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Man and nature in Russian literature (2nd version). Man and nature in domestic and world literature

23.04.2019

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Ministry of the Russian Federation for Press, Television and Radio Broadcasting and Media

mass media of a government agency

secondary vocational education

SGKKBIiT

Nature and man in fiction XX century

Completed by a student

groups 1.3

Belichenko Tatyana

Checked by the teacher:

Malova Galina Alekseevna

Saratov, 2007

Introduction

“Happiness is being with nature, seeing it, talking with it,” Lev Nikolaevich Tolstoy wrote more than a hundred years ago. But the nature in Tolstoy’s time and even much later, when our grandparents were children, surrounded people completely different from the one among which we live now. Rivers then calmly carried their clear water into the seas and oceans, the forests were so dense that fairy tales became entangled in their branches, and blue sky nothing but bird songs disturbed the silence. And just recently we realized that all these clean rivers and lakes, wild forests, unplowed steppes, animals and birds are becoming less and less. The crazy 20th century brought humanity, along with a stream of discoveries, many problems. Among them, environmental protection is very, very important.

It was sometimes difficult for individual people, busy with their work, to notice how poor nature was, how difficult it was once to guess that the Earth was round. But those who are constantly connected with nature, people who observe and study it, scientists, writers, nature reserve workers, and many others have discovered that the nature of our planet is quickly becoming scarce. And they began to talk, write, make films about it, so that all people on Earth would think and worry. A wide variety of books, on any topic, for a large circle of readers can now be found on the bookshelves of the store. But almost every person is interested in books on a moral topic, which contain answers to the eternal questions of mankind, which can push a person to resolve them and give him accurate and comprehensive answers to these questions.

Man and nature in Yesenin

The great Russian poet Sergei Yesenin is “the singer of the country of birch chintz”, “the singer of love, sadness, sorrow”, he is also the “Moscow mischievous reveler” and, of course, a poet-philosopher. Yesenin was always concerned with such philosophical and worldview problems as “Man and the Universe”, “Man and Nature”. In Yesenin’s poems there are many kind of cross-cutting images, enriched and modified, passing through all of his poetry. These are, of course, primarily images native nature, which so deeply conveyed his beliefs about the fundamental unity of man with nature, the inseparability of man from all living things. Reading “You are my fallen maple, frozen maple...”, one cannot help but recall the “little maple tree” from the first verses. In one of last poems Yesenin has the lines:

I am forever for fog and dew

I fell in love with the birch tree,

And her golden braids,

And her canvas sundress.

In this birch tree, which appeared at the very end of his life, one can clearly read the birch that appeared in his first published poem (“White birch tree under my window ...”), and many other appeals to this image.

The dialogue of the lyrical hero with the World (man, nature, earth, universe) is constant. "Man is a marvelous creation of nature, a unique flower of living life." In “Anna Snegina” - the largest work of the last years of his life, he wrote:

How beautiful

And there is a man on it.

These lines are filled with pride, joy and anxiety for a person, his fate, his future. They could rightfully become an epigraph to his entire work.

All of us, all of us in this world are perishable,

Copper quietly flows from the maple leaves...

May you be blessed forever,

What has come to flourish and die.

The philosophical depth and highest lyricism of this poem comes from the great traditions of Russian classical literature.

The poet feels like a part of nature and sees animals as “our little brothers.” His poems about animals clearly express sympathy for all living things on earth. Thus, in “Song of the Dog” the author shows mother's love bitches to her puppies, and then her pain from losing them. This dog's feelings are similar to those of a woman. And when the month above the “hut” seemed to her like “one of her puppies,” she dies of melancholy:

And deaf, as if from a handout,

When they throw a stone at her to laugh,

The dog's eyes rolled

Golden stars in the snow.

In the poem "Fox" Yesenin shows the ruthless attitude of people towards animals. The description of the shot fox sounds piercing:

The yellow tail fell like a fire in the snowstorm,

On the lips - like rotten carrots.

It smelled of frost and clay fumes,

And blood was seeping quietly into my eyes.

The poet protects animals with his love. In the poem "To Kachalov's Dog" the author talks to a dog named Jim as if he were a friend. In each line, Yesenin conveys the beauty and gullibility of this dog, admiring him:

You are devilishly beautiful like a dog,

With such a sweet, trusting friend

And, without asking anyone a bit,

Like a drunk friend, you go in for a kiss.

Sergei Yesenin emphasizes the unity of all living things, all things. There is not and cannot be someone else’s pain in the world; we are all connected to each other.

In the poem “Songs, songs, what are you shouting about?..” the fragility of the boundaries between nature and man is felt through the likening of a tree and a man:

I want to be quiet and strict.

I learn from the stars by silence.

Good willow on the road

To guard dormant Rus'.

The interpenetration and interweaving of man and nature is especially felt in the poem “Silver Road”:

Give me the dawn for firewood.

A willow branch for a bridle.

Maybe to the gates of God

I'll bring myself.

Yesenin’s spiritualization of nature and even the likening of man to natural phenomena is reminiscent of folk poetry.

I've never been thrifty before

So did not listen to rational flesh,

It would be nice, like willow branches,

To capsize into the pink waters.

It would be nice, smiling at the haystack,

The muzzle of the month chews hay

Where are you, where, my quiet joy,

Loving everything, wishing for nothing!

From the folklore environment the poet took only what was close to his poetic worldview. This led to the appearance of a whole group of poetic symbols in Yesenin’s poetry. One of the most common symbols is the image of a tree. In ancient myths, the tree symbolized life and death, the ancient idea of the universe: the top is the sky, the bottom is the underworld, the middle is the earth. The tree of life as a whole can be compared to a person. Yesenin’s desire for harmony between man and the world is expressed through likening himself to a tree:

I wish I could stand like a tree

When traveling on one leg.

I would like to hear horses snore

Hugging a nearby bush.

("Winds, winds")

Ah, the bush of my head has withered.

("Hooligan")

My head flies around

The bush of golden hair withers.

("An owl croaks like autumn")

Yesenin showed that a person in the vastness of the universe is just a defenseless grain of sand, and in order to leave a memory of oneself, one must create something beautiful.

Filled with love for people, for man, for his native land, imbued with sincerity, kindness, sincerity, Yesenin’s poetry helps us to learn, rediscover and protect nature.

The theme of the collision of nature and the human mind, invading it and destroying its harmony, sounds in S. Yesenin’s poem “Sorokoust”. In it, the central thing becomes deeply symbolic meaning competition between a foal and a train. At the same time, the foal embodies all the beauty of nature, its touching defenselessness. The locomotive takes on the features of an ominous monster. In Yesenin's "Sorokoust" eternal theme the confrontation between nature and reason, technological progress merges with reflections on the fate of Russia.

Man and nature in Ch. Aitmatov’s novel “The Scaffold”

“The Scaffold” is a rather large work, in its own way ideological content it makes a person think about a lot and cannot leave its reader indifferent to itself. It is difficult to simply put this book back on the shelf and forget about it, having read it “from cover to cover,” delving into the meaning of every word, every phrase, which contains hundreds of questions and answers.

Ch. Aitmatov in his novel, as well as in each of his books, always sought to show a person looking for his place in life, his vices leading to the death of all humanity. He raised such problems as drug addiction - “the plague of the 20th century”, ecology human soul, its purity and morality are the eternal desire of people for the ideal of man, and such an important problem in our time as nature is caring for it. Ch. Aitmatov wanted to reveal all these topics in his work, to convey their meaning to his reader, not to leave him indifferent to everything and inactive, since time requires us to resolve them quickly and correctly. After all, now a person kills himself every minute. He “plays with fire”, shortening his life, simply wasting its precious minutes, months, years. And isn’t the loss of morality suicide for a person, because he will be a soulless creature, devoid of any feelings, capable of destroying the harmony of nature, destroying its creatures: people, animals, plants.

The novel “The Scaffold” begins with the theme of describing the life of a wolf family, then developing into the theme of the death of the savannah through the fault of man, as he bursts into it like a predator, senselessly and rudely destroying everything in his path. The wolves here are humanized, endowed with moral strength, nobility and intelligence that people lack. They are capable of loving children and yearn for them. They are selfless, ready to sacrifice themselves for the future life of their children. They are doomed to fight with people. You feel uneasy when you read about the barbaric roundup of saigas. The reason for such cruelty was simply a difficulty with the meat delivery plan. “The involvement of undiscovered reserves in the planned turnover” resulted in a terrible tragedy: “...across the steppe, along the white snow powder, a continuous black river of wild horror rolled.” The reader sees this beating of the saigas through the eyes of the she-wolf Akbara: “Fear reached such apocalyptic proportions that the she-wolf Akbara, deaf from the gunshots, thought that the whole world had become deaf and numb, that chaos reigned everywhere and the sun itself... was also rushing about and looking for salvation, and that even the helicopters suddenly became numb and, without any roar or whistle, silently circled over the steppe going into the abyss, like giant silent kites...” In this massacre, Akbar’s wolf cubs die. The Akbars’ misfortunes did not end there: five more wolf cubs died during a fire, which was specially set by people to make it easier to obtain expensive raw materials: “For this, you can gut the globe like a pumpkin.” This is what people say, not suspecting that nature will take revenge for everything sooner than they expect. Nature, unlike people, has only one unfair action: while taking revenge on people for their ruin, it does not consider whether you are guilty or not before it. But nature is still devoid of senseless cruelty. The she-wolf, left alone due to human fault, is still drawn to people. She wants to transfer her unspent maternal tenderness to the human child. It turned out to be a tragedy, but this time for the people. But Akbara is not to blame for the death of the boy. This man, in his cruel outburst of fear and hatred for the incomprehensible behavior of the she-wolf, shoots at her, but misses and kills his own son.

Akbar's she-wolf is endowed by the writer with moral memory. She not only personifies the misfortune that befell her family, but also recognizes this misfortune as a violation of the moral law. As long as a person did not touch her habitat, the she-wolf could meet a helpless person one on one and let him go in peace. In the cruel circumstances imposed on her by a man, she is forced to enter into mortal combat with him. But not only Bazarbai, who deserved punishment, dies, but also an innocent child. Boston has no personal guilt before Akbara, but he is responsible for Bazarbai, his moral antipode, and for the barbarity of Kandarov, who destroyed Moyunkum. I would like to note that the author well understands the nature of such human cruelty towards the environment. This is elementary greed, the struggle for one’s own well-being, justified almost by state necessity. And the reader, together with Aitmatov, understands that since gangster actions are committed under the guise of state plans, it means that this is a general phenomenon, not a particular one, and it must be fought.

The plight of the ecological environment has long been one of the most pressing topics of modern writers. “The scaffold” is a call to come to your senses, to realize your responsibility for everything that has been carelessly destroyed by man in nature. It is noteworthy that the writer considers environmental problems in the novel inextricably with the problems of the destruction of the human personality.

Astafiev about man and nature

Writer Viktor Astafiev wrote: “That’s why I’m afraid when people go wild in shooting, even at an animal, a bird, and casually, playfully shed blood. They do not know that, having ceased to be afraid of blood, not revering it, hot, living, they themselves imperceptibly cross that fatal line beyond which a person ends, and from distant times filled with cave horror, a low-browed, fanged the mug of a primitive savage.” Cruelty to animals is one of the means of destroying moral sensitivity. Man and nature, their unity and confrontation are the core theme in the works of Viktor Astafiev. In the awareness of this dialectical process there is no last role belongs to literature. And Astafiev, a sensitive artist, could not stay away from the problem. The writer has created many books about war, peace, and childhood. All of them are marked by the mystery of talent, the sounds of the Motherland - the bright and pure, bitter and joyful music of human destiny. A real event in life and in literature was the work “The Tsar Fish”, awarded the USSR State Prize.

The author calls the hero of the story "master". Indeed, Ignatyich knows how to do everything better and faster than anyone else. He is distinguished by thrift and accuracy. “Of course, Ignatyich caught fish better than anyone else and more than everyone else, and this was not disputed by anyone, it was considered legal, and no one was envious of him, except for the younger brother of the Commander.” The relationship between the brothers was difficult. The commander not only did not hide his hostility towards his brother, but also showed it at the first opportunity. Ignatyich tried not to pay attention to it. Actually, he treated all the residents of the village with some superiority and even condescension. The main character of the story, of course, is far from ideal: he is dominated by greed and a consumerist attitude towards nature. The author brings the main character face to face with nature. For all his sins before her, nature presents Ignatyich with a severe test. It happened like this: Ignatyich goes fishing on the Yenisei and, not content with small fish, waits for sturgeon. “And at that moment the fish announced itself, went to the side, the hooks clicked on the iron, blue sparks were struck from the side of the boat. Behind the stern, the heavy body of the fish seethed, turned around, rebelled, scattering the water like rags of burnt, black rags.” At that moment, Ignatyich saw a fish at the very side of the boat. “I saw it and was taken aback: there was something rare, primitive not only in the size of the fish, but also in the shape of its body - it looked like a prehistoric lizard...” The fish immediately seemed ominous to Ignatich. His soul seemed to split into two: one half suggested letting go of the fish and thereby saving himself, but the other did not want to miss such a sturgeon, because the king fish comes only once in a lifetime. The fisherman's passion takes precedence over prudence. Ignatyich decides to catch the sturgeon at any cost. But due to carelessness, he ends up in the water, on the hook of his own gear. Ignatyich feels that he is drowning, that the fish is pulling him to the bottom, but he can do nothing to save himself. In the face of death, the fish becomes a kind of creature for him. The hero, who has never believed in God, at this moment turns to him for help. Ignatyich remembers what he tried to forget throughout his life: a disgraced girl who was doomed to eternal suffering. It turned out that nature, also in a sense a “woman,” took revenge on him for the harm he had caused. Nature took cruel revenge on man. Ignatyich, “not having control of his mouth, but still hoping that at least someone would hear him, hissed intermittently and tornly: “Gla-a-asha-a-a, forgive-ti-i-i...” And when the fish lets go of Ignatyich, he feels that his soul is freed from the sin that has been pressing on him throughout his life. It turns out that nature fulfilled the divine task: it called the sinner to repentance and for this he absolved him of his sin. The author leaves hope for a life without sin. not only to his hero, but to all of us, because no one on earth is immune from conflicts with nature, and therefore with his own soul.

Having finished reading the story “The King Fish”, you understand that the natural world is fraught with the spirit of just retribution. The suffering of the King Fish, wounded by man, calls for him.

“The King Fish” was written in an open, free, relaxed manner, inspired by the artist’s thoughts about what is most personal and vital. Direct, honest, fearless conversation about current and significant issues. On problems of a national scale: on the establishment and improvement of reasonable connections modern man and nature, about the extent and goals of our activity in the “conquest” of nature. Life itself poses these problems.

How to do so that, while transforming the earth, preserve and increase earthly wealth? By renewing, saving and enriching the beauty of nature? How to avoid and prevent the sad consequences of an unreasonable encroachment on the natural laws of nature - the cradle of man? This is not only an environmental problem, but also a moral one. Awareness of its seriousness, according to Astafiev, is necessary for everyone so as not to trample, damage or burn nature and oneself with the fire of soullessness and deafness.

The writer states: whoever is merciless and cruel to nature is merciless and cruel to man. The writer's soulless consumerist treatment of nature evokes a passionate protest. The image of poaching - the predatory behavior of a person in the taiga, on the river - grows into a strong living image in the story.

The author's main attention is focused on people, their destinies, passions and concerns. There are many heroes in the story. Different. Good and evil, just and treacherous, “fish control workers” and “poachers.” The writer does not judge them, even the most inveterate, he cares about their spiritual healing.

The author speaks from a position of goodness and humanity. In every line he remains a poet of humanity. There lives in him an extraordinary sense of integrity, the interconnectedness of all life on earth, present and future, today and tomorrow.

Nature was and should remain man's teacher and his nurse, and not vice versa, as people imagined. In this message I would like to dwell on Rasputin’s very unique work “Live and Remember”. The writer shows in the story the beginning of spring, the awakening of nature and life. And against the backdrop of this state of nature, the thieving and hiding fate of Andrei Guskov and his wife Nastena is depicted. Andrey the deserter, nature itself in the author’s depiction is a reproach to him. But it is difficult to judge him, and the writer does not pronounce his verdict. However, wartime has its own laws and a ruthless tribunal awaits him. Guskov finds himself in Robinson-like conditions, hiding among the wild nature. Between him and his village is the Angara, like a line between past and present life. Only Nastena violates this border. The fate of the poor woman is tragic. She throws herself into the river. The writer manages to better reveal the moral suffering of the characters through images of nature. Nothing can replace living, changeable nature for us, which means it’s time to come to our senses, in a new way, much more carefully, more caringly than before, to treat it. After all, we ourselves are also a part of it, despite the fact that we have fenced ourselves off from it with the stone walls of cities. And if nature becomes bad, it will certainly be bad for us too.

Conclusion

I believe that we all need to seriously think about what the nature of our fatherland will be like in the future. Is it possible to wish our descendants a life on bare land, without groves and nightingale trills?! Many authors write about the problem of nature, about how people relate to it. For example, Robert Rozhdestvensky wrote the following lines:

There is less and less natural surroundings,

More and more environment!

There is a lot of deep meaning contained in these words. And through the fault of man, this process occurs, which is described in these lines.

A man is worse than a beast when he is a beast.

Constellations blink overhead.

And your hands themselves reach out to the fire...

How strange it is to me that people get used to it

Open your eyes and don’t be surprised by the day.

Exist, don’t run after a fairy tale,

And go away, as if into a monastery, into poetry.

Catch the Firebird for roast with porridge.

And Goldfish - for fish soup.

R. Rozhdestvensky

Perhaps never before has the problem of the relationship between man and nature been as acute as in our time. And this is no coincidence. “We are no strangers to losses,” wrote S. Zalygin, “but only until the moment comes to lose nature, after which there will be nothing to lose.”

Sources

1. Multimedia - edition " Great encyclopedia Cyril and Methodius"

2. S. Yesenin. Collected works in 6 volumes, 1978

3. Soviet literature of the 50-80s. Moscow, “Enlightenment”, 1988

Slide captions:

Topic: “Man and nature in works of literature.” Completed by: 9th grade student Igor Sorvachev Supervisor: teacher of Russian language and literature Timina O.V.

“To love nature means to love the Motherland” (M. Prishvin) “A man, shooting at nature, hits himself” (Ch. Aitmatov) “Not what you think, nature: Not a cast, not a soulless face - It has soul, there is freedom in it, there is love in it, there is language in it.” (F. Tyutchev)

Literature has always been sensitive to all changes occurring in nature and the surrounding world. Poisoned air, rivers, earth - everything is crying out for help, for protection. From the decision environmental problem our future and the future of our children depends. A number of works by such famous writers as Chingiz Aitmatov, Valentin Rasputin, Viktor Astafiev and others are devoted to this problem.

In the work “The Fish Tsar” Astafiev seems to ask you: are you using what has been given to you correctly, are you not wasting the wealth given to us - nature? The truth written here brightens memory and thoughts and makes you look at the world with different eyes.

The laws of human relations are not amenable to mathematical calculations, and in this sense the Earth rotates like a carousel of bloody dramas... Ch. Aitmatov.

Ch. Aitmatov's novel "The Scaffold" is based on the idea of the contradictory nature of human nature. On the one hand, man subjugates and uses nature, consuming it through the fruits of his activity, and on the other hand, he destroys it through his transformations. Thus, the natural world turns into the human world. Relationships of kinship and harmony should be established between them, but in fact, the opposite is true. Chingiz Aitmatov speaks about this. Disharmony leads to tragedy, brings the human race to the chopping block!

At the center of the novel is the conflict between a man and a pair of wolves who lost their cubs due to human fault. “The Scaffold” is a scream novel, a novel written in blood, it is a desperate appeal addressed to everyone.

The problem of ecology is revealed to the greatest extent through a description of the life of a family of wolves. The author brings their perception of the world closer to human, making their thoughts and experiences understandable and close to us. In the scene of the saigas being shot, people seem to be simply monsters who have no pity for living beings. Wolves running with saigas are seen as more noble and even kinder than people. By destroying living nature, a person will destroy himself. All problems of humanity are born from the lack of a moral principle in people. Therefore, first of all, we must strive to awaken in people compassion and love, honesty and selflessness, kindness and understanding. Avdiy Kallistratov tried to awaken all this in people; all of us should strive for this if we do not want to end up on the “chopping block.”

In the story by V.G. Rasputin’s “Farewell to Matera” depicts a specific life situation (the flooding of an island village due to the construction of a hydroelectric power station. The resettlement of people to new lands acquires a generalized symbolic meaning. The writer reflects with alarm on the fate of the homeland, the entire land, of which Matera is a certain model It is not for nothing that so many associations arise with the word Matera: continent (firmament), mother-raw earth, mother, seasoned (healthy, strong) folk way of life “This is a work on. world theme, - says D.S. Likhachev, “because the topic of attitudes towards one’s native places interests everyone all over the world.”

In the story by V.G. Rasputin’s “Farewell to Matera” depicts a specific life situation (the flooding of an island village due to the construction of a hydroelectric power station. The resettlement of people to new lands acquires a generalized symbolic meaning. The writer reflects with alarm on the fate of the homeland, the entire land, of which Matera is a certain model It’s not for nothing that so many associations arise with the word Matera: continent (terrain), mother-raw earth, mother, seasoned (healthy, strong) folk way of life “This is a work on a world theme,” says D.S. Likhachev. relationships to their native places are of interest to everyone all over the world.” Rasputin forces readers to look back at themselves, to remember what Matera each of us is from.

The question of attitude to nature, to native places is also a question of attitude to the Motherland. American scientist Barry Commoner formulated four laws of ecology: “Everything is connected, everything has to go somewhere, everything is worth something, nature knows this better than us.”

What the park whispers... About every new fresh stump, About a branch broken aimlessly, My soul yearns to death. And it hurts me so tragically. The park is thinning out, the wilderness is thinning out, the fir bushes are thinning out... It was once thicker than the forest, And in the mirrors of autumn puddles He was reflected as a giant... But then the Animals came on two legs - and the Ax carried its resounding swing across the valleys. I hear how, listening to the buzz of the Murderous Axe, Park whispers: “Soon I will not be... But I lived - it was time...” Igor Severyanin Don’t destroy birds’ nests, Don’t kill little birds, So that the song thrush will return in the spring the song did not stop. You are the ruler, O man! Let your gun misfire, Let no blood spill on the snow, Let the river overflow its banks. Nature asks: “Have mercy!” Cruelty is fraught with the future, Think about what lies ahead? You cannot avoid retribution. She knows how to forgive everything, she will wipe away a tear with the hand of an aspen tree. Don’t make her suffer, She’s a mother, so be her son. Alena Kolokolnikova

People, look around! How truly beautiful nature is! She needs the care of your hands, so that her beauty does not fade. B. Ryabinin

The problem of environmental ecology, the relationship between man and nature is a common problem of humanity. There is a cycle in nature, and it knows no boundaries. Humanity has only recently begun to think about this global problem. And this is just one of the many aspects facing our literature. If in creativity writers of the 19th century centuries we see the unbroken harmony of man and nature acting as a single whole, then later alarming notes began to appear. Addressing the topic of ecology sometimes required both creative valor and human courage. Remembering this, one cannot help but pay tribute to Sergei Yesenin, Yuri Kuznetsov and their like-minded people. In literature, a special place is occupied by works whose art world connected with what worries us forever. The connection between man and nature is a problem that has been and remains for writers of many generations actual problem time. The poetry of nature, love for the big and small homeland permeate such works as “The White Steamer”, “The Scaffold” by Ch. Aitmatov, “The Last Bow”, “The King Fish” by V. Astafiev, novels and short stories by V. Belov, B. Mozhaev , V. Shukshina, V. Rasputina.
I want to highlight some of them.
Two powerful feelings form the basis of V. Astafiev’s book “The Tsar Fish”: love and pain. Pain, at times turning into shame or anger towards what distorts and disfigures life. The item itself artistic research- the pristine Siberian nature, the people inhabiting Siberia, determined the epic breath of the book. Before your eyes are pictures of Siberian nature with its countless riches, with all the bounty of the taiga. And, reading story after story, “At the Golden Hag,” “The Fish Tsar” and others, you are immersed in a life that is unlike anything else, somewhat wild. And rarely where nature opposes man. But then a person gets in the way of all living things. These are vacationing poachers who came to rob the Yenisei from distant capitals; this is the Commander, whose unbridledness and wild strength shines through in his habits, in his rough poaching on the river; this is both Ignatyich and Rumbling. All human dignity is suppressed in them by boundless predation, which has turned into a desire to snatch an extra piece. Author's position is to condemn poaching as a multifaceted evil and terrible in its destructive power, and the writer is talking not only about the destruction of living and inanimate nature outside of us, he is talking about a kind of suicide, about the destruction of nature inside man, human nature.
Astafiev’s attitude towards nature is not reverent and contemplative. He knows that he needs to shoot game for hungry geologists, that people need fish, forests, and water energy. But the writer clearly realizes that today is only one of the branches on the trunk of the great tree of life, and therefore he thinks about how to live so that, just like he and his brother, his children hear the world, “his brother’s children, his children children, what needs to be done so as not to injure, damage, trample, scratch, burn with fire” the world in which we live.
Perhaps one of our most talented prose writers, in last years who declared themselves - Valentin Rasputin. His story “Farewell to Matera” appeared in the late 70s. The social plot of the story is the flooding of the island and the village of Matera due to the construction of a hydroelectric power station. Phenomenon in
generally ordinary. But “the earth is beautiful” and “the sky is terrible,” wrote V. Rasputin about last days Matory. Once upon a time, the village of Matera was famous for its fertile lands and its brides, but now all this should disappear from the face of the earth. Younger people have already moved to a large village built specifically for migrants. Only old people remained in Matera. And Rasputin makes you think about the problem: if an old tree is transplanted to another place, will it take root? Yes, it’s unlikely, his roots sprouted far and deep in his native place. Then what can we say about a person? Will Nastasya and Yegor, Daria, and Bogodul, who came to Matera from other places, be able to settle down in a foreign place? No. But the people involved in the construction of the hydroelectric power station have nothing to do with this. Without realizing guilt or something terrible, they destroy the Matera cemetery, which was sacred to Daria, where her “close people” are buried - her mother and father. Don’t you know that here tourists will sail on ships, and here your crosses will float”: They thought about the tourists, but about the people?..
And that is why the “farewell voice” of the owner of the island resounds in the void, like a rupture, a gap in the universal connection. Matera - “small world” - becomes a symbol of the changing state of the modern world.
Nature does not tolerate neglect of itself and does not forgive mistakes. For every mistake of man, nature responds to him in kind. A person who destroys nature destroys himself first of all. It seems to me that every person should read the works of V. Astafiev and V. Rasputin, because the problems in them are relevant, because these are the relationship between man and nature, and the relationship between people, and many other problems. I am sure that after reading them, every person will wake up, and mercy and humanity will come to life in him, but it is impossible otherwise. I really want to hope that these works will not die.

Man and nature in fiction
Introduction.
Part 1. Nature and man in fiction.
1.1. Russian village in the works of V. Astafiev.
1.2. The relationship between man and earth in V. Rasputin.
1.3. Representation of the problem in the work of F. Abramov.
in natural science literature.
Part 3. “New religious” literature.
Conclusion.
Bibliography.
Introduction
The problem of the relationship between nature and man is constantly addressed and it will never lose its relevance. Many writers of past centuries and today have spoken about the cultural problems of the relationship between nature and man. In Russian literature of the Soviet period, the relationship between man and nature was often depicted in accordance with the thesis of Turgenev’s Bazarov “Nature is not a temple, but a workshop, and man is a worker in it.” For a long time, everyone said with pride: “My native country is wide, there are many forests, fields and rivers in it.”
So if there is “a lot”, does this mean that natural resources should not be protected? Of course, people today are stronger than nature, and nature cannot resist their guns, bulldozers and excavators.
A reasonable transformation of the primary nature of the Earth in order to make it capable of satisfying all the material, aesthetic and spiritual needs of a numerically increasing population - this condition, especially in our country, cannot be considered fulfilled, however, the first steps towards a reasonable transformation of nature in the second half of the 20th century , undoubtedly, began to be implemented. In the modern period, knowledge is being integrated and “saturated” with culture based on environmental ideas.
Based on the above, it is advisable to consider the topic “Man and Nature in Modern Literature” that I have chosen through the prism of both works of art and natural science and religious literature, since by his organismic level man is included in the natural connection of phenomena and is subject to natural necessity, and with his personal level he is turned to social existence, to society, to the history of mankind, to culture.
Part 1. Nature and man in fiction
1.1. Russian village in the works of V. Astafiev
“The Last Bow” by V. Astafiev, written in the form of a story in short stories, is a work about the Motherland, in the sense that Astafiev understands it. For him, his homeland is a Russian village, hardworking, not spoiled by wealth; This is nature, harsh, incredibly beautiful - the powerful Yenisei, taiga, mountains. Each individual story in "Bow" reveals a separate feature of this general theme, be it a description of nature in the chapter "Zorka's Song" or children's games in the chapter "Burn, Burn Clear."
The narration is told from the first person - the boy Vitya Potylitsin, an orphan living with his grandmother. Vitya's father is a reveler and a drunkard, he abandoned his family. Vitya's mother died tragically - drowned in the Yenisei. Vitya's life proceeded like that of all other village boys - helping elders with housework, picking berries and mushrooms, fishing, playing.
The main heroine of "Bow" - Vitka's grandmother Katerina Petrovna - will become our common Russian grandmother precisely because she will gather in herself in a rare living completeness everything that still remains in her native land of a strong, hereditary, primordial native, that we to ourselves With some extra-verbal instinct we recognize it as our own, as if it was shining for all of us and given in advance and forever. The writer will not embellish anything in her; he will leave behind the storm of character, the grouchiness, and the indispensable desire to be the first to know everything and to be in charge of everyone in the village (one word - General). And she fights, suffers for her children and grandchildren, breaks into anger and tears, and begins to talk about life, and now, it turns out, there are no hardships for her grandmother: “Children were born - a joy. The children were sick, she gave them herbs and I saved with roots, and no one died - that’s also joy... Once I put my hand out on the arable land, and I straightened it myself, there was just suffering, the bread was being harvested, one hand stung and my hand didn’t become a crooked hand - isn’t that joy?” This is a common feature of old Russian women, and it is a Christian feature, which, when faith is exhausted, is also inevitably depleted, and a person increasingly leaves the score to fate, measuring evil and good on unreliable scales." public opinion", counting suffering and jealously emphasizing his mercy. In "Bow" everything is still ancient, a lullaby, grateful to life, and this makes everything around life-giving.
But a turning point comes in Vitka’s life. He is sent to his father and stepmother in the city to study at school, since there was no school in the village.
And when the grandmother left the story, new everyday life began, everything went dark, and such a cruel, terrible side appeared in childhood that the artist for a long time avoided writing the second part of “Bow,” the menacing turn of his fate, his inevitable “ in people". Not by chance last chapters"Bows" were completed in 1992.
The second part of “Bow” was sometimes reproached for cruelty, but it was not a vengeful note that was truly effective. What kind of revenge? What does it have to do with it? The artist recalls his orphanhood, exile, homelessness, general rejection, deprivation in the world (When, it seemed, for everyone, and sometimes for him, it would have been better if he had died), not so that he would now triumph victoriously - to say: what, they took it! - either to evoke a sympathetic sigh, or to once again mark the inhumane time. These would all be tasks too alien to Astafiev’s confessional and loving gift. You can probably be reckoned with and take revenge when you realize that you are living unbearably because of someone’s obvious fault, you remember this obviousness and look for resistance. But did the small, tenacious hero of “Bow” Vitka Potylitsyn realize something prudently? He just lived as best he could and dodged death, and even in certain moments managed to be happy and not miss the beauty. And if anyone breaks down, it is not Vitka Potylitsyn, but Viktor Petrovich Astafiev, who now, from the distance of years and understanding, asks the world with confusion: how could it happen that children were placed in such conditions of existence?
He does not feel sorry for himself, but for Vitka, as his child, who now can only be protected by compassion, only by the desire to share with him the last potato, the last drop of warmth and every moment of loneliness. And if Vitka got out then, then we must again thank grandmother Katerina Petrovna, who prayed for him, reached his suffering with her heart and, from afar, inaudibly for Vitka, but saved him savingly, at least by the fact that she managed to teach forgiveness and patience, skill to discern in complete darkness even a small grain of goodness and hold on to this grain and give thanks for it.
V. Astafiev's story "Ode to the Russian Vegetable Garden" was written in parallel with "Farewell Bow", as if in its margins. Print them together, and they will look jealously at each other, embarrassed by the similarity of the situations and the closeness of the characters. The reader who comes into the hands of these stories will perhaps be confused, and if he does not see the dates displayed at the end of each work, he will not immediately be able to explain these spirals, these returns and roll calls.
The writer said goodbye to “Bow” more than once, confident that the boy had healed his wounds, and now he irrevocably ran away to his grandmother in his childhood, but a year or two passed, and it turned out that the war was not over, that it was still “shaking the tired soul.” and again the boy must be called, and Astafiev calls him in “Ode to the Russian Vegetable Garden,” and in “The Pass,” and in “Theft,” and in other stories with this young, impressionable hero.
Nature in the works of V. Astafiev is considered through the prism of the Russian village, which appears before us as a bright image of the Motherland. From an adult’s memories of childhood events, most negative moments disappear, with the exception, perhaps, of the most dramatic ones. That is why the As-Tafyev village is so spiritually pure and beautiful. This is how it differs from the village depicted by other writers, for example Solzhenitsyn, whose village is the complete opposite of Astafiev’s, poor, living only on one thing - just to survive, not to die of hunger, not to freeze in winter, not to let the neighbor get what what you could get.
Astafiev’s works resonate in the souls of readers because many also understand and love the Motherland and want to see it as bright and pure as the author sees it.
1.2. The relationship between man and earth in V. Rasputin
V. Rasputin addresses the problem of human communication with nature in many works. For example, in “Farewell to Matera” - a book about how the relationship between man and the earth is not an ordinary problem, but a deeply moral one. It is no coincidence that the words Motherland, people, spring, nature have the same root. In the story, the image of the Motherland is invariably associated with the image of the native land. Matera is both an island and an ancient village of the same name; Matera must be wiped off the face of the earth. Everything must disappear: houses, gardens, meadows, cemetery - the whole earth will go under water forever. With great anxiety and hopeless irony, the old woman Daria says, “She, your life, look what kind of taxes she takes: Give her Matera, she’s hungry. If only Matera alone?!”
Another resident of the village, Anna, like all old people, knows only her native Matera, loves her and does not want to part with her. In her opinion, the greatest sin in the world is to deprive a person of his homeland. And old Nastasya openly mourns: “Who replants an old tree?!”
It is symbolic that the news that prompted the heroes to act actively was brought by Bogodul. This hero is perceived as nothing other than the peculiar spirit of Ma-tera (he lives on an island, only God knows how long). Entering the old women sitting at the samovar, he announced: the dead are being robbed, probably the old women could have endured a lot of things silently, resignedly, but not this.
When they reached the cemetery located outside the village, the sanitary and epidemiological station workers “finished their work, pulling down sawn-down bedside tables, fences and crosses to burn them with one fire.” It doesn’t even occur to them that for Daria and other villagers the cemetery is something sacred. It’s not for nothing that even the reserved Daria, “choking with fear and rage, screamed and hit one of the men with a stick, and swung it again, angrily asking: “Did you bury them here? Father, mother, do you have them here? Are the guys lying down? You, bastard, did not have a father and mother. You're not a human. What kind of person has enough spirit? "The whole village supports her...
This scene in the story gives rise to deep reflection. Life in this world does not begin with us and it does not end with our departure. The way we treat our ancestors is how our descendants will treat us, following our example. “Disrespect for ancestors is the first sign of immorality,” Pushkin wrote.
Rasputin, thinking about this, shows several generations. It turns out that the further you go, the weaker the connections become. Here is the old woman Daria sacredly honoring the memory of the departed. Her son, Pavel, understands his mother, but what worries her is not the most important thing for him. And grandson Andrey doesn’t even understand what we’re talking about. It is not difficult for him to decide to get a job building a dam, because of which the island will be flooded. And in general, he is sure that memory is bad, it’s better without it. Rasputin's story is perceived as a warning. People like Andrei will create, destroying, and when they think about what is more in this process, it will be too late: torn hearts cannot be healed. And people like Petrukha (he set fire to his own house in order to quickly receive monetary compensation for it) will not bother themselves with creation: they are satisfied that money is paid for destruction. A new village has been drawn as a kind of warning symbol, where the villagers must move. The village, although it was beautifully designed, house to house, was set up somehow awkwardly, but in a human way. Probably, if necessary, it will be much easier to say goodbye to this village than to Matera. And a person must feel like the owner of the earth. Otherwise, why live? "If the land is a territory and nothing more, then the attitude towards it is appropriate. The land is the native land, the Motherland is being liberated, the territory is being captured... Who are we on this land - masters or temporary aliens: we came, we stayed, we have no past We don’t need it, we don’t have a future?” Such thoughts are evoked by the talented story of V. Rasputin.
1.3. Representation of the problem in the work of F. Abramov
The revelation of the problems of the relationship between man and nature can be traced in F. Abramov’s novels “Brothers and Sisters”, “Two Winters and Three Summers”, “Crossroads” and “Home”.
United common heroes and the place of action (the northern village of Peka-shino), these books tell the story of the thirty-year fate of the Russian northern peasantry, starting with the war of 1942. During this time, one generation grew old, the second matured, and the third grew up. And the author himself gained wisdom with his heroes, posed more and more complex problems, thought and peered into the destinies of the country, Russia and people.
For more than twenty-five years, the author did not part with his favorite characters, searching with them for answers to painful questions: what is this Russia? what kind of people are we? why did we manage to survive and defeat the enemy in literally inhuman conditions and why in Peaceful time failed to feed people, create truly human, humane relations based on brotherhood, mutual assistance, and justice?
“Brothers and Sisters,” like all of Abramov’s work, prepared society socially, philosophically and morally for today’s changes. Although all the books are combined into a tetralogy, each of them represents, as the author has emphasized more than once, a complete artistic whole. Therefore, it is possible to consider each novel separately.
In “Brothers and Sisters,” the author writes about the feat - “the battle for bread, for life,” which was waged by half-starved women, old men, and teenagers during the war. Abramov was able to “look into the soul of a common man,” he introduced into literature the whole Pekashin world, represented by a variety of characters. If it were not for the subsequent books of the tetralogy, the Pryaslin family, Anfisa, Varvara, Marfa Repishnaya, Stepan Andreyanovich would still remain in memory.
In the novel, the author reflects himself and makes the reader think about “existential” questions that do not lie on the surface, but are rooted in understanding the very essence of life and its laws. He connects social problems with moral ones, philosophical problems with universal ones.
Such an approach, as Abramov himself wrote, gave him the idea to redo the beginning: to open the novel with a poetic and philosophical picture of flying cranes, to correlate the eternal laws of nature, which wise birds obey, with the barbarity of people. “An unprecedented, incomprehensible thing was happening on earth. The forests were burning. Conflagration rose to the sky. The thunder roared not from the heavens, but from the earth! An iron rain struck both below and above - and then their comrades who had been flying for weeks fell, the wedge lost its original pattern established since time immemorial. It was bad with feeding - often the old fats were not found, they were not waved at from the ground as before, the boys did not shout: cranes, where are you going?.. But they kept flying and flying, obeying the ancient law, to their ancient nesting places, to the northern forests , to the swamps, to the life-giving waters of the Arctic."
Nature, people, war, life... The writer wanted to introduce similar thoughts into the novel. Anfisa’s internal monologue is about this: “The grass is growing, the flowers are no worse than in peaceful years, the foal is galloping and rejoicing around its mother. But why do people - the most intelligent of all creatures - not rejoice in earthly joy, they kill each other ?.. Why is this happening? What are we, people?”
In the novel “Two Winters and Three Summers” Abramov poses the most difficult, painful questions of the time. He spoke about the plight of the peasants, about bureaucratic arbitrariness, about the danger of reviving a new cult of personality, about the lessons of our history, about the need to comply with laws, about the development of democracy and civic consciousness. He captured the war-scarred, but living soul a people who, in times of troubles and hardships, have not lost their love for the land, a sense of responsibility, mutual assistance, and compassion.
Abramov also faced the question of the hero of the time. Speaking against the poster figure of the thoughtless enthusiast, he wanted to introduce a thinking hero who begins to think independently. This is how Lukashin should have become. “The modern hero is a contradictory person, reflective, doubtful, beginning to think, to free himself from the heavy burden of dogmas that have been implanted in him for many years. And how could it be otherwise? Abramovsky Lukashin is a thinking person. He is the hero modernity. The hero is not yet a person who can only swing a sledgehammer. But a thinking person is still doomed.”
The problem of a thinking person will be addressed most deeply in the following books - “Crossroads” and “Home”. But in the novel “Two Winters and Three Summers” it is also touched upon. Lukashin makes people think about their rights and independence when he returns the blacksmith Ilya Netesov from the forest, when he himself goes into the forest and leaves Mikhail Pryaslin in charge, when he begins to argue with Podrezov, with Ganichev. Mikhail, Egorsha, Evsei Moshkin, and Ilya begin to think about life and argue with each other. The author’s few sketches and additions testify to the artist’s enormous creative work, his constant desire to “get to the bottom of the truth,” to understand “what a person is,” what prevents us from living humanly, wisely, joyfully, and fairly. He expanded the horizons of our thinking, taught us to think about the complex problems of the century - social, philosophical, psychological.
In the novel, Abramov continued to fight for freedom, human dignity, for the need for fundamental changes in the country and, first of all, in the village. He peered into the past and present, looking for answers to the most painful questions. What is the cause of our troubles? Where are we going? What to do to get the country out of the deadlock? Are there any healthy forces left in the country, in life, in the people? The author never ceases to be indignant at our mismanagement, bureaucracy, thoughtless planning, senseless investment of huge funds in Agriculture, slavish obedience of workers, complacency of officials, mediocrity ruling circles(“Everywhere there is dullness, mediocrity, indifference,” “We are ruled by mediocrity. And in general, is a bright personality possible in the ruling authorities?”).
In the novel “Crossroads,” the writer posed and solved those painful questions in the life of the village, country and people that have not yet been resolved today. Why does poverty and mismanagement reign? Why, even six years after the war, “every grain was raked out of the village”? Why does the peasant, who produces bread and feeds the country, himself remain without bread and milk? Who is the real boss in the country? People and power. Party and people. Economy. Policy. Human. Management methods and management methods. Conscience, duty, responsibility, self-awareness and fanaticism, demagoguery, opportunism, cynicism. The tragedy of the people, the country, the individual. Here is a range of burning and most important problems posed in the novel.
Of course, not everything is said out loud. With his characteristic demands on himself, Abramov himself noted: I was not able to tell the whole truth. But who told the whole truth? Today we are barely approaching its comprehension; we still cannot resolve the issue of land, property, freedom and democracy, and the causes of our troubles. What courage one must have had then, twenty, thirty years ago, when ideas about our most advanced, best society and person in the world were in circulation. Then Abramov struck the bell of truth and began to awaken our self-consciousness.
But in the novel, Abramov still could not reveal the full depth and scale of contradictions in the methods and methods of leadership and management that had revealed to him. He only managed to raise problems that required urgent discussion and solution.
In the clash between Podrezov and Zarudny, as well as in the disputes of Podrezov, Lukashin and Anfisa, the most important themes are heard that form the essence of the novel, its deepest nerve. The dispute is about methods of farming, about the attitude towards the people and people, about the exhaustion of popular enthusiasm, about the causes of the disastrous situation in the country, about the war and its consequences, about the harmfulness of strong-willed leadership, storming, “implementing the plan at any cost,” thoughtless execution. - information about orders from above, about the tragedy of blind fanaticism, and the tragedy of grassroots and district leaders, their strength and weakness.
Abramov was especially depressed by all the changes associated with the state of affairs in the village. The novel directly spoke of the criminal attitude towards the peasants, who were “raked out every last grain,” as during the period of war communism - when surplus appropriation reigned.
In the novel “Home,” the Author boldly transfers events from the past to the present, twenty years after Lukashin’s arrest. Much has changed in Pekashin. Houses were rebuilt, equipment came to the fields, collective farms were replaced by state farms. People began to live better, more prosperously: new furniture, motorcycles, motorboats...
But Abramov is far from calm. He is afraid of imaginary prosperity, which is based on huge subsidies from the state. He is afraid of the ruinous attitude towards nature, mismanagement, opportunism, demagoguery, cynicism, loss of ideals, indifference of people who have begun to live better but work worse.
Why did the state farm legally become a planned unprofitable enterprise? Why are fields overgrown with bushes? Why are forests being cut down mercilessly? Why do rivers become shallow? Why does the employee turn into an uninterested worker, mechanically carrying out even ridiculous instructions from above? Why does “paper chatter” reign at meetings? Why do the demagogue Taborsky and his “flock” rule in Pekashin? Why does the best employee - Mikhail Pryaspin - become almost an extra person in Pekashin? Why is Stavrov’s best house dying in front of the entire village? Why does Lisa finally die - best person, a man of conscience, a kind and wise heart?
You can continue to ask questions. "Home" is a long-lasting book: it will provoke many more thoughts and interpretations. Abramov raised painful problems and questions in the novel, the silence and unresolution of which led the country to a deep crisis.
The author's pain and thoughts about Russia, the people, the land, the person permeate the entire book, appealing to the mind and heart of the reader.
The writer is sure: the appearance of the country, land and economy depends not only on politicians, philosophers, scientists, leaders, but also on the level of consciousness, behavior and psychology of millions, each of us, on the entire social, moral and everyday atmosphere of everyday life, ultimately Ultimately, it depends on how they work, what they think about, what they strive for, what they demand, reject and approve of millions of very different people.
So, around the “house”, philosophical, psychological, historical, everyday, and economic problems merge together. In this sense, “Home” is an epoch-making book, leading us to the solution of modern universal problems. This is a book about the search for a new consciousness, new paths in the development of the country, man and humanity. “Home” raises the question of the need to soberly and uncompromisingly comprehend our history, our social, economic, spiritual guidelines and values. Essentially, Abramov began a conversation about what was popularly talked about ten years later. extra years. Many years ago, Abramov convinced and proved that we need not only socio-economic reforms, but also the rise of general culture, the revival of the civil, spiritual and moral potential of the people.
More than once Abramov defined the main meaning of his work. “My main and, perhaps, only goal as a writer is to increase goodness on earth.” "Self-sacrifice as highest manifestation Russian beauty. This tradition in our literature ended with Chekhov. To some extent, it was picked up by Bunin and completely lost in Soviet literature. Am I destined to revive her? In any case, my favorite hero is a hero of duty, a hero capable of sacrificing himself for the sake of his neighbor."
He explored complex socio-historical, political, moral and psychological problems, the behavior of people and individuals. Drawing dramas and tragedies folk life, showing how, under the influence of prevailing conditions, human destinies and characters were destroyed and distorted, he at the same time revealed those healthy forces of the nation, those enduring moral foundations that help a person always, under any conditions, remain human.
Part 2. The problem of human interaction with the environment
in natural science literature
The emergence of life and the biosphere is a problem of modern natural science. Based on observations of natural phenomena, the idea that living things interact with external environment and influence its change, arose a long time ago.
Many authors have studied the relationship of organisms with their environment and their death, which immediately preceded our modern understanding of the biosphere. J.B. Lamarck in his book "Hydrogeology" devoted an entire chapter to the influence of living organisms on the earth's surface. He wrote: “... in nature there is a special force, powerful and continuously operating, which has the ability to form combinations, multiply them, diversify them... the influence of living organisms on the substances located on the surface of the globe and forming its outer crust , very significant, because these creatures, infinitely diverse and numerous, with continuously changing generations, cover all areas of the surface of the globe with their gradually accumulating and constantly depositing remains.”
Science shows us how gradually man learned to see the source of power in natural objects that seemed to him dead, inert, unnecessary."
Human labor, that is, the main form of his life activity, is, first of all, his interaction with nature. Man manifests this ability of his not so much as a source of energy or mass, but as a specific regulator that excites the action of one force of nature against another. This is where the “cunning of the mind” arises and manifests itself.
V. Vernadsky wrote especially vividly and inspiredly about the impact of human activity on nature in his work “A Few Words about the Noosphere”: “The face of the planet - the biosphere - is chemically dramatically changed by man, consciously and mainly unconsciously. The physical and chemical shell of the air is changed by man. sushi, all its natural waters as a result of growth. human culture in the twentieth century, coastal seas and parts of the ocean began to change more and more dramatically (chemically and biologically). ...Moreover, man creates new species and races of animals and plants.”
The doctrine of the noosphere outlines ways of using and developing natural forces in the interests of man, increasing the productivity of social production, rational environmental management, preservation and development of public health. Thus, the interests of humanity formed the basis of Vernadsky’s concept.
Vernadsky's classical scientific ideas and their further development in modern natural science clearly indicate that humanity is becoming an increasingly powerful geological force, radically transforming the biosphere, the surface of the planet, and near-Earth space. But thereby, humanity assumes responsibility for the continuation and regulation of many of the most important biosphere processes and mechanisms.
Today, human activity has reached a global scale of impact on the biosphere, changing the cycle of substances and the water balance of the planet.
Part 3. “New religious” literature
Basis Russian culture there was a church. What role does the institution of faith play in relation to man? Every religion is a form of worldview. The overwhelming majority of believers do not understand complex theological problems, they simply feel the phenomenon of the worldview of a particular religion and choose (if there is such an opportunity) the version of religion that meets their psychological mood. There are ethnic groups - i.e. nations are associations of people based on nationality, and there are superethnoses or civilizations - associations of people based on similar worldviews. For example, the Slavic-Orthodox civilization unites Russians, Ukrainians, Belarusians, Serbs; Western European - the peoples of Western Europe and North America who have Catholic and Protestant religions, they include ethnically different peoples, but they all have a similar culture. You can be half French and half Arab, but you cannot be half Christian and half Muslim.
Nowadays, historical teachings are popular that consider all phenomena of world politics through the prism of the global struggle of civilizations. L.N. worked for us in this direction. Gumilyov, the works of Samuel Huntington are now popular in the West. They are very interesting, since he is the director of the Institute for Strategic Studies at Harvard University, where promising models of a new world order are currently being developed.
From Huntington's point of view, "World politics is entering a new phase in which the main source of conflict will no longer be ideology or economics. The great strife among humanity will be generated by cultural and historical differences. The clash of civilizations will become the dominant factor in world politics." . Among the currently existing civilizations, the professor points out Western Christian, Muslim, Slavic Orthodox, Hindu, Confucian, Japanese, African and Latin American. The most serious and bloody conflicts will occur along the borders separating these civilizations.
To support the validity of his views, Huntington gives the following arguments:
1. The differences between civilizations are more serious and older than any other divisions of humanity. They are connected with history, language, culture, traditions, and most importantly - with religion.
2. The world is becoming smaller.
3. Rapidly changing social and economic conditions give rise to an ideological vacuum, which is filled by religions, often in ex-tremist forms. Sociologists note that a return to religious worldviews is one of the serious social trends of the late 20th and early 21st centuries.
4. The West’s desire to implant its ideological ideals throughout the planet - democracy and liberalism, as well as its stake on military and economic superiority, otherwise causes opposition, dictated simply by the instinct of self-preservation.
5. The persistence of cultural and religious differences. If economic and political contradictions can be eliminated, then Russians will remain Russians, and Estonians will remain Estonians.
6. Economic integration of individual regions. Examples - Western Europe, Southeast Asia.
All these studies are carried out, of course, with the goal of finding a strategy for preserving world leadership for Western civilization. For this, Huntington considers it necessary:
1. Include in the sphere of monopoly influence of the West Eastern Europe and Latin America.
2. In Russia and Japan, support pro-Western groups.
3. Limit in every possible way the military development of “potentially hostile civilizations,” that is, apparently everyone else.
4. Show moderation in reducing Western military capabilities.
It seems to me that the vast majority of people still remain in a “non-confessional” state. It is difficult to live completely independently, make responsible decisions, and determine your worldview. This is probably not necessary. Unfortunately, in search of their path, many turned to various sects, God-seekers such as V. Solovyov, S. Bulgakov, L. Tolstoy and others. The Orthodox Church characterizes their teachings as heresies. The other extreme is the idealization of the past, the so-called “new religiosity.”
Nowadays, for modern youth, all cultural values are often reduced to a minimum. Appear various movements for whom music is religion. Starting from rappers, informals and ending with rave youth. It is possible that this trend occurs due to a lack of cultural education of young people. This cannot be corrected at once due to the dire situation in the country. Education is now at such a low level that there is no need to say
CONCLUSION
An analysis of fiction and scientific literature on the problems of the relationship between man and nature shows, firstly, culture, man and nature are in close interaction: culture influences man, and through him, nature; man directly influences nature and culture; nature, in turn, is the home of man and through it influences culture. Therefore, such close cooperation is very sensitive to any changes and has a strong influence on each other. So strong that sometimes it is difficult to find a way out of the current situation.
Secondly, the relationship between man and nature is complex and requires careful and complete study. Advances of humanity in consumption natural resources depend on knowledge of the laws of nature and their skillful use. Humanity, as a part of nature, can only exist in constant interaction with it, receiving everything necessary for life.
For its continued existence, humanity needs to take care of preserving the environment. And this requires extensive knowledge in the field of ecology and its widespread application in all sectors of its activity.
Thirdly, our life, to a greater extent than we think, depends on natural phenomena. We live on a planet, in the depths of which many still unknown processes are constantly seething, but influencing us, and the planet itself, like a kind of grain of sand, rushes in its circular movements in the cosmic abyss. Dependence of the state of the human body on natural processes - on various temperature changes, on fluctuations in geomagnetic fields, solar radiation, etc. - is expressed most often in his neuropsychic state and in general in the state of the body.
IN modern conditions Of particular importance is the determination of the optimal relationship between primary nature and the cultural landscape. A justified strategy and systematic organization in the interactions of society with the natural environment is a new stage in environmental management. Today, all forms of activity for the aesthetic reconstruction of the natural environment are also gaining special importance. This is, first of all, the culture of design of areas under production and restoration, the architecture of recreational landscapes, the increase in areas under National parks, nature reserves, development of the art of creating natural monuments, small dendrodecoration forms. Of particular importance is the improvement of tourism as a form of recreation for the broad masses of working people.
At the same time, there is a gap between increasing the general cultural level of the population and the culture of attitudes towards nature. Therefore, there is a need, firstly, to create a system of environmental measures, secondly, scientific justification and inclusion in this system of criteria for the aesthetic assessment of nature, thirdly, the development of a system of environmental education, improvement of all types artistic creativity related to nature.
But most of all you should take care of the soul, and literature can help with this in many ways.
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12. Russian literature of the twentieth century, a reader for the 11th grade of high school. - M., 1993.

Foster brother of foliage and herbs, You look into the mirror of nature, Recognizing your own in her face.

A. Tarkovsky

One of the heroes of I. S. Turgenev’s novel “Fathers and Sons” argued that “nature is not a temple, but a workshop,” thereby devaluing the natural world. But what Bazarov imagined as a workshop is, in fact, an unknown Universe, and we are just a part of it: part of the Russian open spaces and fields sung in epics, the vast sky above the head of Prince Andrei, a grain of sand in that dark desert in which Pushkin found gift of the prophet.

The relationship between man and nature is not so simple and unambiguous. For us, our native land is both a good friend who can become closer to our mother, and at the same time an uncontrollable element that brings destruction and disaster.

Through nature, the relationship with it, a person learns life and himself, discovers eternal truths. That is why the question of the relationship between man and nature has long worried poets and writers. This theme is heard in the works of M. Yu. Lermontov, L. N. Tolstoy, I. S. Turgenev... But first of all, we associate Russian literature with the name of A. S. Pushkin. Since childhood, we have been familiar with the lines of our favorite poems: “A storm covers the sky with darkness, spinning whirlwinds of snow...” When reading works about nature, at first you imagine only golden leaves and an “unruly wave.” But later, re-reading the same poems again and again, you will realize how deep philosophical meaning hidden in them.

In many of Pushkin's poems, the poet and the man are fused together into lyrical hero. For him, nature is a macrocosm in which harmony with the surrounding world is possible, where the hero forgets the “songs of the muses” and where the “sweet noise of the sea” is dearer to him. When a person remains alone with nature, he is open to the whole world, his soul and thoughts are bright.

In the moment of connection with nature, inspiration comes - a gift from above, “the soul is embarrassed by lyrical excitement.” So, for example, in the poem “The flying ridge of clouds is thinning...” the hero turns to the sad star:

I love your faint light in the heavenly heights;

He awakened the thoughts that had fallen asleep inside me...

In the poem “Autumn,” the creative process is depicted against the backdrop of the changing seasons. Any change in nature, be it the end of summer, the arrival of autumn, the onset of winter, invariably entails profound changes in the human soul. The poet’s favorite time of year gives him special inspiration:

And the thoughts in my head are agitated in courage,

And light rhymes run towards them,

And fingers ask for pen, pen for paper,

A minute - and the poems will flow freely.

The life of nature is a movement in which the seasons will always replace each other. A person in moments of inspiration is a revived ship, ready for long journeys. “Where should we sail?..” And there is and will not be an end to this movement of man side by side with nature.

In our worries and anxieties, we invariably turn to nature, finding in it either peace or a new passion. Thus, Pushkin, overwhelmed by the desire for freedom, feels a kinship with the sea element:

I am looking for other elements, a tired tenant of the earth;

Greetings, free ocean.

IN love lyrics The poet again sounds the theme of the unity of man and nature. The hero's beloved appears before him surrounded by birds, among the morning dew, in the depths of the ocean.

How hot the kiss burns in the cold!

Like a Russian maiden fresh in the dust of snow!..

The pearl of Pushkin's lyrics is the poem “On the hills of Georgia lies the darkness of the night...”. Love and South night give rise to peace of mind, illuminated by light sadness.

In the relationship between man and nature, sometimes there come moments when it ceases to be a mysterious and vast world, becoming a being close to you. In the poem “”, the hero turns to the “free element”, as if to a friend who can share his worries:

Like a friend, the murmur is mournful.

Like his call at the farewell hour,

Your sad noise, your inviting noise

The last time I heard...

You waited, you called... I was chained;

My soul was torn in vain...

Man and nature are inseparably linked with each other. In moments of sadness of the hero, the foliage fades, the noisy waters subside; his despondency “nothing torments or worries...”. But how “frost and sun” lift your spirits! How joyful and light your soul becomes! Not only joy, but also vague doubts and fears are born by nature in the human soul. Unity is preserved, acquiring new shades. In the poem “Demons”, the whirlwinds of a blizzard hovering in the darkness of the night, the invisible moon force the hero to imagine the dance of demons, evoke a premonition of imminent disaster, in harmony with the poet’s mood:

Demons rush swarm after swarm

In the infinite heights,

With plaintive squeals and howls

Breaking my heart...

In a dispute about the eternal and the perishable, nature prevails over man, and he, aware of her greatness and immortality, bows before her:

I think: patriarch of the forests

Will outlive my forgotten age,

How he survived the age of his fathers.

The final stanza of the poem echoes these lines:

And let at the grave entrance

The young one will play with life,

And indifferent nature

Shine with eternal beauty.

“Solemn peace” is protected by Pushkin’s free oak tree, symbolizing power and strength, power and dignity. This image will be inherited by Lermontov, who strives to find peace under the shadow of an ever-noisy tree. However, the “indifferent nature” in his poems will become closer to man without losing its greatness.

Images of nature: “a wooded hill”, and “golden fields”, and “three pine trees” in the poem “Again I visited...” - give birth in the hero’s soul to bright memories and philosophical reflections about the meaning of life. Addressing the young grove, the unfamiliar tribe, which in the future should replace his generation, the poet believes:

Hears your welcoming noise...

And he will remember me.

The theme of the relationship between man and nature in Pushkin’s work is not limited to the poet’s lyrics and is reflected in his novel “Eugene Onegin.” Here it is important for the author to show their inner world through the relationship of the heroes with nature.

Quiet and timid Tatyana...

She loved on the balcony

Warn the dawn,

When on a pale sky

The round dance of the stars disappears...

For the heroine, nature was both home and friend. And just like White snow in winter, Tatyana was pure in soul. Subsequently, it was precisely, the origins of which are in communication with nature, that helped the heroine resist secular vulgarity.

Onegin, brought up high society, is far from Tatyana’s worldview. Pictures of nature bore him and are alien to his mental makeup:

Two days seemed new to him,

Secluded fields.

The coolness of the gloomy oak tree.

The babbling of a quiet stream;

On the third grove, hill and field

He was no longer occupied;

Then they induced sleep...

Onegin does not feel unity and harmony with nature. The cruel payment for this is internal devastation.

The full-fledged hero of the novel is the author himself, and therefore the death of Lensky is not just the death of one of the characters. Saying goodbye to the young poet, Pushkin parted with his youth, obeying the general law of life with a sad smile. The winter nature in the duel scene echoes his feelings. The harmony of the surrounding world and man in their mutual worries and passions is again clearly felt.

The motif of the unity of man and nature is one of the leading ones in Pushkin’s work. At first glance, this can be explained by life circumstances: the poet lived for several years in close communication with nature. How much is hidden in the lines: - o

Sorry, faithful oak forests! Forgive me, the careless world of fields, And the light-winged amusements of days that have flown away so quickly! Forgive me, Trigorskoe, where joy met me so many times!

However, initially they are united. We are children of the Great Mother, but we often forget about this. Pushkin returns Man to the eternal truth, explaining ourselves to us.

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