Genre "Soviet classical prose". Village prose Russian prose in the 50s and 90s
RUSSIAN PROSE OF THE MID 50'S AND THE FIRST HALF OF THE 80'S
1. Periodization.
2. The theme of bureaucracy and the problem of dissent in V. Dudintsev’s novel “Not by Bread Alone.”
3. Tragic conflict between ideal and reality in P. Nilin’s story “Cruelty”.
4. The stories of B. Mozhaev “Alive” and V. Belov “Business as usual”: depth and integrity moral world man from the earth.
5. The work of V. Rasputin: formulation of acute problems of our time in the stories “Money for Maria” and “Deadline”.
6. Art world stories by V. Shukshin.
7. The problem of natural ecology and human soul in the narration in V. Astafiev’s stories “The Tsar Fish”.
8. Ruthlessness in depicting horror everyday life in the story “Sad Detective” by V. Astafiev.
Literature:
1. History of Russian literature of the twentieth century (20–90s). M.: MSU, 1998.
2. History of Soviet literature: A new look. M., 1990.
3. Emelyanov L. Vasily Shukshin. Essay on creativity. L., 1983.
4. Lanshchikov A. Viktor Astafiev (Life and Creativity). M., 1992.
5. Musatov V.V. History of Russian literature of the twentieth century. (Soviet period). M., 2001.
6. Pankeev I. Valentin Rasputin. M., 1990.
The death of Stalin and the liberalization that followed it had a direct impact on literary life society.
The years from 1953 to 1964 are usually called the “thaw” period - after the title of the story of the same name by I. Ehrenburg (1954). This period was a long-awaited breath of freedom for writers, liberation from dogma, from the dictates of permitted half-truths. The “Thaw” had its stages, both forward and backward movements, restoration of the old, episodes of partial return to the “delayed” classics (so in 1956, a 9-volume collected work by I. Bunin was published, collections of seditious works by Akhmatova, Tsvetaeva, Zabolotsky began to be published , Yesenin, and in 1966 M. Bulgakov’s novel “The Master and Margarita” was published). At the same time, incidents like the one that occurred after the publication of B. Pasternak’s novel “Doctor Zhivago” and the award to him were still possible in the life of society. Nobel Prize. V. Grossman’s novel “Life and Fate” - even in the conditions of the “thaw” - was nevertheless confiscated in 1961 and arrested until 1980.
The first segment of the “thaw” (1953–1954) is associated primarily with liberation from the requirements of normative aesthetics. In 1953, in No. 12 of the magazine “ New world“An article by V. Pomerantsev “On Sincerity in Literature” appeared, in which the author pointed out a very frequent discrepancy between what the writer personally saw and what he was ordered to portray, which was officially considered the truth. Thus, the truth in the war was not considered to be retreat, not the disaster of 1941, but only the notorious victorious blows. And even writers who knew about the feat and tragedy of the defenders of the Brest Fortress in 1941 (for example, K. Simonov) did not write about it until 1956 and crossed it out of their memory and biography. In the same way, the writers did not tell everything they knew about Leningrad blockade, about the tragedy of prisoners, etc. V. Pomerantsev called on writers to trust their biography, their hard-won experience, to be sincere, and not to select or adjust the material to a given scheme.
The second stage of the “thaw” (1955–1960) is no longer a sphere of theory, but a series works of art, who asserted the right of writers to see the world as it is. This is the novel by V. Dudintsev “Not by Bread Alone” (1956), and the story by P. Nilin “Cruelty” (1956), and essays and stories by V. Tendryakov “Bad Weather” (1954), “Tight Knot” (1956), etc. .
The third and final period of the “thaw” (1961–1963) is rightfully associated with the novel in defense of prisoners Soviet soldiers“Missing” (1962) S. Zlobin, early stories and the novels of V. Aksenov, the poetry of E. Yevtushenko and, of course, with the first reliable description of the camp in the story “One Day in the Life of Ivan Denisovich” (1962) by A. Solzhenitsyn.
Period from 1964 to 1985 They are usually called roughly and simplistically “years of stagnation.” But this is clearly unfair neither in relation to our science (our country was the first both in space and in the field of many high-tech technologies), nor in relation to the literary process. The scope of freedom for artists in these years was so great that for the first time since the 1920s, new literary trends of “village” prose, “military” prose, “urban” or “intellectual” prose were born in literature, and the author’s song flourished; 2/ specific works about the Russian religious and moral idea in art appeared: “Letters from the Russian Museum” (1966), “Black Boards” (1969) by Vl. Soloukhin; 3/historical novels by V. Pikul (1928–1989) were created, deep historical and philosophical works by D. Balashov were written; 4/ the historical-revolutionary novelism of A. Solzhenitsyn (“The Red Wheel”) arose; 5/ there was a rise in science fiction, the flourishing of the social dystopia of I. Efremov and the Strugatsky brothers.
In the 60–80s, two trends dominated the literary process: on the one hand, patriotic, nationally oriented (in V. Belov, V. Rasputin, V. Astafiev, N. Rubtsov, etc.) and, on the other hand, typically “Western”, largely individualistic, oriented towards the latest postmodern philosophy and poetics (E. Evtushenko, A. Voznesensky, I. Brodsky, V. Voinovich, etc.). Some writers, for example, V. Belov, saw in the peasant hut its communal and family soul. Others, for example, V. Voinovich, no less actively than V. Belov, did not accept Stalinism, at the same time in the novel “The Life and Extraordinary Adventures of the Soldier Ivan Chonkin” (1969) and in the story “Ivankiada” (1976) looked at both the “Russian idea” and rural Rus' extremely sarcastically.
How the world is changing! And how I myself am changing!
I am called by only one name, —
In fact, what they call me is —
I'm not alone. There are many of us. I am alive.
Nikolay Zabolotsky
After Stalin's death (March 1953), the story was published Ilya Erenburg"Thaw" . The title of this work became a symbol of the new era in the history and culture of the USSR. The weakening of censorship, the opportunity to tell the truth, freedom of creativity and personal freedom - all this was associated with the beginning of the Thaw. With the famous report by N.S. Khrushchev at the 20th Party Congress, debunking Stalin’s personality cult, began a long and painful process of liberation from illusions and rethinking the tragic legacy of the past. In society and, accordingly, in art, the question arose of how to live on, how to prevent a repetition of the tragedy.
Back in 1948, a poem was published Nikolai Zabolotsky "Thaw" , which described an ordinary natural phenomenon, but in the context of the events that took place, it became a kind of metaphor for that time:
Thaw after a snowstorm. The blizzard has just died down, The snowdrifts settled at once And the snow darkened (...) The trees will wake up soon Soon, lined up, Migratory birds nomads The trumpets of spring will sound.However, after the exposure of the cult of personality, the problem of responsibility of the country's leaders for abuse of power and for the death of millions of citizens arose. The direct successors of the Stalinist regime who remained in power were not prepared for such a turn of events. Therefore, the problems of man and society were raised in a very muted manner, often bypassing the censored media.
Sometimes the “thaw” gave way to real “freezes”. Prohibition in 1954 satirical poem Alexander Tvardovsky "Terkin in the next world" , which the poet himself defined as “the judgment of the people over the bureaucracy and the apparatus”; exception in 1958 Boris Pasternak from the Writers' Union after the publication of his novel in the West "Doctor Zhivago" ; scandalous attacks by N.S. Khrushchev in 1962-1963 on young artists and writers; the emergence of “hipsters” among young people demonstrating their protest against the stereotypes of behavior and uniformity in clothing, music and lifestyle adopted in the USSR; the roar of Soviet tanks on the streets of peaceful Prague; numerous trials of “dissident” poets ( Joseph Brodsky, Anna Barkova, Vasil Stus, Irina Ratushinskaya and many, many others) - all these and other events will forever remain in the history of this time.
In 1958, with the wording “For significant achievements in modern lyric poetry, as well as for continuing the traditions of the great Russian epic novel,” the Nobel Prize was awarded to Boris Pasternak. And in the USSR, a real persecution of the writer unfolded, which was popularly called: “I haven’t read it, but I condemn it!” Accusatory meetings demanding the punishment of the disgraced writer were held throughout the country, collective insulting letters were written against Pasternak, because the writer in the novel “Doctor Zhivago” “dared” to assert that human freedom, love and mercy are more important than any revolutions. Pasternak was forced to refuse the Nobel Prize. In 1959, he would write his visionary poem on this topic.
Nobel Prize I disappeared like an animal in a pen. Somewhere there are people, will, light, And behind me there is the sound of a chase, I can't go outside. Dark forest and the shore of a pond, They ate a fallen log. The path is cut off from everywhere. Whatever happens, it doesn't matter. What kind of dirty trick did I do? Am I a murderer and a villain? I made the whole world cry Over the beauty of my land. But even so, almost at the grave, I believe the time will come — The power of meanness and malice The spirit of goodness will prevail.So gradually, instead of moving forward, the country gained “ stagnation" However, the “thaw” made many people think and sowed the seeds of doubt about the correctness of the leading party’s course. The art of that time still lived in hope. At the movies fine arts, music and theater, and, of course, new topics entered literature, new names burst into the picture.
In 1962, a story was published in the magazine "New World" Alexandra Solzhenitsyn "One day in the life of Ivan Denisovich" , in the center of which are reflections on the victims of Stalin’s repressions. You can read in detail about the fate of A. Solzhenitsyn and his works on the pages of this site.
Interest in human experiences is at the center artistic creativity during the "thaw" years. One of the most important themes that is revealed in the literature of this period is the truth of war. A look at the Great Patriotic War “from the inside”, reflections on the cost of victory are presented in many works of the 1950-1970s.
Works were published and promoted on the pages of magazines and books Konstantin Simonov, Alexander Tvardovsky, Valentin Kataev and others who talked about the heroism of the common man at the front and in the rear.
Understanding of the military theme is embodied in the works of Mikhail Sholokhov, Yuri Bondarev, Vladimir Bogomolov, Grigory Baklanov, Viktor Nekrasov, Konstantin Vorobyov, Vitaly Semin and others. A monumental trilogy by Konstantin Simonov is published "The Living and the Dead" (1959-1971), in the center of which - the fate of millions ordinary people. Faith in the moral strength of man permeates the entire work.
The novel presents a completely different view of the war. "Life and Fate" Vasily Grossman, famous writer, born in Berdichev and studied in Kyiv. The path to the reader of this work was not easy. The novel, which has a pronounced anti-Stalinist character, was seized by the relevant authorities. At one time, one of the party ideologists promised Grossman that “Life and Fate” would be published no earlier than in 200 years.
A deep analysis of the psychology of a warrior is characteristic of prose Yuri Bondarev. In his works ( “Battalions Ask for Fire”, “Last Salvos”, “Hot Snow” ), showing individual episodes of military operations, the writer analyzes the behavior of a person caught in the crosshairs of war. A former artilleryman himself, who spent the entire war on the front lines, Yu. Bondarev conveys, as he himself said, “true details of life, events and the “air” of the era” with utmost accuracy, quite sparingly and restrainedly, without any pomposity or unnecessary pathos. He explained his creative style as follows: “...A writer, returning to the past, must write about it as about the present... Only then does the effect of presence, a moment of truth, a period of truth, if not the whole truth, arise.”
He masterfully describes his unshakable loyalty to his homeland and his incredible steadfastness in defending it. Boris Vasiliev in the story “And the dawns here are quiet...” , widely known for several films and an opera based on the plot of this work. B. Vasiliev continued the theme of war and the fate of the generation for which war became the main event in life in such works as “Not on the lists” , "Tomorrow there was a war" , "Burning bush" etc.
The theme of what was experienced during the war, the trials that befell the ordinary person, is also reflected in poetry. In works Sergei Orlov, Yulia Drunina, Konstantin Vanshenkin, Evgeniy Vinokurov, Nikolai Glazkov, Egor Isaev and others, who developed the traditions of Russian classics, present both images of an unparalleled national feat, as well as the tragedy of the war and the wounds it inflicted.
At the same time, poetry acquired a kind of “second wind” Vladimir Lugovsky And Nikolai Zabolotsky, after arrests and camps returns to readers again Yaroslav Smelyakov, come to “high” literature Boris Slutsky And David Samoilov, who will say this about his experiences of those years:
How it was! How did it coincide - War, trouble, dream and youth! And it all sunk into me And only then did it awaken within me!..In the second half of the twentieth century, many poets who made their mark back in the Silver Age continued to write. In 1956 Boris Pasternak starts his last book poems "When it clears up" . During this period Anna Akhmatova creates pinnacle works (poems "Requiem", "Poem without a Hero" ), started a little earlier.
In the early 60s he released his first collection Arseny Tarkovsky. The poet recognizes only two values as primary on earth - nature and creativity, and the poet himself is only a connecting link between the past and the future. This is what the poem is about "Muse" :
I don't have enough air, I don't have enough bread, Ice, like a shirt, would be torn off my shoulders, I would like to take the radiant sky into my throat, To lie between two oceans, Lie under your feet on the road Star grain of sand into star sand, So that winged gods are above you They flew from flower to flower...Since the mid-60s, many writers were forced to leave the USSR, among them a poet and future Nobel Prize laureate Joseph Brodsky, deeply experiencing his departure from the country. Brodsky's fate became the embodiment of a real confrontation between lies and cultural degradation. Until 1987 in the USSR, keeping his poems at home was not only considered reprehensible, but was punishable; nevertheless, his works were distributed in a proven manner. Soviet times way —with the help of “samizdat.” The poet will write about his fate in a poem “I entered a cage instead of a wild beast...” :
I entered a cage instead of a wild beast, burned out his sentence and nickname with a nail in the barracks, lived by the sea, played roulette, dined with God knows who in a tailcoat…A new generation of writers came to the poetry of the “Thaw” period. They were called " sixties" A heightened sense of responsibility for the fate of the country distinguished these poets. They were even called “co-authors of the era.”
Works of young poets Bella Akhmadulina, Robert Rozhdestvensky, Andrei Voznesensky, Evgeny Yevtushenko and others reflected the spirit of the times. The “sixties” poets sought to comprehend the past and understand the present. Their sometimes cocky poems excited society and forced them to join in the dialogue. There were queues in libraries so that people could read their works. Poets took to the streets: poems were read in bookstores and clubs, schools and institutes, concert halls poetry evenings were held. At the same time, each of the authors was distinguished by their own bright creative individuality. For example, high emotional intensity is characteristic of the poetry of E. Yevtushenko, deeply personal motives are reflected in the poems of B. Akhmadulina, civic spirit and extraordinary tenderness were inherent in the works of R. Rozhdestvensky, and the style of the young Voznesensky impressed with catchy metaphors and new poetic forms. All this was perceived as signs spiritual renewal life of the country.
In the poetry of the “sixties” there was increased attention to the unique personality of the individual, to his inner “I”. This topic is brilliantly revealed by E. Yevtushenko in his poem “There are no uninteresting people in the world...” :
There are no uninteresting people in the world. Their destinies are like the stories of the planets. Each one has everything special, its own, and there are no planets similar to it. What if someone lived unnoticed and made friends with this invisibility, he was interesting among people its very uninterestingness. Everyone has their own secret personal world. There is the best moment in this world. There is the most in this world terrible hour, but all this is unknown to us…Researchers attribute the decline in popularity of the poetry of the “sixties” to disappointed expectations in a society in which disappointment and apathy were increasingly evident.
At the same time, the so-called "quiet lyrics". Critics contrasted this literary trend with “noisy,” “variety” poetry. Among the “quiet lyricists”, poets such as Victor Bokov, Vasily Fedorov, Alexey Prasolov, Vladimir Sokolov, Anatoly Zhigulin and others, as well as already well known to you Nikolay Rubtsov. “Silent Lyricists” are masters in creating landscapes. Verbal drawing of the state of man and nature, their organic fusion form the basis of this direction of poetry:
Oh, Motherland! In a dim glow I catch with my trembling gaze Your country lanes, copses - Everything that I love without memory... A. Zhigulin ( "Motherland" )In the 1950s-1990s, works by writers of the post-war generation appeared on the pages of many literary magazines. Rethinking the experience of predecessors, as well as modern reality unfolding before the eyes of writers, was the focus of attention of Fyodor Abramov, Yuri Kazakov, Viktor Astafiev, Vasily Belov, Vasily Shukshin, Valentin Rasputin, Yuri Trifonov, Daniil Granin and many others. In literature there is a clear division into “urban” and “rural” prose.
Thus, one of the most significant and large-scale phenomena in the literature of the second half of the twentieth century was village prose. This literary movement was formed by the unity of the theme: the fate of the Russian village, Russian character in a situation of breaking the eternal national way of life. Heroes of works Viktor Astafiev, Fyodor Abramov, Vladimir Soloukhin, Valentin Rasputin, Vasily Shukshin and others were people of the passing twentieth century - ordinary old men and women of Russian villages. The “village writers” in their works reflected on the pride and dignity of the common man of the people, painfully told how time devalues the real values of the village world, analyzed why the Russian village, which suffered all the hardships and disasters of collectivization and wars, is losing its usual, established way of life for centuries.
The dramatic situation of a person in a village that rejects patriarchal, outdated norms of life and does not accept new ones, is explored in his stories Vasily Shukshin. “I am more interested in the history of the soul, and for the sake of identifying it, I deliberately omit a lot from the external life of the person whose soul worries me... Life human soul - his secret thought, pain, hope..." - this is how Shukshin defined the tasks of his work. According to his story " Viburnum red" the writer directed the film and acted in it main role. In the story "Slander" V. Shukshina sounds main question village prose: "What's happening to us?".
Most tragically, he presented his view of the village Valentin Rasputin in the story "Farewell to Matera" . In this work, the writer states that with the flooding of the village of Matera, the village House as such disappears into oblivion. The author shows the farewell of the residents of Matera to their House, in which they lived not even decades, but centuries, sadness for native Earth, Russian village civilization.
In fact, “Farewell to Matera” symbolically completes the village prose of Russian literature: with the disappearance of Matera, the village theme also goes away.
One of the topics actively developed in the literature of that time was topic Stalin's repressions and camps. In addition to A.I. Solzhenitsyn, left their evidence about this to readers Evgenia Ginzburg ("Steep route" ), Varlam Shalamov (« Kolyma stories» ), Georgy Vladimov ("Faithful Ruslan" ), Anatoly Rybakov ("Children of Arbat" ), Yuri Dombrovsky ("Keeper of Antiquities", "Faculty of Unnecessary Things" ) and many others.
Thanks to the works Ivan Efremova (« Andromeda Nebula, The Razor's Edge, Hour of the Ox ), Alexandra Kazantseva ("Grandchildren of Mars" ), brothers Arcadia And Boris Strugatsky (“It’s Hard to Be a God”, “Monday Begins on Saturday”, “Inhabited Island”, “Roadside Picnic”, “Burden with Evil, or Forty Years Later” etc.) the genre is developing science and social fiction. Millions of people read these works, discovered “other worlds” and talked about the laws of evolution and historical progress.
The urban theme in literature in all its diversity was revealed in the works of Sergei Dovlatov, Vladimir Makanin, Vyacheslav Pietsukh and others.
Within the framework of the urban theme, women's prose, associated with the appearance of such names as Tatiana Tolstaya, Victoria Narbekova and others.
Thematic and genre diversity also differs dramaturgy of the 50-90s of the twentieth century . In 1954, at the Second Congress of Soviet Writers, Ukrainian playwright Alexander Korneychuk called on his colleagues to “write the truth of life,” “to see its difficulties, its contradictions, its conflicts, to reflect them truthfully and honestly in their works...” IN dramatic works, perhaps for the first time, previously “forbidden” topics were openly raised. In plays Alexey Arbuzov, Victor Rozov, Alexander Volodin and others, they talked about demagogue leaders, about expulsion from the party, about removal from their favorite work for ideological reasons, and the psychology of the hero’s actions was revealed. However, literary criticism did not immediately accept this interest of playwrights in inner world person. "Life of the Soul" has also become main theme in creativity Alexandra Vampilova. In plays "Eldest Son" , « Duck hunting» , “Last summer in Chulimsk” and others, the writer revealed important problems of “searching for oneself” in life “ little man” during a period of growing frustration and alienation. Reflections on good and evil, on fidelity and love, reflected in the works of A. Vampilov, remain relevant today. It is no coincidence that his plays are still successfully staged on the stages of various theaters.
Following A. Vampilov, authors who were thematically close to his work came into dramaturgy, such as Lyudmila Petrushevskaya, Mikhail Roshchin, Alexander Galin, Lyudmila Razumovskaya and others who developed complex moral problems, reflected a “morally sharpened” sense of life.
Since the second half of the 50s, it appeared in literature and quickly spread original song. This musical and poetic movement, which involves the author performing, usually with a guitar, his own works, was especially popular among young people. The original song has become a symbol of alternative culture. It combined high poetry and oral tradition (urban romance, parable, ballad and even anecdote).
Each of the bards conveyed their own special artistic world in their own way. Among the first such singer-songwriters, the most popular were Yuri Vizbor, Alexander Gorodnitsky, Yuli Kim, Novella Matveeva and, of course, Bulat Okudzhava, who is considered to be the founder of the original song. Bulat Okudzhava called his works not songs, but simply poems. Deep lyricism and spirituality, reflection and irony merged in Okudzhava’s poetry. The poet was called “the singer of the Arbat court,” who was rapidly fading into the past, just as the hopes associated with the “thaw” were melting away. Material from the site
Okudzhava’s songs were sung everywhere: on a hike and just around the fire, at home gatherings and at amateur concerts. Bulat Okudzhava explained the meaning of his work this way: “Music enhances the impact of poetry. And the circle of those interested in it is growing, poetry is spreading wider. Poetry with accompaniment has become a counterweight to entertaining pop songs, unspiritual art, and imitation of feelings. It was written by thinking people for thinking people. (...) The author’s song is a serious reflection on human life, maybe tragic, maybe poignant.”.
In the early 60s, he also came to the art song Alexander Galich, a poet accepted by the intelligentsia and persecuted by the authorities, banned by censorship and published in “samizdat”. Galich did not so much sing as he recited his works; with the help of music he created a real small theatrical performance that went beyond the scope of singing songs with a guitar. His songs were called the polyphony of the era. They mix lyrics with farce.
Miner's Waltz We've been called adults for a long time And we don’t pay tribute to boyishness, And for the treasure on the fabulous island We do not strive for the distant future. Neither to the desert, nor to the pole of cold, Not on a boat...to such a mother. But since silence is golden, So we, of course, are prospectors. Keep silent - you'll end up rich! Keep quiet, keep quiet, keep quiet! And not believing either my heart or my mind, Hiding my eyes for safety, How many times have we been silent in different ways? But not against, of course, but for! Where are the screamers and sad people now?...Alexander Galich created his songs full of bitterness, sarcasm and pain for the common man. They were widely distributed thanks to tape recordings and were opposed to Soviet officialdom. Many of his works were devoted to the problem of the relationship between man and government, which became the cause of persecution, bans and forced emigration.
Song creativity Vladimir Vysotsky - a striking phenomenon of the “unofficial” life of the era of “stagnation” - reflected the thoughts and feelings of the common man. Vysotsky’s songs are called the “Encyclopedia of Soviet Life”. In his works, the poet spoke about the most pressing problems of the day very accurately and without false pathos, therefore he found responses among millions of people. Recordings of V. Vysotsky's concerts were replicated on tape and passed from hand to hand. In many of his works one could easily see a hidden social subtext, a protest against the unsightly sides of Soviet reality, for example, as in the famous "Wolf Hunt" .
In one of his interviews, V. Vysotsky explained what an art song is: “...here one man with a guitar will stand in front of you all evening, eye to eye... And the author’s song relies on only one thing - that we are worried about the same problems, human destinies, the same as me. same thoughts".
In songs Viktor Tsoi ("Change!" , "War" , "Blood group" etc.) the theme of longing for unfulfilled hopes and loneliness sounded piercingly:
Change! - our hearts demand. Change! - our eyes demand. In our laughter and in our tears, And in the pulsation of the veins: “Change! We are waiting for change!”Another songwriter — Igor Talkov — spoke about V. Tsoi: “Earth —Sky.” There is a war between Earth and Heaven,” having sung this one line, Viktor Tsoi could no longer sing anything else. He said everything. Simple and brilliant."
The events of the 90s of the twentieth century with its rise and disappointment, opening up prospects, and the beginning of democratic processes put literature in the face of new dramatic changes and social contrasts. New names and works came to readers...
Thus, in the literature of the 50-90s, through the diversity of its trends and names, all the numerous changes, hopes and disappointments characteristic of that time were fully reflected.
We invite you, while reading works written during this period, to think about the lines Anna Akhmatova from "Poems Without a Hero" and decide for yourself the question,
How the future matures in the past, So in the future the past smolders...3.2. General trends in the development of Russian literature in the 40s - 90s of the 20th century.
Rus. liters during the Second World War. From the very beginning of the war, writers felt “mobilized and called upon.” OK. 2 thousand writers went to the front, more than 400 of them did not return. These are A. Gaidar, E. Petrov, Y. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young. Rus. The literature of the Second World War period became a literature of one theme - the theme of war, the theme of the Motherland. The writers felt like “trench poets” (A. Surkov), and all literature as a whole was “the voice of the heroic. souls of the people" (Tolstoy). The slogan “All forces to defeat the enemy!” unimportant applied to writers as well. The first word was spoken by the lyricists and publicists.
Poetry. Poems of the public. center. and fronts. print, broadcast on the radio along with information about important military and political events, sounded from numerous. improvisation scenes at the front and in the rear. Many poems were copied into front-line notebooks and learned by heart. Poetry “Wait for me” by Konstantin Simonov, "Dugout" by Alexander Surkov, “Spark” by Isakovsky gave birth to numerous poem answers. During the war years, a cordial contact unprecedented in the history of our poetry was established between the poets and the people. Spiritual closeness with the people is the most remarkable and exceptional feature of the lyrics of 1941-1945. In verse Tikhonova, Surkov, Isakovsky, Tvardovsky one can hear anxiety for the fatherland and merciless hatred of the enemy, the bitterness of loss and the awareness of the cruel necessity of war. Torn away from their favorite activities and native places, millions of Soviet people seemed to take a new look at their familiar native lands, at themselves, at their people. Show up soulful poems about Moscow by Surkov and Gusev, about Leningrad by Tikhonov, Olga Berggolts, about the Smolensk region by Isakovsky. In the lyrics of the war years, the character of the lyrical hero also changed: he became more earthly, closer than in the lyrics of the previous period. Poetry, as it were, entered into the war, and the war, with all its battle and everyday details, into poetry. The “landing” of the lyrics did not prevent the poets from conveying the grandeur of events and the beauty of the feat of our people. Heroes often endure difficult, sometimes inhumane things. deprivation and suffering: “It’s enough to lift ten generations // The weight that we lifted.” (A. Surkov) In the poetry of the war years, three main genre groups of poems can be distinguished: lyrical (ode, elegy, song), satirical and lyrical-epic (ballads, poems). Quotes. 1. We know what is now on the scales // And what is happening now. // The hour of courage has struck on our watch, // And courage will not leave us. (“Courage”. Akhmatova) 2. In the mud, in the darkness, in hunger, in sadness, // where death, like a shadow, trailed on our heels, // we were so happy, // we breathed such wild freedom, // that our grandchildren would envy us. (“February Diary”. Bergholz) 3. Something very big and terrible, - // Brought with bayonets by time, // Does not allow us to see yesterday. // With our angry vision today. (“It’s like looking through binoculars upside down...” Simonov)
4. But at the hour when the last grenade // Is already in your hand // And in a short moment you need to remember at once // Everything that we have left in the distance // You remember not a big country // Which you have traveled and learned . // You remember your homeland - as it was // As you saw it as a child. // A piece of land leaning against three birch trees, // A distant road behind a forest, // A small river with a creaking ferry, // A sandy bank with low willow trees. (“Motherland”. Simonov) 5. She was wearing a faded tunic, // And her legs were sore they bled. // She came and knocked on the house. // Opened by mother. The table was set for dinner. // “Your son served with me in the regiment alone, // And I came. My name is Victory." // There was black bread whiter than white days, // And the tears were the salt of pickles. // All a hundred capitals shouted in the distance, // They clapped their hands and danced. // And only in a quiet Russian town // Two women were silent, as if dead. (“May 9, 1945.” Ehrenburg)
Prose. During the Second World War, not only poetry was developed. genres, but also prose. She is presented to the public. and essays. genres, war stories and heroic. story. The war dictated new rhythms of writing. work. From the pages of book publications, literature moved to newspaper pages and radio broadcasts. Writers strove to the front, into the thick of things, to be among those who entered into mortal combat with the Nazi invaders. Very diverse publics. genres: articles, essays, feuilletons, appeals, letters, leaflets. The articles wrote: Leonov, Alexey Tolstoy, Mikhail Sholokhov, Vs. Vishnevsky, Nikolai Tikhonov. In satirical The fascists were mercilessly ridiculed in the articles. Favorite satirical genre journalism became a pamphlet. Articles addressed to the homeland and people were very diverse in genre: articles - appeals, appeals, appeals, letters, diaries. Very common in 1943-1945 there was an essay about the feat large group people. This is how it appeared essays on night aviation "U-2" (K. Simonov), about the heroic Komsomol (Vishnevsky), and many others. Most often, Marietta Shaginyan, Kononenko, Karavaeva, and Kolosov wrote about people on the home front. The defense of Leningrad and the battle of Moscow were the reason for the creation of a number of event essays, which are artistic. chronicle of military operations. This is evidenced by the following essays: "Moscow. November 1941" by Lidina, "July - December" by Simonov. During the Second World War, productions were also created in which the main attention was paid to the fate of man in war. Human happiness and war - this is how we can formulate the basic principle of such products as “Simply Love” by V. Vasilevskaya, “It Was in Leningrad” by A. Chakovsky, “The Third Chamber” by Leonidov.
Alexey Tolstoy after brilliant journalistic articles creates thin cycle “Stories of Ivan Sudarev”. Social atmosphere and lit. process of the post-war 10th anniversary (1946 – 1956). Resolution of the All-Union Communist Party of Bolsheviks on the magazines “Zvezda” and “Leningrad” and its role in the further development of literature. Post-war The 10th anniversary is the time of late Stalinism. The end of the war did not lead to the triumph of freedom and emancipation. personality. Meaning influence on society - lit life rendered. resolutions and reports of Zhdanov, especially the resolution on the magazines “Zvezda” and “Leningrad”. The resolution was directed against magazines "Zvezda" and "Leningrad"(Leningrad magazines), reason – publication Zoshchenko's story "The Adventures of a Monkey", the reason is the dissatisfaction of the management with the fact that the magazines regularly publish. produced by Akhmatova and Zoshchenko. The result is the persecution of Zoshchenko and Akhmatova, “Leningrad” is closed (one literary magazine is enough for Leningrad), in “Zvezda”, “Znamya”, “New World” more than once. replaced ch. editors, a new wave of arrests, struggles against cosmopolitans, objectionable press organs were liquidated, tightened. censorship, negative reviews of unwanted authors, etc. The beginning of the Cold War worsened. situation: published. production abroad eq. to the state treason. Follow. 2 main trends in literature: 1) the tendency to “conform” (more than 200 Stalin Prizes in regional literature; Bubennov “White Birch”, Polevoy “The Tale of a Real Man”, Pavlenko “Happiness”, Fadeev’s “Young Guard” twice rewritten, etc., mainly . common feature– presence of partial leader/inspirer, talking about duty, Motherland, etc.; poetic production also “corresponded”); 2) the tendency to preserve one's voice. But on the other hand, despite the tough... censorship, a turn in literature has begun. situations. Publication Nekrasov's story “In the Trenches of Stalingrad” (1946, “Banner”), the first production from the so-called. "prose of lieutenants" Tvardovsky finished. poem “House by the Road” (1942 – 1946). Even during Stalin's lifetime V. Ovechkin displays negative. desk type head of story "District everyday life". The story was taken for publication by Tvardovsky, then the editor of Novy Mir. But these are isolated cases. Genuinely artistic works are criticized; moreover, meetings of writers are held, at which everyone must “smash” and “brand” the offender, and demand publicly. repentance (as was the case with Zoshchenko), and those who disobeyed were also subject to condemnation.
Completed, started in the 30s. the process of forming a unified principle for depicting heroes, a unified approach to conflicts, and leveling language. Socialist realism is flourishing in the “correct” literature.
Main features and milestones of the literary-social process of the 56th – 80th years. The beginning of a new period of communications. with exposure cult of personality. This is watered. own reflection on cultural and societies. life. New magazines opened (“Youth”, “Lit. Study”, “Neva”), on the page of “New World” the works of Solzhenitsyn and Dombrovsky were published; exit. almanacs “Lit. Moscow”, “Tarusa Pages” with poems by Tsvetaeva, Slutsky, Pasternak, Voloshin (although the almanacs were soon closed). The publications of Babel, Zabolotsky, and Zoshchenko were being prepared.
Prose. The most powerful reading. the shock was connected. from publication in 1962 in the “New World” Solzhenitsyn’s story “1 Day of Ivan Denisovich”(original name “Shch-282”). New material (the beginning of the “camp” theme), a new language (prisoners’ jargon) and new principles for depicting people. har-ra, thin. capacity, accuracy, author's expression. speech and language of characters. The story will be banned. in the 70s
Derevensk. prose. They will notice. artist reached connection with "village" prose (F. Abramov, V. Ovechkin, S. Zalygin, V. Shukshin; later - V. Rasputin, V. Belov, V. Astafiev). But critics also attacked them quite a bit. Der. prose dates back to the 50s. At the origins are essays by V. Ovechkin (“District Weekdays”, “Difficult Spring”). How to direct in the literature formed. during the thaw period, procreation. OK. 30 years old. resorted to different genres: essays (Ovechkin, Dorosh), short stories (Yashin, Tendryakov, Troepolsky, Shukshin), stories and novels (Abramov, Astafiev, Belov, Rasputin). Has stood the test of time. those productions where they predominate. universal human problems. Range of problems. Unfavorable village life (poverty, disunity, thoughtless directives, tick-box system). The villagers of the 50s and 60s have no doubt. in the need of collective farms. But the show: exaggerated reports, orderly leadership. Cultural the level of residents is low, among young people - consumption. attitude to life. The problem of de-peasantization (moving to the city). Each pissing – personal, blood connection with the village. at the same time, only reverse to modern, unnoticed people, others appeal. to the past, history was looking for a way to solve problems. A new stage in development. village prose - TV by Astafiev and Rasputin (they were even called “new village prose”, mid-70s). New problems are being introduced: ecology, caring attitude towards people, their home, long-term traditions (“Farewell to Matera” by Rasputin, “The Tsar Fish” by Astafiev).
Military prose. In military prose: almost simultaneously. G. Baklanov, Yu. Bondarev, V. Bykov, K. Vorobyov and others came to literature (“lieutenant’s prose”). “Trench” truth, human psychology in war, acute perception of life, a sense of responsibility for those around, etc. But continued. write bison like Simonov. Works: K. Simonov, epic novel “The Living and the Dead” (1 book 1955-1959, 2 books 1960-1964, 3 books 1965-1970); Boris Balter, story “Goodbye, boys” (1962); Vasil Bykov, story “Kruglyansky Bridge” (1968); Boris Vasiliev, story “The Dawns Here Are Quiet” (1969), Vyach. Kondratiev, story “Sashka” (1979), etc.
Confessional lyrical prose. Arose. such a phenomenon as a confessional, lyrical. prose (Aksenov, Gladilin, Voinovich). Both Aksenov and Voinovich subsequently. emigrate.
Poetry. 1950 – 1st almanac “Poetry Day” with poems by Tsvetaeva, Vasiliev, Slutsky, whose names were not even mentioned. These years are characterized by oral performances by poets in large halls, at stadiums, at Polytech. Moscow Museum, Polytechnic. Institute of Leningrad. It was “loud” poetry with emphasis. social sound, journalistic (Yevtushenko, Voznesensky, Rozhdestvensky). Forsirov. journalisticism often led to declarativeness. Leningradsk. poetic the youth of those years ate. in the group of Gleb Semenov at the Mining Institute (Kushner, Gorodnitsky, etc.). For a long time poetry could not stay high. note. Refusal from “loudness” occurred. in the mid-60s (“I want silence, silence...Are my nerves burned?” - Voznesensky). Along with the youth cont. create Tvardovsky, Zabolotsky, Akhmatova, Marshak and others. But not everything is so rosy, of course. As a result, critical “discussions”, Abramov, Bykov and others were called slanderers and slanderers. Literat was closed. Moscow,” Pasternak was persecuted for publishing Dr. Zhivago in Italy and for awarding him the Nobel Prize. prize (accepting it was equated to treason). In the “liberal” years, trials of poets took place: Brodsky was tried for “parasitism”, for publishing in the West, for being anti-Soviet. Y. Daniel and A. Sinyavsky were arrested. In modern criticism, there continues to be an opinion that identifies two unequal concepts: poets of the sixties and “pop poetry”. At the same time, these two concepts are related as general and specific, because, as a rule, the second definition is applicable only to poetry, and to that channel of the mid-50s - early 60s, which was in demand during the “thaw” time. As soon as it arose, the term “pop” poetry (pop poets) acquired a negative connotation, which gradually intensified. As the poets, branded with the epithet “variety performers,” entered into adulthood, strengthening their ideological and artistic positions. Some moved away from the variety experience (A. Voznesensky), others rejected it almost completely, as a passed stage of their creative evolution (B. Akhmadulina, Y. Moritz), for others the stage, the stage became the only form of self-expression (B. Okudzhava, V. Vysotsky, N. Matveeva). E. Yevtushenko, R. Rozhdestvensky, R. Kazakova, having cursed the stage as an unbearable lot, remained faithful to it forever. At the end of the 60s, a certain emphasis began to be felt in the use of the term, which so far consisted only in the fact that “pop” poetry began to be clearly opposed to “quiet” lyrics. The pronounced style characteristic of most post-war poets was intended, on the one hand, to cover up and obscure the specificity of ideas and, on the other hand, to demonstrate individual originality. But now it is clearly visible that in most poems of this kind there is thought, there is flesh, but there is no soul. And instead of the originality of the face, we have only an original manner, devoid of living poetic freedom. Gained widespread popularity art song genre, in which the author of the text, music and performer was, as a rule, one person. Official culture was wary of amateur songs; publishing a record or performing on radio or television was rare. The bards' works became widely available in tape recordings, which were distributed in the thousands throughout the country. The real rulers of the thoughts of youth in the 60s and 70s. steel B. Sh. Okuzhdava, A. Galich, V. S. Vysotsky.
Period of "stagnation". The trial of Y. Daniel and A. Sinyavsky (1966, for publishing works abroad, albeit under pseudonyms) - the beginning of the period that is commonly called. stagnation. They were tried for antisov. activity, agitation and propaganda. That's the name. they are not only officials, but also writers, even Sholokhov. But there were also opponents of the official. positions: letter from Lydia Chukovskaya to Sholokhov, message to the Congress of the Writers' Union, signed. 62 people - confirmation of this. One of the signs of the times is the departure of young people after universities to work as stokers and janitors, departure on expeditions - the beginning of dissidence. In the beginning 70's leaving. country Solzhenitsyn, for involvement in the publication of the Metropol almanac. a whole group of talent. poets and writers. “Voluntarily” leaving. country Voinovich, Aksenov, Dovlatov, Aleshkovsky, Nekrasov and others.
Prose. The literature of this period is extremely diverse. on conflict situations. Trifonov, Kazakov, Belov, Abramov (then Makanin and Petrushevskaya) with all the plot. production prefers to difference. test your heroes with everyday life. Moreover, most often the heroes cannot stand this test. Read. difficult to open. the world is human. souls. The significance of little things and the difficulty of mutual understanding are revealed. The writer made his way through everyday life to the meaning of existence.
Bykov, Rasputin, Astafiev, Vorobiev, Dombrovsky, in stories about the past, about war, about peaceful life, more often placed heroes in the extraordinary. situations, exploring the capabilities of a person, the strength and weakness of the personal principle. Particular importance was attached to the fact of memory. The memory of the war returned Bykov’s heroes to their wartime selves, forced. rethinking. actions, the movement of the soul, established a connection between the past and the present ( Astafiev "The Shepherd and the Shepherdess"- incompatibility of love and war, irreversibility of morals. losses). Special brightly reflected crisis modern condition people in TV 3 he left early. from the life of a talented writers: Shukshin, Vampilov, Vysotsky. The literature of this period was presented by various. types of characters. The rustic characters are colorful. residents, soldiers, diverse characters of intellectuals, etc. Writers tried to reflect. atmosphere fear, for what is required. resp. form, Aesopian language, this helped to circumvent many prohibitions: irony, allegory, fairy tale, allegory, etc. During the same period, they were created. (but published later) books by Shalamov, Solzhenitsyn, etc.
Dramaturgy. A turning point in drama. started in lane Thaw: plays by Vampilov, Shukshin. The theory of non-conflict is being replaced by satire and anecdotal. situations, everyday life conditions, objectivity and dispassion of the author in relation to. to the heroes. Location more diverse: hotel, train carriage, courtroom, etc. The ending is not allowed. and did not remove the conflict. Confessionalism replaces journalism. Contributes to this. and narrowing of space and time, variability in the viewer’s perception of the hero’s fate, the hero’s ability to choose (plays by Rozov, Volodin, Zorin). But the production situation remains almost unchanged. drama: the heroes fight without a fight, their struggle does not meet. resistance, the conflict is reduced to edification. controversy.
State of Russian writers in the late 80s - early 90s. 1985-1990. 2 genders 80s – perestroika. Change of power and politics. course reflection in all areas of life. Bans on topics and names are lifted => problems that were not touched upon before are revealed: crime, prostitution, drug addiction, the Gulag, violence. collectivization, war in Afghanistan. Detained, silenced books are being returned and printed (the so-called “Return of Literature” - a process when the printing of prohibited works began again, new works of disgraced authors were published. In Soviet literature there were 2 large waves of “return”: 1956-1964 (thaw) and 1985-1990s (perestroika)). Published new productions on current issues. themes (“Fire” by Rasputin, “The Scaffold” by Aitmatov, “Sad Detective” by Astafiev - many works later lost their sharpness). An avalanche of semi-banned publications. and prohibited writers (Platonov, Bulgakov, Grossman, Zamyatin, memoirs of Prishvin, Chukovsky, Pasternak, Tvardovsky, etc.). Anti-Stalin mass. publications (moreover, until the early 90s, most of the exposure of Stalin was based on his opposition to Lenin; Lenin still remained an ideal). Even during the years of stagnation, such a phenomenon as postmodernism (Pelevin, Sasha Sokolov) and “other prose” (Tolstaya, Petrushevskaya, Ven. Erofeev) was formed. Those. The picture of literature has changed dramatically. Many literary scholars. books - research the fate of writers, etc.
1990s The rise of journalism at the turn of the 90s. influence on literature. The collapse of the Gosizdat system => a huge number of private commercial izdat-v. => Help for the development of literature. The influence is not politics, but the market. Huge attention is still paid to Solzhenitsyn and Shalamov, but now less. Such a phenomenon as “women’s prose” has developed (Petrushevskaya, Tolstaya, Ulitskaya, Shcherbakova, etc.). Can be mentioned. Kim, Pelevin and anyone else. Returning to the theme of the Second World War (Astafiev “Cursed and Killed”). Show. especially modern. prose – irony, grotesque.
Poetry. Poets who have seen the light (Levitansky, Dudin). Author's poetry trans. into rock poetry (Tsoi, etc.). In the poetry of relatively young people there are 2 extremes: 1) immersion. in a personal way. peace, philosophy lyrics of “pure seriousness” (I. Zhdanov, K. Kedrov); 2) anti-lyricism, anti-poetry (Prigov, Rubinstein). For modern times. youth (very young) character. anxious intonation, motive of ignorance, loss. Hood. mastery is tested in proximity to freely published books by Gumilyov, Khodasevich, Ivanov, Brodsky and others.
Dramaturgy."Blurred" hero, absent. logic in dialogues, intrafamily. conflicts have almost disappeared. action, tongue-tied characters, a lot of irony. Names of playwrights: N. Sadur, N. Kolyada, M. Arbatova.
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The sociocultural situation of the second half of the twentieth century (1950-1990s): the entry of civilization into the stage of post-industrial, post-totalitarian society, new technologies, space exploration, further development of natural resources. Awareness of the ecological and spiritual crisis of modern civilization, standardization of life, mass culture replacing totalitarian, consumer attitude to life, the disappearance of utopian consciousness, the destruction of faith in human reason.
Particular attention in the literature is attracted by the philosophy of P. Teilhard de Chardin, A. Schweitzer, M. Heidegger (the existence of man in being, connections with him), the theory of French post-structuralism (J. Derrida, J. Baudrillard, R. Barthes, J. Kristeva), the concepts of culture-game, culture-sport are developing (H. Ortega y Gasset, J. Huizinga).
Literature of the second half of the twentieth century is characterized by a variety of genre forms (small and large epic works, psychological drama, lyrics and poems), the development of traditional styles and trends and the emergence of new ones, adherence to canons and the desire for innovation.
Literature of the second half of the twentieth century is divided into periods:
Literature of the late 1950s-60s (the “thaw” period): focus on mastering social reality, aesthetics of the “truth of life”, analyticism instead of synthesis, individuality instead of typicality. Restoration of social optimism is a utopian idea of moral improvement of society. Alienation of public consciousness from state ideology and preserving the value of social connections (“man of the group” instead of man of the class). Dissident movement and underground culture. Formation of various literary trends: continuation of traditions realistic literature(“industrial” novel, “village” prose, psychological poetry), revival of traditions (modernism), the emergence of Russian postmodernism. Refusal of the principle of idealization of reality, principles of analysis and criticism of reality, change in the principle of historicism, installation of a multi-conflict perception of the world. The emergence of new literary and artistic magazines: “Youth” (1955), “Friendship of Peoples” (1955), “Our Contemporary” (1964), “New World” under the leadership of A. Tvardovsky.
Literature 1970-80s: search for the metaphysical foundations of existence and universal values, the essence and meaning of human existence. Crisis of rationalism, passion for various religious, esoteric teachings. Man in natural existence and man in the history of mankind and eternity. An appeal to the poetics of myth, to symbolization, an attempt to give a holistic picture of the world. Loss of faith in universal values, the onset of popular culture, abundance of information, formation of fragmented consciousness, playful attitude to reality. Alternative youth culture, underground literature. The eclectic nature of culture in connection with the development of “detained” and emigrant literature in the late 1980s.
Literature of the 1990s: a period of social and public upheaval, the collapse of the Soviet Union. Crisis of traditional ideas about the role of literature and culture. Playful (aesthetic) phase in history modern literature. Priorities of postmodern culture. Total skepticism in human understanding. Synthesis literary movements, a dialogue between tradition and neo-avant-garde.
Educational and reference literature:
1. Ashcheulova, I. V. Russian poetry of the second half of the twentieth century: names and motives: training manual/ I.V. Ashcheulova. - Kemerovo, 2007.
2. History of Russian literature of the twentieth century (20-90s). Literary process: textbook. - M.: Moscow University Publishing House, 2006.
3. History of Russian literature of the twentieth century: In 2 parts / Ed. V. V. Agenosova. - M.: Bustard, 2007.
4. Leiderman, N. L. Lipovetsky, M. N. Modern Russian literature: in 3 books. Textbook / N. L. Leiderman, M. N. Lipovetsky. - M., 2001. Book. 1 - 1953-1968; book 2 - 1968-1986; book 3 - 1986-1990s.
5. Musatov, V.V. History of Russian literature of the first half
XX century / V.V. Musatov. - M., 2001.
6. Russian literature of the twentieth century: In 2 volumes: textbook / A. P. Krementsov et al. - M.: Academia, 2005.
7. Russian writers 1800 – 1917. Biographical dictionary: In 5 volumes. T. 1. - M., 1989.
8. Russian writers. Biobibliographical dictionary: In 2 volumes - M., 1990.
9. Russian writers. XX century. Biobibliographical dictionary. In 2 parts / Ed. N. N. Skatova. - M.: Education, 1998.
Additional educational literature:
1. Bavin, S.P. Fates of poets silver age. Bibliographical essays / S.P. Bavin, I. V. Semibratova. - M., 1993.
Published by decision of the Academic Council Faculty of Philology DGU
Munchaev of Russian literature of the twentieth century (40-90s).
Seminar lesson plans
Class № 1
PROSE OF THE 40'S - EARLY 50'S
Plan
1. Genre diversity of prose of the 1920s.
a) journalism (I. Ehrenburg, M. Sholokhov, A. Platonov);
b) epic (K. Simonov, A. Bek, B. Gorbatov, E. Kazakevich, V. Panova, V. Nekrasov)
2. Stylistic originality of prose of the 40s-50s.
a) attraction to the heroic-romantic depiction of war (B. Gorbatov, E. Kazakevich);
b) a tendency to depict the everyday life of war, ordinary participants in the war
(K. Simonov, A. Bek, V. Panova, V. Nekrasov);
6. Nekrasov’s “In the Trenches of Stalingrad” is a programmatic work of “psychological naturalism.”
a) the polemic nature of the story, the features of the depiction of the war, attention to the ordinary participant in the war, his psychology;
LITERATURE
Hero and people. M.: Sovremennik, 1973.
Russian Soviet literature of the Great Patriotic War: method and hero. M., 1975.
Zhuravlev during the Great Patriotic War. M., 1978.
History of Russian Soviet literature. In 4 volumes-T.3. M.: Nauka, 1968. Ch. "Literature of the Great Patriotic War". pp. 5-89.
Lipovetsky Russian literature. e years. T.1. M., 2003. p. 28-31.
Further reading
Pages of heroism: an essay on Russian prose. - M., 19 History of Russian Soviet literature: 40-80s. M., Moscow State University Publishing House, 1983. pp. 25-44.
Class №2.
POETRY OF THE 40'S - EARLY 50'S.
Plan
1. Development of lyrical genres in the 40s and 50s (A. Tvardovsky, M. Isakovsky, K. Simonov)
2. Poems of the 40s-50s. Genre-compositional and stylistic features (M. Aliger. “Zoya”. P. Antokolsky. “Son”. O. Berggolts “February Diary”).
3. “Vasily Terkin” by A. Tvardovsky - lyric-epic encyclopedia of the Second World War. Features of the genre, composition of the poem. The role of the image of the lyrical hero in the structure of the poem. Vasily Terkin - a type of Russian national character. Typing principles.
4. "House by the Road" by A. Tvardovsky - a lyrical chronicle of the war. Features of the composition. Conventional images, their semantic richness (house, family, road)
LITERATURE
Abramov and the epic of the Great Patriotic War. 2nd ed. M., 1974. Ch. 2.
Alexander Tvardovsky. M., 1958. Chapter 3.
Roshchin Tvardovsky. M., 1986.
Kondratovich. Poet and personality. M., 1978.
Makedonov Tvardovsky. Smolensk, 1966.
Leiderman Russian literature. e years. T.1. M., 2003. p. 230.
Nikitin during the war years. Saratov, 1958.
Alexander Tvardovsky. 2nd ed. M., 1970., Ch. 3.
Class №3.
L. LEONOV. NOVEL "RUSSIAN FOREST".
Quests
1. Prepare reports on the following topics:
a) Features of L. Leonov’s creative individuality (based on one of the monographs about the writer’s work);
b) Features of the conflict in epic work. The conflict, its development and resolution in the novel "Russian Forest";
c) Images - symbols in the novel "Russian Forest";
Plan
1. “Russian Forest” by L. Leonov and prose of the 1950s.
2. The plot and composition of the novel "Russian Forest". Synchronicity of two historical plots (Chapters 2-4 - general plot, Chapter 10 - climax, Chapters 13-15 - denouement).
3. Images are the leitmotifs of the novel “Russian Forest”.
4. Vikhrov and Gratsiansky are heroes - antipodes. The philosophical background of their conflict (Chapters 3.7).
5. The younger generation in the novel "Russian Forest". His moral, spiritual evolution.
1. Mastery of psychological portrait.
LITERATURE
Kovalev L. Leonova. M.-L., 1962.
Leonov "Russian Forest". M., 1958.
The Universe according to Leonid Leonov. Personality and creativity. Essay. M., 1987.
Leonid Leonov. M., 1972. Ch. "Vikhrov and Gratsiansky".
Leiderman Russian literature. e years. T.1. M., 2003. p. 34-50.
Further reading
Leonid Leonov. M. 1986.
Class № 4
B. PASTERNAK. NOVEL "DOCTOR ZHIVAGO".
Quests
1. Prepare a written report on the topic “The history of the creation and publication of the novel “Doctor Zhivago.”
2.Genre originality novel "Doctor Zhivago". Traditions of the classics. Innovation.
3. Trace the drama of the Russian intelligentsia in the events of history (using the example of the destinies of Yuri Zhivago, Antipov-Strelnikov, Larisa). What is new about the writer’s solution to the problem of the intelligentsia and the revolution?
4. Features of the poetics of the novel.
Plan
1. The history of the creation and publication of the novel "Doctor Zhivago". Sources of the novel.
2. Genre and composition of the novel "Doctor Zhivago".
3. The fate of the Russian intelligentsia and the revolution in the novel "Doctor Zhivago".
4. Zhivago and Antipov-Strelnikov are two poles of the revolution.
5. Images of women in the novel "Doctor Zhivago". Their relationship with the fate of Yuri Zhivago.
6. Features of the poetics of the novel "Doctor Zhivago".
LITERATURE
Materials for the creative history of the novel "Doctor Zhivago". // New world. 1988. No. 6. P. 205-248.
Discussion about the novel "Doctor Zhivago". //Questions of literature. 1988. No. 9.
Reflections on the novel "Doctor Zhivago". //New world. 1988. No. 1.
Kondakov "Doctor Zhivago" in the light of the traditions of Russian literature.//Izvestia of the USSR Academy of Sciences. Literature and Language Series. 1990. No. 6. P. 527-539.
Leiderman Russian literature. e years. T.1. M., 2003. p. 51-74.
Further reading
Christian theme in B. Pasternak’s novel “Doctor Zhivago” // Gospel text in Russian literature of the 18th-20th centuries. Petrozavodsk. 1994.
About the creative fate of Boris Pasternak.//Young Guard. 1988. No. 2. pp. 269-279.
The Death and Resurrection of Doctor Zhivago.//Youth 1988. No. 5.
On the history of the publication of Doctor Zhivago abroad // Moscow. 1988. No. 10. p. 139-149.
Class №5
DILOGY OF V. GROSSMAN "LIFE AND FATE"
1. Prepare a report on the topic “The history of the creation and publication of V. Grossman’s dilogy “Life and Fate.”
2. Genre and composition of the dilogy “Life and Fate”
3. Problems and images.
4. Prepare a written report on the topic “Grossman’s “Life and Fate” in the assessment of criticism // Use discussion material in the journal “Literary Review”. 1989. No. 6. P. 24-34.
Plan
1. Creative history V. Grossman's dilogy "Life and Fate".
2. Genre and composition of V. Grossman’s dilogy “Life and Fate”.
3. The concept of freedom in the novel “Life and Fate”.
5. State and people. State and personality in the novel "Life and Fate".
6. Women's images in V. Grossman's novel "Life and Fate".
7. Grossman’s “Life and Fate” in the assessment of modern criticism /highlight the main aspects/.
LITERATURE
Vasily Grossman. Life. Fate. Creation. M.: Soviet writer. M., 1990.
The life and fate of Vasily Grossman. Anna Berzer. Parting. M.: Book. 1990.
War and Freedom // The Collapse of Abstraction. –M.: Contemporary. 1989.-S. 159-182.
Further reading
Life is freedom.//V. Cardin. Legends and facts. Literary criticism. Literary controversy. M: Library "Ogonyok". No. 33. M.: Sovremennik, 1989. P. 159-182.
Overcoming. “Life and Fate” and its critics // Literary Review. No. C. 24-34.
Life and destiny // Literary newspaper. 1988. March 2. No. 9. pp. 2-3.
“Life and Fate” by V. Grossman // Our contemporary. 1988. No. 11.
About the novel “Life and Fate” // New World. 1988. No. 11.
Class № 6
K. SIMONOV'S TRILOGY "THE LIVING AND THE DEAD"
1. To trace the development of the theme of war in prose of the 1920s (Yu. Bondarev, G. Baklanov, V. Astafiev, A. Adamovich, V. Kondratyev, V. Bykov, V. Semin). Prepare a written message.
2. Genre - stylistic diversity military prose of the 60-80s. Issues.
3. The place and role of K. Simonov’s trilogy in prose about war.
4. Evaluation in criticism of K. Simonov’s trilogy
Plan
1. Report on the topic “Prose about the war of the 60-80s.” Features of the genre, problems.
2. Simonov "The Living and the Dead". Genre. Composition. The principle of the writer’s selection of historical material. (follow each part of the trilogy)
3. Issues (heroic and tragic in the trilogy)
4. Serpilin and Sintsov are the cross-cutting heroes of the trilogy. Their evolution. Evaluation in criticism of these heroes.
LITERATURE
Man and war. M.: Sov. writer, 1978. pp. 126-137.
A burning memory. The theme of the Great Patriotic War in Soviet literature // Literary Review. 1988. No. 2.
For the sake of life on earth. M.: Sov. writer, 1975. pp. 437-450.
Metchenko A.P., . Contemporary Soviet literature. M., Moscow State University, 1983. pp. 83-105.
Military prose by K. Simonov. M., 1975.
Leiderman Russian literature. e years. T.1. M., 2003. p. 189-204.
Fink. M., 1979.
Fradkina K. Simonova. M., 1973.
Further reading
Leiderman fiction about the great Patriotic War: Historical - literary process and development of genres: . Special course manual. Part 2. Sverdlovsk, 1974.
Vishnevskaya. M.: Sov. writer, 1966.
Class № 7.
F. ABRAMOV. TETRALOGY "WHIPPINGS"
1. Trace the development of the theme of the village in prose of the 60-80s.
2. Genre and stylistic diversity of “village” prose of the 60-80s.
3. Contents and issues (" Matrenin Dvor"A. Solzhenitsyn. The substance of national existence. The problem of the tragic, the problem of humanism in stories about collectivization: S. Zalygin. “On the Irtysh.” “Death” by V. Tendryakov, “Men and Women” by B. Mozhaev, “Eves” by V. Belov .
4. Prepare written reports on the topic “Problems of “village” prose of the 60-80s.”
5. Development rustic theme in the works of F. Abramov.
Plan
1. Village prose 60-80s. Genre, style diversity, features of the issue.
2. The history of the creation of F. Abramov’s tetralogy “Pryasliny”. Genre, plot and composition.
3. The severity and complexity of the conflicts discovered by the writer in the collective farm reality of the military, post-war years and at the present stage.
4. The history of the Pryaslin family in the context of the people’s fate. Problem folk character, her innovative solution.
5. Heroes of their time - Minina, Lukashin, Podrezov. Tragic in their fate.
LITERATURE
Apukhtina's prose of the 1960s and early 70s. M.: graduate School, 1984. pp. 153-186.
Village prose // Questions of literature. 1985. No. 6.
Galimov. Creation. Personality. M., 1989.
Fedor Abramov. Personality. Books. Fate.. M.: Sov. Russia, 1986.
Oklyansky on Ugor.: About Fyodor Abramov and his books. M., 1990.
Fedor Abramov. Essay on creativity. M.: Sov. writer, 1987.
Genre evolution of village prose // Moral and philosophical searches for modern Soviet literature. Vol. 3. L., 1986.
Minokin Soviet prose about a collective farm village. M.: Education, 1977.
Artistic truth and dialectics of creativity. M.: Sov. writer, 1974.
Khanbekov conscience and duty: Sovremennik, 1989.
Class № 8
ROMAN Y. TRIFONOV "OLD MAN"
Exercise
Prepare a written message on the topic: " Creative biography Yu. Trifonova.
Plan
1. Features of the creative individuality of Yu. Trifonov.
2. Novel "The Old Man". Genre and composition.
3. Storylines novel. Main problems.
4. The connection between the novel “The Old Man” and Moscow stories.
LITERATURE
Yuri Trifonov. Prose as the other being of poetry//The World of Prose by Yu. Trifonov. Ekaterinburg, 2000.
Trifonova. M: Sov. writer, 1984.
Oklyansky /Portrait - a memory/ Sov. writer, 1989.
Trifonova: Notes on the writer’s work // New World. 1985. No. 9. P. 2
Leiderman Russian literature. e years. T.2. M., 2003. p. 51-74.
To know a person, to know time... About “The Old Man” by Yu. Trifonov // Questions of Literature. 1979. No. 9. P. 26-52.
Further reading
Whom does time choose? Through the pages of the "urban" stories of Yu. Trifonov. //Family and school. 1988. No. 7. P.
Seventies / About the life and work of Yu. Trifonov.// October. 1984. No. 9. p. 1
Reading Trifonov / about the writer’s work // Star. 1990. No. 7. p. 150-156.
Fathers and sons of the era.//Questions of literature. 1987. No. 11. P. 50-83.
We live in the flow of time./ About the life and work of the writer Yu. Trifonov // Don. 1988. No. 11. P. 123-130.
Class № 9.
A. SOLZHENITSYN. NOVEL "IN THE FIRST CIRCLE"
Prepare a written report “The Life and Work of A. Solzhenitsyn” (use the monograph “Alexander Solzhenitsyn. Life and Work”. M. 1994.
Plan
1. The history of the creation of the novel "In the First Circle". Three editions of the novel.
2. Features of the plot. Chronotope of the novel.
3. "Sharashka" and its inhabitants. Nerzhin, Rubin, Sologdin - exponents of different concepts historical development Russia.
4. Innokenty Volodin, his role in the composition of the novel. Stages of spiritual evolution.
5. The image of Spiridon and a related theme tragic fate people in a totalitarian state.
LITERATURE
“Small” prose of A. Solzhenitsyn: “poetry and truth” // Literary Review. 1990. No. 9.
Searches for a genre: A. Solzhenitsyn.//Questions of Literature. 1990. No. 6.
Leiderman Russian literature. e years. T.1. M., 2003. p. 2
: Personality. Creation. Time. Ekaterinburg, 1993.
The Collapse of Partocracy: From “One Day in the Life of Ivan Denisovich” to “The Gulag Archipelago” // Literary Review. 1990. No. 7.
Life and creativity. M., 1994.
Class № 10.
MODERN POEM. GENRE DIVERSITY. PROBLEM.
1. Trace the genre evolution of the poem from the 60s to the 80s. (V. Lugovskoy, A. Voznesensky, A. Tvardovsky, E. Evtushenko, E. Isaev, A. Akhmatova)
2. Prepare to work with the texts of the poems by A. Akhmatova “Requiem”, A. Tvardovsky “By the Right of Memory”, A. Voznesensky “Ditch”, E. Isaev “The Hunter Killed the Crane”.
Plan
1. Genre originality of the poems of the 60-80s (V. Lugovsky “Mid-Century”, A. Tvardovsky “Beyond the Distance”, “By the Right of Memory”, A. Voznesensky “Ditch”, E. Isaev “A Hunter Killed a Crane” ", A. Akhmatova "Requiem").
2. Lyrical epic by A. Tvardovsky. “Beyond the Distance” is a lyrical epic about time and oneself. “By Right of Memory” is a cycle poem that reflects the tragic contradictions of the era. The history of the creation of the poem. Features of style. documentary basis of the poem. The image of the lyrical hero, his evolution.
3. A. Akhmatova. Requiem. Lyrical and philosophical comprehension in the poem of the tragic contradictions of time. Historical and biographical in the poem. Features of the composition. Issues.
LITERATURE
Modern poem//Novel - newspaper. 1989. pp. 21-22.
Zaitsev Soviet poetry. e years. M.: MSU, 1984.
Zhakov Soviet poem. Minsk, 1981.
Perspective, 1989. Soviet literature today: Sat. articles. M: Sov. writer, 1989. pp. 251-288.
Crying and courage. "Requiem" by A. Akhmatova. M.: Library "Ogonyok". No. C. 39-47.
Dramas of purification. About the latest poems by A. Tvardovsky // Literary Review. 1990. No. 1.
Further reading
Russian history Soviet poetry(). L.: Nauka, 1984.
Kovalenko as a genre of literature. M., 1982.
Chervyachenko in Soviet literature. Rostov-on-Don: Rostov University Publishing House, 1978.
QUESTIONS FOR THE EXAM
on the history of Russian literature of the twentieth century
(40-90s)
1. Prose of the 1940s and early 50s. Genre originality.
2. Poetry of the 40s and early 50s. Lyrics and epic.
3. V. Nekrasov. In the trenches of Stalingrad. Features of the image of war
4. Literary situation in the 1990s.
5. Prose about the war of the 50-70s. Genre originality, problems.
6. Simonov "The Living and the Dead". Genre, issues.
7. Military epic by V. Bykov. 70-80s. Genre evolution ("Sign of Trouble", "Quarry", "In the Fog".
8. Military epic by M. Sholokhov.
9. Grossman "Life and Fate". Genre, composition, issues.
10. Abramova "Pryasliny". Genre, issues.
11. The problem of folk character and the originality of its solution in F. Abramov’s tetralogy “Pryasliny”.
12. Lukashin, Podrezov, Minin - heroes of their time in the tetralogy "Pryaslina" by F. Abramov. Their tragedy.
13. L. Leonov. Russian forest. Basic images and problems.
14. B. Pasternak. Doctor Zhivago. Features of the genre and poetics of the novel.
16. Solzhenitsyn. Genre originality.
17. Images of the righteous in the prose of A. Solzhenitsyn (“Matrenin’s Dvor”, One Day in the Life of Ivan Denisovich”).
18. A. Solzhenitsyn. In the first circle. Plot, composition, issues.
19. Astafieva. Topics. Problems.
20. Personality and era in prose of the 50-80s (B. Pasternak, V. Grossman, L. Leonov).
21. Village prose of the 1920s. Themes, problems, characters.
22. V. Belov. Eves. Features of the village image.
23. B. Mozhaev. "Men and Women." Conflicts and characters.
24. Lyrical epic of Tvardovsky. Genre evolution.
25. Literary situation of the 90s.
26. Man and nature in prose of the 1920s.
27. Creative path Yu. Trifonova.
28. Yu. Trifonov. Novel "The Old Man". Genre. Composition.
29. Yu. Trifonov. Novel "The Old Man". Philosophical issues.
30. Poetry of the 60-80s. Style trends.
31. Anna Akhmatova. Poems of the 40-60s.
32. Yu. Bondarev. Military prose of the 50-60s.
33. Bondarev's. Genre evolution.
34. Rasputina. Issues. Characters.
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