Introduction
St. Petersburg is an unusual city. And the exact date of its birth (1703), and the place where it was founded (Finnish swamps are not a traditional place for building Russian cities; all ancient capitals - Kyiv, Pereyaslavl, Moscow - stand on the high banks of the river, on the hills), and the goals pursued by Peter the Great, in the midst of the war with the Swedes, establishing a new capital on the border of the empire, and, finally, the city owes its further unusual fate to the very name of its sovereign founder.
The city, created contrary to the laws of nature, in defiance of the elements, was perceived as a miraculous, supernatural phenomenon, and it was created by a person to whom the standards of the ordinary are not applicable. human existence- Peter the Great. “Grad Petrov” struck the imagination, first of all, with the fabulous speed and orderliness of its creation. Compared to other European capitals that grew gradually and spontaneously, St. Petersburg was perceived as a “deliberate”, “fictional” city, “pulled” (Merezhkovsky) out of the ground. To contemporaries and heirs of Petrova’s fame, Petersburg appeared as the embodiment of a daring challenge thrown in several directions at once:
Petersburg was built on the border as a challenge to Russia's enemies;
The city became the new capital Russian Empire: in contrast to the old - Moscow; built almost on the border, St. Petersburg was a challenge to the natural flow of history, because was founded far from the economic and cultural center countries;
And finally, the city on the banks of the Neva became a challenge to the elements of nature.
That is why, from the very cradle, St. Petersburg history was intertwined with St. Petersburg mythology, in which the main place belonged not only to the city itself, but also to its founder. The mythology of the city developed in two main directions. Petersburg was perceived as a kind of living creature that was brought to life by supernatural forces. But were these forces good or evil?
On the one hand, it was believed that these forces were of a divine nature, since only a deity could create a city contrary to the laws of nature. Ideas about the glory of the Fatherland were associated with St. Petersburg; and then, after the death of Peter, tradition deified the founder of the northern capital, giving him supernatural features. After all, a mere mortal would not be able to fight with nature and defeat it. One of the legends about the founding of St. Petersburg belongs to Odoevsky:
“They began to build a city, but when they lay a stone, the swamp will be sucked away; A lot of porridge has already been piled up, rock on rock, log on log, but the swamp takes everything into itself and at the top of the earth only swamp remains. Meanwhile, Tsar Peter built a ship and looked around: he saw that his city was gone. “You don’t know how to do anything,” he said to his people, and with that word he began to lift rock after rock and forge it in the air. So he built a whole city and lowered it to the ground.” It is characteristic that this legend, although it belongs to the literary tradition, is told as a folk legend, an epic, although among the peasant common people the appearance of St. Petersburg and its founder was perceived in a completely different way.
The second line in the depiction of St. Petersburg is traditionally associated with folk tales. But this is only part of the legends that are more widespread among the Old Believers, because in popular consciousness The image of Peter the Great was quite contradictory, and his city was seen differently. But in the Old Believer oral tradition, St. Petersburg - a city that undermines the traditional order of life sanctified by religious consciousness - was the embodiment of the “kingdom of the Antichrist.” His appearance on Russian soil signaled the proximity of the end of the world. The same anti-God, anti-people evil forces that gave birth to the monstrous city will overthrow it into primordial chaos.
And as soon as this non-Russian city - generated by the will of Peter - the Antichrist - disappears, true faith and righteous life will return to Rus'.
In 1845, Belinsky wrote: “People are used to thinking about St. Petersburg as a city built not even on a swamp, but almost on air. Many seriously claim that this is a city without a historical shrine, without legends, without connections with home country, a city built on stilts and calculation.” In some ways, the expression seems natural, although a little unusual popular opinion representative of heterogeneous democracy. Although, on the other hand, by this time ( mid-19th c.) St. Petersburg, even in the literary tradition, began to be perceived as an unnatural, undivine city.
Petersburg is often compared to Rome. But if in literature “city of Petrov” - “ eternal Rome”, an immortal city, then in folk mythology it is “doomed Rome” - Constantinople. However, no matter how one looked at St. Petersburg: as a city that demonstrated the victory of reason over the elements or as a perversion of the natural order, the correct course of events - a city founded at the mouth of a river, on the seashore, by both traditions - was perceived as opposition natural, i.e. ideal artificial city.
Petersburg, as a great city, turned out to be not the result of a complete victory of culture over the elements of nature, but a place where the dual power of nature and culture reigns from year to year, from century to century. In the St. Petersburg myth, it is this struggle that becomes the main indicator of the border existence of the city / Petersburg is as if between a rock and a hard place - between an element that has not been completely defeated and a barrier created by human hands - stone embankments, dams. St. Petersburg is at the edge of the abyss, on the verge of “this” and “otherworldly” worlds, the illusory and fantastic nature of phenomena reigns in it.
But what would be a miracle in another city is a pattern here in St. Petersburg.
It must be said that the image of St. Petersburg - a ghostly, phantasmagoric city - did not develop in the Russian literary tradition from the moment the city was founded. The entire XVIII century. Russian Piites praised Northern Palmyra and its great founder. St. Petersburg was the embodiment of harmony, a young city, whose greatness will be fully revealed only in the future, but which is beautiful today. This tradition was started by Sumarokov:
"Erected by his hand
From Neptune's ferocity
City, refuge of peace.
Safe from stormy disasters,
Where over clear water.
Alexandrov holds the temple above the clear Neva.”
("Ode to the Victory of Peter I")
Peter the Great, the tamer of the elements, was also the ruler of the world.
The same tradition of praising the beautiful new capital and the works of Peter the Great were continued by Lomonosov and Derzhavin. Northern Palmyra was not a legend; there was no struggle between the city and the elements. On the contrary, the beauty of St. Petersburg lies in the harmonious combination of nature and art.
Beginning of the 19th century did not bring significant changes to this tradition. So, in 1818 Vyazemsky wrote:
“I see the wonderful, majestic city of Petrov,
According to the king's mania, erected from blat,
The hereditary monument of his mighty glory,
His descendants decorated it a hundred times.
Art here has been at war with nature everywhere.
And it marked its triumph everywhere.
The power of the mind subdued the rebellion of the elements,
Whose commanding voice, in spite of nature,
Moved and dragged out of the wild desert
Masses of eternal rocks to spread out strongholds
Along the banks of your northern rivers there are heads,
Magnificent and bright Neva...
The sovereign work of Peter and the mind of Catherine
The slow work of centuries has been accomplished in one single century.”
The first who grasped the motive of the struggle between nature and human creativity, which continues in St. Petersburg to this day, was Batyushkov, but even he remained unknown tragic force and the depth of this struggle, because the poet was fascinated by the life of the city, which arose from a harmonious combination of nature and human genius.
There was, perhaps, no writer in Russian literature who would not say anything about St. Petersburg. Therefore, it is hardly possible to cover everything associated with this city in one work.
In the development of the “St. Petersburg theme” in the literature of the 19th - early 20th centuries. we can highlight the main milestones: the St. Petersburg cycle of A.S. Pushkin, “Petersburg Tales” by N.V. Gogol, St. Petersburg in the works of F.M. Dostoevsky, and, as the completion of the St. Petersburg theme, A. Bely’s novel “Petersburg,” where all previous works about the "city of Petrov".
Even in the works of these writers, St. Petersburg appears as a multicolored city, illuminated from different sides. In this work, the task was to consider the literary tradition, in which St. Petersburg appears as a city, as if located on the border of two worlds - the real and the fantastic - a ghostly, extraordinary city.
A.S. Pushkin was the first who in “The Queen of Spades” and “ Bronze Horseman"created the image of a phantasmagoric city, moving away from the tradition of the 18th century. - praise of the “city of Petrov” and its sovereign founder. This Petersburg and the place it occupies in Pushkin’s work are discussed in most detail in Khodasevich’s article “Pushkin’s Petersburg Stories” and A. Bely’s work “Rhythm as Dialectics.”
Much has also been written about Gogol’s “Petersburg Tales”. But it is the fantastic, and not the social, side of events that is considered in the book by O.G. Dilaktorskaya “The Fantastic in Gogol’s Petersburg Tales.” Gubarev also paid great attention to this issue in his work “Gogol’s Petersburg Tales.”
F.M. Dostoevsky is often rightly called the “creator of the image of St. Petersburg,” but this is Petersburg “underground,” a city of poverty and misery, although another city occasionally appears in Dostoevsky’s works - a “magic dream,” a ghostly fairy tale, a dream. We see this kind of Petersburg in the story “A Weak Heart” (which almost literally repeats “Petersburg Dreams in Poems and Prose”) and in the novel “Teenager”. The most interesting discussion of Dostoevsky's ghostly city and its connection with the Gogol tradition can be found in A. Bely's work "Gogol's Mastery."
"Silver Age" Russian literature gave many wonderful works about the “city of Peter”, continuing the “St. Petersburg theme” in literature, but, perhaps, no one better than A. Bely combined and rethought everything that was written about St. Petersburg - a ghost town. In A. Bely’s “Petersburg” you can also meet the heroes of A.S. Pushkin (of course, changed over the century), and with Gogol’s characters, and the very image of the city is often inspired by the writer Dostoevsky. All these plot interweavings, internal quotes and borrowings are analyzed in detail in D. Dolgopolov’s work “A. Bely and his novel "Petersburg".
It was Bely and his novel that ended the line of a ghostly, fantastic city in literature, where the supernatural events occurring in it are most real.
Many works are devoted to the problem of literary St. Petersburg. One of the most interesting, showing the change in the attitude of writers towards St. Petersburg in the 19th century, is the work of N.P. Antsiferov “The Soul of St. Petersburg. Petersburg by Dostoevsky. True story and myth of St. Petersburg." In 1384, the University of Tartu published a collection of articles dedicated to St. Petersburg and the “Petersburg theme” in literature, where special attention deserve articles by V.L. Toporova, V.M. Lotman, R.D. Timenchik and others.
Most of the above-mentioned works and articles are devoted to literary analysis of works of art about St. Petersburg. The aesthetic aspect is affected to a lesser extent. Therefore, in this work an attempt is made to characterize the fantastic Petersburg of Pushkin and Gogol, the ghostly Petersburg of Dostoevsky and the symbolic city of A. Bely from the point of view of their symbolic meaning. The Russian literary tradition contains rich material for understanding the aesthetic phenomenon of St. Petersburg.
Fantastic Petersburg of Pushkin and Gogol
A.S. Pushkin created his own unique image of St. Petersburg, which, on the one hand, is the result of the work of writers of the entire previous century, and, on the other hand, a prophecy about the future fate of the city. Pushkin, in a number of his works, gave rise to the literary myth of St. Petersburg; These works are rather conventionally combined into a cycle of “Petersburg stories”.
Pushkin was the first to see two Petersburgs: the first is the city of white nights from Eugene Onegin:
“...in the summer sometimes,
When it's clear and light
Night sky over the Neva
And the waters are cheerful glass
Doesn’t reflect Diana’s face...”;
newborn “city of Petrov” from “Arap Peter the Great”: “... a newborn capital, which rose from the swamp by the mania of the autocratic hand. Exposed dams, canals without embankment, wooden bridges everywhere showed the recent victory of human will over the resistance of the elements. The houses seemed hastily built. In the whole city there was nothing magnificent except the Neva, not yet decorated with a granite frame, but already covered with military and merchant ships”; a beautiful city that emerged from the swamps by the will of Peter the Great and transformed by his heirs:
“The city is lush, the city is pale,
Spirit of bondage, slender appearance.
The vault of heaven is green and pale,
Boredom, cold and granite."
Petersburg is just as coldly beautiful in the introduction to The Bronze Horseman. All these descriptions of the northern capital are different, but they have one common feature: in them one can see the beautiful and majestic Petersburg, a symbol of man’s victory over the elements, standing on the banks of the Neva, dressed in granite, beautiful not by nature, but humanized by its beauty; Its wide streets and straight, arrow-like avenues are bright on white nights, but this stone beauty is cold, a person feels like a stranger in it, it delights the eyes, but does not warm souls and hearts.
But there is another St. Petersburg - the city of Kolomna and Vasilievsky Island, almost a suburb, - with small houses and cozy gardens, a city where only the hero of Pushkin’s St. Petersburg stories can exist - small man, craving peace and quiet. The brilliance of Peter’s creation, which brought to the city, along with the tamed elements, the possibility of its rebellion, the unreliability, fragility of existence, a certain fantastic unusualness of existence on the verge of nature and culture, is alien to him and does not need him. “Let the souls freeze from the cold and the bodies of its inhabitants become numb - the city lives its own super-personal life, develops towards achieving its great and mysterious goals.”
It is precisely the confrontation between the little man and his desire to find his quiet, native corner in the coldly beautiful capital, and the majestic, fantastic city (on whose side it sometimes becomes obvious, and devilry- they say it was she who helped Peter build the highlander in the swamps) and Pushkin’s St. Petersburg stories are dedicated to it. From the point of view of V. Khodasevich, these stories “can be connected with each other not only by the fortune-telling and foggy features of the St. Petersburg air,” but - mainly - by a completely specific theme, interpreted differently, but clearly expressed in final words“A secluded house on Vasilievsky”: “Where does the devil get this desire to interfere in worldly affairs?”
Based on the assumption that the main theme in the St. Petersburg stories is the struggle of man with supernatural evil forces, Khodasevich presents the structure of the St. Petersburg stories as follows:
“Secluded house on Vasilyevsky”
“House in Kolomna” “Bronze Horseman” “Queen of Spades”
Initiative dark forces Initiative of dark forces Initiative of man
(Comic resolution) (Comic resolution) (Tragic resolution)
It seems to me that, despite the grain, the peculiarities of a person’s relationship with dark forces and the interweaving of plot moves and motives wandering from one story to another (for example, the bride of Evgeniy, like the main character of “The House in Kolomna”, is called Parasha; and the groom Vera “A Secluded House on Vasilyevsky” and the hero of “The Bronze Horseman” are petty officials; the descriptions of small houses and their inhabitants on Vasilievsky and Kolomna are also similar, etc.), Khodasevich is not entirely right in defining the main theme of the St. Petersburg stories. main topic And main character these stories - Petersburg, an unusual and fantastic city: but everything unreal that happens in it should be attributed not to the works of Satan, but to the very nature of this city. That special “St. Petersburg air,” the influence of which on the unity of St. Petersburg stories is not taken into account by Khodasevich, is the main thing that determines the course of events in these stories, perhaps the main thing that was the reason for Pushkin’s creation of such dissimilar works, nevertheless, united in one cycle.
The most vivid image of a border city belonging to two worlds appeared in “The Bronze Horseman,” although, reading the introduction to the poem, we might think that Pushkin here only continues the tradition of the 18th-century Piites, chanting “the city of Petrov”:
“...A hundred years have passed, and the young city,
There is beauty and wonder in the midnight lands,
From the darkness of the forests, from the swamps of blat,
He ascended magnificently, proudly...
Along busy shores
Slender communities crowd together
Palaces and towers; ships
A crowd from all over the world
They strive for rich marinas;
The Neva is dressed in granite;
Bridges hung over the waters;
Dark green gardens
Islands covered it...
I love you, Petra's creation!
I love your strict, slender appearance,
Neva sovereign current,
Its coastal granite,
Your fences have a cast iron pattern,
of your thoughtful nights
Transparent twilight, moonless shine...
And the sleeping communities are clear
Deserted streets and light
Admiralty needle,
And, not letting the darkness of the night
To golden skies
Osha dawn, replacing another
He’s in a hurry, giving the night half an hour...”
This ode to Pushkin continues the tradition of poets of the 18th century. - the tradition of praise and deification of Peter and the city he created. But Pushkin does not strive to describe the splendor of the capital, but to show another, fantastic city where events can take place. extraordinary events- the dead countess appears to Hermann, Eugene is pursued by the Bronze Horseman. When we read about these seemingly incredible incidents that contradict our realistic mindset, we cannot understand whether it is a dream, a crazy vision, or perhaps reality. After all, a city based on swamps cannot be created an ordinary person, but only by the wondrous genius of the superman, his “fatal will.” And the founder, conveying his supernaturalism to the city, could not leave it forever - in the image of the Bronze Horseman (the symbol of St. Petersburg) he remained in the city to keep an eye on what was happening in it, to pacify the rebellious elements that from time to time try to take over the city created against the will and laws of nature.
The flood of 1824, described by Pushkin in The Bronze Horseman, was terrible. Most of St. Petersburg was destroyed, many buildings were damaged, especially on the outskirts. Many people died. Here is what Griboedov, who was in St. Petersburg at that time, wrote about the flood: “Everything on this side of the Fontanka up to Liteinaya and Vladimirskaya was flooded. Nevsky Prospekt was turned into a rough strait; the embankments of the various canals disappeared, and all the canals merged into one. Centenary trees in the Summer Garden lay in ridges, uprooted, with their roots up... The Kashin and Potseluev bridges were moved from their places. The Khrapovitsky (bridge) was torn away from the bridge fortifications; the Bertov Bridge, incapable of passage, also disappeared. The view was of Vasilyevsky Island. Here, in the neighborhood, several hundred houses no longer existed: one, and that was an ugly pile in which the foundation and roof were all mixed up.” (As this description of the destroyed house reminds us of what poor Eugene saw at the site of his bride’s house, having difficulty getting there as soon as the water began to subside).
The flood lasted two days, turning streets into canals, squares into islands or lakes, and on the islands themselves the water swept away everything that had been created by human hands. “Many fences were knocked down; Roofs were blown off some houses; there were barges, gallots and boats in the square; the streets were cluttered with firewood, logs and various rubbish - in a word, there were pictures of open destruction everywhere.” (Karatygin).
Such were the consequences of the flood, which deprived poor Eugene of his only joy - his beloved girl. Of course, many people died in these two days, and grief came to more than one person, but Pushkin chose as his hero the most ordinary official, about whom we know, strictly speaking, only his name, but all other moments of his life (service, origin)‚ if they are mentioned, then in passing; We don’t even know his last name. And this little man was destined to awaken the Bronze Horseman - the guardian spirit, eh. maybe the evil genius of St. Petersburg. And the elements pushed them together.
The image of water, the element, occupies a very large place in The Bronze Horseman, and it is important not only in itself, as the destructive force of the rebellious Neva, but also as a connecting thread between Peter the Great and Eugene. The flood is described as if from two sides; it “doubles” in the eyes of the reader. For Evgeny, a rebellious element is something terrible that a person cannot even think of coping with. Peter the Great built a city on the banks of the Neva, thinking that human genius would defeat nature, but, having transformed from a superman, a brilliant emperor and warrior into the Bronze Horseman, he was able to bewitch the rebellious water, the king over the villain - the elements. The city itself is unshakable, the fate of the flood overtakes only the “poor boats” of downpours of ordinary people who float along the flooded capital along with the coffins. And the powerless Tsar Alexander the First turns into only a shadow, an illusion, and the true ruler of the city remains not even Peter, but his all-powerful incarnation - the Bronze Horseman.
There is a folk legend about the Bronze Horseman himself, in which the monument is perceived as a living, only petrified king on a horse for the time being: “When there was a war with the Swedes, Peter rode on this horse. Once the Swedes caught our general and began to skin him alive. They reported this to the tsar, but he was hot-tempered, immediately galloped off on a horse, and forgot that the general was being skinned on the other side of the river, he needed to jump over the Neva. So that he could jump more dexterously, he directed his horse towards this stone, which was now under the horse, and from the stone he thought to wave across the Neva, and would have waved, but God saved him. As soon as the horse wanted to fly off the stone, a large snake suddenly appeared on the stone, as if it was waiting, wrapped itself around the horse’s hind legs in one second, squeezed its legs as if with pincers, stung the horse - and the horse did not move, and remained on its hind legs.”
There is also a legend that when the horse jumps from the mountain, then, together with the Antichrist Tsar, the entire unclean, non-Russian city will fall into the abyss.
But the years passed, and the Bronze Horseman ceased to be the embodiment of Peter the Great, but became an “idol on a bronze horse,” self-valuable and autocratic. The world in which he reigns is a superhuman world; a world where the Petrovo affair turns into petrified autocracy, and Eugene’s belief that the one who created this city must protect its inhabitants collapses and leads the defenseless official to madness. It is precisely the hope in the omnipotence of the sovereign (one of whom cannot, and the other does not want to cope with the elements), as it turns out, imaginary, that destroys a person. Evgeniy, who has lost faith in the inviolability of the city of Petrov, no longer has either a goal in life or the possibility of future happiness. He is already crushed by the grief that has befallen him, along with the elements. But there must be a culprit for this - and who is he if not the one
“...by whose will the fatal
Was the city founded under the sea?
And isn’t he the “lord of fate” that Eugene turns his silent reproaches to him? After all, even in a moment of insane courage, Evgeny does not dare to express to the Bronze Horseman all the pain that has accumulated in his soul, to blame him for all his suffering. He just decides to throw a vague reproach to the king: “Too bad for you...” and immediately rushes to run.
Peter (or, more precisely, the Bronze Horseman) is present in the poem as a direct (and therefore difficult to comprehend) embodiment of limitless power, rising above human capabilities, interests, feelings, above ordinary human concepts of good and evil. Both the Bronze Horseman and St. Petersburg - as his creation - put pressure on people’s lives, but, at the same time, they delight them: in both cases, they force them to bow and subjugate them to their will. The Bronze Horseman is not Peter, but a symbol of the perversion of the meaning of the concept of “Peter’s work.” And St. Petersburg, a city whose history is inseparable from the history of the life and work of Peter the Great, more obviously than any other phenomenon in Russian history, appears to Pushkin’s poetic consciousness as an arena for the collision of several great truths, which, with their contradictions and struggle, determine the historical movement. It was precisely the ambiguity of Pushkin’s assessment of the activities of Peter the Great and his creation of St. Petersburg that gave rise to a multiplicity of interpretations of the poem. A. Bely, for example, perceived the “Bronze Horseman” as “a monument dragged from one meaning to another and attached first to one king, then to another, or erected first by one reign, then by another.”
Belinsky considered Peter in “The Bronze Horseman” to be a representative of the collective will, as opposed to the personal, individual principle - Eugene. Merezhkovsky, on the contrary, believed that it was Peter who was the expression of the personal principle of heroism (the deification of one’s Self), and Evgeny was the exponent of the impersonal, collective will (the renunciation of one’s Self in God).
As long as the Bronze Horseman stands on a huge stone in the middle of the city he created, this city will stand, despite the attempts of the elements to return the place that once belonged to them.
In The Bronze Horseman, Pushkin reproduces, with the help of stylizations and references, many points of view - individual and collective - on St. Petersburg. It is the enormity of the theme of St. Petersburg and Peter the Great that forces Pushkin to turn to such “stereoscopic” lighting; and the poet’s very opinion about the historical era that began with St. Petersburg, and about Peter’s transformations was not unambiguous, and therefore so many were brought together different styles in one work, and so many different points vision.
It is difficult to determine the role of the city itself in the poem, however, it is in Pushkin that we first find the opposition of two oppositely structured cities, practically not communicating with each other: the center - the outskirts; “palace” part of St. Petersburg - Kolomna, Vasilyevsky Island. Pushkin created his poem as if on the border of two traditions in literature - the glorification of the “city of Petrov” was becoming a thing of the past, images of peripheral, “not ceremonial” St. Petersburg appeared in literature. After Pushkin, the depiction of the outskirts of St. Petersburg and the life not of great people, but of an ordinary, “little man” lost in the cold spaces of the northern capital, became the dominant trend in literature.
The term “literary tradition” is used in literature when we are talking about a continuity that unites successive literary phenomena.
The concept of literary tradition
In its meaning, the concept of literary tradition is identical to the concept of borrowing, influence and imitation. The constituent elements of a literary tradition can be the following components of poetics: stylistics, composition, rhythm and theme. These components are often transmitted by literary tradition not separately, but in combination with each other.
The area of literary tradition is also quite wide: it can be both international creativity and the creativity of one people. For example, Gogol created a literary tradition in Russia, which over time spread far beyond its borders. The literary tradition is not distinguished by its intensity, so we see that Pushkin’s traditions in different times sometimes they intensify in literature, sometimes they disappear almost completely.
At first glance, an extinct tradition can not only be revived, but also take its place as the dominant one in the literary process, thanks to the influence of suitable historical conditions.
In the literary process there is the concept of parodying a literary tradition. A striking example of this is Dostoevsky’s work “The Village of Stepanchikovo”, in which the author parades Gogol’s style and his ideology.
Eternal themes in literature
Traditional problems. Literary works, in their absolute majority, have stable eternal themes, the peculiarity of which is that they are practically inexhaustible, since they will always be relevant in any society. No matter how many options there are for revealing them, there is still something left unsaid every time, as well as something that lends itself to a completely different interpretation in new historical conditions.
Getting acquainted with various literary works, we are amazed at how the same theme is seen to different writers. By and large, many literary works that have come down to us describe the same plot, but divided and corrected over the centuries.
The eternal themes of literature can be divided into the following categories:
1. Ontological- themes of unidentified eternal phenomena: space, light, darkness.
2. Anthropological topics:
- the concept of being - sin, involvement, pride, human life, death.
- epoch-making events - wars, revolutions, peace, civic activities.
- the sphere of social instincts - love, friendship, family, zeal for power, social transformation of a person.
Discussions about eternal problems are also very characteristic of the literary process. Basic eternal problem, which is discussed in literary works, are the issues and problems of morality of man and society. Along with the description of this problem, the literature also indicates ways to solve it - for society this is a revolution or reform, for a person - moral improvement.
Another traditional eternal problem is the question of society’s rejection of an individual, the so-called lone hero. A special place in the literary process is occupied by the clarification of universal human problems - the search for the meaning of life, understanding of good and evil, internal torment, etc.
Belaya Natalya Vladislavovna 2007UDK 82.0 BBK 83 B 43
N.V. White
Tradition and innovation as the most important components of literary creativity
(Reviewed)
Annotation:
The article presents theoretical aspect the most important literary concepts“tradition” and “innovation”, necessary for in-depth study of individual scientific problems. The main ones are used scientific statements works by M. Bakhtin, R. Apresyan, A. Guseinov, V. Kozhevnikov, L. Nikolaev.
Keywords:
Traditions, innovation, literary process, genesis, culture, continuity, evolution, past, present.
M. Bakhtin, challenging certain generally accepted principles in literary criticism, used the phrases “small historical time” and “large historical time”, meaning by the first the modernity of the writer, by the second - the experience of previous eras. “Modernity,” he wrote, “retains all its enormous and in many respects decisive importance. Scientific analysis can only proceed from it and... must be checked against it all the time, but,” Bakhtin continued, “it is impossible to suppress it (a literary work) in this era: its fullness is revealed only in great time.” The thought about the genesis of literary creativity in the scientist’s judgments becomes key: “. the work has its roots in the distant past. Great works of literature take centuries to prepare, and in the era of their creation only the ripe fruits of a long and complex ripening process are harvested.” As a result, the activity of a writer, according to Bakhtin, is determined only by long-existing cultural trends.
It is absolutely obvious that tradition and innovation are concepts that characterize continuity and renewal in the literary process, as well as the relationship between what is inherited and what is created. Today, there are several scientific interpretations of these concepts. IN literary encyclopedia the following definition is given: “Tradition is the understanding
tie characterizing cultural memory and continuity. By connecting the values of the historical past with the present, passing on cultural heritage from generation to generation, tradition carries out selective and proactive mastery of heritage in the name of enriching it and solving newly emerging problems (including artistic ones).
In functional terms, tradition acts as an intermediary between the past and the present, a mechanism for storing and transmitting samples, techniques and skills of activity, which themselves are included in people’s lives and do not need any special justification or recognition.
All this is carried out through repeated repetition of traditional connections and relationships, ceremonies and rituals, moral principles and norms, symbols and meanings."
Tradition is a type of historical consciousness where the past claims to be a prototype of the present and even one of the sources of the perfection of the future.
In literature, the concept of tradition has long been the subject of discussion among philosophers, cultural scientists, sociologists, ethnographers, etc. Traditions (both general cultural and literary) invariably influence the work of writers, constituting an essential and almost dominant aspect of its genesis. At
In this case, individual facets of the fund of continuity are refracted in the works themselves, directly or indirectly. These are, firstly, verbal and artistic means that were used before, as well as fragments of previous texts; secondly, worldviews, concepts, ideas that already exist both in non-fictional reality and in literature; thirdly, these are life analogues of verbal and artistic forms. Thus, the narrative form of epic genres is generated and stimulated by the existing in real life people by talking about what happened earlier. For example, a picaresque novel is the generation and artistic refraction of adventurism as a special kind of life behavior.
Carrying out the connection of times, tradition is a selective and initiative-creative inheritance of the experience of previous generations in the name of solving modern artistic problems, therefore it is naturally accompanied by the renewal of literature, i.e. innovation, which involves completing the construction of values that constitute the property of society, the people, and humanity. In literature, innovation comes forward." as a creative re-arrangement and completion of what was taken from predecessors, as the emergence in the literary process of an unprecedented new thing of world-historical significance.” For example, the mastery by sentimentalists of a person’s private life, i.e., the rejection of some traditions and the turning to others, ultimately is the creation new tradition. Innovation requires great talent, creative courage and a deep sense of the demands of the times. Innovation is based on the development of life itself: a moment comes when reality itself stimulates the artist to search for new forms, because the old ones are no longer sufficient to reflect a new stage in the history of the people.
All the great artists of the world (Dante - in Italy, Shakespeare - in England, Cervantes - in Spain, A. Pushkin - in Russia, T. Shevchenko - in Ukraine) managed to see the world around them in a new way, to discover in life such conflicts that formerly writers did not notice or could not comprehend, discover in life such heroes who had not been portrayed before. And in order to reproduce this, they created
new genres and types of novels, stories, lyrical works. However, innovation in a broad sense is inseparable from tradition.
Tradition manifests itself as influences (ideological and creative), borrowings, as well as in following canons (in folklore, ancient and medieval literature).
Two types of traditions are rightfully distinguished. Firstly, it is a reliance on past experience in the form of its repetition and variation (here the words “traditionality” and “traditionalism” are usually used). These kinds of traditions are strictly regulated and take the form of rituals, etiquette, and ceremonies that are strictly observed. Traditionalism was widespread in literary creativity for many centuries, right up to the middle XVIII century, which is especially clearly manifested in the predominance of canonical genre forms. Later, it lost its meaning and began to be perceived as an obstacle in the development of art, and in connection with this, a different meaning of the term “tradition” appeared. This word has come to be understood as the proactive and creative inheritance of cultural experience, which involves the completion of the values that constitute the property of society, the people, and humanity, as mentioned above.
In literary studies, R.G. Apresyan and A.A. Guseinova consider the concept of “tradition” two-sidedly, pointing out that tradition looks like an absolutization and conservation of the past, a symbol of immutability, “a refuge of conservatism.” This characteristic is quite justified, because Tradition is characterized by adherence to the past. On the other hand, they believe that “. tradition acts as a necessary condition for the preservation, continuity and sustainability of existence. the beginning of the formation of the identity of a person, a social group and an entire society."
Tradition can enter literary creativity spontaneously, regardless of the author’s intentions. Writers adopt themes as traditions past literature, conditioned socially and historically (“little man”, “ extra person"in Russian literature of the 19th century) or possessing universality (love, death, faith, suffering, duty, glory, peace and war, etc.), as well as moral and philosophical problems and motives of com-
components of form (type of versification, poetic meters).
Possessing historical stability, tradition is, at the same time, subject to functional changes: each era selects from the past culture what is valuable and vital for it. At the same time, the sphere of continuity in each national culture changes over time: so in the second half of the twentieth century. it expanded noticeably (interest in the Middle Ages, as well as in national art, increased).
At different stages of the world literary process, tradition and innovation are related in different ways. The renewal of folklore, ancient and medieval literature occurred very slowly and was not recorded in the consciousness of individual generations. Tradition acted in these cases as traditionality: there was not only a rethinking of previous experience, but strict adherence to it. According to D.S. Likhacheva: “The writer strives to subordinate to literary canons everything he writes about, but borrows these etiquette norms from different areas.. .”
Since the Renaissance, the literary process in European countries acquired greater dynamism over time; imitation of masterpieces was losing its former meaning, and past art acted as a guide for original solutions to modern artistic problems. In the phenomena of past culture, writers of the 19th-20th centuries. they consciously separated the enduringly valuable and vital from what had become archaic (ideological, moral, artistic) and what was not consistent with the spiritual and ethical principles of modernity.
The study of tradition in literature reveals a number of patterns in the development of literature of a particular period. For example, for avant-garde movements of the early twentieth century. (primarily for futurism) tradition was perceived as a “brake” of development. Innovation pony
Something here is one-sided: as a confrontation with tradition and a sharp demarcation from the classics.
For the presenters literary trends Modernity is characterized by broad reliance on traditions (not only literary and cultural-artistic traditions, but also practical ones) while simultaneously updating past experience. What is important here is the involvement of writers in the tradition of folk culture (folklore).
Harmony of tradition and innovation - the most important condition fruitful and large-scale literary creativity. Innovation in itself, as a cult, as “creativity out of nothing,” as experimentation, is unproductive for literature and art, therefore the relationship between tradition and innovation is now the subject of serious discrepancies and ideological confrontations, which have the most great importance. In this situation, the words of the outstanding philosopher J. Huizinga are relevant: “The vain and tireless pursuit of something absolutely new and the rejection of the old from the threshold just because it is old is an attitude typical only of immature and jaded minds. Healthy Mind is not afraid to take with him on the road a weighty load of values of the past” [b; 257].
wild dictionary. - M., 2001.
ny encyclopedic Dictionary. - M., 1987.
4. Koioieiko B I Culturology. - M., 200Z.
5. Poetics ancient Russian literature. - M., 1979.
literary novel realist writer
The concept of "literary tradition" in modern literary criticism lacks terminological precision. Often tradition is identified with such concepts as “artistic interactions”, “literary continuity”, “genesis of literary creativity”. These concepts should be distinguished.
Artistic interactions represent the influence of some artistic ideas on others; these are “forms of cultural dialogue within the art of a given era or contemporary art with the past" [Apresyan 2001: 124].
Continuity, from the point of view of E.A. Baller, is “a connection between various stages or stages of development of both being and cognition” [Baller 1969: 93], preserving individual elements of the whole, or changing the whole as a system. Literary continuity is a natural connection between the “old” and the “new”, which is based on universal principle repeatability. IN AND. Tyupa calls repeating elements “forms of development,” or typological correspondences that arise during the evolution of literature in the field artistic form and content. The beginning of continuity in literary development is carried out by genres; they form the connecting link between writers different eras. S.S. wrote about this. Averintsev: “any writer is a contemporary of his contemporaries, comrades in the era, but also a successor to his predecessors, comrades in the genre” [Tyupa 1981: 53]. The idea of the leading role of the genre was also reflected in the works of M.M. Bakhtin: “Genre is a representative of creative memory in the process literary development“,” “the genre lives in the present, but always remembers its past” [Bakhtin 1979: 32].
The term “genesis of literary creativity” is characterized as a set of stimuli for the writer’s activity, expressed by the author’s need to embody his biographical, psychological, socio-cultural experience in the work. In the judgments of M.M. Bakhtin's idea about the genesis of literary creativity becomes key. The scientist used the expressions “small historical time” (the writer’s modernity) and “large historical time” (previous experience), thereby M. Bakhtin challenged the generally accepted attitudes in literary criticism [Bakhtin 1979: 33].
Despite the lack of clear boundaries in the use of the concept of “literary tradition,” most researchers use this term when identifying the forms and mechanisms of interaction between the artistic experience of some writers and others.
A.I. Batyuto connects traditions with the use or borrowing of techniques of portrait-psychological depiction of a character, composition and plot construction. G.V. Kurlyandskaya, speaking of tradition, implies “ideological and creative echoes” with predecessors. V. Gusev, touching on the traditions of Russian classics, writes about the similarity of problems and characters. Based on the scientific interpretation, tradition characterizes cultural memory, connects the values of the historical past and present, transmits cultural heritage from generation to generation, acts as a mechanism for storing and transmitting techniques and skills, and cultural patterns. The past becomes a prototype of the present, a source of perfection for the future.
Tradition is a type of relationship between the stages of a developing object, in in this case literature expressing the transition of the “old” to the “new”. That is, literature cannot exist without relying on the experience of previous generations.
On methodological basis Marxist literary criticism began to isolate “immanent” and “causal” phenomena within the framework of the literary process. “Causal” phenomena are a combination of historical, cultural, social and economic factors. They are given a leading role. The appearance of “immanent” phenomena is due to the creative specifics of literature. They provide strong impact on the literary process, since the reflection of social reality is formed by the consciousness of the writer. Tradition is considered as an aspect of relations that covers the patterns of literary evolution depending on “immanent” and “causal” factors.
In the system of information received by a person, a group of sociocultural information, or biologically non-inheritable, is distinguished. The condition for its storage and transmission is a communication mechanism that ensures the stability of culture during its constant evolution. This mechanism is called tradition; its special function is to maintain stability. In new conditions, the content of accumulated experience is transformed, constant changes reflect the procedural nature of tradition. Since tradition enshrines the best achievements of humanity, it correlates with the concept of cultural norms. The accumulated experience is rethought and transformed by the new generation. A bearer of tradition whose work is perceived as classic sample, becomes a guide.
But tradition includes not only the peculiarities of the work of one writer; it implies the history of numerous transformations of certain literary phenomena.
Tradition as a special mechanism of culture has its own patterns of functioning. If we talk about social tradition, which is a product of the activity of a collective, its bearer is the individual. With the exception of some written forms of tradition, it is discontinuous, expressed unidirectionally in time, and selective. Social tradition is learned consciously and unconsciously. As for the literary tradition, it is a product of the activity of individuals and its bearer is a person with talent. Since the literary tradition is realized in the work of writers, in specific works, it is always discontinuous. The selectivity of tradition in the field of literature is much higher. The writer uses components of the literature of the past that correspond to his own artistic goals. Selection and updating of traditions in the field artistic creativity depends on the writer’s literary position; it is a question of his creative self-determination. Turning to a particular literary tradition is the result of a conscious choice of the writer.
Tradition is the cultural and artistic experience of past eras, which has become a creative guide for writers. Carrying out the connection of time, tradition marks the selective and proactive-creative mastery of the heritage of previous generations to solve modern artistic problems. As a tradition, writers assimilate themes from past literature that are socially and historically determined; moral and philosophical problems and motives, features of genres, components of form.
Traditions manifest themselves as influences and borrowings. Traditional plots, images and motifs are a form of universal memory that preserves universal human experience; a system of value guidelines is formed. The overlap between the eternal and the modern in a literary work often arises due to the writer’s use of the technique of comparing his hero with other literary and historical characters.
In literary criticism, the concept of “tradition” is considered two-sided. R.G. Apresyan, A.A. Huseynov point to the absolutization of the past, immutability and conservatism. On the other hand, they consider tradition a necessary condition for the sustainability of existence, “the beginning of the formation of the identity of a person, a social group and an entire society” [Apresyan 2001: 120].
Tradition can influence literary creativity spontaneously. The writer assimilates socially and historically determined themes, moral and philosophical problems and motives, and components of form. The past has always acted as a guide for solving modern artistic problems.
MINISTRY OF EDUCATION OF THE SARATOV REGION
STATE AUTONOMOUS PROFESSIONAL
EDUCATIONAL INSTITUTION OF THE SARATOV REGION
"ENGELS POLYTECHNIUM"
(GAPOU SO "Engels Polytechnic")
st. Poltavskaya, 19, Engels, Saratov region, 413121
Project
Literature and
literary traditions hometown
Completed by: students gr. 310
Course 3, specialty 02/19/10.
"Product technology
Catering"
Mayer Mark Vladlenovich,
Polushkin Ilya Dmitrievich,
Wolf Anastasia Vladimirovna
Head: Doronina
Galina Nikolaevna
Engels 2016
Introduction
Our city can rightfully be proud of its “children”: famous athletes, scientists, successful entrepreneurs, talented people in the sphere of culture and art.
How well do we know the literary traditions of our city? Do we all read our literary publications, which we (a group of researchers) consider real treasures and masterpieces of our hometown? Do we show interest in creative life Engels? The ability to answer these problematic questions became the basis the relevance of our project.
Target: explore the literature and literary traditions of your hometown. Tasks:
- Update solutions to identified problems.
- Study the literary traditions of your hometown.
- Inform teachers and students about literary competitions held in our city, about the most significant and valuable literary publications.
- Prepare additional material to help teachers and students.
- Make suggestions to resolve problematic issues.
Literary associations native land
There are interesting creative associations in our city. Among them:
- Literary and musical association "Nadezhda"
The literary and musical association “Nadezhda” was created in 1986. It is headed by Alexander Kobylinsky, a member of the Writers' Union of the Russian Federation. Included in this creative union includes the following authors: Elena Barinova, Alexander Burmistrov, Valentina Bychkova, Sergey Gorsky, Igor Gusev, Nina Gutnik, Svetlana Ermakova, Alexander Kobylinsky, Alexander Kotov, Victor Kuzmin, Vladimir Litovchenko, Svetlana Lunina, Sergey Maksimenko, Denis Markelov, Galina Nikitina, Valentina Pavlukhina, Mikhail Petrov, Yulia Rastorgueva, Vladimir Udalov , Polina Fedusenko, Alexander Khomutov, Yuri Tsvetkov, Nikolai Chepenko, Vladimir Shapovalov, Alexander Shalaev, Roalt Shlangman, Anatoly Gromov and others.
With the participation of the “Nadezhdenists”, about a dozen new newspapers appeared in the city - “Pokrovsk”, “Steps”, “School Crossroads”, “Roads of Health”...
- The Pokrovsk Geniuses Club is an informal association of creative people.The founder and leader of this club is Alexander Burmistrov, a member of the Union of Writers of the Russian Federation. Club meetings are held twice a month. This club includes writers, artists, local historians and simply creatively thinking people, for whom fundamental life principles are freedom of expression, alignment with the greats, creative search. Among them: Vasily Resnyansky, Egor Kharitonov, Ivan Levashov and others. During meetings, creative disputes take place between club members regarding literary novelties, social activities etc.
Literary competitions
Not each of us probably knows that our city hosts annual literary competitions, in which anyone can take part. The most significant of them:
- Short story competition “Between us, Pokrov residents”
July 22, 2007 in Engelskoe local history museum The first short story competition “Between Us, Pokrovchans” was held, in which nine authors took part. From that day on, the competition became traditional.
- Literary competition in memory of the Schnittke brothers
Engels Department of Culture, German Embassy in the Russian Federation, Engels Center German culture, the editorial office of Novaya Gazeta, the L. Kassil Museum and the Nadezhda literary association, with the approval of Ekaterina Georgievna Schnittke, the widow of Viktor Garrievich, are holding an annual literary competition in memory of the Schnittke brothers among children and youth up to 25 years of age (inclusive).
Announcements about this competition are posted in the Engels media.
There are also other literary competitions in our city, including a poetry competition, dedicated to the Day cities.
Masterpieces and Treasures native literature
IN Lately The number of literary publications has increased in our city. We consider many of them to be real masterpieces and treasures of our native literature. The most striking are:
- Literary and artistic almanac “The Other Shore”
The almanac is published by the Engels weekly newspaper Novaya Gazeta and an informal creative association that, not without irony, but not without reason, calls itself the Pokrovsk Geniuses Club. The literary and artistic almanac is published based exclusively on Engel authors and those who, in one way or another, are connected with our city.
This publication aroused great interest not only in our city, but also far beyond its borders. There are positive reviews about the almanac in such well-known publications as “Literary Journal”, “ New world", "Novaya Gazeta" (Moscow), "Volga" and " Public opinion" They talked about him on the TV channel “Culture” in the program “Apocrypha”.
The works of Victor Schnittke (the story “Return to Engels” and poems), published in magazine No. 2 for 2008, deserve special attention. And we read Vera Lvova’s story “The Evil Ones” (a genre of journalism) to all first-year students, since, in our opinion, it has great educational significance.
- Igor Smilevets “On the roads of the Polar Ring”
This is the author’s third book and again “a traveler’s notes”, in which he gives a historical and geographical description of the polar regions of Russia from Salekhard to Pevek, made by him during trip around the world along the Arctic Circle.
Igor Smilevets “From Sannikov Land to the Hills of Manchuria”
The host of the TV show “Not Far Away”, Dmitry Khudyakov, called this book the best in quality and internal content over the last 10 years that was published in the Saratov region about travel and history.
- Nikolai Fedorov “We must be remembered as young”
Nikolai Ulyanovich Fedorov, participant in the Great Patriotic War, member of the Union and Honored Worker of Culture of Russia, Honorary Citizen of the city of Engels, veteran of pedagogical work and candidate of philological sciences.
The main themes of all his books are the Great Patriotic War, the fate of Russia and the signs of his native land in the past and present, the spiritual life of our contemporary. They are also central to this twelfth book, “Remember Us as Young,” which the Saratov Writers’ Organization intends to put forward for consideration of the possibility of awarding its author the All-Russian Literary Prize.
The book consists of four sections. In the first - “Remember, front-line soldier, remember...” - live front-line events, poems written at the front and based on fresh memories of it.
The second section is “Beloved Land, Native and Ancient” - these are historical and modern signs of the Volga region and Russia as a whole.
Third section – “Thank you for your beauty” - complex world human relationships, love and friendship, philosophical reflections on the meaning of life.
The fourth section - “When we think about it, I touch the memory” - includes historical and socio-political poems about Russia, about its tragic but great fate, reflecting confidence in its immortal and wonderful future.
- Literary and artistic collection “Hope”
The release of which is dedicated to the 250th anniversary of our city and the 200th anniversary of the Saratov province. It contains a whole palette of creative searches of “hopeful people”. There are authors with a philosophical concept, and there are authors who perceive life with a certain amount of irony and humor. This collection contains best works 27 “hopeful people” working as poets and prose writers.
The youngest of them, a graduate of the Engels Pedagogical School, Svetlana Lunina, is 19 years old. But her works are already marked by the depth of search. It’s not for nothing that in 1996 she became All-Russian festival young authors in Gelendzhik twice received a diploma: the lyrics and prose of the young talent made a good impression on the venerable Russian poets and writers there.
- Elizaveta Erina “Under the Protection of the Virgin Mary”
The first volume was “published” in 2003, the fourth volume will be released in the near future. The widespread interest in the publication is evidenced by the numerous grateful responses from readers received by E. Erina and published in newspapers. The author’s work is also highly appreciated by local historians.
The Office of Archives of the Government of the Saratov Region presented the book by E.M. Erina for the All-Russian competition of journalistic and writing works “We are proud of our Fatherland.” In April 204, in the category “documentary filmmaker”, author of the book “Under the Protection of the Virgin Mary”, Certificates of the Russian State Military Historical and Cultural Center under the Government Russian Federation. This is a very significant assessment of E. Erina’s work, since out of 735 participants who provided 1000 creative works, the organizer received a certificate All-Russian competition units were marked.
The author of the book is convinced that knowledge of one’s history small Motherland and the country is necessary for the formation of a person’s worldview and civic position, instilling love for one’s native land, pride in people whose deeds and talents the Fatherland is glorious. It was this conviction that helped fruitful work on the book, work that continues.
- L. Kassil, O. Molitvina, G. Nefedova “In the Name of Kassil”
The collection “In the Name of Kassil” introduces readers to the writer’s autobiography, the activities of the Lev Kassil Museum and the work of the Central Children’s Library named after the fellow countryman writer.
In our city there are many editions of children's literature by Lev Abramovich Kassil. Every year on the writer’s birthday, large theatrical celebrations are held with “travels” to Shvambrania, Sinegoria, Dzungakhora...
And all this means only one thing: in spiritual connection and spiritual unity, the very roots that allow you to increase cultural heritage our region and be proud of the name children's writer Lev Abramovich Kassil.
8. G. Mishin “Pokrovsk”
A collection of documentary essays about the history of the city of Pokrovsk (now Engels), its glorious fellow countrymen.
Among the heroes of the book are the president of the first republican government of the Hawaiian Islands, Nikolai Sudzilovsky, the Cassil family, artists Alexei Kravchenko, Jacob Weber, Andrei Mylnikov, and cosmonaut Yuri Gagarin.
Gennady Alekseevich – journalist, writer, artist, poet, local historian, collector. There is more of something in it, less of something. But, undoubtedly, he is a brightly gifted person; his versatility and breadth of interests are amazing.
The list of all publications can be endless, but interesting creative works Our local authors can be found in local newspapers. Of particular interest to us was the work of Alexander Burmistrov “Rescue Zone”, published in the weekly newspaper “Novaya Gazeta”.
Literary traditions our technical school
Our technical school also has its own literary traditions. Among them:
Poetry competitions in which students present not only poems by famous authors, but also their own compositions to the audience.
Meetings with creative people.
Literary events, one of which “In support of reading” was held with first-year students. Information about it was posted on the website Central Library and in the regional weekly "Courier".
Literary living rooms
Conclusion
As a result of our research, we were once again convinced that Engels is rich in talented and creative people, true patriots of our region and the country as a whole. Thanks to their energy and inexhaustible creativity, literary traditions are alive and continue to develop.
Eight authors of our city are members of the Union of Writers of the Russian Federation (Burmistrov A., Kobylinsky A., Gutnik N., Fedorov N., Udalov V., Korneev A., ....). Soon Vasily Resnyansky will join their ranks. We offer:
- Know the literature of your native land, be interested in literary novelties.
- Hold meetings with interesting and talented authors of our city (we have planned a meeting with the writer Alexander Kobylinsky in the near future).
- Release literary page(newspaper) of our technical school (both in printed form and on the technical school website), the authors of which could be students and teachers.
We believe that our project is very important, since recently the interest of citizens in literature in general and in the literature of their hometown in particular has been declining.
We would like to thank for information assistance:
Alexander Burmistrov, editor-in-chief of Novaya Gazeta, member of the Union of Writers of the Russian Federation.
Olga Vladimirovna Schitt, head of the local history department of the Central City Library.
Yudina Anastasia Valentinovna, leading librarian of the reading room of the Central City Library.
As part of our project, we conducted a survey of students and teachers. The results of the survey showed that students who love to read - 32%, those who read on assignment (because they have to) - 75%, those who do not like to read - 3%. 80% of respondents have favorite poets and writers. Of our local authors, most know Lev Kassil.
As part of our project, we carried out whole line events, which can be found on the website of our technical school.
List of used literature
- Kassil L.A., Molitvina O.P., Nefedova G.V. In the name of Kassil. - Saratov: OJSC “Appendix Book Publishing House”, 2005. -116 p.
- Fedorov N.U. We must be remembered as young: Poems. – Saratov: “Region. Volga region Publishing house "Children's Book", 2006. - 456 p.
- Erina E.M. Under the Protection of the Mother of God: From the history of the Pokrovskaya-Pokrovsk-Engels settlement in documents and facts: (Book 2: Essays-research). – Saratov: Privolzhsk LLC. Publishing House", 2007. – 320 p.
- Literary and artistic almanac “The Other Shore” - No. 1, 2, 10.
- Social and political weekly (Engels) “Novaya Gazeta”. - No. 4 (913) January 30, 2013