vyacheslav was also involved in buying and selling gold bars: the damage to the state is estimated at 257 million rubles. Everything suggests that this heroine (Korobochka. - Comp.) personifies a piggy bank, it folds and folds, raking up money for itself, seeing in everything only profitable profit, investing all its actions, forces and goals to make a profit. Immediately upon arrival (Chichikova. - Comp.) V County town, we begin to notice strange actions on his part, aimed at buying serf souls, and not just souls, but already dead ones - “dead souls”.
Security questions:
1. What determines spelling and the use of prepositions?
2) Practical lesson No. 19. "Conjunction as part of speech"
Tasks to complete:
1. Read it. Determine the main idea of the text and title it. Determine the style and type of speech. Copy the text. Indicate unions and their functions.
(AND SO, SO) the long-awaited winter has arrived! Have a nice run through the frost on the first winter morning. From afar... the rising breeze pricks your face and ears, (FOR THAT, BUT) how beautiful everything is around! No matter how prickly Frost is, he is (SAME, SAME) pleasant. Isn’t it (FOR THAT, FOR) don’t we all love winter, because it (JUST, ALSO), like spring, fills the chest with an exciting... feeling. Everything is alive, everything is bright in the transformed nature, everything is full of invigorating... freshness. Breathe so easily and feel so good in your soul that you involuntarily smile. And I want to say in a friendly way to this wonderful winter morning: “Hello, long-awaited, cheerful winter!”
2. Read the sentence and find grammatical basis in every sentence. Indicate the essay and subordinating conjunctions and determine their meaning. Copy by inserting missing letters and adding punctuation marks. When copying, indicate the boundaries of sentences as part of a complex sentence.
1. The fire in the lamp flickered and dimmed, but a second later it flared up again evenly and brightly.
2. The leaves either flew in the wind or lay vertically on the damp grass.
3. Everyone got up from their seats as soon as the sounds of music died down.
4. Science loves work... loving people because work is talent.
5. Agrarians are doing everything to ensure the harvest of our crops has grown..become.
Security questions:
1. What determines the spelling and use of conjunctions?
3) Practical lesson No. 20. "Particle as part of speech"
Tasks to complete:
Read and explain the combined and separate spelling of no.
1) It was obvious that the old man was upset by Pechorin’s neglect. (L.) 2) Mother tried to restore his [old man Grinev] cheerfulness, talking about the inaccuracy of rumors, about the instability of human opinion. (P.) 3) His voice was unpleasant. (T.) 4) It is not luck that contributes to success, but work and perseverance. 5) A large, clumsy carriage slowly drove off the highway onto the parade ground. (Kupr.) 6) My traveling companion is not a talkative person, but a very reserved one. His face is rather expressionless and colorless. The height is far from high. 7) Quite intelligent, gray, cold eyes peek out from under his red eyebrows. (Prishv.) 8) He turned out to be a worthless owner. (Ver). 9) Zakhar is untidy. He rarely shaves. He's awkward. (Gonch.) 10) The beginning is not expensive, but the end is praiseworthy. (Last) 11) The nightingale does not need a golden cage, a green branch is better. (Last.) 12) Her small but clear voice rushed across the mirror of the pond. (T.) 13) This woman was not young, but traces of her strict, stately beauty remained. (Hertz.)
Security questions:
1. What determines the use of particles?
Section 1. Literature. Features of the development of literature during the Great Period Patriotic War and the first post-war years
Assessment tasksU12, U13; Z6, Z7, Z8; OK1, OK2, OK4, OK7, OK8:
1) Independent work No. 26. “A.A. Akhmatova (1889-1966)"
Tasks for independent work:
1. Research and preparation of an abstract:
“Civil and patriotic poems by A. Akhmatova and Soviet literature”;
“The tragedy of the “hundred million people” in A. Akhmatova’s poem “Requiem.”
3. By heart. Two or three poems (students' choice).
Section 2.Russian language. Syntax and punctuation
Assessment tasksU7; Z3; OK1, OK2, OK3, OK4, OK5, OK6, OK7, OK8, OK9:
1) Practical lesson No. 21. "Basic Units of Syntax"
Tasks to complete:
Write out all possible phrases from the sentence, characterize the phrases, make parsing offers:
Far away in a huge forest near the blue rivers, a poor woodcutter lived with his children in a dark hut.
What combinations of words could not be written down and why?
Security questions:
1. Compare: phrase and sentence.
2. Name the types of connections between words in a phrase.
2) Practical lesson No. 22. "Complicated simple sentence"
Tasks to complete:
1. Indicate the correct syntactic characteristics of the sentences.
I easily climbed through the fence and walked along the spruce needles that covered the ground. (A.P. Chekhov) Levin straightened up and looked around with a sigh. (L.N. Tolstoy) Putting his sharp chin on his fist, huddled on a stool and tucking one leg under him, Woland gazed at the immense collection of palaces, giant houses and small shacks doomed to be demolished. (M.A. Bulgakov):
a) the proposal is complicated by a separate definition;
b) the proposal is complicated by a separate circumstance;
c) the sentence is complicated by introductory words;
d) the sentence is complicated by homogeneous members.
2. Indicate sentences complicated by separate definitions.
a) The sheets of paper written by Ivan, blown away by the wind that blew into the room, lay on the floor. (M. Bulgakov)
b) They looked at the windows facing west. (M. Bulgakov)
c) Following this, the roar of the disturbed hive immediately filled the audience. (L. Leonov)
d) The dark brown, delicate, shiny, soft fur was very beautiful for the fawn.
3. Indicate sentences with isolated circumstances.
a) He felt very good despite the sweat pouring down like a hail. (L.N. Tolstoy)
b) This is the state of the soul of a person who sees the autumn festival of light and silence. (V. Peskov)
c) Despite the large number of puddles, we did not get our feet wet.
d) Somewhere on the river, children swimming early in the morning shouted. (Yu. Bondarev)
4. Indicate sentences complicated by introductory words.
a) The still air seemed to be filled with some kind of transparent dust. (L.N. Tolstoy)
b) The old man didn’t notice Kolya’s smile, otherwise he would certainly have been offended. (K.G. Paustovsky)
c) Soon, however, the forest thinned out.
d) He understood everything but did nothing.
5. Indicate sentences complicated by homogeneous members connected by adversative conjunctions.
a) September was quiet, warm and luckily without rain.
b) No, they did not raise virgin soil during the war, but filled it with mines. (V. Lidin)
c) The air smelled of both grass and fog in one word on an early foggy morning. (L.N. Tolstoy)
d) The new arrivals also agreed with the adopted resolution.
6. Indicate sentences complicated by homogeneous members connected by dividing conjunctions.
a) We shouted and whistled.
b) Performance based on the play by Yu.K. I really liked Olesha’s “The Beggar or the Death of Zand.”
c) Everyone still brought the other either a piece of an apple or a piece of candy or a nut. (N. Gogol)
d) Behind the wall, someone was either laughing or crying.
7. Indicate sentences complicated by separate clarifying members of the sentence.
a) Azazello, having parted with his usual attire, that is, a bowler jacket and patent leather shoes, stood motionless. (M. Bulgakov)
b) Every morning, before sunrise, Yakov Lukich Ostrovnov, throwing a worn canvas raincoat over his shoulders, went out to the farm to admire the grain. (M. Sholokhov)
c) Yesterday at about six o’clock I went to the Sennaya... (N.A. Nekrasov)
d) This happened in the winter shortly before the New Year.
8. Specify offers with separate applications.
a) The novel “The Master and Margarita” was first published in the magazine “Moscow”.
b) Such a hero is Tikhon Sherbaty himself useful person in Denisov's detachment.
c) Story by A.P. Chekhov's story about the dog Kashtanka touches the hearts of readers.
d) I went hunting with the elder’s son and another peasant named Yegor. (I.S. Turgenev)
Security questions:
1. Justify the need (relevance, role, place, significance, ...) complications simple sentences homogeneous and isolated members of the sentence, clarifying members of the sentence.
3) Practical lesson No. 23. "Complex Sentence"
Tasks to complete:
Place punctuation marks in the following texts in accordance with current punctuation standards. Use the spelling and punctuation references listed in the bibliography. Compare your version of the sign arrangement with the published text.
Was severe frost. The city was smoking. The cathedral courtyard, trampled by thousands of feet, crunched loudly and continuously. A frosty haze blew in the cooled air and rose towards the bell tower. The heavy Sofia bell on the main bell tower hummed, trying to cover all this terrible screaming chaos. The small bells yelped, blaring out of tune and out of tune, as if Satan had climbed into the bell tower.<...>Through the black slots of the multi-story bell tower, which once greeted the slanting Tatars with an alarming ringing, one could see small bells rushing and screaming like furious dogs on a chain. The frost crunched and smoked. It melted, released the soul to repentance and spread black and black throughout the cathedral courtyard of the people (M. Bulgakov. White Guard).
The girl I loved left, whom I said nothing about my love, and since I was then twenty-two years old, it seemed that I was left alone in the whole world. It was the end of August in the Little Russian city where I lived there was a sultry lull. And when one Saturday I left the cooper after work, the streets were so empty that without going home I wandered off into the city. (I. Bunin. in August). Charming morning Freely, without the same friction, it penetrated through the grated glass, washed yesterday by Rodion Novosel, and reeked of the yellow sticky walls. The table was covered with a fresh tablecloth, still loose and airy. The generously rolled stone floor breathed a fountain of coolness (V. Nabokov. Invitation to execution).
Security questions:
1. What caused the need to use complex and complex sentences?
2. Synonymy of compound sentences with various conjunctions.
4) Practical lesson No. 24. "Unionless complex sentences"
Tasks to complete:
Find non-union complex sentences in the text.
The strength and power of the word depends on how each of us uses the inexhaustible riches of Russian speech and how we own it.
We are all responsible for the purity of our language. In the works of poets, true connoisseurs of the Russian language, there is an ardent call to take care of the Russian language, do not let a single facet of this precious crystal be erased, do not muddy the underwater river of the Russian language.
For a poet, language is a majestic symphony that gives the joy of creativity, fills life with meaning, and brings harmony to the mind and feelings. There is a two-way connection between language and the poet, not only does the poet transform the language, but also the language enriches the creative and spiritual powers of the poet, being a vital part of the world of his life and a condition of existence.
1. Place the missing punctuation marks, analyze the punctuation. What do you think came first, punctuation marks or punctuation rules?
2. Determine the style of the text, justify your opinion.
3. Name the sentence that, in your opinion, expresses the main idea of the text.
4. Determine the topic of the text.
5. In the first sentence of the text, find the passive participle.
6. Do you see a non-union complex sentence here?
Section 1. Literature. Features of the development of literature in the 1950s-1980s
Assessment tasks U4, U5,U13, U16; Z1,Z6, Z7, Z9; OK1, OK2, OK3, OK4, OK5, OK6, OK7, OK8, OK9:
1) Independent work No. 27. “Socio-cultural situation in the country in the second half of the 20th century”
Assignment for independent work:
“The development of literature of the 1950s-1980s in the context of culture”;
"Reflection of the conflicts of history in the destinies of literary heroes."
Assignment for independent work:
Research and preparation of a report (message or abstract):
“Development of autobiographical prose in the works of K. Paustovsky, I. Ehrenburg” (author of choice);
“The development of the fantasy genre in the works of A. Belyaev, I. Efremov, K. Bulychev and others.” (author by choice);
“Urban prose: themes, moral issues, artistic features of the works of V. Aksenov, D. Granin, Y. Trifonov, V. Dudintsev and others.” (author chosen by the teacher);
“Lack of declarations, simplicity, clarity - artistic principles V. Shalamov";
“Genre originality of V. Shukshin’s works “Weird”, “Choosing a village to live”, “Cut off”: a story or a novella?”;
“The artistic originality of V. Shukshin’s prose (based on the stories “Freak”, “Choosing a village to live in”, “Cut”);
“The philosophical meaning of V. Rasputin’s story “Farewell to Matera” in the context of the traditions of Russian literature.”
Tasks for independent work:
“Avant-garde searches in poetry of the second half of the twentieth century”;
“The poetry of N. Zabolotsky, N. Rubtsov, B. Okudzhava, A. Voznesensky in the context of Russian literature.”
4) Independent work No. 30. “Features of dramaturgy of the 1950s-1980s”
Assignment for independent work:
Research and preparation of a report (message or abstract):
About the life and work of one of the playwrights of the 1950s-1980s (author of choice);
"Solution moral issues in the plays of playwrights of the 1950s-1980s" (author by choice).
Tasks for independent work:
1. Research and preparation of a report (message or abstract):
“The Theme of the Poet and Poetry in Russian Lyrics of the 19th-20th Centuries”,
“Images of the road and the house in the lyrics of A. Tvardovsky.”
6) Independent work No. 32. “A.I. Solzhenitsyn (1918-2008)"
Assignment for independent work:
Research and preparation of a report (message or abstract):
“The originality of the language of Solzhenitsyn the publicist”;
“The visual and expressive language of cinema and literature.”
Assignment for independent work:
Research and preparation of a report (message or abstract):
“The spiritual value of the older generation of Russian writers abroad (the first wave of emigration)”;
"History: three waves of Russian emigration"
Tasks for independent work:
1. Research and preparation of a report (message or abstract):
“Features of mass literature of the late XX-XX I century";
"Fiction in modern literature."
3.3 Test and assessment materials for final certification in the academic discipline
The subject of assessment is skills and knowledge. Monitoring and evaluation is carried out using the following forms and methods:
oral control method (conversation);
testing;
monitoring the activities and behavior of the student during the development of the educational program;
performing research creative work;
analysis of the completeness, quality, reliability, and logical presentation of the information found;
abstracts, messages, reports.
I TASKS FOR THE EXAMINER
Tasks aimed at testing the mastery of knowledge and skills aimed at mastering the discipline as a whole
Ticket structure:
Question (theoretical).
Text analysis.
Essay-reasoning/poem by heart and analysis of this poem.
Instructions for students:
Read the assignment carefully.
Time to prepare and complete the task is 180 minutes.
Ticket 1
1. Tell us about the Russian language in the modern world
2. Text analysis.
1.
2.
3. Determine the topic of the text.
5. Determine the text style.
7. Insert the missing letters, open the brackets, and add punctuation marks. Analyze the spelling and punctuation of this text.
In Russia, we have so many wonderful(?) names of rivers, lakes, villages and cities that one can be... amazed. One of the most accurate and ethical names belongs to the tiny river Vertushinka, which grows along the bottom of wooded ravines in the Moscow region (not) far from the city of Ruza. The pinwheel spins (?) all the time like its snout... it gurgles, mumbles... it rings and foams near every stone or fallen birch trunk, quietly hums... talks to itself, whispers and carries along the backbone. The water at the bottom is very clear... The names are a folk poetic design of the country. They talk about the character of the people, their history, their inclinations and the peculiarities of life. Titles must be respected. When changing them in case of extreme (un)necessity, you should do this, first of all, competently, (with) knowledge of the country and with love for it. Otherwise, names turn into verbal garbage, a sign of bad taste and expose the (in) ignorance of those who come up with them. (K. Paustovsky.)
1. Expand the topic: “Language and speech”
2. Text for analysis.
1. Read the text expressively
2. Prove that this is text. Indicate the characteristics of the text (articulation, semantic integrity, coherence).
3. Determine the topic of the text.
4. Determine its main idea.
5. Determine the text style.
6. Determine the type of speech of the text.
8. Insert the missing letters, open the brackets, and add punctuation marks. Analyze the spelling and punctuation of this text.
3. The originality of the literary process in the 1920s - 1930s. Trends. Patterns
The uniqueness of literature lies in the fact that after 1917 it was divided into 3 streams: Soviet (official), Russian abroad, and “detained” (unofficial). Their artistic principles are different, but the themes are common.
The poets of the Silver Age determined the face of literature.
There are 2 main trends that have set the tone of literature since the revolution itself.
Since the early 1920s. Russia's cultural self-impoverishment begins. 1921 is a very significant year: Blok and Gumilyov die. In 1922, Akhmatova’s fifth and last book of poetry was published (in its entirety as a separate edition). Poets and writers are expelled from the country (Tsvetaeva, Khodasevich, Georgy Ivanov, Shmelev, Zaitsev, Osorgin, Gorky (for a while)).
In 1922 - the August pogrom, a signal for the beginning of mass persecution of culture. Magazines are closing. 1924 – “Russian Contemporary” closes.
1958 – expulsion of B. Pasternak from the Writers' Union.
The transitional nature of the early 1920s is obvious.
Two important factors of self-impoverishment:
Social order (not synonymous with administrative position). At first it was about the need/unnecessity of creativity. For example: Mayakovsky introduced social order into his poetry, but then began to develop according to his own laws.
For social order, they tried to find the most adequate regulatory forms. The desire to create a model, a starting point - Furmanov (“Iron Stream”), Fadeev (“Destruction”). These were examples of how to write in the 1920s.
But social order was also a great limitation on the development of literature.
It was important to clearly contrast “they” and “us.” Either speak out against the enemies of the new government, or show loyalty to it itself. Highly recommended topics were suggested (recent past and present). Avoiding these topics began to be perceived as sabotage. A requirement for accessibility appeared (an indispensable appeal not to a reader brought up on classical literature, but to a reader who had not previously been one at all).
Zoshchenko – the genre of tale (compliance with all three conditions).
Rooting the theme of Stalin in literature. Cult syndrome - in general important sign Soviet literature and mass consciousness. Pasternak saw in Stalin the embodiment of world historical energy.
Young Bulgakov writes a play about Stalin's youth.
All these works were written voluntarily. But: Mandelstam was forced to write an ode to Stalin; Akhmatova, in order to save her son, wrote the cycle “Glory to the World” in 1950.
The 3 branches of RL are united not only by their belonging to Russian literature, but also by the fact that they are all innovative. This new literature, literature of the twentieth century. not only by the time of creation. It is more diverse than the classics of the 19th century.
The main question Soviet literature– about the relationship of new art to new reality. How to combine artistic thinking with practical life creativity? The search for an answer to this question took the entire 1920s and partly the 1930s. The answers were different, groups appeared. The main sign of the times is the existence and struggle of numerous factions.
The largest and most influential association was Proletkult (1917-20). He asserted the need to create a special, proletarian art, which would be isolated from cultural experience and traditions. They believed that genuine proletarian works could only be created by a genuine proletarian writer (origin was important). But the priority of this art was asserted aggressively; they did not recognize another point of view.
The ideas of Proletkult were taken up by a group called “Forge” (1920-22) - a more moderate group of proletarian writers, mainly romantic poets. They were also against the Bolsheviks and criticized the NEP (betrayal of the world revolution).
In 1922, another group of proletarian writers emerged - “October”. It is with her that the history of the most cruel movement for RL begins - RAPP (Russian Association of Proletarian Writers) (1924-32). RAPP took into account the miscalculations of its predecessors and strongly emphasized its dedication to the cause of the Bolsheviks, without denying the possibility of studying with the classics. RAPP did not claim absolute leadership. RAPP leaders: Lev Averbakh (critic), writers A. Fadeev, Yu. Lebedinsky, V. Kirshon. They fought for the class purity of art. They were named by a twentieth-century researcher. S.I. Sheshukov "frantic zealots."
In addition to these groups, there were associations of “fellow travelers.” The first is “The Serapion Brothers” (a cycle of short stories by Hoffmann) (1921-25). Authors: Lev Lunts, Veniamin Kaverin, N. Tikhonov, K. Fedin, M. Zoshchenko. They sympathized with the revolution, but insisted on freedom of creative choice.
Another group is “LEF” (left front of art) (1923-28). Associated with the name of Mayakovsky; the “Pereval” group (1925-32) united around the editorial office of the “Krasnaya Nov” magazine, headed by A. Voronsky. LEF's position was replete with gloomy projects: they wanted to turn socialism into a huge production mechanism, and man into a “standardized activist.” The Pereval residents opposed these views and fought for a harmonious personality and for the writer’s right to be himself, for the right to choose.
These disputes occupied the entire cultural space of the 1920s.
At the end of the 1920s. There was censorship in Russia. The persecution began. The first two actions affected Pilnyak and Zamyatin. These campaigns were meant to demonstrate proper behavior.
Writers protested: Gorky, Platonov, Yu. Olesha, Bulgakov, etc. They tried to protect the creative line of behavior and the persecuted writers.
All attempts to warn society were doomed to failure, because... goals were set and they had to be achieved.
In 1932, all literary groups were supposed to cease to exist. Preparations began for the first congress of Russian writers, which took place in 1934 under the leadership of Gorky. All Soviet literature was united into the Writers' Union. The program and charter were adopted. Socialist realism- the only possible method of depicting life. Socialist realism is a truthful, historically specific depiction of reality in its revolutionary development. This included historical optimism, nationality, party spirit - the foundations of the new method.
After the emergence and approval of socialist realism, it was necessary to find a programmatic work. He announced Gorky's novel "Mother", and Gorky was declared the founder of socialist realism.
Since the early 1930s. Socialist realism began to turn into outright normativism, illustrating political slogans.
At the end of the 1980s. One of the main discussions is about who is considered a classic today. They even tried to define a classic. Bocharov: a writer with a “developed epic worldview” who created a “holistic and voluminous artistic world” can be considered a classic. But it led to the absence of 2/3 of the corpus of Russian literature.
Many new magazines are opening: “Krasnaya Nov”, “Print and Revolution”, “Young Guard”, “On duty”, “ New world"...Many literary associations are emerging: imagists, constructivists, expressionists,
Workers, Red Army soldiers, peasants, and political workers strive to tell in literature about the revolution and civil war they experienced.
In the mid-20s, the demarcation of writers who began their activities before 1919 was completed. Some accept the new government and cooperate with it (Serafimovich, Mayakovsky, Bryusov). Others take an irreconcilably hostile position and leave Russia (Merezhkovsky, Gippius, Khodasevich). Zamyatin tried to work in new conditions, but in 1931 he had to emigrate. A. Tolstoy left in 19, but returned a few years later. Since the mid-20s, the visible creative activity of Akhmatova, Tsvetaeva, Mandelstam, Khlebnikov, Pasternak, Klyuev, and Oreshin has been declining. In 1925, a decree “On the policy of the party and the field of fiction” was adopted, as a result of which strict ideological restrictions arose.
By the mid-20s, 3 main opposing forces were identified: RAPP, “Pereval” and fellow travelers.
The Russian Association of Proletarian Writers focuses on the creativity of working-class writers, a mass organization. Vulgar sociologism and dogmatism, conceit and arrogance. Fellow travelers - writers who collaborated with the new government, but did not come from the proletarian and peasant strata and “did not master the communist ideology”
"Pass". Head – Voronsky. Understanding the new art Literature as the heir to the best traditions of Russian and world literature. Objective thin. Reproduction of reality, humanism, the importance of intuition in the creative process, The main object of attention is the events of the revolution and civil war.
Activity in all types and genres of creativity. Search for new ways and forms. Variety of expressive and visual means. Time for the "great experiment".
On the border between realism and naturalism. Use of the grotesque and fantasy. Strong lyrical-romantic element. Modernist trends. The dystopian genre is being revived. New trends: replacing “I” with “we”, in the foreground - the image of the masses. Analysis of the relationship between the hero and the masses. The character's inner world fades into the background. Spiritual life is deformed: restriction of freedom of religion, persecution of dissidents, terror, disregard for humanistic values, justification of cruelty. In prose, the greatest flourishing is in the story, short story, essay (small forms), the beginning of work on epic novels.
Drama combines psychologism, grotesque, pathos and lyricism.
In the early 30s, socialist realism was declared the main method. Criticism of the lyrical-romantic principle in literature.
Double standards in the evaluation of literature: true, traditional, aesthetic and imaginary, adapted to momentary ideological requirements.
By the beginning of the 30s, a small number of groups remained. 34 - All-Union Congress of Soviet Writers. Proclaims socialist realism as the main method of literature. Focus on sociological coverage of reality. The range of visual and expressive means is becoming impoverished. The process of language averaging. Lyrics, satire, and fantasy are disappearing. In the 30s, the epic principle prevailed in all types of creativity, a craving for large-scale canvases. Activation of essay literature and journalism. “The main character of the books” is labor, the development of “production genres.” The genre of mass songs is developing. The story develops in verse, a plot-driven epic poem.
After 17, literature was divided into 3 streams:
Soviet literature
Literature of Russian Abroad
Literature detained
2 main trends: 1) the cultural self-impoverishment of Russia is intensifying (21 years old - Blok dies, Gumilev is shot. In 22, Akhmatova’s last book is published. Intellectuals are expelled from the country: Tsvetaeva, Khodasevich, Ivanov, etc. The first cultural pogrom - magazines are closed). 2) border character.
Factors 1: social order - a feeling of need/uselessness of creativity - the desire to create a model. It was important to contrast THEY and WE, to speak out against the enemies of the new government or a loyal attitude to the new government itself. There were suggested topics. Accessibility requirement (n: Zoshchenko).
2: rooting the theme of Stalin in literature (n: Pasternak, Zoshchenko, Bulgakov).
This is innovative literature.
After the 1917 revolution, many different literary groups. Many of them appeared and disappeared without even leaving any noticeable trace behind. In Moscow alone in 1920, there were more than 30 literary groups and associations. Often the people in these groups were far from art (for example, the group “Nichevoki”, which proclaimed: “Our goal: the thinning of a poet’s work in the name of nothing”). The reasons for the emergence of numerous and diverse literary groups: usually material and everyday ones come to the fore.
1917 – 20s – Proletkult: asserted the need to create proletarian art. Only a proletarian writer can create proletarian art.
Forge (20 – 22) – a more moderate group of writers. The Bolsheviks were criticized for the NEP.
October (22) → the direction of RAPP begins (24 - 32) - emphasized loyalty to the Bolsheviks, but learned from the classics. Leader: Lev Averbakh + A. Fadeev, Yu. Lebedinsky, V. Kershon. RAPP - Ross, association of proletarian writers (established in 1922). And Serafimovich, and Elokhov (although he did not work there), historians of the 20s, critics: Averbakh L., Milevich G., Lebedinsky Yu., prose writers: A. Vesely, A. Sokolov, A. A. Fadeev, D. Furmanov; poets: Zharov A, Bezymensky A., Dorokoychenko A. With the magazine “Young Guard”. In 1923 - “October”, “At the post” (from 1923 - “At the literary post”). The task is to protect the borders of proletarian culture. Proletarian culture is created by proletarians by origin and way of life. They came up with a division into peasant, proletarian and intelligentsia (“fellow travelers” - those who “stand firmly on the platform of Soviet power”). The main activity is the recruitment of new writers, enemies and targets (with whom the struggle was waged) into its ranks.
Travel companions: Serapion brothers (21-25) (serapions) - L. Lunts, V. Kaverin, N. Tikhonov, M. Zoshchenko. They insisted on freedom of creative choice.
LEF (Left Front of Art) (23 – 28) – included V. Mayakovsky, B. Arvatov, V. Kamensky, B. Pasternak, N. Aseev, V. Shklovsky, O. Brik, S. Kirsanov, S. Tretyakov , N. Chuzhak. Film directors - S. Eisenstein, D. Vertov (Esther Shubb -?), artists: Rochenko, Lavinsky, Stepanova - were close to LEF and aroused great interest among Lef writers. Magazine "New LEF". An effective revolutionary. is-va, about the introduction of is-va into the daily life of the new state. The is-va must carry out a number of purely practical tasks. tasks. Emotion influencing the audience - to complete tasks. Lefovites insisted that the new state use all the best. All innovative ideas must be implemented. LEF founded a lot of high-quality, but funny texts (to order) - for: putting people into working condition. They thought it was psychological. the prose leads into the world of unnecessary fantasies. Prose should be short. In con. 20s the state went against LEF - everything is achieved by rush work, and not by the scientific organization of labor
Pass (25 – 32) – around the magazine “Beautiful New”. Alexey Varonsky.
LCC group - spun off (constructivists). Lit. center of constructivists: the state must be functional, development of new methods of science; L-ra must become a chronicler of the era, must capture the speech of the era (it is different for different classes). In 1930 the group ceased to exist as it had completed its task.
32 - all literary groups were disbanded. Preparation for the first congress Soviet writers(34) under the leadership of Gorky => general union of writers (social realism - a method of depicting life). Gorky's novel "Mother" became the first.
Early 30s – social realism → normativism.
1928-1953 – establishment of the personality cult of Stalin
1931-1941 – time of mass repressions
1927-1933 – the country’s course towards industrialization
The 30s were a time of big construction projects
In the 1930s, there was an increase in negative phenomena in the literary process. The bullying begins outstanding writers(E. Zamyatin, M. Bulgakov, A. Platonov, O. Mandelstam). Many die in the camps. At the beginning of the 30s there is a change in forms literary life: after the publication of the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks, RAPP and other literary associations announced their dissolution. A decree is issued on the abolition of all literary groups and the creation of a single union of writers. In 1934, the First Congress of Soviet Writers took place, which declared socialist realism to be the only possible creative method. In general, a policy of unification of cultural life has begun, and there is a sharp reduction in printed publications. IN thematically Novels about industrialization and the first five-year plans are becoming the leading ones, and large epic canvases are being created. And in general the theme of labor becomes the leading one. Fiction began to master the problems associated with the invasion of science and technology into daily life person. New areas of human life, new conflicts, new characters, modification of the traditional literary material led to the emergence of new heroes, to the emergence of new genres, new methods of versification, to searches in the field of composition and language. Distinctive feature poetry of the 30s is the rapid development of the song genre. During these years, the famous “Katyusha” (M. Isakovsky), “Wide is my native country...” (V. Lebedev-Kumach), “Kakhovka” (M. Svetlov) and many others were written. Of course, this was the need of the hour. The country was turning into a huge construction site, and the reader expected an immediate response from literature to the events taking place. The lyric-romantic beginning in the literature of the 30s, in comparison with the previous time, turns out to be relegated to the background. Even in poetry, always prone to lyrical-romantic perception and depiction of reality, these years triumph epic genres(A. Tvardovsky, D. Kedrin, I. Selvinsky).
The hero of this period is an ascetic, dedicated to his cause. He gives up the personal for the sake of the public, maintains faith in the truth of the ideals, the cat is guided. He prefers duty and reason to feelings.
Time is the past, that which is imperfect, that needs to be transformed. The present is a time of remodeling, breaking. The hero is an active participant. Often the present is sacrificed for the future. The future is a golden age, the realization of ideals, something for which one can suffer in the present.
In prose main theme becomes the structure of a new life, the construction of the country, everyday life in production. The heyday of industrial romance. Journalism, travel notes, reports, stories about the life of peasants on collective farms are becoming popular. A gradual transition to larger genres - epic novels appear (Tolstoy's Walk through the Torment, Sholokhov's Quiet Don, Gorky's Life of Klim Samgin). Created many works on historical topics.
The theme of production begins to penetrate into poetry (Nameless), and the mass song (Kulach) gains popularity.
There is no creative freedom in dramaturgy. The main method is the Stanislavsky system, i.e. orientation towards life-likeness (Pogodin, Schwartz, Vvedensky).
Orientation towards Marxist-Leninist ideology is an ideological criterion that prevails over an aesthetic one. Many opportunistic works appear (to suit the day).
If we say that the 20s were a relatively free period for literary creativity, then the 30s were a period of aesthetic monologism (one method is socialist realism).
20. Gorky’s epic novel “The Life of Klim Samgin”
The theme of historical regularity and the inevitability of the Great October Socialist Revolution was also developed by Gorky in the novel “The Life of Klim Samgin.” The novel was conceived after 1905, but G began to work on it later. He worked on the epic until the last days of his life. The fourth volume remained unfinished. In the novel “The Life of Klim Samgin,” which bears the subtitle “Forty Years,” two main lines should be highlighted: 1) artistic analysis historical background of the Great October Socialist Revolution 2) depiction of the collapse of bourgeois individualism. The action of the novel unfolds against the broad background of the social and spiritual life of Russia from the late 70s of the 19th century to 1917. The epic has no equal in its breadth of coverage of historical reality. Before the reading, the main events in the life of Russia for 40 years take place. The collapse of populism and the birth of Marxism, heated battles between revolutionary Marxists and political opponents, the famous Nizhny Novgorod fair, the coronation of Nicholas II and the bloody Khodynka, where thousands of people died in a mad stampede, the events of the 1905 revolution, world war, the stormy days of 1917—these are the historical events reflected in the novel.
Against this background, Gorky draws two main characters, personifying two social camps, two opposing ideologies - bourgeois and socialist. The first camp is represented by Klim Samgin. He is a bourgeois intellectual, he thinks only about himself, about his well-being, about his interests. This is the embodiment of unbridled egoism, moral and political double-dealing. Samghin is devoid of ideals and does not believe in them; he is alien to the people and hostile to them. Another camp is represented in the novel by Stepan Kutuzov, a Bolshevik revolutionary. This is a person with a great political outlook. He personifies energy, will, intelligence, perseverance, and confidence in the victory of the proletarian revolution. Petty-bourgeois pseudo-revolutionary posturing is alien to him. How gray and faceless Klim Samghin is, so bright and unique, spiritually rich and deep is Stepan Kutuzov. The ideological and artistic significance of Gorky's novel is enormous. In it, the writer with exceptional depth revealed the moral degeneration of the old world, condemned bourgeois individualism and showed the collapse of bourgeois consciousness, revealed the doom of capitalism and the inevitability of the victory of socialist revolutions.
The image of Klim Ivanovich Samgin is huge. There is not a single storyline in the novel that is not directly related to Samgin. Whatever the situation is depicted in the novel, the author is interested in Samghin’s behavior in this situation, his point of view, his experiences. Samgin is one of the people who “looked and searched for freedom of spirit and, now, as if they had found it, but freedom turned out to be aimlessness, some kind of arrogant emptiness...” The life of Klim Ivanovich Samgin is revealed as the life of a person constantly in the process of quite intense , painful searches, but unable to find anything, to fully determine himself. Whatever Samghin thought about, his consciousness was always at a crossroads, at the crossroads of people and currents. He was always wary of clearly posing questions and making firm decisions, trying to “put his opinion between yes and no.” This instability was instilled in Samghin by the entire environment in which he was raised. Samghin was powerless to get out of life's confusion. At the end of the novel, Samghin is in a state of complete confusion. Lonely and devastated, he poses the same fatal question that haunted him in his youth: “What should I do and what can I do?” The epic novel “The Life of Klim Samgin” is Gorky’s largest, final work, since it concentrates much of what worried, comprehended and portrayed the writer in his previous works.
Russian literature of the 1930s–1940s. General characteristics of the 1930s: the inconsistency and tragedy of social and literary life. Participation of writers in the construction of socialism. The formation of administrative-state socialism in the USSR, the Stalinist regime and the impact of these phenomena on the literary process. Resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the restructuring of literary and artistic organizations” (1932). First All-Union Congress of Soviet Writers (1934). Formation of the Union of joint ventures and its significance. Genesis, political and aesthetic principles socialist realism. Repressions of the 1930s and the personal fates of writers. Prohibition of a number of works (by A. Platonov, M. Bulgakov, L. Leonov, etc.)
Leading (officially recognized) topics and problems of this period. “Strange Prose” (D. Kharms, L. Dobychin, K. Vaginov). “Hidden Literature” (“Requiem” by A. Akhmatova). Characteristic individual works prose, poetry, drama (at the examinee's choice).
M. Sholokhov's epic novel “Quiet Don”. Traditions of oral folk art and Russian classics, realism, humanism, epicness as the main artistic principles of Mikhail Sholokhov (1905-1984).
The place of the collection “Don Stories” in short stories of the 1920s. and the writer's work. Type of conflict and characterology. The tragic and humanistic pathos of the stories. Conceptual and stylistic connection between “Don Stories” and the novel “Quiet Don”.
Creative history and the problem of the authorship of "Quiet Don". The people and the revolution, the problem of social justice. Cataclysms of social history and the stability of the traditions of Cossack work and life. “Human fate” and “people's fate”: socio-historical and eternal in destinies and characters. Melekhov family. Grigory Melekhov as a tragic character. The reasons for his tragedy and the psychological depth of its disclosure. Women's images in the epic (Ilyinichna, Natalya, Aksinya, Daria, Dunyashka). The originality of the genre. Folk basis language, the element of oral folk art. Functions of nature paintings. Symbolism. Traditions of Russian classics and innovation of a writer of the twentieth century. Global significance novel.
Stages of creativity of L. Leonov. Traditions of philosophical prose of the 19th century. in the formation of the creative individuality of Leonid Leonov (1899-1994). Problems of stories of the 1920s. Novel “Badgers”: social and moral concept. Features of composition, language and style.
Novel "The Thief". Tragic contradictions in the character of Dmitry Vekshin. The system of “doubles” in the novel. Polyphony of the work. Concept of culture and civilization.
"Sot" as a social and philosophical novel. The contradictory nature of the process of transformation of man, society, and nature.
Philosophical problems and symbolism of the novel “Skutarevsky”. The problem of interaction between rational and emotional, science and art, youth, beauty. Intertextuality of the work.
“Road to the Ocean” as a socio-philosophical novel about the fate of humanity and culture. Multidimensionality of concrete historical and philosophical content.
Creativity of L. Leonov during the Great Patriotic War.
Social, everyday, aesthetic, philosophical and symbolic aspects of the content of the novel “Russian Forest”. Problems, system of images, composition. The philosophical meaning of the image of the Russian forest.
“Evgenia Ivanovna” is a story about the fate of Russia and emigration, the Motherland and foreign lands. A unique solution to the problem of nostalgia. System of images: Evgenia Ivanovna - Stratonov - Pickering. Mastery psychological analysis. Subtext and chronotope of the story.
Global philosophical understanding of a bygone era in the “hyperphilosophical” novel “Pyramid”.
The literary fate of M. Bulgakov. Formation of social and moral position and creative individuality Mikhail Bulgakov(1891-1940) . Start literary activity. “Notes of a Young Doctor”: pictures of provincial life and the drama of the fate of an intellectual.
Satirical stories of the 20s: “Diaboliad”, “ Fatal eggs», « Heart of a Dog" Grotesque and fantastic plot as a means of expressing the writer’s social and moral position in assessing post-revolutionary reality.
Novel "The White Guard". A symbolic and philosophical depiction of the historical doom of the white movement. Biblical motives as a way to comprehend the revolutionary rift. The fate of the Russian intelligentsia and culture. The tragedy of the loss of home and the breakup of the Turbin family. The relationship between the novel and the play “Days of the Turbins”.
Bulgakov's dramaturgy of the late 1920s–1930s. Philosophical play in dreams "Running". The complexity and inconsistency of the socio-philosophical concept of revolution. Motives of the apocalypse. Image of the Russian emigration: Khludov, Charnota, Korzukhin, Lyuska and others. The fate of the intelligentsia (Golubkov, Serafima). The tragedy of the artist in the plays “The Cabal of the Saint” (“Molière”), “ Last days"("Pushkin"). Comedy “Ivan Vasilyevich changes profession”, “Batum”.
Philosophical novel "The Master and Margarita". Features of its philosophical and historical concept and structure. Grotesque realism in the depiction of Woland and his retinue, their place in the ideological and artistic structure of the novel. Satirical image literary and philistine environment of the 1920-1930s. The concrete historical and fantastic in the fate of Ivan Bezdomny. The image of the Master and his fate. Philosophical and moral problems images of a creative personality. Image of Margarita. The philosophy of love and Eternal femininity in the novel. A novel about Pontius Pilate and its place in the structure of the work. Evangelical and Faustian motifs. Novel and gospel myth. The main philosophical antinomies of the novel: fear and fearlessness, life and death, light and peace, good and evil. Internal inconsistency of the characters and the ending of the work. The originality of the artistic method and poetics of the novel.
Contribution of M.A. Bulgakov into domestic and world literature.
The phenomenon of A. Platonov. Andrei Platonov (1899-1951) - an outstanding Russian word artist, master of philosophical prose. The beginning of a creative journey. Early journalism. The first collections of stories and stories. The novelty of revealing personality in the story “The Hidden Man.” The image of Pukhov and his place in the artistic world of A. Platonov.
Satire by A. Platonov (“City of Grads”). Depiction of the relationship between the individual and the state. A study of the “philosophy” of bureaucracy in the story “City of Grads”. Author's concept and illusory happy ending story "Doubting Makar".
“Chevengur” is a novel about the fate of the revolution. Creative story. Perception of events of the recent past in the light of the “great turning point”. Main characters (Alexander and Prokofy Dvanov, Kopenkin, Chepurny). The originality of the novel's reflection of the socio-political life of a country that has embarked on the path of socialism. The collapse of the Chevengur utopia and its causes. The theme of “others”, its role in the concept of the work. The openness of the novel's ending and controversy over its interpretation. Genre and style features of “Chevengur” as a philosophical novel. Mythological and folklore foundations of its structure. Traditions of folk social utopia and utopian socialism. Plato's grotesque and the originality of language.
Social and philosophical story "The Pit". Class and universality as the main conflict of the work. The image of Voshchev and his role in revealing the philosophical concept of the story. The image of Chiklin and the problem of relationships between the working class, peasantry, and intelligentsia. The originality of the author's position. Irony and grotesque in the depiction of the “maximum class” - the bureaucratic layer (Pashkin, Sofronov, village activist, etc.). The symbolism of Nastya’s image and the author’s commentary on it.
Platonov's creative quest in the 1930s. (the story “The Juvenile Sea”, the mystery story “Dzhan”) and during the Great Patriotic War (the stories “Spiritualized People”, “Mother”, “Rose Girl”, etc.), recreating the drama of the post-war destinies of the people (“Return”) . A. Platonov’s contribution to the development of Russian literature.
Man and nature in the philosophical prose of M. Prishvin. Features of the artistic worldview of Mikhail Prishvin (1873-1954). The origins of creativity. Philosophical and moral quests.
Folklore and ethnographic motifs in essay books of the 1900s: “In the Land of Unfrightened Birds”, “Behind the Magic Kolobok”, “Black Arab”. Synthesis of artistic and scientific thinking. Rapprochement with modernist writers. Attitude to the First World War and the February Revolution.
Journalism, diaries, autobiographical prose: “Kashcheev’s Chain”, “The Worldly Cup”. The originality of the lyrical hero. “Family attention” to nature in the book “Springs of Berendey”. Mythological and fairy tale motifs in the ideological and artistic structure of works. The problem of creativity. Two-dimensionality of the narrative. The theme of nature in the works of writers of the 1930s-1940s.
M. Prishvin is a master of lyrical and philosophical prose. The concept of the relationship between man and nature in the story “Zhen-Shen”. The search for the meaning of life, the optimism of Prishvin’s worldview. Mythological and philosophical symbolism of the story. The drama of the image of the lyrical hero. Theme of love and eternal femininity. Image of the sage Louvain. Cycle of poetic miniatures “Phacelia”. Features of the plot and composition.
The search for truth and happiness in the ideological and artistic concept of works (“Pantry of the Sun”, etc.)
Cultural and educational activities of M. Prishvin. The writer’s creative laboratory in the books “Crane Homeland”, “Eyes of the Earth”. Reflection of the tragic contradictions of life in the Diaries.
Literature of the period of the Great Patriotic War.
Poetry. The theme of the Motherland and the people, nature and history, heroism, humanism, the fight against fascism, the defense of culture and civilization and the features of its poetic embodiment in the lyrics of A. Akhmatova, B. Pasternak, K. Simonov, A. Surkov, N. Tikhonov, A. Prokofiev, A. Tvardovsky, M. Svetlov and others. Song creativity (M. Isakovsky, V. Lebedev-Kumach, A. Fatyanov, etc.). Lyrics of the front generation(S. Gudzenko, M. Dudin, S. Narovchatov, etc.) and poets who died in the war (P. Kogan, M. Kulchitsky, A. Lebedev, G. Suvorov). Poetic satire(D. Bedny, S. Marshak, S. Mikhalkov). Genre and style diversity of poems (N. Tikhonov, O. Berggolts, V. Inber, M. Aliger, P. Antokolsky).
Poem by A. Tvardovsky “Vasily Terkin”. Creative story. The pathos of the “bitter truth” in pictures of war and labor. The uniqueness of the poem genre heroic epic. The collective image of her hero. Composition “Books about a fighter”. Place and role of the lyrical hero.
Prose. Development of small genres. Essays and stories (L. Sobolev, A. Tolstoy, N. Tikhonov, I. Erenburg, B. Gorbatov, A. Fadeev, M. Sholokhov, L. Leonov, A. Platonov, V. Kozhevnikov). The tendency is towards their cyclization.
Generalized and poetic(“The people are immortal” by V. Grossman, “Rainbow” by V. Vasilevskaya, “The Unconquered” by B. Gorbatov) and concrete analytical(“Volokolamsk Highway” by A. Beck, “Days and Nights” by K. Simonov) trends in the prose of the war years. Experience in epic coverage of the war (“They Fought for the Motherland” by M. Sholokhov, “Young Guard” by A. Fadeev).
Dramaturgy. Genre and style features of wartime plays (“Russian People” by K. Simonov, “Lenushka”, “Invasion” by L. Leonov, “Front” by A. Korneychuk). Philosophical fairy tale by E. Schwartz “Dragon”. Reproof totalitarian regime, militaristic ideology and psychology. Comprehension of the mechanism of spiritual enslavement of man. Features of the construction of conflicts and characters. Historical dramaturgy (A. Tolstoy’s dilogy about Ivan the Terrible).
Russian historical novel of the first half of the twentieth century. (“Peter the First” by A. Tolstoy). Russian historical novel of the 1920-1930s: the problem of the relationship between history and modernity. Study of the prehistory of the revolution. Portrayal of the people as the main creative force of history. The interest of writers in depicting outstanding revolutionaries and popular movements of the past: “Razin Stepan” by A. Chapygin, the novels “Radishchev”, “Dressed with Stone” by O. Forsh, “Emelyan Pugachev” by V. Shishkov.
The theme of Peter the Great in Russian literature and creativity Alexei Tolstoy (1883-1945)(“Obsession”, “Peter’s Day”, 1917-1919).
The novel “Peter the Great”: features of the plan (“entry into history through modernity”), sources of work on the novel. The concept of the Petrine era. Themes, main conflicts and storylines(the struggle of the new with the old, the birth of a new Russia, the movement of history in the novel, the theme of East and West). Compositional center of vision. The evolution of the image of Peter. His associates and opposition. The image of the people social structure and evolution (the Brovkin family, the Vorobiev brothers, Kuzma Zhemov, Ataman Ivan, Ovdokim, Fedka Wash Yourself with Mud, Andrei Golikov, etc.). The theory of “inner gesture” by A. Tolstoy and its artistic implementation in the work. Features of depicting everyday life and recreating the color of the era. The language of the novel.
The significance of A. Tolstoy’s novel in the development of Russian historical novel XX century
Literature of Russian abroad (first wave). The originality of realism by I. Shmelev and B. Zaitsev. Russian foreign literature as part of the national culture of the twentieth century. Periodization of the literary process in Russia and in Russian diaspora. Reasons for literary emigration of the first wave. Settlement centers: Berlin, Paris, Prague, Warsaw, Sofia, Baltics, Belgrade, Harbin. “Russian Berlin” - a period of relative unity of the literary process - a time of cooperation between writers Soviet Russia and Russian diaspora. Paris is the “capital of foreign countries”.
Literary publishing houses. Almanacs. Collections. Mugs. Main themes, motifs, images (the theme of Russia and the revolution, the fate of Russian and European civilization, nostalgia, memory, home, childhood, love, creativity). The development of new genre forms: an autobiographical novel about the past, diary prose combining epic narration with lyrics, fictionalized biography (the works of B. Zaitsev, Vl. Khodasevich, I. Bunin).
The stability of the Orthodox religious worldview Ivan Shmelev(1873-1950) . The tragedy of post-revolutionary Russia in the epic “Sun of the Dead.” Resurrection of the spiritual foundations of Russian life in the book “The Summer of the Lord.” The cyclical nature of the natural-cosmic and Orthodox ritual movement of time. The characters of the novel as bearers of Christian foundations and commandments (father, Gorkin).
General characteristics of creativity Boris Zaitsev(1881-1972) in the context of artistic quests in Russian prose at the beginning of the century. The realism of the artist’s worldview and impressionistic style of painting. Gain Christian motives in the works of the emigrant period (“Reverend Sergius of Radonezh”). Autobiographical tetralogy "Gleb's Journey". Fictionalized biographies of Russian writers.
Writers and poets of realistic and modernist movements. Writers who did not belong to literary schools.
Writers of the older generation and literary youth (V. Nabokov, G. Gazdanov, etc.).
Stages of V. Nabokov's creative path. The beginning of the life and creative path of Vladimir Nabokov (1899-1977). First poetic experiments.
Berlin period of creativity. Novel "Mashenka". Autobiographical prose by V. Nabokov “Other Shores” as a kind of author’s commentary on the novel “Mashenka”. Nostalgia for Russia as the main theme of the work. The image of Ganin and his antagonist Alferov. The conflict between past and present, spiritual and non-spiritual, living and dead. Hidden dating of the work. Categories of time and space (natural and everyday) in the story and their artistic functions. The semantic centers of the novel, embodying: absurdity, deception, falsehood/joy, love, happiness. Game as a structure-forming element of the work. Reception of mirror reflection. Color background and the role of color terms. Word-image “shadow” as keyword text. Symbolism of the work.
The problem of the traditions of Russian classics in Nabokov’s works. Novel "The Defense of Luzhin". Question about the prototype of the main character. Luzhin's fate as a global metaphor. The hero's expulsion from the “children's paradise” and his creative compensation in the chess game. The motive of duality. Metaphysical error of the hero.
Nabokov’s novels of the 30s (“The Spy,” “Feat,” “Camera Obscura,” “Despair,” “The Gift”).
General characteristics of the English-language works of V. Nabokov: “Lolita” and others. The problem of national identification of the works of a bilingual writer.
V. Nabokov's contribution to the development of Russian literature.
Russian literature of the second half of the twentieth century
General characteristics of Russian literature 1950-1980. Phenomenon " village prose». Activation of spiritual and literary life in the country after the 20th Congress of the CPSU. The emergence of new literary and artistic magazines and almanacs. Entry into literature of a new generation of poets, prose writers, and playwrights. Activation of the creativity of older generation artists (V. Lugovskoy, N. Zabolotsky, etc.).
Incompleteness of democratization processes. Prohibition of a number of works (B. Pasternak, A. Solzhenitsyn, V. Grossman, A. Beck, Yu. Dombrovsky, A. Tvardovsky, V. Shalamov, etc.). Dissidence and forms of its expression. "Samizdat". "Tamizdat". Magnitizdat. A number of writers travel abroad.
Variety of prose: lyrical, rural, urban, lieutenant, memoir. Conditionality of classification.
Formation and development of village prose. Genesis rustic theme. Prose of the 1920s-1930s about the fate of peasant Russia as a background to the development of the village theme in the 1960s-1970s. The role of V. Ovechkin as the discoverer of the topic in the essay genre. Appeal to village prose by E. Dorosh, G. Troepolsky, V. Tendryakov. Place of A. Solzhenitsyn's story " Matrenin Dvor"in the process of mastering folk life. Opening folk character in V. Belov’s story “A Business as Usual.” Appeal to the tragic events of collectivization (“On the Irtysh” by S. Zalygin, “Death” by V. Tendryakov, “Men and Women” by B. Mozhaev, “Eves” by V. Belov, etc.).
Further social, moral, philosophical quests for village prose, a wealth of creative individuals (V. Shukshin, F. Abramov, V. Belov, E. Nosov, V. Rasputin, V. Astafiev, V. Krupin, etc.).
The creative path of V. Shukshin. The phenomenon of Vasily Shukshin (1929-1974). Variety of talents (literature, film drama, directing and acting).
Problems, genre and stylistic diversity of the writer’s work. The problem of the people as central to Shukshin’s prose and film drama. Shukshin is a master of the small genre. Transformation of genre-style forms (“story-fate”, “story-character”, “story-confession”, “story-anecdote” according to Shukshin). Situations and conflicts. Characterology. Marginality of characters. Psychologism. Polyphonism. Author-hero relationship.
The novel “The Lyubavins”: depicting the fate of a Russian village in turning points in the light of universal human problems. The novel “I came to give you freedom”: novelty of interpretation historical events and the role of the individual. The central problems of the novel: the fate of Russia, the peasant uprising and Stepan Razin.
Shukshin's satire. Unity of the comic and tragic. Stories, philosophical tale“Until the third roosters”, satirical story “Energetic People”.
The film story “Kalina Krasnaya”: the character and fate of Yegor Prokudin and the author’s concept of folk character. Folklore and mythological origins of poetics.
Stages of V. Astafiev’s creative path. The difficult life experience of Viktor Astafiev (1924-2001) and its reflection in the writer’s work. Stories and novellas of the 1950-1960s. (“Pass”, “Starodub”, “Starfall”, “Theft”, “Is it on a Clear Day”). The originality of Astafiev's autobiography.
Creative history and originality of the genre of the book “The Last Bow”. Depiction of the moral foundations of folk life. Folk types. The image of Katerina Petrovna. Lyricism of autobiographical narration. Traditions of Russian autobiographical prose. The two-dimensionality of the author's vision of the world.
The theme of the Great Patriotic War in the works of V. Astafiev. The story “The Shepherd and the Shepherdess”: the innovative humanistic essence of the concept of war, the sharply polemical nature of the narrative. The origins of the tragedy of Boris Kostyaev. The tragically contradictory character of Mokhnakov. Depth of psychological analysis. Genre originality and specificity of plot and composition. Mythopoetic and literary traditions.
“The Fish King” as a socio-philosophical work. Specifics of the conflict. Typology of characters. Affirmation of the moral foundations of the people's character and condemnation of spiritual poaching.
The novel “The Sad Detective”: issues, choice of the main character, figurative system. The originality of the genre and composition. Journalistic beginning. Traditions of Russian classics (N. Gogol, F. Dostoevsky, M. Gorky).
The evolution of the theme of the Great Patriotic War in the works of V. Astafiev in the 90s: the novel “Cursed and Killed,” the stories “So I Want to Live,” “Overtone,” “The Cheerful Soldier.” Recreating the tragedy of the people in the pre-war, war and post-war years. The author's concept of defeats and victories in the Great Patriotic War. The nature of conflicts. Confrontation between the individual and the state. The role of lyrical and journalistic digressions.
Stages of A. Solzhenitsyn's creative path. The drama of the fate of A. Solzhenitsyn (b. 1918) - a person and a writer. His social and philosophical views.
“One Day in the Life of Ivan Denisovich”: the history of conception and publication. Actors and their prototypes. The image of a “social town”: pictures of camp everyday life. Breadth of artistic generalization. Confrontation between people and “damned dogs” in the system of images. Features of the plot and composition. The technique of tragic irony. The originality of the language. Traditions of Russian classics (F. Dostoevsky, A. Chekhov).
Artistic embodiment national type the nature and features of the conflict in the stories “Matrenin’s Dvor”, “Zakhar Kalita”.
“The Gulag Archipelago”: history of creation, socio-philosophical issues, genre originality. The realities of prison life. The image of the narrator. The idea of catharsis. Symbolism. Appeal to works of Russian literature. “The Gulag Archipelago” in the context of “camp” prose. Features of the language.
Novels by A. Solzhenitsyn: “In the First Circle”, “Cancer Ward”. Autobiographical basis, problems, system of images, nature of conflicts.
The epic "Red Wheel": ideological and thematic content, structural multilayering, “nodal points” method.
The works of A. Solzhenitsyn in the 90s: “Little things”, “Two-part stories”.
The evolution of the theme of the Great Patriotic War in the literature of the second half of the twentieth century."Lieutenant's prose" (late 1950s - 1960s) as a genre-style phenomenon and new stage in revealing the problem of “man and war”. Its main properties and place in the literary process (G. Baklanov, Yu. Bondarev, V. Bogomolov, A. Ananyev, V. Kurochkin, V. Astafiev). Disputes about “trench” and “large-scale” prose. Traditions of V. Nekrasov. Image of everyday life of war. Features of choosing a hero. Variety of situations and conflicts. The originality of the chronotope. Lyrical and autobiographical beginnings.
New trends and genres of prose about the Great Patriotic War in the 70-90s. Artistic comprehension the feat of the people in tragic trials. Strengthening humanistic and philosophical principles, expanding the idea of the heroic. The problem of moral choice. New in identity disclosure. Mastery of Recreation internal state man in a variety of situations in war. The breadth of interpretations of a number of images and situations (Yu. Bondarev, V. Bykov, V. Rasputin, V. Kondratiev, G. Vladimov).
Development of the epic tradition. The meaning of the document, memoirs (A. Adamovich, D. Granin, V. Semin, V. Bogomolov, S. Alexievich). Bringing together the problems of military prose with the moral and philosophical quests of the literature of this period.
Russian poetry of the second half of the twentieth century. Variety of ideological and artistic trends. The variety of trends in lyrics: “pop” poetry (E. Evtushenko, A. Voznesensky, R. Rozhdestvensky), “quiet” lyrics (V. Sokolov, N. Rubtsov), philosophical lyrics (N. Zabolotsky, L. Martynov, A. Tarkovsky ). Speeches against officialdom (poetry in the Metropol almanac). Active opposition to “stagnation” in poems, songs and the activities of rock groups. Ways of development of the original song in the 1960-1980s (B. Okudzhava, V. Vysotsky, A. Galich, N. Matveeva, Y. Kim, Y. Vizbor, V. Dolina, A. Makarevich, V. Tsoi).
New trends in poetry of the 2nd half of the 1980s - early 1990s. The process of bringing together the main branches of Russian poetry (official, unofficial, delayed, foreign). Publications “From literary heritage» A. Akhmatova, A. Tvardovsky, V. Shalamov.
Art world Joseph Brodsky (1940-1996). Tragic character worldview. The theme of existential loneliness. Personal experience of culture, history, Christianity. The theme of time is central.
The book as a genre in Brodsky's poetry. Poetics of the books “Stop in the Desert”, “The End” belle époque", "Part of Speech", "Roman Elegies", "New Stanzas for Augusta", "Urania".
Features of the poetics of Brodsky's lyrics. The archaic nature of the language and the innovation of poetic technique, tragic pathos and irony, the classical rhythm of verse and stylistic eclecticism are opposites fused by the unity of the poetic personality. The evolution of poetry from expressive lyricism to neutrality of tone, complication of poetic syntax, movement from precise meters to intonational verse.
Poetic avant-garde. Creative searches for “meta-metaphorists” (A. Eremenko, A. Parshchikov), “conceptualists” (D. Prigov, L. Rubinstein), “ironists” (I. Irtenev, V. Vishnevsky), “courtly mannerists” (V. Stepantsov, V. Pelenyagre), their artistic gains and losses. Lyrics and poems are most talented poets new generation (I. Zhdanov, T. Kibirov).
Poets outside the “schools”, “poets-semantics” (self-determination of E. Rein), close to the classical tradition: E. Rein, B. Akhmadulina, V. Sosnora, A. Kushner, G. Gorbovsky, O. Chukhontsev, O. Khlebnikov , T. Beck, Y. Kuznetsov.
The emergence of a new culture in the 1930s. The turn to patriotism in the mid-1930s (in culture, art and literature). The first congress of Soviet writers and its significance. Socialist realism as a new artistic method. Contradictions in its development and implementation.
Reflection of industrialization and collectivization; poeticization of the socialist ideal in the works of N. Ostrovsky, L. Leonov, V. Kataev, M. Sholokhov, F. Gladkov, M. Shaginyan, Vs. Vishnevsky, N. Pogodin, E. Bagritsky, M. Svetlov, V. Lugovsky, N .Tikhonova, P.Vasilieva and others.
Historical theme in the works of A. Tolstoy, Y. Tynyanov, A. Chapygin.
A satirical denunciation of the new way of life (M. Zoshchenko, I. Ilf and E. Petrov, M. Bulgakov).
The development of drama in the 1930s.
Marina Ivanovna Tsvetaeva (1892-1941)
Information from the biography. Ideological and thematic features of M.I. Tsvetaeva’s poetry, the conflict of everyday life and being, time and eternity. Artistic Features poetry by M.I. Tsvetaeva. Folklore and literary images and motives in Tsvetaeva’s lyrics. The originality of the poetic style.
For reading and studying. Poems: “My poems, written so early...”, “The generals are 12 years old,” “Who is created from stone, who is created from clay...”, “Your name is a bird in the hand...”, “Homesickness! For a long time … ».
Repetition. The theme of the poet and poetry in Russian XIX literature-XX centuries. The image of Moscow in the works of Russian poets (A.S. Pushkin, M.Yu. Lermontov, S.A. Yesenin, etc.).
Theory of literature. Development of the concept of means of poetic expression.
Creative tasks. Research and preparation of an abstract (message, report): “M.I. Tsvetaeva in the memoirs of contemporaries".
Preparation and conduct of a correspondence excursion to one of the museums of M.I. Tsvetaeva. By heart. One or two poems (students' choice).
Andrey Platonov (Andrey Platonovich Klimentov) (1899-1951)
At the choice of the teacher - the works of A.N. Tolstoy or A.P. Platonov.
Information from the biography.
Search positive hero writer. Unity of the moral and aesthetic. Labor as the basis of human morality. Principles of character creation. The social and philosophical content of A. Platonov’s work, the originality of artistic means (the interweaving of the real and the fantastic in the characters of truth-seekers, metaphorical images, the language of Platonov’s works). Traditions of Russian satire in the writer’s work.
For reading and studying. The story "In a beautiful and furious world."
Demonstrations. Music by D.D. Shostakovich, I.O. Dunaevsky. Paintings by P.N. Filonov.
Creative tasks. Research and preparation of the message: “Heroes of A. Platonov’s prose.”
Mikhail Afanasyevich Bulgakov (1891-1940)
Brief overview life and creativity (with a generalization of previously studied material). Novel "The White Guard". The fate of people in the years Civil War. Portrayal of war and White Guard officers as ordinary people. The author's attitude towards the characters
novel. Honor is the leitmotif of the work. The theme of the House as the basis of the world order. Female images on the pages of the novel.
Stage life plays "Days of the Turbins".
Novel "The Master and Margarita". The originality of the genre. The novel's versatility. System of images. Yershalaim chapters. Moscow 1930s. Secrets of human psychology: fear powerful of the world before the truth of life. Woland and his entourage. Fantastic and realistic in the novel. Love and fate of the Master. Traditions of Russian literature (the works of N.V. Gogol) in the works of M. Bulgakov. The originality of the writing style.
For reading and studying. Novel "The Master and Margarita".
Repetition. Fantasy and reality in the works of N.V. Gogol and M.E. Saltykov-Shchedrin. A satirical depiction of reality in the works of M.E. Saltykov-Shchedrin.
Theory of literature. Diversity of novel types in Soviet literature.
Demonstrations. Photographs of the writer. Illustrations by Russian artists for the works of M.A. Bulgakov. Fragments of the films “Days of the Turbins” (dir. V. Basov), “The Master and Margarita” (dir. V. Bortko).
Mikhail Alexandrovich Sholokhov (1905-1984)
Vital and creative path writer (with a generalization of what was previously studied).
The world and man in the stories of M. Sholokhov. The depth of realistic generalizations. The tragic pathos of "Don Stories". Poetics of the early works of M. Sholokhov.
Epic novel "Quiet Don". An epic novel about the fate of the Russian people and Cossacks during the Civil War. The originality of the genre. Features of the composition. The collision of the old and new worlds in the novel. Mastery of psychological analysis. Patriotism and humanism of the novel. Image of Grigory Melekhov. The tragedy of a man from the people turning point history, its meaning and significance. Women's destinies. Love on the pages of a novel. Versatility of the story. Traditions of L.N. Tolstoy in the novel by M. Sholokhov. The originality of the writer's artistic style.
For reading and studying. Epic novel “Quiet Don” (review with reading fragments).
Repetition. Traditions in the depiction of war (L.N. Tolstoy “War and Peace”). The theme of revolution and civil war in the works of Russian writers.
Theory of literature. Development of the concept of a writer's style.
Demonstrations. Illustrations by O.G. Vereisky for the novel “Quiet Don”. Fragments from the film “Quiet Don” directed by S.A. Gerasimov (Mosfilm, 1957-1958).
Features of the development of literature during the Great Patriotic War and the first post-war years
Literary and artistic figures in defense of the Fatherland. Painting by A. Deineka and A. Plastov. Music by D. Shostakovich and songs of the war years (S. Solovyov-Sedoy, V. Lebedev-Kumach, I. Dunaevsky, etc.). Cinematography of the heroic era.
Lyrical hero in the poems of front-line poets (O. Berggolts, K. Simonov, A. Tvardovsky, A. Surkov, M. Isakovsky, M. Aliger, Yu. Drunina, M. Jalil, etc.).
Journalism of the war years (M. Sholokhov, I. Ehrenburg, A. Tolstoy).
Realistic and romantic depiction of war in prose: stories by L. Sobolev, V. Kozhevnikov, K. Paustovsky, M. Sholokhov and others.
Stories and novels by B. Gorbatov, A. Bek, A. Fadeev. Plays: “Russian People” by K. Simonov, “Front” by A. Korneychuk, etc.
Works of the first post-war years. Problems of human existence, good and evil, selfishness and feat of life, confrontation between creative and destructive forces in the works of E. Kazakevich, V. Nekrasov, A. Bek, V. Azhaev and others.
Anna Andreevna Akhmatova (1889-1966)
Life and creative path (with a generalization of what was previously studied).
Akhmatova’s early lyrics: depth, brightness of the poet’s experiences. Theme and tone of the lyrics of the period of the First World War: the fate of the country and the people.
Personal and social themes in poems of the revolutionary and first post-revolutionary years. Themes of love for native land, Motherland, Russia. Pushkin's themes in Akhmatova's works. The theme of love for the Motherland and civil courage in the lyrics of the war years. The theme of poetic skill in the work of the poetess.
Poem "Requiem". The historical scale and tragedy of the poem. The tragedy of the life and fate of the lyrical heroine and poetess. The originality of Akhmatova's lyrics.
For reading and studying. Poems: “Confusion”, “I pray to the window ray...”, “Linden trees smell sweet...”, “Gray-eyed king”, “Song last meeting“,” “I have no need for odic armies,” “I clenched my hands under a dark veil...”, “I am not with those who abandoned the lands...”, “I had a voice,” “To the winners,” “Muse.” Poem "Requiem".
Repetition. The image of St. Petersburg in Russian literature of the 19th century (A.S. Pushkin, N.V. Gogol, F.M. Dostoevsky). Love lyrics of Russian poets.
Theory of literature. The problem of tradition and innovation in poetry. Poetic mastery.
Demonstrations. Portraits of A.A.Akhmatova by K.S.Petrov-Vodkin, Yu.P.Annenkov, A.Modigliani. J.W. Mozart “Requiem”. Illustrations by M.V. Dobuzhinsky for the book “Plantain”.
Creative tasks. Research and preparation of the abstract: “The tragedy of the “hundred-million people” in A. Akhmatova’s poem “Requiem.” Preparation of a virtual tour of one of A. Akhmatova’s museums.
By heart. Two or three poems (students' choice).
Boris Leonidovich Pasternak (1890-1960)
Information from the biography. The main motives of B.L. Pasternak's lyrics. The connection between man and nature in the poet’s lyrics. Evolution of poetic style. Formal and content dominants of B.L. Pasternak’s poetic style. Love and poetry, life and death in the philosophical concept of the poet.
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