The complexity of creative searches and the tragedy of the destinies of Russian writers and poets: A. Akhmatova, B. Pasternak, O. Mandelstam, N. Zabolotsky and others.
M.I. Tsvetaeva. Information from the biography.
Poems: “To my poems, written so early...”, “Poems to Blok” (“ Your name- a bird in hand..."), "Who is created from stone, who is created from clay...", "Longing for the homeland! For a long time…",
The main themes of Tsvetaeva’s creativity. The conflict between everyday life and existence, time and eternity. Poetry as a tense confessional monologue. Folklore and literary images and motifs in Tsvetaeva’s lyrics. The originality of the poetess's style.
Literary theory
O.E. Maldenstam. Information from the biography.
"Insomnia. Homer. Tight sails...", "For the explosive valor of the coming centuries...", "I returned to my city, familiar to tears...". The poet's confrontation with the "wolfhound age". The search for spiritual support in art and nature. Petersburg motives in poetry. The theory of the poetic word of O. Mandelstam.
Literary theory: development of the concept of means of poetic expression.
A.P. Platonov. Information from the biography.
The story "Pit".
Search positive hero writer. Unity of the moral and aesthetic. Labor as the basis of human morality. Principles of character creation. The social and philosophical content of A. Platonov’s work, the originality of artistic means (the interweaving of the real and the fantastic in the characters of truth-seekers, the metaphorical nature of images, the language of Platonov’s works). Traditions of Russian satire in the writer’s work.
Literary theory: development of the concept of writer's style.
M.A. Bulgakov. Information from the biography.
Novel "The Master and Margarita". The originality of the genre. The novel's versatility. System of images. Yershalaim chapters. Moscow of the 30s. Secrets of human psychology: fear powerful of the world before the truth of life. Woland and his entourage. Fantastic and realistic in the novel. Love and fate of the Master. Traditions of Russian literature (the works of N. Gogol) in the works of M. Bulgakov. The originality of the writing style.
Literary theory: variety of types of novels in Soviet literature.
A.N. Tolstoy. Information from the biography.
"Peter the First". The theme of Russian history in the writer’s work. "Peter the First" - art history Russia of the 18th century. Unity of historical material and fiction in the novel. Image of Peter. The problem of personality and its role in the fate of the country. The people in the novel. The pathos of the struggle for the power and greatness of Russia. Artistic originality novel. Film adaptation of the work .
Literary theory: historical novel.
M.A. Sholokhov. Information from the biography.
"Don Stories" novel " Quiet Don" (review).
The world and man in the stories of M. Sholokhov. The depth of realistic generalizations. The tragic pathos of "Don Stories". Poetics of the early works of M. Sholokhov.
"Quiet Don" An epic novel about the fate of the Russian people and Cossacks during the Civil War. The originality of the genre. Features of the composition. The collision of the old and new worlds in the novel. Mastery of psychological analysis. Patriotism and humanism of the novel. Image of Grigory Melekhov. The tragedy of a man from the people at a turning point in history, its meaning and significance. Women's destinies. Love on the pages of a novel. Multifaceted storytelling. Traditions of L.N. Tolstoy in the novel by M. Sholokhov. The originality of the writer's artistic style.
Literary theory: development of the concept of the writer’s style.
Literature of the Great Period Patriotic War And
first post-war years
Literary and artistic figures in defense of the Fatherland. Painting by A. Deineka and A. Plastov. Music by D. Shostakovich and songs of the war years (S. Solovyov-Sedoy, V. Lebedev-Kumach, I. Dunaevsky, etc.). Cinematography of the heroic era.
Lyrical hero in the poems of front-line poets: O. Berggolts, K. Simonov, A. Tvardovsky, A. Surkov, M. Isakovsky, M. Aliger, Yu. Drunina, M. Jalil and others.
Realistic and romantic depiction of war in prose: M. Sholokhov’s story “The Fate of a Man” and others.
Stories and novels by B. Vasiliev “And the dawns here are quiet”, V. Rasputin “Live and Remember”, etc.
A. A. Akhmatova. Life and creative path.
Poems "Song of the Last Meeting" “I don’t need odic armies,” “I clasped my hands under dark veil...”, “I am not with those who abandoned the lands..”, “Native land”, “I had a voice” . Poem "Requiem". Akhmatova’s early lyrics: the depth, brightness of the poet’s experiences, his joy, sorrow, anxiety. Theme and tone of the lyrics of the period of the First World War: the fate of the country and the people.
Personal and public issues in poems of the revolutionary and first post-revolutionary years. Themes of love for native land, to the Motherland, to Russia. Pushkin's themes in Akhmatova's works. The theme of love for the Motherland and civil courage in the lyrics of the war years. The theme of poetic skill in the work of the poetess.
Poem "Requiem". The historical scale and tragedy of the poem. The tragedy of life and fate lyrical heroine and poetesses. The originality of Akhmatova's lyrics.
Literary theory: the problem of tradition and innovation in poetry. Poetic mastery.
B.L. Parsnip. Information from the biography.
Poems: “February. Get some ink and cry...", "Hamlet", “In everything I want to get to the very essence...”, “Winter Night. Aesthetic searches and experiments in early lyrics. Philosophical lyrics. The theme of the path is the leading one in Pasternak’s poetry. Features of poetic perception. Simplicity and lightness of late lyrics. Originality artistic form poems.
A.T. Tvardovsky. Information from the biography.
Poems: “The whole essence is in one single covenant”, “In memory of the mother”, “I know: it’s not my fault...”, "On the day the war ended..." Poem “Vasily Terkin”, “By right of memory”.
The theme of war and memory in the lyrics of A. Tvardovsky. Affirmation of moral values.
The lyrical hero of the poem "Vasily Terkin", his life position. The artistic originality of A. Tvardovsky’s creativity.
Literary theory: traditions of Russian classical literature and innovation in poetry.
Literature of the 50s–80s (review)
Death of I.V. Stalin. XX Party Congress. Changes in society and cultural life countries. New trends in literature. Topics and problems, traditions and innovations in the works of writers and poets.
Reflection of the conflicts of history in the destinies of the heroes: A. Solzhenitsyn “One Day in the Life of Ivan Denisovich” and others.
A new understanding of the problem of man in war: Y. Bondarev “Hot Snow”, V. Bogomolov “Moment of Truth”, V. Kondratiev “Sashka”, etc. Study of the nature of heroism and betrayal, philosophical analysis of human behavior in an extreme situation in the works of V. Bykov "Sotnikov" and others.
The role of works about the Great Patriotic War in the education of patriotic feelings of the younger generation.
Poetry of the 60s . Searching for something new poetic language, form, genre in the poetry of B. Akhmadullina, R. Rozhdestvensky, A. Voznesensky, E. Yevtushenko, B. Okudzhava and others. Development of the traditions of Russian classics in the poetry of N. Fedorov, N. Rubtsov, Yu. Drunina and others.
Reflection on the past, present and future of the Motherland, the affirmation of moral values in the poetry of A. Tvardovsky.
« Urban prose» . Subjects, moral issues, artistic features of the works of Yu. Trifonov and others.
« Village prose» . A depiction of life in a Soviet village. Depth, integrity spiritual world person, bound by life with the land, in the works of B. Mozhaev, V. Shukshin, and others.
Historical theme in Soviet literature. Resolving the issue of the role of personality in history, the relationship between man and power in the works of S. Alexievich and others.
Author's song. Its place in the historical and cultural process (meaningfulness, sincerity, attention to the individual). The significance of the creativity of V. Vysotsky, Yu. Vizbor, B. Okudzhava and others in the development of the genre of art song.
Multinationality of Soviet literature.
A.I. Solzhenitsyn. Information from the biography.
« Matrenin Dvor » . “One day in the life of Ivan Denisovich.” A new approach to depicting the past. The problem of generational responsibility. The writer's reflections on the possible ways of human development in the story. The skill of A. Solzhenitsyn - a psychologist: the depth of characters, historical and philosophical generalization in the writer’s work.
V.M. Shukshin. Information from the biography .
Stories: "Weirdo", « cut off», « « Oratorical reception» . A depiction of the life of a Russian village: the depth and integrity of the spiritual world of the Russian person. Artistic features of V. Shukshin's prose.
Russian literature of recent years (review)
Abstract topics
XIX century
ON THE. Nekrasov is the organizer and creator of the new Sovremennik.
Roman I.A. Goncharov “Oblomov” as a socio-psychological and philosophical novel.
“Notes of a Hunter” by I.S. Turgenev - history of creation, problems and artistic originality. V.G. Belinsky about “Notes”.
The novel “Fathers and Sons” by I.S. Turgenev, his problems, ideological content and philosophical meaning.
The main conflict of the novel “Fathers and Sons” and its reflection of the socio-political struggle on the eve of and during the reforms.
The image of Bazarov as a “transitional type” of a “restless and yearning man” in the novel by I.S. Turgenev "Fathers and Sons".
Controversy surrounding the novel. DI. Pisarev, M.A. Antonovich and N.N. Fears about “Fathers and Sons.”
I.S. Turgenev “Poems in Prose”, themes, main motives and genre originality.
Drama “The Thunderstorm” by A.N. Ostrovsky. The problem of personality and environment, ancestral memory and individual human activity in relation to the moral laws of antiquity.
The innovative character of A.N.’s dramaturgy Ostrovsky. The relevance and topicality of the problems raised in his works.
Soul and nature in the poetry of F.I. Tyutcheva.
Features of love lyrics by F.I. Tyutchev, its dramatic tension (“Oh, how murderously we love…”, “Last Love”, “On the eve of the anniversary of August 4, 1864”, etc.).
The spontaneity of artistic perception of the world in the lyrics of A.A. Feta (“Don’t wake her up at dawn…”, “Evening” “How poor our language is!..”, etc.).
Genre diversity of creativity of A.K. Tolstoy. The main motives of the poet’s lyrics (“Among the noisy ball...”, “Not the wind, blowing from above...”, etc.).
M.E. Saltykov-Shchedrin is a contributor and editor of Sovremennik and Otechestvennye zapiski.
“Fairy Tales” by M.E. Saltykov-Shchedrin, their main themes, fantastic orientation, Aesopian language.
Roman F.M. Dostoevsky’s “Crime and Punishment”, formulation and solution of problems in it moral choice and human responsibility for the fate of the world.
Raskolnikov and his theory of crime.
The essence of “punishment” for a lost person and her path to spiritual rebirth in the novel by F.M. Dostoevsky "Crime and Punishment".
N.S. Leskov and his tales about truth-seekers and people's righteous people (“Soborians”, “The Enchanted Wanderer”, “Lefty”).
“War and Peace” L.N. Tolstoy. Concept, issues, composition, system of images.
Search for a positive hero and ideals of A.P. Chekhov in his stories (“My Life”, “House with a Mezzanine”, “The Jumper”).
Innovation of Chekhov's dramaturgy.
Cognitive, moral, educational and aesthetic role of Russian literature of the 19th century, its global significance and a relevant sound for modern times.
The end of the 19th – the beginning of the 20th century
Modernist movements. Symbolism and young symbolism. Futurism.
Motives of the immortality of the soul in the works of I.A. Bunina.
A.I. Kuprin. Affirmation of the high moral ideals of the Russian people in the writer’s stories.
The concept of society and man in the dramatic works of M. Gorky.
Autobiographical stories by M. Gorky “Childhood”, “In People”, “My Universities”
Ideals of serving society as interpreted by V. Ya. Bryusov.
The theme of the historical destinies of Russia in the works of A.A. Blok.
Acmeism as a movement in literature; representatives of Acmeism.
Fate and Creativity M.I. Tsvetaeva.
M. Sholokhov's epic novel “Quiet Don”. The uniqueness of the depiction of Russian character in the novel.
Soviet historical novel “Peter the Great” by A. Tolstoy.
Satirical novels and stories by I. Ilf and E. Petrov.
Reflection of the tragic contradictions of the era in the works of A. Akhmatova, O. Mandelstam.
Development of the traditions of Russian folk culture in the poetry of the 30s by A. Tvardovsky, M. Isakovsky.
Patriotic poetry and songs of the Great Patriotic War.
M.A. Sholokhov - the creator of the epic painting folk life in "Don Stories".
Military theme in the works of M. Sholokhov.
The originality of the composition of the novel " White Guard» M.A. Bulgakov.
Early lyrics of B. Pasternak.
A. Tvardovsky “Vasily Terkin”. A book about a fighter is the embodiment of the Russian national character. I. Bunin about “Vasily Terkin”.
“Camp” prose by A. Solzhenitsyn “The Gulag Archipelago”, novels “In the First Circle”, “Cancer Ward”.
Philosophical novels by Ch. Aitmatov: “Stormy Stop”, “And the Day Lasts Longer than a Century”, “The Scaffold”.
Philosophical fantastic prose by A. and B. Strugatsky.
Neomodernist and postmodernist prose by V. Erofeev “Moscow - Petushki”.
Artistic exploration of the everyday life of modern man in the “cruel” prose of T. Tolstoy, L. Petrushevskaya, L. Ulitskaya and others.
The spiritual world of the Russian person in the lyrical verses and poems of N. Rubtsov.
Philosophical and parable narrative about the war in V. Bykov’s stories “Sotnikov”, “Obelisk”, “Sign of Trouble”.
The variety of folk characters in the works of V. Shukshin.
Early stories by A. Solzhenitsyn: “One Day in the Life of Ivan Denisovich”, “Matrenin’s Yard”.
Poetry of the 60s XX century.
N. Rubtsov. The development of Yesenin’s traditions in the books “Star of the Fields”, “The Soul Keeps”, “The Noise of Pines”, “Green Flowers”, etc.
I. Brodsky's Nobel lecture is his poetic credo.
Books of poems by I. Brodsky “Part of Speech”, “The End of a Beautiful Era”, “Urania”, etc.
Social and psychological dramas by A. Arbuzov “Irkutsk History”, “Tales of the Old Arbat”, “Cruel Intentions”.
Theater of A. Vampilov: “The Eldest Son”, “Duck Hunt”, “Provincial Anecdotes”, “Last Summer in Chulimsk”.
Conventional metaphorical novels by V. Pelevin “The Life of Insects” and “Chapaev and Emptiness”.
Literary criticism of the mid-80s–90s. XX century
Development of the detective genre at the end of the twentieth century.
THEMATIC PLAN
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Name of sections and topics |
Number of hours |
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LITERATUREXIXCENTURIES |
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Introduction |
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Russian literature second half of the 19th century century |
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Study time reserve |
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Total |
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LITERATUREXXCENTURIES |
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Introduction |
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Russian literature at the turn of the century |
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Poetry of the early 20th century |
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Literature of the 20s (review ) |
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Literature of the 30s - early 40s. (review) |
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Literature of the Great Patriotic War war and the first post-war years |
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Literature of the 50s–80s (review) |
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Russian literature recent years(review) |
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Study time reserve |
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Total |
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Total |
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REQUIREMENTS FOR LEARNING OUTCOMES
As a result of studying the academic discipline “Literature”, the student must
know/understand:
the figurative nature of verbal art;
basic facts of the life and work of classical writers of the 19th–20th centuries;
the main patterns of the historical and literary process and features of literary movements;
basic theoretical and literary concepts;
be able to:
reproduce the content of a literary work;
analyze and interpret piece of art, using information on the history and theory of literature (topics, problems, moral pathos, system of images, compositional features, figurative and expressive means of language, artistic detail); analyze an episode (scene) of the studied work, explain its connection with the problems of the work;
relate fiction to social life and culture; reveal the specific historical and universal content of the studied literary works; identify “cross-cutting” themes and key problems of Russian literature; correlate the work with literary direction eras;
determine the type and genre of the work;
compare literary works;
formulate your attitude to the work you read in a reasoned manner;
write reviews of works read and essays of different genres on literary topics;
use acquired knowledge and skills in practical activities and everyday life For:
creating a coherent text (oral and written) on the required topic, taking into account the norms of the Russian literary language;
participating in dialogue or discussion;
independent acquaintance with phenomena artistic culture and assessment of their aesthetic significance;
determining your reading range and evaluating literary works.
for students
Literary texts
Literature of the 19th century.
A.N. Ostrovsky. Storm.
I.A. Goncharov. Oblomov.
ON THE. Nekrasov. On the road. Yesterday, at about six o'clock... Listening to the horrors of war... Poet and citizen. Reflections at the front entrance. Song to Eremushka. Knight for an hour. In memory of Dobrolyubov. Prophet. Peddlers. Railway. Frost - Red nose. Grandfather. Russian women. Who lives well in Rus'?
I.S. Turgenev. Fathers and Sons.
M.E. Saltykov-Shchedrin. The story of one city. Gentlemen Golovlevs.. Fairy tales.
N.S. Leskov. The Enchanted Wanderer.
F.I. Tyutchev. There is in the original autumn... Cicero. Fountain. Don’t believe, don’t trust the poet, maiden... Russian woman. These poor villages... Oh, how murderously we love... Last love. She lay in oblivion all day... You can’t understand Russia with your mind... We can’t predict... I met you...
A.A. Fet. Don’t wake her up at dawn... Share your living dreams... Whisper, timid breathing... The night was shining... How poor our language is... I won’t tell you anything... I still love, I still languish...
F.M. Dostoevsky. Crime and Punishment.
L.N. Tolstoy. Sevastopol stories. War and Peace.
A.P. Chekhov. Death of an official. Man in a case. Gooseberry. About love. Lady with a dog. Ionych. Student. The Cherry Orchard.
Literature of the late nineteenth – early twentieth centuries.
A.A. Akhmatova. Song last meeting. Walk. We are all hawkmoths here, harlots... I escorted my friend to the front hall... I heard a voice... The secrets of the craft. There is a cherished quality in the closeness of people... Petrograd, 1919. Oath. Courage. Requiem.
K.D. Balmont. I caught the departing shadows with a dream... I am the free wind... Disgraced angels. I came into this world to see the Sun... I am the sophistication of Russian slow speech... In houses. I don’t know wisdom... There is a tired tenderness in Russian nature...
A. Bely. My words. In the fields. Declaration of love. Abandoned house. Troika. Despair. From the carriage window.
A.A. Block. Retribution. Nightingale Garden. Twelve. Lyrics.
V.Ya. Bryusov.To the young poet. Dagger. We need a test. To the happy ones. Enough.
I.A. Bunin. Antonov apples. Mister from San Francisco. Easy breath.
M. Gorky. Makar Chudra. Old Isergil. Chelkash. At the bottom. Untimely thoughts.
Z.N. Gippius. Song. Inscription on the stone. Sonnet. Spiders. Seamstress. Everything is all around. December 14. December 14, 17. Damn doll.
N.S. Gumilev. Captains. Worker. Baby elephant. Telephone. Lost tram. Lake Chad. Giraffe. Telephone. South. Scattering stars. About you. Word.
A.I. Kuprin. Olesya. Garnet bracelet. Shulamith.
V.V. Mayakovsky. Myself (autobiography). Listen! A cloud in pants. Ode to revolution. Left march. Poems about the Soviet passport. Those who sat for a long time. An extraordinary adventure... ROSTA windows.
D.S. Merezhkovsky. Parks. Children of night. Double abyss. Prayer for wings. Foreign land is homeland. God. About the reasons for the decline and about new trends in modern Russian literature.
F. Sologub. You can’t see a thing in the field... I love to wander over the quagmire... Captive animals. Damn swing.
M. Tsvetaeva. To my poems, written so early... Who was created from stone, who was created from clay... So many of them fell into this abyss... A poem of air. Pied Piper. My Pushkin.
Literature of the 20th century.
M. Gorky. Old Isergil. Chelkash. At the bottom.
V. Mayakovsky. Night. From street to street. Could you? A few words about myself. Here you go. To you. Listen. Violin and a little nervous. Left march. Order for the army of art. Good attitude towards horses. Those who sat for a long time. Lilichka! Love. Letter to Comrade Kostrov... Letter to Tatyana Yakovleva. It must have been the second time you went to bed... About this. Fine! In a loud voice. Bug. Bathhouse.
S. Yesenin. Winter is singing and calling... The scarlet light of dawn has woven on the lake... The Lord has come to torture people in love... Goy you, Rus', my dear... Letter to the mother. The golden grove dissuaded me... O Rus', flap your wings... Cow. Song about a dog. I'm tired of living in native land... I won’t deceive myself... I am the last poet of the village... The fields are compressed, the groves are bare... Yes, now it’s decided, there’s no return... I only have one fun left... I don’t regret, I don’t call, I don’t I’m crying... I asked the money changer today... Shagane, you are mine, Shagane... Let others drink you... You don’t love me, don’t feel sorry for me... To Kachalov’s dog. I walk through the valley, On the back of my cap... You are my fallen maple, icy maple... Now we are leaving little by little... Goodbye, my friend, goodbye... Soviet Rus'. Rus' is leaving. Letter to a woman. Anna Snegina.
M. Bulgakov. Dog's heart. Master and Margarita.
M. Sholokhov. Quiet Don. The fate of man.
A. Tolstoy. Peter the First.
A. Platonov. Pit.
A. Akhmatova. Gray-eyed king. She clenched her hands under a dark veil... You drink my soul like a straw... Song of the last meeting. In the evening. IN last time we met then... I accompanied my friend to the front hall... It would be better if I cheerfully called out ditties... He loved... I learned to live simply, wisely... We are all hawk moths here, harlots... Confusion. I came to visit the poet... We thought: we are beggars... I am not with those who abandoned the earth... Everything was stolen, betrayed, sold... Requiem.
B. Pasternak. February. Get some ink and cry!.. Marburg. My sister - life is in flood today... Spring. August. Explanation. Winter night. Hamlet. Nobel Prize. On Strastnaya. Doctor Zhivago.
O. Mandelstam. Voronezh poems.
M. Tsvetaeva. You, walking past me... To my poems, written so early... So many of them fell into this abyss... Nobody took anything away... Yesterday I looked into my eyes... Poems to Blok. I like that you are not sick with me... Poet. Hamlet's dialogue with conscience. I keep repeating the first verse... I know I will die at dawn...
M. Zoshchenko. Aristocrat. Marriage of convenience. Love. Happiness. Bathhouse. Nervous people. A crisis. Administrative delight. Monkey tongue. The thieves. Husband. A strong remedy. Galoshes. The delights of culture. Bourgeois. Operation. Minor incident. Serenade. Wedding. Blue Book.
A. Surkov. Beats in cramped stove fire…
K. Simonov. Poems from Sat. "War". With you and without you... The Living and the Dead (Book 1).
A. Tvardovsky. I was killed near Rzhev... On the day the war ended... Vasily Terkin. Beyond the distance is the distance.
M. Isakovsky. Enemies burned down my home... Migratory birds are flying... In the forest near the front. Katyusha.
V. Nekrasov. In the trenches of Stalingrad.
A. Solzhenitsyn. One day of Ivan Denisovich. Matrenin's yard. Tiny ones.
Yu. Bondarev. Hot Snow.
V. Vasiliev. And the dawns here are quiet.
V. Bykov. Sotnikov.
V. Astafiev. Tsar-Fish (stories “The Drop”, “Ear on Boganida”, “Tsar-Fish”, “Dream of the White Mountains”, etc.). Cursed and killed.
V. Shukshin. Weird guy. Microscope. Boots. Stuck. Cut it off. Tough man. Oratorical reception. I believe. Master. Dancing Shiva. Red viburnum.
V. Rasputin. Live and remember.
Yu. Trifonov. Exchange.
V. Makanin. Exchange strip. Caucasian prisoner.
L. Petrushevskaya. The time is night. Three girls in blue.
T. Tolstaya. Stories.
N. Rubtsov.Plantain.
A. Arbuzov. Cruel games.
V. Rozov. Capercaillie nest.
A. Vampilov. Duck hunting. Provincial jokes.
Textbooks and tutorials
Agenosov V.V. and others. Russian literature of the twentieth century. (Parts 1, 2). 11th grade – M., 2005.
Russian literature of the 19th century. (Parts 1, 2). 10 grades – M., 2005
Russian literature of the 19th century. Workshop textbook (part 1, 2, 3). 11th grade / Ed. Yu.I. Baldy. – M., 2003.
Russian literature of the twentieth century. (Parts 1, 2). 11th grade / Ed. V.P. Zhuravleva.
Literature (parts 1, 2). 11th grade / Program ed. V.G. Marantsman. – M., 2002.
Lebedev Yu.V. Russian literature of the 19th century. (Parts 1, 2). 10 grades – M., 2003.
Marantsman V.G. and etc. Literature. Program (part 1, 2). 10 grades – M., 2005.
Russian literature of the 19th century. (Parts 1, 2, 3). 10 grades / Program ed. Obernikhina G.A. – M., 2005.
Obernikhina G.A., Antonova A.G., Volnova I.L. and others. Literature. Workshop: textbook. allowance. /Ed. G.A. Obernikhina. – M., 2007.
Digital resources of Dubna University
- scientific digital library(NEB).
/biblweb/- website of the Dubna University library with access to the electronic catalog and other library and information resources
/biblweb/search/resources.asp?sid=18– a specialized section of the library website with access to electronic resources provided on the basis of license agreements concluded between organizations - resource holders and Dubna University
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Explanatory note……………………………………………. LiteratureXIXcentury……………………………………………….. Introduction………………………………………………………... Russian literature of the second half of the 19th century…………………. LiteratureXXcentury………………………………………………… Introduction………………………………………………………………………………… Russian literature at the turn of the century………………………………….. Poetry of the early 20th century………………………………………………………....... Literature of the 20s (review)……………………………………... Literature of the 30s and early 40s (review)……………………….... Literature of the Great Patriotic War and the first post-war years……………………………………………………….. Literature of the 50s–80s (review) ……………………………………………………....... Russian literature of recent years (review)…………………....... Topics of abstracts ............................................................................. ........ Thematic plan…………………………............................ Requirements for learning outcomes…………………………....... |
Below are flowcharts of some basic spelling rules.
The principle of using the algorithm allows you to correctly solve any spelling problem. Block diagrams will help the listener to repeat and consolidate spelling rules in a generalized form.
Block diagram No. 1
Roots with alternation
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1) -gor-/ -gar- |
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Clone-/-clan- |
Without accent - ABOUT . Remember: utensil |
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Creation-/-creation- |
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2) -zor-/-zar- (z A rya – z O ri). Without accent - A
3) roots of “...IRA”. If behind the root A , I’m basically writing AND
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Beer-/-beer- |
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Steel-/-steel- |
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Ter-/-tir- |
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Shine-/-glitter- |
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Per-/-pir- Der-/-dir- |
(you are t e r out And army) |
Burnt-/-zhig- Even-/-cheat- |
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Mer-/-world- And: |
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I- (-a-) – -im- |
(zan I t - zan them at) |
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I- (-a-) – -in- |
(beginning A th – beginning in at) |
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(Proposal A go - sentence O life, |
before G writing A , |
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cas A to be - to O dream) |
before AND – ABOUT . |
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5) -growing- / -growing- / -growing- |
A st, sch. |
The spelling of the root depends on the consonant in it:
vyr A puppy, p A groaning, but expressing O With .
Remember: R O stov, R O stislav, r O stockman, r O stock, but negative A sl.
The spelling of roots depends on the meaning:
6) th A k- (“to immerse something in liquid”); exchange A dip the pen into the ink.
M O k (“to let moisture through”); prom O read cotton wool.
R O vn- (“even, smooth); arr. O pick up the edges of the sheet.
Equal- (“equal, identical”); command "Equal!"
Remember: ur O ven, r A vnina.
Sk A k- (long-term action), obsk A kick someone.
Remember: jump O To.
Sk O h- (short action), high O chilled unexpectedly.
7) -pl s c- (if the word is a substantive formation); pl s present.
Pl O c- I write in words pl O vec, pl O sneeze.
Pl A c- I write in all other cases. (Pl A vuchy).
Block diagram No. 2 pre-; at –
I. Spelling pre-, pre- depends on the meaning
II. Distinguish by context
|
1. Pr e to be in the city ( Where? ) = to be. |
1. Pr And to visit the city (where?) = to arrive (approaching). |
|
2. Pr e to bow before a feat = to respect very much. |
2. Pr And bow to the ground = bend down (approach) |
|
3. Put something into practice = “translate from plans.” |
3. Close the door = close (incomplete action). |
|
4. Pr e matters of patience = limit. |
4. Chapel of the temple = what is attached. |
|
5. Pr e taker of ideas = one who adopts. |
5. Pr And receiver (radio) = one who receives. |
|
6. Pr e to give someone away = to hand over, to betray someone treacherously. |
6. Pr And to give appearance to something = to come closer to some appearance. |
|
7. Pr e to look at a traitor = to disrespect very much, to treat with contempt. |
7. Pr And to look after an orphan = to shelter. |
Block diagram No. 3
Letter b at the end of words
A. Feminine nouns numbers – mouse, daughter.
B. Verbs:
in the initial form: protect - take care, teach - learn (spelling b checked by the question: if b is in the question, then it is written in the word: (what is he doing?) studies; but he started (what to do?) study);
in the second person singular present and future tense: you are w b , I think w b , read w b ;
Do, do -
will - there are .
If he does,
That - tsya .
V. At the end of adverbs there is a sibilant, except for the words: already, married, unbearable. Compare: backhand, wide open, but: married.
Soft sign in parts of speech
Algorithm 4
s/u at the root after the prefixes
Example of reasoning: disinfection: 1) prefix according to; 2) excl. 1 is not included; 3) foreign language. Priest. dez ® AND.
Background – 1) prefix in acc.; 2) not included in the exception; 3) not inter-, super- and not foreign languages, Russian. ® Y.
Algorithm 5
o/e after sibilants under stress
Example of reasoning: Uprooting - 1) uprooting - spelling in suf., 2) uprooting - suf. verbal origin ® Ё
Hacksaw – 1) knife – spelling in suf.; 2) from knife, suf. non-verbal ® O
Algorithm 6
n/nn in participles and adjectives
End of Algorithm 6
We must distinguish
|
Adjective (denotes constant quality) |
Participle (denotes a sign according to the produced |
|
Planted father and mother |
Planted trees (trees that have been planted) |
|
Named brother and sister |
Named by the teacher (the teacher named) |
|
Dowry |
Unit attached to the army |
|
Finished man |
Finished business |
|
The girl is modest and well-mannered |
A love for books has been brought up since childhood |
|
The girl is stubborn and spoiled |
The actress is spoiled by attention |
|
Children today are distracted and inattentive |
Grains scattered across the field |
|
His actions are deft and focused |
Troops are concentrated on the border |
|
The city lived tensely all these days |
The athlete's body is tense to the limit |
|
He acted rashly |
The matter has been thought out from all sides |
An example of a specific reasoning: Liver fried in oil - 1) na-ny form - full; 2) fry - from the verb; not included in the exception; 3) no -ovanna-, -evan-; 4) what to do? fry - nesov. view; 5) fried in what? in oil – there is a dependent word ® NN.
Uninvited guests – 1) form on - full; 2) from (not) call – from the verb; not included in the exception; 3) no -ovanna-, evan-; 4) what to do? (not) to call - nesov. view; 5) the question is not asked from the word “uninvited”, there is no dependence. words ® N.
The night is long – 1) form -na – short; long – full form; 2) from length – noun; 3) the base ends with N+N ® NN. This means that in short form"long" ® NN.
Algorithm 7
Particle NOT with various parts speeches
Continuation of Algorithm 7
Particles are not and neither
|
1. Denial. He doesn't know this. (we check: does he know this? No.). 2. In negative and indefinite pronouns and pronominal adverbs under stress. No one, nowhere, no one. 3. In exclamatory sentences. Where has he been? What has he not seen! Such sentences are used either independently or as main ones. What did I do to please him? 4. In combinations, none other (other) than...; nothing else but... 1) in an affirmative sentence; 2) in meaning can be replaced by “not someone else, namely (he)”, “not something else, but precisely this.” It was none other than Ivan Ivanovich = it was not anyone, but precisely Ivan Ivanovich. 5. In combination, it is he, and not anyone else. I told him specifically, and not anyone else. |
1. Strengthening negation (there is or is implied negation in the sentence). He doesn't know anything. There is not a rustle on the Neva. 2. In negative pronouns and pronominal adverbs without stress. No one, nowhere, no one. 3. B subordinate clauses with conjunctions: whatever..., wherever..., wherever..., no matter how much... etc. Whoever comes, everyone is welcomed. Signs: 1) have a condescending connotation of meaning; 2) cannot be used independently. 4. In combinations none other (other); nothing else (other) except. in negative sentences (there is a word with the particle NOT). Nothing else could interest him. No one else but Paul could have written this. You just knew how to wait like no one else (didn’t wait). 5. In combination, it is he and no one else. I told him and no one else. |
End of Algorithm 7
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1) union “A”; 2) contrastive-negative meaning. 6. In combinations: almost, isn’t it, almost; in unions it’s not that – not that, not only..., but also. 7. Double negative (Generally a statement) He couldn't help but say (he said). |
1) conjunction “And”; 2) hidden denial; told him and didn't tell anyone else. 6. At steady speed: 1) no more no less; neither give nor take; neither two nor one and a half, neither fish nor meat; not a sound, not a breath; neither light nor dawn; neither here nor there; neither here nor there; break a leg; no answer, no hello; neither this nor that; neither ours nor yours; neither alive nor dead; neither one nor the other, etc. 2) out of nowhere, at all costs, wherever it goes, whatever you say, whatever the cost, etc. |
On August 4, 2008, the great Russian thinker, prose writer, playwright of the 20th century, Nobel Prize laureate in literature, academician of the Russian Academy of Sciences Alexander Isaevich Solzhenitsyn passed away. For Russian culture, he became a symbol of the 20th century. In this regard, the Department of State Policy and Legal Regulation in the Field of Education recommended studying the writer’s work in school, due to the scale of his personality and the significance that this figure has for the history of the development of social thought in Russia in the second half of the 20th century. and literary history of the same period.
Studying the story “One Day in the Life of Ivan Denisovich” in the course of 20th century literature. associated primarily with the “camp theme” in Russian literature of the 20th century. Turning to this work allows us to raise the topic of the tragic fate of man in totalitarian state and the responsibility of the people and their leaders for the present and future of the country.
Textual rather than survey study suggested of this work in literature lessons in 11th grade, because " camp theme" may not be understood by students if they do not refer to the text of the work.
Studying "One Day:" shows what the role fiction in the process of opening the tragic pages of Russian history of the 20th century.
A group form of work is used (exemplary answers are given partially), elements of theater pedagogy.
Goals and objectives of the lesson:
- introduce the life and work of A.I. Solzhenitsyn, the history of the creation of the story "One Day in the Life of Ivan Denisovich", its genre and compositional features, artistic and expressive means, the hero of the work;
- note the features of the writer’s artistic skill;
- consider the reflection tragic conflicts stories in the destinies of heroes;
Equipment: portrait and photographs of A.I. Solzhenitsyn, literary sheets on the writer’s work, an exhibition of his books, a fragment of the feature film “Cold Summer of ’53”, a reference diagram based on the text of the work, a retrospective (1977, 1970, 1969, 1967) of dates in life of the writer, plaques with the names of writers for an impromptu meeting of the Union of Writers of the USSR (K. Fedin, A. Korneichuk, A. Surkov, Y. Yashin, A.I. Solzhenitsyn).
Questions on the board to update perception:
- What does the writer see as his purpose in literature?
Where does his creativity come from?
What allows a person to survive in inhuman conditions?
How can a person remain free in conditions of actual unfreedom?
Vocabulary work:
something that contains a retrospective review (retrospective exhibition, description)
During the classes
1. Determining the purpose and objectives of the lesson.
Retrospective of a selection of newspaper articles critical of A.I. Solzhenitsyn.
Theatrical meeting of the USSR Writers' Union.
Brief curriculum vitae about the writer.
Stills from the film "Cold Summer of '53".
Analysis of the story "One Day in the Life of Ivan Denisovich":
1) history of creation and publication, genre of the work;
2) theme, main idea, plot of the story;
3) pre-camp biography of the hero;
4) character traits and spiritual qualities Ivan Denisovich;
5) “the camp through the eyes of a man”;
6) the breadth of the work’s subject matter;
8) the meaning of the epithet for the word “day” included in the title of the story;
Why not only grief squeezes the heart when reading this wonderful book, but also light penetrates the soul.
This is because of deep humanity, because people remained human even in an environment of mockery.
Zh.Medvedev.
Teacher's introduction:
:On one damp February day in 1974, a single passenger descended down the ramp of a Soviet plane that had arrived unscheduled from Moscow to Frankfurt am Main. This passenger in a demi-season coat, with the buttons cut off on the collar of his shirt, who three hours ago had been slurping prison stew in the famous Lefortovo, and now did not know exactly what awaited him.
German officials who met the unusual Russian guest (or titled exile), and then the famous German writer Heinrich Böll, of course, could not help but notice on his face traces of obvious fatigue, the corollas of wrinkles around his eyes, keen and observant, the grooves on his forehead: These were signs of continuous work of thought.
Who was this lonely Russian exiled passenger, silent, stingy in his movements and extremely taciturn in his first conversations with the press? Everything in him was “pressed” to the limit, the spring of will was not dissolved. Borders, visas, passports! They flash for him, replacing each other, but he inner world not changed. Nothing separated him for a moment - as the near future showed - from the continent of Russian history, from Russia.
This passenger, who flatly refused many questions from journalists, was Alexander Isaevich Solzhenitsyn, who went through many rounds of trials in his homeland. And in this lesson it is proposed to consider these circles in retrospect, that is, to turn back to the writer’s past and find out why A.I. Solzhenitsyn ended up abroad, what Alexander Isaevich sees as his purpose in literature as a writer, what were the origins of his creativity using the example of the story “One Day in the Life of Ivan Denisovich.”
Let's listen to some newspaper collections those years with eloquent headings, selected from the writer’s numerous letters (students write out dates and read out messages).
TASS message: By decree of the Presidium of the Supreme Soviet of the USSR, A.I. Solzhenitsyn was deprived of USSR citizenship and expelled from the Soviet Union for systematically committing actions incompatible with belonging to USSR citizenship and causing damage to the Union of Soviet Socialist Republics.
With a feeling of relief, I read that the Supreme Soviet of the USSR deprived Solzhenitsyn of his citizenship, that our society got rid of him. Solzhenitsyn's civil death is natural and fair. Valentin Kataev.
From the secretariat of the board of the Union of Writers of the RSFSR: With his open letter, Solzhenitsyn proved that he stands on positions alien to our people, and thereby confirmed the necessity, justice and inevitability of his exclusion from the Union of Soviet Writers...
Teacher's word: On September 22, 1967, a meeting of the secretariat of the USSR Writers' Union took place. And today we have a unique opportunity to reproduce part of it. 30 writers attended the meeting. K. Fedin chaired. A.I. Solzhenitsyn was invited. The meeting to analyze his letters began at 1 p.m. and ended after 6 p.m. (students take part in the role of writers; they come out with signs with the names of the writers written on them and sit down at the table, then take turns going to the impromptu podium to give a speech).
K. Fedin: I was shocked by Solzhenitsyn’s letters. And today we will have to talk about his works, but it seems to me that we need to talk in general about his letters.
A. Korneychuk: With our creativity we defend our government, our party, our people. We go abroad to fight. We return from there exhausted, exhausted, but with the knowledge of our duty. We know that you have suffered a lot, but you are not alone (addressing Solzhenitsyn). There were many other people in the camps besides you. Old communists. They went from the camp to the front. In our past there was not only lawlessness, there was heroism. But you didn't notice it. Everything you write is evil, dirty, offensive!
A. Surkov: Solzhenitsyn is more dangerous for us than Pasternak. Pasternak was a man cut off from life, and Solzhenitsyn had a lively, militant, ideological temperament. This is an ideological man, this is a dangerous man.
A. Yashin (Popov): The author of “The Feast of the Winners” is poisoned by hatred. People are outraged that there is such a writer in the ranks of the Writers' Union. I would like to propose expelling him from the Union. He was not the only one who suffered, but others understand the tragedy of the times.
K. Fedin: Let's give the floor to the writer himself - A. I. Solzhenitsyn.
A.I. Solzhenitsyn: I believe that the tasks of literature both in relation to society and in relation to the individual are not to hide the truth from him, to soften it, but to tell the truth as it is: The writer’s tasks concern the secrets of the human heart and conscience, the collision of life and death, overcoming spiritual grief and those laws of extended humanity that originated in the immemorial depths of millennia and will cease only when the sun goes out. Tell me, what is my letter about?
A.I. Solzhenitsyn: You didn’t understand anything then about censorship. This is a letter about the fate of our great literature, which once conquered and captivated the whole world. I am a patriot, I love my homeland. Under my soles all my life is the land of the fatherland, only its pain I hear, only I write about it.
Teacher's word:
Historical reference. We are talking about the “Open Letter” written by A.I. Solzhenitsyn on May 16, 1967 to the delegates of the IV All-Union Congress and sent by Alexander Isaevich to the presidium of the congress as a speech, since he himself was no longer elected as a delegate.
A.I. Solzhenitsyn: Without access to the congress rostrum, I ask you to discuss the unbearable oppression to which our fiction has been subjected from decade to decade by censorship. Literature cannot develop in the categories of “if they let you in or they don’t let you in.” Literature that is not the air of its contemporary society, that does not dare to convey its pain and anxiety to society, to warn at the right time about threatening moral and social dangers, does not even deserve the name of literature.
They say about me: “He was released early!” In addition to the 8-year sentence, I spent a month in transit prisons, then received eternal exile without a sentence, with this eternal doom I spent three years in exile, only thanks to the 20th Congress I was released - and this is called early!
I am alone, hundreds slander me. The only consolation is that I will never get a heart attack from any slander, because I was hardened in Stalin’s camps.
No one can block the paths of truth, and I am ready to accept death for its movement. But perhaps many lessons will teach us, finally, not to stop the writer’s pen during his lifetime. This has never once embellished our history.
Given (briefly) biographical information about the writer prepared by students.
Teacher's word: “My homeland is there, my heart is there, that’s why I’m going,” the writer said before flying to Russia on May 27, 1994. He turned out to be a prophet of his own destiny, since he foresaw his return back in the stagnant year of 1984: “I will return there, not only will my books return, but I will return there alive: For some reason it seems to me that I will die in my homeland.”
In the summer of 2008, Russia suffered a great loss: a citizen writer died, who passionately and devotedly loved his Motherland, rooting for it with all his soul; a person with a clearly expressed position in life, who goes to the end in defending his moral principles; a persistent, courageous person (about this verbal portrait should appear in students' notebooks).
Solzhenitsyn began his search in the name of man within one person, the hero of the story "One Day in the Life of Ivan Denisovich."
Historical reference: From 5.5 to 6.5 million people became victims of terror from 1947-1953 (data in all sources are based on materials collected by A.I. Solzhenitsyn).
In 1970, a film based on the story was shot in Norway. In Russian cinema, the feature film “Cold Summer of ’53” was created, several frames of which will help you transport yourself to the atmosphere of those years and answer the question: what is the common destinies of Ivan Denisovich Shukhov and the heroes of the film (view). In his work, A.I. Solzhenitsyn reflected the tragic conflicts of history in the destinies of the heroes; showed how people became slaves to the “cult of personality.” And all the same: the spirit of the people broke through like a sprout breaking the asphalt (Zh. Medvedev).
Group work on the text of the story "One Day in the Life of Ivan Denisovich"(each group was given a preliminary homework according to the text of the work).
1. History of creation and publication, genre of the work.
"One Day" was conceived by the author on general works in the Ekibastuz Special Camp in the winter of 1950-51. Implemented in 1959, first as “Shch - 854 (One day of one prisoner)” (shch-854 is the camp number of the writer himself). After the XXII Congress, the writer for the first time decided to propose something to the public press, chose " New world"A. Tvardovsky. It was not easy to achieve publication.
“How was this born? It was just such a camp day, hard work, I was carrying a stretcher with a partner and thought how to describe the entire camp world - in one day. Of course, you can describe your 10 years of camp, there, the whole history of the camps, but enough in in one day, collect only one day of one average, unremarkable person from morning to evening, and that’s all.
This idea was born to me in 1952. In the camp. Well, of course, it was crazy to think about it then. And then the years passed. And in 1959 I thought: it seems that I could already apply this idea now. For seven years she just lay there. Let me try to write one day of one prisoner. I sat down and how it started pouring! With terrible tension! Because many of these days are concentrated in you at once. And just so as not to miss anything, I incredibly quickly wrote “One day:”
Image of Ivan Denisovich was formed from the soldier Shukhov, who fought with the author in the Soviet-German war (and never went to prison), the general experience of prisoners and the author’s personal experience in a special camp as a mason.
The genre of the story attracted the writer, since a lot can be put into a small form, and it is a great pleasure for an artist to work on a small form, because in it you can “hone the edges with great pleasure for yourself.”
2. Determine the theme, main idea, reveal the plot of the story.
"One Day in the Life of Ivan Denisovich" is not only a portrait of one day in our history, it is a book about resistance human spirit camp violence.
3. Although the plot of the story is based on the events of one day, the memories of the main character allow us to imagine him pre-camp biography. Briefly describe it.
4. Note the character traits and spiritual qualities of Ivan Denisovich.
What kind of figure is in front of us? What impression does the hero evoke?
Ivan Denisovich Shukhov is, first of all, a peasant, he is characterized by prudence, thoroughness in thoughts, he is not fussy, eating into the little things of life; knows that it is from them that life consists; resourceful, reasonable, never loses human dignity.
His character is revealed in a whole series of small episodes.
Perhaps it is no coincidence that the name “Ivan” in the translation of ancient Hebrew. - (God) had mercy, (God) had mercy.
5. What is Solzhenitsyn’s camp in this story? How can a person live and survive in it? What is the logic behind the character composition?
The convict camp was taken from Solzhenitsyn not as an exception, but as a way of life.
A person can gather his strength and fight against circumstances. You can survive only by resisting the camp order of forced forced extinction. And the whole plot, if you look closely, is the plot of non-resistance between living and non-living things, between Man and the Camp. The camp was created for the sake of murder, aimed at destroying the most important thing in a person - the inner world: thoughts, conscience, memory. “Life here tormented him from waking up to bedtime, leaving no idle memories: And he had even less reason to remember the village of Temgenevo and his native hut.”
Camp law: “If you die today, I will die tomorrow.” This general “guidance of life” puts a person on the other side of good and evil. Not allowing yourself to do this if you want to be called a Human is Shukhov’s task.
Question for the students of the whole class: what saves a person in this inhuman life?
1) Saves belonging to a community of people. Here it is a brigade, an analogue of a family in free life.
2) Saves work(the episode of laying a wall at the site is re-read: “He did the work dashingly, but without thinking at all:”). Ivan Denisovich returned both to himself and to others - albeit for a short time! - a feeling of purity and even holiness of work. The whole masonry scene is a scene of human emancipation, since they stopped being afraid, they even forgot about security.
6. Is only life in the camp zone the thematic content of the story? Which fragments of it indicate a greater breadth of topics?
1) Modern life villages;
2) memories of the village;
3) discussion of Eisenstein’s film “Ivan the Terrible”;
4) details Soviet history in connection with the fates of fellow prisoners (the fate of foreman Tyurin reflected the consequences of collectivization in the country).
Description of the scene is subject to the principle of expanding concentric circles: barracks - zone - crossing the steppe - construction site. The enclosed space is limited by a wire fence. Camp is home, that’s what everyone says: “We’re going home.” There is no time to remember another, real house in a day, but it exists in the story thanks to the hero’s inner vision. And then the next row appears concentric circles: house - village - region - Motherland. (reference diagram)
Time Decree.
None of the prisoners ever sees a watch in their eyes, and what is the point of a watch? The prisoner just needs to know whether it’s time to get up soon, how long before the divorce? Before lunch? Before lights out? Prisoners are not given a clock; the authorities know the time for them.
Time is determined by the sun and month:
“Shukhov raised his head to the sky and gasped: the sky was clear, and the sun had risen almost by lunchtime. It’s a wondrous wonder: the time is ticking by for work! How many times did Shukhov notice: the days in the camp roll by - you won’t look back. But the deadline itself doesn’t pass at all, not gets rid of it completely."
“In the morning, this is the only way the prisoners can save themselves by dragging themselves to work slowly. Those who run fast will not live out their time in the camp - they will evaporate and fall.”
8. Find an epithet for the word “day” in the title of the story.
“Almost a happy day,” thinks Ivan Denisovich Shukhov at the end of his day. Let's name the happy events in the life of the hero of this day:
He hesitated on the rise - they didn’t put him in a punishment cell;
The brigade was not driven out into an open field in the cold to pull the wire from themselves;
At lunchtime I managed to make some porridge;
The foreman closed the interest well, therefore, the next five days the foreman will be “well-fed”;
I found a piece of a hacksaw, forgot about it, but didn’t get caught during the “shmon”;
I worked for Caesar in the evening and bought some tobacco;
And he didn’t get sick, he got over it.
“Not overshadowed by anything,” the happy day of a simple Soviet prisoner I.D. Shukhov. “The day passed, unclouded, almost happy.” “There were three thousand six hundred and fifty-three such days in his term from bell to bell. Due to leap years, three extra days were added:”
Question for the whole class: why did the author show us a “happy” camp day? (I think because the author’s main goal is to show Russian folk character in various circumstances, show through an event, a chain of events - a person. The camp is such an “event”. And the person is Ivan Denisovich Shukhov).
9. Conclusion from the analysis of the story.
What is the hero of the story?
“Ivan Denisovich Shukhov, a Russian man, savvy, delicate, hard-working, in whom the cruel era of cultivating envy, anger and denunciations did not kill that decency, that moral foundation that firmly lives among the people, never allowing in the depths of their souls to confuse good and evil, honor and dishonor, no matter how much they call for it - in the name of what, in the name of what social experiment, what game of mind and fantasy - torn from the family, from the earth and thrown into a huge barracks inhabited by other rooms (A. Latynina).
The system of “imaginary” conflict resolutions in Racine’s tragedy “Andromache”
1. Tragedy - conflict resolution
Tragedies, oh vitality, in everyday life on stage their outcome is different, they are deprived of their reason by deceit, greed, power, where is the biblical outcome hidden?
For the first time in November 1667, Racine staged his great tragedy "Andromache", which was a tremendous success.
Turning to the origins of the ancient Greek mythological themes of the great ancient Greek myth of Hector and Andromache, glorified by Homer, Euripides and many other ancient authors, repeatedly attracting the attention of almost all generations of humanity.
Adept of the poetic legend about the young son of Hector Astyanax to his national history, sensual and tragic.
The young man Astyanax did not die, as ancient authors say, he was miraculously saved and founded a monarchy, becoming the progenitor of the French kings. This is what the ancient French chronicles said. The plot, based on the legend of Andromache and her son, flattered the national consciousness of the French during Racine's time.
Andromache - wife of Hector, the warrior who led the Trojans in Trojan War, whom Achilles killed, after the war she became a captive of Achilles’ son, Pyrrhus.
The problem of choice has always been painful and unique for humans; honor and duty, love and betrayal are at stake.
The world is full of passion, jealousy, devotion and greed, everyone loves without deception, whoever ordered is the hero.
According to Racine’s concept, only in this case can the hero save his life and rise to the occasion; in all other cases, when the duty is forgotten, misfortune and death await the hero. Pyrrha, who made Andromache queen, was treacherously killed in front of the altar by the Greeks, led by Orestes, who carried out revenge for the abandoned Hermione, called on them to take revenge on the Greeks for their new husband. So she fulfilled her debts and was saved.
Those who forgot about duty under the influence of the passion of unrequited love suffered the collapse of life: Pyrrhus was killed, Hermione committed suicide, Orestes went mad.
Depicting Andromache's triumph on stage would have reduced the tragedy of the work, but there was another reason for the absence main character in the final. Racine the psychologist explores the problem of unrequited love as a real human tragedy, Andromache is no exception - her love for Hector could not be realized and made her unhappy, regardless of whether she was a captive or a queen. However, the depiction of Andromache's suffering would contradict the philosophical pathos of glorifying loyalty to duty. So, Racine found the most accurate artistic solution to this contradiction.
Corneille's tragedy is very different from Racine's “love” tragedy. Thus, for all the closeness of his tragedies to their European sources, there is also a significant difference, especially in relation to Racine.
In Andromache, the central motif is destructive passion.
Racine has these central characters are carriers of a single dramatic action.
And Racine is not immoral: his Andromache represents a positive contrast to the other leading characters of the tragedy. On the other hand, Pyrrhus, Hermione and Orestes, despite their disregard for moral principles, are by no means clearly negative heroes: being in the grip of demonic passion, which tears them out of the moral order, these three heroes do not control themselves, they are not free. It is difficult, if not impossible, to discern moral condemnation in this situation.
In Racine, man is a victim of forces over which he has no control. The passion of Pyrrhus, Orestes and Hermione manifests itself as a fatal force against which man is helpless. The power here is not with man, it is with the gods. In an effort to update French tragedy through references to classical tragedy, Racine introduces the idea of the power of fate - an idea that was close to him thanks to his adherence to French Jansenism with its doctrine of predestination (as you know, Racine was a pupil of Port-Royal)
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Contradictions in the character of John Thornton in E. Gaskell's novel "North and South"
Religious and philosophical foundations of A.A.’s creativity Akhmatova
Anna Andreevna Akhmatova is an artist of a truly philosophical bent, since it is philosophical motives form the ideological and meaningful core of all her poetry. Whatever topic the poetess touches...
The system of “imaginary” conflict resolutions in Racine’s tragedy “Andromache”
The ancient idea of fate is the central element of the poetics of Racine's tragedy. In contemporary criticism of Racine and in the criticism of subsequent centuries, this feature went unnoticed (only in the 20th century, in the years after the Second World War...
Specifics of the conflict in the play "The Seagull" by A.P. Chekhov
The main role of any dramatic work is in conflict. Understanding the conflict determines the understanding of the drama as a whole. In drama, characters often characterize themselves, by their actions and words...
It cannot be said that the tragedy of Boris Kostyaev is only the tragedy of his war-cut love. Forced separation from his beloved is rather an emotional shock that entailed a mental crisis for the hero...
Comparative analysis stories by V. Astafiev “The Shepherd and the Shepherdess” and “Lyudochka”
At some point, Lyudochka realized that she herself was involved in this tragedy. She herself showed indifference until the trouble touched her personally. It is no coincidence that Lyudochka remembered her stepfather, whose plight she had not previously been interested in...
The theme of social and psychological conflict in the drama “Masquerade” by M.Yu. Lermontov
fiction drama Lermontov's masquerade Conflict in dramaturgy is main force, spring, driving development dramatic action and the main means of revealing characters...
The tragedy of the Gulag in the works of V. Shalamov
Characteristic elements camp life, including the criminal environment, are given in the works of V. Shalamov. He is certainly right when he asserts that without a clear understanding of the essence of the criminal world it is impossible to understand the camp of A.S. Mikhlin...
The evolution of dramaturgical principles N.V. Gogol
Let us trace the development of the imaginary conflict. First there is a message in the letter that an auditor is going to the city incognito. The mayor tells his a strange dream, “a dream in hand”: two huge black rats came, sniffed and left, that is, nothing has changed...
Literary and artistic figures in defense of the Fatherland. Painting by A. Deineka and A. Plastov. Music by D. Shostakovich and songs of the war years (S. Solovyov-Sedoy, V. Lebedev-Kumach, I. Dunaevsky, etc.). Cinematography of the heroic era.
Lyrical hero in the poems of front-line poets: O. Berggolts, K. Simonov, A. Tvardovsky, A. Surkov, M. Isakovsky, M. Aliger, Y. Drunina, M. Jalil and others.
Journalism of the war years: M. Sholokhov, I. Ehrenburg, A. Tolstoy.
Realistic and romantic depiction of war in prose: stories by L. Sobolev, V. Kozhevnikov, K. Paustovsky, M. Sholokhov.
Section 8. Features of the development of literature from the 1950s to the 1980s.
Death of I.V. Stalin. XX Party Congress. Changes in the social and cultural life of the country. New trends in literature. Topics and problems, traditions and innovations in the works of writers and poets.
Reflection of the conflicts of history in the destinies of the heroes: P. Nilin “Cruelty”, A. Solzhenitsyn “One Day in the Life of Ivan Denisovich”, V. Dudintsev “Not by Bread Alone...”
A.A. Akhmatova.
Life and creative path.
Poems: “Confusion”, “I pray to the window ray...”, “Linden trees smell sweet...”, “The gray-eyed king”, “Song of the last meeting”, “I have no need for odic hosts”, “I clenched my hands under a dark veil...”, “ I am not with those who abandoned the lands...", "Native Land", "I Had a Voice", "Oath", "Courage", "To the Winners", "Muse", "Poem without a Hero". Poem "Requiem". Articles about Pushkin.
Akhmatova’s early lyrics: the depth, brightness of the poet’s experiences, his joy, sorrow, anxiety. Theme and tone of the lyrics of the period of the First World War: the fate of the country and the people.
Personal and public themes in poems of the revolutionary and first post-revolutionary years. Themes of love for the native land, for the Motherland, for Russia. Pushkin's themes in Akhmatova's works. The theme of love for the Motherland and civil courage in the lyrics of the war years. The theme of poetic skill in the work of the poetess.
Poem "Requiem". The historical scale and tragedy of the poem. The tragedy of the life and fate of the lyrical heroine and poetess. The originality of Akhmatova's lyrics.
Repetition. The image of St. Petersburg in Russian XIX literature century (A. S. Pushkin, N. V. Gogol, F. M. Dostoevsky). Love lyrics Russian poets.
Theory of literature. The problem of tradition and innovation in poetry. Poetic mastery.
Demonstrations. Portraits of A. A. Akhmatova by K. S. Petrov-Vodkin, Yu. P. Annenkov, A. Modigliani. I.V. Mozart "Requiem". Illustrations by M.V. Dobuzhinsky to the book “Plantain”.
Creative tasks. Research and preparation of the abstract: “Civil and patriotic poems by A. Akhmatova and Soviet literature"; “The tragedy of the “hundred-million people” in A. Akhmatova’s poem “Requiem.” Preparation virtual tour from one of A. Akhmatova’s museums. By heart. Two or three poems (students' choice).
B.L. Parsnip.
Information from the biography.
Poems: “February. Get some ink and cry...", "About these poems", "Definition of poetry", "Hamlet", "Being famous is ugly", "In everything I want to get to the very essence...", "Winter Night". Poems “Nine Hundred and Fifth” and “Lieutenant Schmidt”.
Aesthetic searches and experiments in early lyrics. Philosophical lyrics. The theme of the path is the leading one in Pasternak’s poetry. Features of poetic perception. Simplicity and lightness of late lyrics. The originality of the artistic form of poems.
Repetition. The theme of the intelligentsia and revolution in the literature of the 20th century (A. A. Blok. Poem “The Twelve”, article “Intellectuals and Revolution”; M. A. Bulgakov. “The White Guard”; A. A. Fadeev. “Destruction”).
Theory of literature. Style. Lyrics. Lyrical cycle. Novel.
Demonstrations. Video film "Boris Pasternak". A. Scriabin. 1st and 2nd sonatas; F. Chopin. Sketches; I. Stravinsky. Music for the ballet "Petrushka". B.L. Parsnip. "Prelude". M. Vrubel. "Daemon". Painting and graphic works by L.O. Pasternak. Dictation based on a text prepared by students in a Russian language lesson.
Creative task. Research and preparation of an abstract (message, report): “A look at the Civil War from the 1920s and from the 1950s - what is the difference?” By heart. Two or three poems (students' choice)
A.T. Tvardovsky.
Information from the biography.
Poems: “The whole essence is in one single covenant”, “In memory of the mother”, “I know: it’s not my fault...”, “To the bitter grievances of one’s own person...”, “On the day when the war ended...”, “ You, stupid death, threaten people.” The poem “By the right of memory.” The theme of war and memory in the lyrics of A. Tvardovsky. Statement moral values
The poem “By Right of Memory”* is redemption and warning, poetic and civil understanding of the tragic past. The lyrical hero of the poem, his life position. The artistic originality of A. Tvardovsky’s creativity.
Repetition. The theme of the poet and poetry in the poetry of the 19th-20th centuries. Images of home and road in Russian poetry. The theme of war in poetry of the 20th century.
Theory of literature. Style. Lyrics. Lyro-epic. Lyrical cycle. Poem.
Demonstration. Illustrations for the works of A. Tvardovsky.
Creative tasks. Research and preparation of the report: “The theme of the poet and poetry in Russian lyrics of the 19th-20th centuries”, “Images of the road and house in the lyrics of A. Tvardovsky”. By heart Two or three poems (students' choice).
V.M. Shukshin.
Information from the biography.
Stories: “Weirdo”, “Choosing a village to live in”, “Cut off”, “Microscope”, “Oratorical reception”. A depiction of the life of a Russian village: the depth and integrity of the spiritual world of the Russian person. Artistic Features prose by V. Shukshin.
A.I. Solzhenitsyn.
Information from the biography.
"Matrenin's yard" "One day in the life of Ivan Denisovich." A new approach to depicting the past. The problem of generational responsibility. The writer's reflections on the possible ways of human development in the story. The skill of A. Solzhenitsyn - a psychologist: the depth of characters, historical and philosophical generalization in the writer’s work.
Repetition. Prose by V. Shalamov. Theory of literature. Epic. Novel. Tale. Story. Literary hero. Journalism.
Demonstration. Stills from film adaptations of A. I. Solzhenitsyn’s works.
Creative tasks. Research and preparation of the report: “The originality of the language of Solzhenitsyn the publicist”; “The visual and expressive language of cinema and literature.”
The work of poets in the 1950s - 1980s.
Development of the traditions of Russian classics and the search for a new poetic language, form, genre in poetry of the 1950-1980s. Lyrics of front-line poets. The work of authors who developed the genre of art songs. Literary associations and trends in poetry of the 1950-1980s. Poetry by N. Rubtsov: artistic media, originality lyrical hero. The theme of the homeland in the poet's lyrics. Harmony of man and nature. Yesenin traditions in the lyrics of N. Rubtsov. Poetry of R. Gamzatov: functions of parallelism, originality of the lyrical hero. The theme of the homeland in the poetry of R. Gamzatov. The relationship between the national and the universal in the poetry of R. Gamzatov. Poetry of B. Okudzhava: artistic means of creating an image, the originality of the lyrical hero. Theme of war, images of Moscow and Arbat in the poetry of B. Okudzhava. Poetry of A. Voznesensky: artistic means of creating an image, the originality of the lyrical hero. Themes of A. Voznesensky's poems. Creative tasks. Research and preparation of reports about the poet (optional).