Letter thirty-first circle of moral settlement. Moral peaks and attitude towards them The moral settledness of the reckless people

How to cultivate “moral settledness” in yourself and others—attachment to your family, to your home, village, city, country?

I think that this is not only a matter for schools and youth organizations, but also for families.

Attachment to family and home is not created on purpose, not by lectures and instructions, but, above all, by the atmosphere that reigns in the family. If a family has common interests, common entertainment, common recreation, then this is a lot. Well, if at home they occasionally look at family albums, take care of the graves of relatives, and talk about how their great-grandparents lived, then this is doubly a lot. Almost every city resident has one of their ancestors who came from a distant or nearby village, and this village should also remain home. At least occasionally, you need to visit it with the whole family, all together, take care of preserving the memory of the past and rejoice in the successes of the present. And even if there is no native village or native villages, then joint trips around the country are imprinted in the memory much more than individual ones. Seeing, listening, remembering – and all this with love for people: how important this is! Noticing the good is not at all so easy. You can’t value people only for their mind and intelligence: value them for their kindness, for their work, for the fact that they are representatives of their circle - fellow villagers or classmates, fellow townspeople, or simply “one of us”, “special” in some way.

The circle of moral settlement is very wide.

There is one thing I would like to focus on in particular: our attitude towards graves and cemeteries.

Very often, urban planners and architects are annoyed by the presence of a cemetery within the city. They are trying to destroy it, turn it into a garden, but meanwhile the cemetery is an element of the city, a unique and very valuable part of urban architecture.

The graves were made with love. Tombstones embodied gratitude to the deceased and the desire to perpetuate his memory. That’s why they are so diverse, individual and always curious in their own way. By reading forgotten names, sometimes looking for famous people buried here, their relatives or just acquaintances, visitors to some extent learn the “wisdom of life.” Many cemeteries are poetic in their own way. Therefore, the role of lonely graves or cemeteries in the education of “moral settled life” is very great.

Letter thirty-two

UNDERSTAND ART

So, life is the greatest value that a person has. If you compare life to a precious palace with many halls that stretch in endless enfilades, which are all generously varied and all different from each other, then the most Big hall in this palace, the real “throne room” is the hall in which art reigns. This is a hall of amazing magic. And the first magic he performs happens not only to the owner of the palace himself, but also to everyone invited to the celebration.

This is a hall of endless celebrations that make a person’s whole life more interesting, more solemn, more fun, more significant... I don’t know what other epithets to express my admiration for art, for its works, for the role it plays in the life of mankind. And the greatest value that art rewards a person is the value of kindness. Awarded with the gift of understanding art, a person becomes morally better, and therefore happier. Yes, happier! For, awarded through art with the gift of a good understanding of the world, the people around him, the past and the distant, a person makes friends more easily with other people, with other cultures, with other nationalities, it is easier for him to live.

E. A. Maimin in his book for high school students “Art Thinks in Images”

writes: “The discoveries we make through art are not only lively and impressive, but also good discoveries. Knowledge of reality that comes through art is knowledge warmed by human feeling and sympathy. This is the quality of art that makes it social phenomenon immeasurable moral significance. Gogol wrote about the theater: “This is a pulpit from which you can say a lot of good to the world.” The source of good is all true art. It is fundamentally moral precisely because it evokes in the reader, in the viewer - in everyone who perceives it - empathy and sympathy for people, for all of humanity. Leo Tolstoy spoke about the “unifying principle” of art and attached paramount importance to this quality. Thanks to its figurative form, art in the best possible way introduces a person to humanity: makes him treat other people's pain and joy with great attention and understanding. It makes this other people's pain and joy to a large extent its own... Art in the deepest sense of the word is human. It comes from a person and leads to a person - to the most alive, the kindest, to the very best in him. It serves unity human souls" Okay, very well said! And a number of thoughts here sound like beautiful aphorisms.

The wealth that understanding works of art gives a person cannot be taken away from a person, and they are everywhere, you just need to see them.

And evil in a person is always associated with a lack of understanding of another person, with a painful feeling of envy, with an even more painful feeling of ill will, with dissatisfaction with one’s position in society, with eternal anger that eats up a person, disappointment in life. Evil person punishes himself with his malice. He plunges himself into darkness first of all.

Art illuminates and at the same time sanctifies human life. And I repeat again: it makes him kinder, and therefore happier.

But understanding works of art is far from easy. You have to learn this - learn for a long time, all your life. For there can be no stop in expanding your understanding of art. There can only be a retreat back into the darkness of misunderstanding. After all, art constantly confronts us with new and new phenomena, and this is the enormous generosity of art. Some doors opened for us in the palace, followed by others.

How to learn to understand art? How to improve this understanding in yourself? What qualities do you need to have for this?

I don't undertake to give recipes. I don't want to say anything categorically. But the quality that still seems to me to be the most important in the real understanding of art is sincerity, honesty, and openness to the perception of art.

You should learn to understand art first of all from yourself - from your sincerity.

They often say about someone: he has innate taste. Not at all! If you look closely at those people who can be said to have taste, you will notice that they all have one thing in common: they are honest and sincere in their sensibility. They learned a lot from her.

I have never noticed that taste is inherited.

Taste, I think, is not one of the properties that are transmitted by genes. Although the family cultivates taste and from the family, much depends on its intelligence.

You should not approach a work of art with bias, based on established “opinion,” fashion, the views of your friends, or the views of your enemies. One must be able to remain “one on one” with a work of art.

If in your understanding of works of art you begin to follow fashion, the opinions of others, the desire to appear refined and “refined,” you will drown out the joy that life gives to art, and art to life.

By pretending to understand what you do not understand, you have deceived not others, but yourself. You are trying to convince yourself that you have understood something, and the joy that art gives is immediate, like any joy.

If you like it, tell yourself and others that you like it. Just don’t impose your understanding or, even worse, misunderstanding on others. Do not think that you have absolute taste, nor do you think that you have absolute knowledge. The first is impossible in art, the second is impossible in science. Respect in yourself and in others your attitude towards art and remember the wise rule: there is no arguing about tastes.

Does this mean that we must completely withdraw into ourselves and be satisfied with ourselves, with our attitude towards certain works of art? “I like this, but I don’t like that” - and that’s the point. In no case!

In your attitude towards works of art, you should not be complacent; you should strive to understand what you do not understand, and to deepen your understanding of what you have already partially understood. And understanding a work of art is always incomplete. For a true work of art is “inexhaustible” in its riches.

One should not, as I already said, proceed from the opinions of others, but one must listen to the opinions of others and take them into account. If the opinion of others about a work of art is negative, it is mostly not very interesting. Another thing is more interesting: if many people express a positive view. If some artist, some art school is understood by thousands, then it would be arrogant to say that everyone is wrong and only you are right.

Of course, they don’t argue about tastes, but they develop taste – in themselves and in others. One can strive to understand what others understand, especially if there are many others. Many, many cannot simply be deceivers if they claim that they like something, if a painter or composer, poet or sculptor enjoys enormous and even worldwide recognition. However, there are fashions and there are unjustified non-recognition of the new or alien, infection even with hatred of the “alien”, of the too complex, etc.

The whole question is that you cannot immediately understand the complex without first understanding the simpler. In any understanding - scientific or artistic - one cannot skip over steps. To understand classical music you must be prepared by knowing the basics musical art. The same is true in painting or poetry. You cannot master higher mathematics without knowing elementary mathematics.

Sincerity in relation to art is the first condition for understanding it, but the first condition is not everything. To understand art, you also need knowledge. Factual information on the history of art, on the history of the monument and biographical information about its creator help the aesthetic perception of art, leaving it free. They do not force the reader, viewer or listener to a certain assessment or a certain attitude towards a work of art, but, as if “commenting” on it, they facilitate understanding.

Factual information is needed, first of all, so that the perception of a work of art takes place in a historical perspective and is permeated with historicism, since the aesthetic attitude towards a monument is always historical. If we have a modern monument in front of us, then modernity is a certain moment in history, and we must know that the monument was created in our days. If we know that a monument was created in Ancient Egypt, this creates a historical relationship to it and helps its perception. And for a more acute perception of ancient Egyptian art, you will also need to know in what era of the history of Ancient Egypt this or that monument was created.

Knowledge opens doors for us, but we must enter them ourselves. And I especially want to emphasize the importance of details. Sometimes the little things allow us to get to the bottom of things. How important it is to know why this or that thing was written or drawn!

Once in the Hermitage there was an exhibition of the decorator and builder of the gardens of Pavlovsk, Pietro Gonzago, who worked in Russia at the end of the 18th and beginning of the 19th centuries. His drawings - mainly on architectural subjects - are striking in the beauty of their perspective. He even flaunts his skill, emphasizing all the lines, horizontal in nature, but in drawings converging on the horizon - as it should be when constructing perspective. How many of these horizontal lines does he have? Cornices, roofs.

And everywhere the horizontal lines are made a little thicker than they should be, and some lines go beyond the limits of “necessity”, beyond those that are in nature.

But here’s another amazing thing: Gonzago’s point of view on all these wonderful prospects is always chosen as if from below. Why? After all, the viewer holds the drawing right in front of him. Yes, because these are all sketches of the theater decorator, drawings of the decorator, and in the theater the auditorium (in any case, the seats for the most “important” visitors) is below and Gonzago plans his compositions for the viewer sitting in the stalls.

You should know it.

Always, in order to understand works of art, you need to know the conditions of creativity, the goals of creativity, the personality of the artist and the era. Art cannot be caught with bare hands. The viewer, listener, and readers must be “armed”—armed with knowledge and information. That is why introductory articles, commentaries, and generally works on art, literature, and music are so important.

Arm yourself with knowledge! No wonder they say: knowledge is power. But this is not only power in science, it is power in art. Art is inaccessible to the powerless.

The weapon of knowledge is a peaceful weapon.

If you fully understand folk art and do not look at it as “primitive”, then it can serve as a starting point for understanding all art - as a kind of joy, independent value, independence from various requirements that interfere with the perception of art (such as the requirement of unconditional “similarity” Firstly). Folk art teaches us to understand the conventions of art.

Why is this so? Why, after all, does folk art serve as this initial and best teacher? Because the experience of thousands of years is embodied in folk art. The division of people into “cultured” and “uncultured” is often caused by extreme conceit and the city dwellers’ own overestimation. The peasants have their own complex culture, which is expressed not only in amazing folklore (compare at least the traditional Russian peasant song, deep in its content), not only in folk art and folk wooden architecture in the north, but also in a complex way of life, complex peasant rules of politeness, beautiful Russian wedding rites, rites of receiving guests, a common family peasant meal, complex labor customs and labor festivities. Customs are created for a reason. They are also the result of centuries of selection for their expediency, and the art of the people is a result of selection for beauty. This does not mean that traditional forms are always the best and should always be followed. We must strive for the new, for artistic discoveries (traditional forms were also discoveries in their time), but the new must be created taking into account the old, traditional, as a result, and not as a cancellation of the old and accumulated.

Folk art provides a lot for understanding sculpture. The sense of the material, its weight, density, and beauty of form are clearly visible in wooden rustic dishes: in carved wooden salt pans, in wooden scoop ladles, which were placed on the festive rustic table. I. Ya. Boguslavskaya writes in her book “Northern Treasures” about osprey ladles and salt pans made in the shape of a duck: “The image of a swimming, majestically calm, proud bird decorated the table, filled the feast with the poetry of folk legends. Many generations of craftsmen created the perfect form of these objects, combining a sculptural plastic image with a comfortable, spacious bowl. The smooth outlines and wavy lines of the silhouette seem to have absorbed the slow rhythm of the movement of water. Thus, the real prototype spiritualized an everyday thing and gave convincing expressiveness to the conventional form. Even in ancient times, it established itself as a national type of Russian tableware.”

The form of folk art is a form artistically refined by time. The skates on the roofs of northern village huts have the same precision. No wonder he made these “horses” a symbol of one of his wonderful works Soviet writer, our contemporary, Fyodor Abramov (“Horses”).

What are these “horses”? A huge heavy log was placed on the roofs of village huts to press down the ends of the roofing boards and give them stability. This log had at one end a whole butt, from which the horse's head and mighty chest were carved with an ax. This horse protruded above the pediment and was, as it were, a symbol family life in the hut. And what a wonderful shape this horse had! It simultaneously felt the power of the material from which it was made - a perennial, slowly growing tree, and the greatness of the horse, its power not only over the house, but also over the surrounding space. The famous English sculptor Henry Moore seemed to have learned his plastic power from these Russian horses. G. Moore cut his powerful reclining figures into pieces. For what? By this he emphasized their monumentality, their strength, their heaviness. And the same thing happened with the wooden horses of northern Russian huts. Deep cracks formed in the log. Cracks occurred even before the ax touched the log, but this did not bother the northern sculptors. They are used to this “cutting of material.” For the logs of huts and wood sculpture baluster This is how folk sculpture teaches us to understand the most complex aesthetic principles of modern sculpture.

Folk art not only teaches, but is also the basis of many modern works of art.

In the early period of his work, Marc Chagall came from the folk art of Belarus: from its colorful principles and techniques of composition, from the cheerful content of these compositions, in which joy is expressed in the flight of a person, houses seem like toys and dreams are combined with reality. His bright and colorful paintings are dominated by the people’s favorite color shades of red and bright blue, and the horses and cows look at the viewer sad through human eyes. Even his long life in the West could not separate his art from these Belarusian folk sources.

The understanding of many complex works of painting and sculpture is taught by Vyatka clay toys or northern carpenter's wooden toys.

The famous French architect Corbusier, by his own admission, borrowed many of his architectural techniques from the forms of folk architecture of the city of Ohrid: in particular, it was from there that he learned the techniques of independent floor arrangement. The upper floor is placed slightly sideways to the lower one, so that its windows offer an excellent view of the street, mountains or lake.

Sometimes the point of view from which one approaches a work of art is clearly insufficient. Here is the usual “flaw”: a portrait is considered only in this way: whether it “resembles” or does not “resemble” the original. If it doesn’t look like it, it’s not a portrait at all, although it may be a beautiful work of art. What if it’s just “similar”? is that enough? After all, the best way to look for similarities is in artistic photography. There is not only similarity, but also a document: all the wrinkles and pimples are in place.

What does a portrait need in order for it to be a work of art, besides simple similarity? Firstly, the similarity itself can have different depths of penetration into the spiritual essence of a person. Good photographers also know this, striving to seize the right moment for shooting, so that there is no tension in the face, usually associated with the anticipation of shooting, so that the facial expression is characteristic, so that the body position is free and individual, characteristic of a given person. Much depends on such “internal similarity” for a portrait or photograph to become a work of art. But it’s also about another beauty: the beauty of color, lines, composition. If you are accustomed to identifying the beauty of a portrait with the beauty of the person depicted in it, and you think that there cannot be a special, pictorial or graphic beauty of a portrait, independent of the beauty of the person depicted, you still cannot understand portrait painting.

What has been said about portrait painting applies even more to landscape painting. These are also “portraits”, only portraits of nature. And here we need similarity, but even more so we need the beauty of painting, the ability to understand and display the “soul” of a given place, the “genius of the area.” But a painter can depict nature with strong “corrections” - not the one that exists, but the one that one wants to depict for one reason or another. However, if an artist sets himself the goal of not just creating a picture, but to depict a certain place in nature or in a city, and gives in his painting certain signs of a certain place, the lack of similarity becomes a major drawback.

Well, what if the artist set himself the goal of depicting not just a landscape, but only the colors of spring: the young greenery of a birch tree, the color of birch bark, the spring color of the sky - and he arranged all this arbitrarily - so that the beauty of these spring colors was revealed with the greatest completeness? We must be tolerant of such experience and not make demands on the artist that he did not strive to satisfy.

Well, what if we go further and imagine an artist who will strive to express something of his own only through a combination of colors, composition or lines, without striving to resemble anything at all? Just express some mood, some understanding of the world? It is important to think carefully before dismissing these types of experiences. Not everything that we do not understand at first glance needs us to sweep it aside and reject it. There are too many mistakes we could make. After all, serious classical music you can't understand without playing music.

To understand serious painting, you need to study.

Letter thirty-three


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Letter thirty-one. CIRCLE OF MORAL SETTLEMENT

How to cultivate “moral settledness” in yourself and others—attachment to your family, to your home, village, city, country?

I think that this is not only a matter for schools and youth organizations, but also for families.

Attachment to family and home is not created on purpose, not by lectures and instructions, but, above all, by the atmosphere that reigns in the family. If a family has common interests, common entertainment, common recreation, then this is a lot. Well, if at home they occasionally look at family albums, take care of the graves of relatives, and talk about how their great-grandparents lived, then this is doubly a lot. Almost every city resident has one of their ancestors who came from a distant or nearby village, and this village should also remain home. At least occasionally, you need to visit it with the whole family, all together, take care of preserving the memory of the past and rejoice in the successes of the present. And even if there is no native village or native villages, then joint trips around the country are imprinted in the memory much more than individual ones. Seeing, listening, remembering – and all this with love for people: how important this is! Noticing the good is not at all so easy. You can’t value people only for their mind and intelligence: value them for their kindness, for their work, for the fact that they are representatives of their circle - fellow villagers or classmates, fellow townspeople, or simply “one of us”, “special” in some way.

The circle of moral settlement is very wide.

There is one thing I would like to focus on in particular: our attitude towards graves and cemeteries.

Very often, urban planners and architects are annoyed by the presence of a cemetery within the city. They are trying to destroy it, turn it into a garden, but meanwhile the cemetery is an element of the city, a unique and very valuable part of urban architecture.

The graves were made with love. Tombstones embodied gratitude to the deceased and the desire to perpetuate his memory. That’s why they are so diverse, individual and always curious in their own way. By reading forgotten names, sometimes looking for famous people buried here, their relatives or just acquaintances, visitors to some extent learn the “wisdom of life.” Many cemeteries are poetic in their own way. Therefore, the role of lonely graves or cemeteries in the education of “moral settled life” is very great.

D.S. Likhachev. Letters about the good and the beautiful / Comp. and general ed. G. A. Dubrovskoy. – Ed. 3rd. – M.: Det. lit., 1989. – 238 p.: photo. ISBN 5-08-002068-7 (Excerpts from the book)

  1. ABOUT CAREERISM
  2. Letter twenty-two LOVE READING!
  3. Letter Twenty-Three ABOUT PERSONAL LIBRARIES
  4. Letter twenty-four LET'S BE HAPPY (response to a student's letter)
  5. Letter twenty-nine TRAVEL!

This is what I would like to say. In “Notes on the Russian” and in “Dialogues about Yesterday, Today and Tomorrow” I already drew attention to some traits of the Russian character, which have somehow not been taken into account lately: kindness, openness, tolerance, lack of national swagger, etc. The reader has the right to ask: where did they go in the Notes? negative traits Russian person? Are Russians characterized by only positive traits, while other peoples are deprived of them? The reader, if desired, will find the answer to the last question in the Notes themselves: I am talking in them not only about the Russian people. And as for the first question, about Russian shortcomings, I do not at all consider the Russian people to be deprived of them: on the contrary, they have many of them, but... Can we characterize a people by their shortcomings? After all, when the history of art is written, only the highest achievements are included in it, best works. It is impossible to build a history of painting or literature based on mediocre or bad works. If we want to get an idea of ​​a city, we first get acquainted with its best buildings, squares, monuments, streets, best views, “urban landscapes”. It’s a different matter when we get to know individuals – from their medical or moral side. We come to ideas about the people. The people as a creation of art: this is my position in “Notes” in approaching any of the peoples.

Every people should be judged by the moral peaks and ideals by which it lives. Benevolence towards any people, even the smallest ones! This position is the most faithful, the most noble. Generally speaking, any ill will always erects a wall of misunderstanding.

Benevolence, on the contrary, opens the path to correct knowledge.

The plane does not fall to the ground not because its wings “rest on the air”, but because it is sucked upward, towards the sky... Among the people, the most important thing is their ideals.

Letter thirty-one

CIRCLE OF MORAL SETTLEMENT

How to cultivate “moral settledness” in yourself and others—attachment to your family, to your home, village, city, country?

I think that this is not only a matter for schools and youth organizations, but also for families.

Attachment to family and home is not created on purpose, not by lectures and instructions, but, above all, by the atmosphere that reigns in the family. If a family has common interests, common entertainment, common recreation, then this is a lot. Well, if at home they occasionally look at family albums, take care of the graves of relatives, and talk about how their great-grandparents lived, then this is doubly a lot. Almost every city resident has one of their ancestors who came from a distant or nearby village, and this village should also remain home. At least occasionally, you need to visit it with the whole family, all together, take care of preserving the memory of the past and rejoice in the successes of the present. And even if there is no native village or native villages, then joint trips around the country are imprinted in the memory much more than individual ones. Seeing, listening, remembering – and all this with love for people: how important this is! Noticing the good is not at all so easy. You can’t value people only for their mind and intelligence: value them for their kindness, for their work, for the fact that they are representatives of their circle - fellow villagers or classmates, fellow townspeople, or simply “one of us”, “special” in some way.

The circle of moral settlement is very wide.

There is one thing I would like to focus on in particular: our attitude towards graves and cemeteries.

Very often, urban planners and architects are annoyed by the presence of a cemetery within the city. They are trying to destroy it, turn it into a garden, but meanwhile the cemetery is an element of the city, a unique and very valuable part of urban architecture.

The graves were made with love. Tombstones embodied gratitude to the deceased and the desire to perpetuate his memory. That’s why they are so diverse, individual and always curious in their own way. By reading forgotten names, sometimes looking for famous people buried here, their relatives or just acquaintances, visitors to some extent learn the “wisdom of life.” Many cemeteries are poetic in their own way. Therefore, the role of lonely graves or cemeteries in the education of “moral settled life” is very great.

Letter thirty-two

UNDERSTAND ART

So, life is the greatest value that a person has. If you compare life to a precious palace with many halls that stretch in endless enfilades, which are all generously varied and all different from each other, then the largest hall in this palace, the real “throne room”, is the hall in which art reigns. This is a hall of amazing magic. And the first magic he performs happens not only to the owner of the palace himself, but also to everyone invited to the celebration.

This is a hall of endless celebrations that make a person’s whole life more interesting, more solemn, more fun, more significant... I don’t know what other epithets to express my admiration for art, for its works, for the role it plays in the life of mankind. And the greatest value that art rewards a person is the value of kindness. Awarded with the gift of understanding art, a person becomes morally better, and therefore happier. Yes, happier! For, awarded through art with the gift of a good understanding of the world, the people around him, the past and the distant, a person makes friends more easily with other people, with other cultures, with other nationalities, it is easier for him to live.

E. A. Maimin in his book for high school students “Art Thinks in Images” 3

writes: “The discoveries we make through art are not only lively and impressive, but also good discoveries. Knowledge of reality that comes through art is knowledge warmed by human feeling and sympathy. This property of art makes it a social phenomenon of immeasurable moral significance. Gogol wrote about the theater: “This is a pulpit from which you can say a lot of good to the world.” The source of good is all true art. It is fundamentally moral precisely because it evokes in the reader, in the viewer - in everyone who perceives it - empathy and sympathy for people, for all of humanity. Leo Tolstoy spoke about the “unifying principle” of art and attached paramount importance to this quality. Thanks to its figurative form, art in the best way introduces a person to humanity: it makes us treat other people’s pain and joy with great attention and understanding. It makes this other people's pain and joy to a large extent its own... Art in the deepest sense of the word is human. It comes from a person and leads to a person - to the most alive, the kindest, to the very best in him. It serves to unite human souls.” Okay, very well said! And a number of thoughts here sound like beautiful aphorisms.

The wealth that understanding works of art gives a person cannot be taken away from a person, and they are everywhere, you just need to see them.

And evil in a person is always associated with a lack of understanding of another person, with a painful feeling of envy, with an even more painful feeling of ill will, with dissatisfaction with one’s position in society, with eternal anger that eats up a person, disappointment in life. An evil person punishes himself with his malice. He plunges himself into darkness first of all.

Art illuminates and at the same time sanctifies human life. And I repeat again: it makes him kinder, and therefore happier.

But understanding works of art is far from easy. You have to learn this - learn for a long time, all your life. For there can be no stop in expanding your understanding of art. There can only be a retreat back into the darkness of misunderstanding. After all, art constantly confronts us with new and new phenomena, and this is the enormous generosity of art. Some doors opened for us in the palace, followed by others.

How to learn to understand art? How to improve this understanding in yourself? What qualities do you need to have for this?

I don't undertake to give recipes. I don't want to say anything categorically. But the quality that still seems to me to be the most important in the real understanding of art is sincerity, honesty, and openness to the perception of art.

You should learn to understand art first of all from yourself - from your sincerity.

They often say about someone: he has innate taste. Not at all! If you look closely at those people who can be said to have taste, you will notice that they all have one thing in common: they are honest and sincere in their sensibility. They learned a lot from her.

I have never noticed that taste is inherited.

Taste, I think, is not one of the properties that are transmitted by genes. Although the family cultivates taste and from the family, much depends on its intelligence.

You should not approach a work of art with bias, based on established “opinion,” fashion, the views of your friends, or the views of your enemies. One must be able to remain “one on one” with a work of art.

If in your understanding of works of art you begin to follow fashion, the opinions of others, the desire to appear refined and “refined,” you will drown out the joy that life gives to art, and art to life.

By pretending to understand what you do not understand, you have deceived not others, but yourself. You are trying to convince yourself that you have understood something, and the joy that art gives is immediate, like any joy.

If you like it, tell yourself and others that you like it. Just don’t impose your understanding or, even worse, misunderstanding on others. Do not think that you have absolute taste, nor do you think that you have absolute knowledge. The first is impossible in art, the second is impossible in science. Respect in yourself and in others your attitude towards art and remember the wise rule: there is no arguing about tastes.

Does this mean that we must completely withdraw into ourselves and be satisfied with ourselves, with our attitude towards certain works of art? “I like this, but I don’t like that” - and that’s the point. In no case!

In your attitude towards works of art, you should not be complacent; you should strive to understand what you do not understand, and to deepen your understanding of what you have already partially understood. And understanding a work of art is always incomplete. For a true work of art is “inexhaustible” in its riches.

One should not, as I already said, proceed from the opinions of others, but one must listen to the opinions of others and take them into account. If the opinion of others about a work of art is negative, it is mostly not very interesting. Another thing is more interesting: if many people express a positive view. If some artist, some art school is understood by thousands, then it would be arrogant to say that everyone is wrong and only you are right.

Of course, they don’t argue about tastes, but they develop taste – in themselves and in others. One can strive to understand what others understand, especially if there are many others. Many, many cannot simply be deceivers if they claim that they like something, if a painter or composer, poet or sculptor enjoys enormous and even worldwide recognition. However, there are fashions and there are unjustified non-recognition of the new or alien, infection even with hatred of the “alien”, of the too complex, etc.

The whole question is that you cannot immediately understand the complex without first understanding the simpler. In any understanding - scientific or artistic - one cannot skip over steps. To understand classical music, one must be prepared by knowing the basics of musical art. The same is true in painting or poetry. You cannot master higher mathematics without knowing elementary mathematics.

Sincerity in relation to art is the first condition for understanding it, but the first condition is not everything. To understand art, you also need knowledge. Factual information on the history of art, on the history of the monument and biographical information about its creator helps the aesthetic perception of art, leaving it free. They do not force the reader, viewer or listener to a certain assessment or a certain attitude towards a work of art, but, as if “commenting” on it, they facilitate understanding.

Factual information is needed, first of all, so that the perception of a work of art takes place in a historical perspective and is permeated with historicism, since the aesthetic attitude towards a monument is always historical. If we have a modern monument in front of us, then modernity is a certain moment in history, and we must know that the monument was created in our days. If we know that a monument was created in Ancient Egypt, this creates a historical relationship to it and helps its perception. And for a more acute perception of ancient Egyptian art, you will also need to know in what era of the history of Ancient Egypt this or that monument was created.

Knowledge opens doors for us, but we must enter them ourselves. And I especially want to emphasize the importance of details. Sometimes the little things allow us to get to the bottom of things. How important it is to know why this or that thing was written or drawn!

Once in the Hermitage there was an exhibition of the decorator and builder of the gardens of Pavlovsk, Pietro Gonzago, who worked in Russia at the end of the 18th and beginning of the 19th centuries. His drawings - mainly on architectural subjects - are striking in the beauty of their perspective. He even flaunts his skill, emphasizing all the lines, horizontal in nature, but in drawings converging on the horizon - as it should be when constructing perspective. How many of these horizontal lines does he have? Cornices, roofs.

And everywhere the horizontal lines are made a little thicker than they should be, and some lines go beyond the limits of “necessity”, beyond those that are in nature.

But here’s another amazing thing: Gonzago’s point of view on all these wonderful prospects is always chosen as if from below. Why? After all, the viewer holds the drawing right in front of him. Yes, because these are all sketches of the theater decorator, drawings of the decorator, and in the theater the auditorium (in any case, the seats for the most “important” visitors) is below and Gonzago plans his compositions for the viewer sitting in the stalls.

You should know it.

Always, in order to understand works of art, you need to know the conditions of creativity, the goals of creativity, the personality of the artist and the era. Art cannot be caught with bare hands. The viewer, listener, and readers must be “armed”—armed with knowledge and information. That is why introductory articles, commentaries, and generally works on art, literature, and music are so important.

Arm yourself with knowledge! No wonder they say: knowledge is power. But this is not only power in science, it is power in art. Art is inaccessible to the powerless.

The weapon of knowledge is a peaceful weapon.

If you fully understand folk art and do not look at it as “primitive”, then it can serve as a starting point for understanding all art - as a kind of joy, independent value, independence from various requirements that interfere with the perception of art (such as the requirement of unconditional “similarity” Firstly). Folk art teaches us to understand the conventions of art.

Why is this so? Why, after all, does folk art serve as this initial and best teacher? Because the experience of thousands of years is embodied in folk art. The division of people into “cultured” and “uncultured” is often caused by extreme conceit and the city dwellers’ own overestimation. The peasants have their own complex culture, which is expressed not only in amazing folklore (compare at least the traditional Russian peasant song, deep in its content), not only in folk art and folk wooden architecture in the north, but also in a complex way of life, complex peasant rules of politeness, beautiful Russian wedding rites, rites of receiving guests, a common family peasant meal, complex labor customs and labor festivities. Customs are created for a reason. They are also the result of centuries of selection for their expediency, and the art of the people is a result of selection for beauty. This does not mean that traditional forms are always the best and should always be followed. We must strive for the new, for artistic discoveries (traditional forms were also discoveries in their time), but the new must be created taking into account the old, traditional, as a result, and not as a cancellation of the old and accumulated.

Folk art provides a lot for understanding sculpture. The sense of the material, its weight, density, and beauty of form are clearly visible in wooden rustic dishes: in carved wooden salt pans, in wooden scoop ladles, which were placed on the festive rustic table. I. Ya. Boguslavskaya writes in her book “Northern Treasures” 4 about scoop ladles and salt pans made in the shape of a duck: “The image of a swimming, majestically calm, proud bird decorated the table, filling the feast with the poetry of folk legends. Many generations of craftsmen created the perfect form of these objects, combining a sculptural plastic image with a comfortable, spacious bowl. The smooth outlines and wavy lines of the silhouette seem to have absorbed the slow rhythm of the movement of water. Thus, the real prototype spiritualized an everyday thing and gave convincing expressiveness to the conventional form. Even in ancient times, it established itself as a national type of Russian tableware.”

The form of folk art is a form artistically refined by time. The skates on the roofs of northern village huts have the same precision. It is not for nothing that the Soviet writer, our contemporary, Fyodor Abramov (“Horses”) made these “horses” a symbol of one of his wonderful works.

What are these “horses”? A huge heavy log was placed on the roofs of village huts to press down the ends of the roofing boards and give them stability. This log had at one end a whole butt 5 from which the head and mighty chest of the horse were carved with an ax. This horse protruded above the pediment and was, as it were, a symbol of family life in the hut. And what a wonderful shape this horse had! It simultaneously felt the power of the material from which it was made - a perennial, slowly growing tree, and the greatness of the horse, its power not only over the house, but also over the surrounding space. The famous English sculptor Henry Moore seemed to have learned his plastic power from these Russian horses. G. Moore cut his powerful reclining figures into pieces. For what? By this he emphasized their monumentality, their strength, their heaviness. And the same thing happened with the wooden horses of northern Russian huts. Deep cracks formed in the log. Cracks occurred even before the ax touched the log, but this did not bother the northern sculptors. They are used to this “cutting of material.” For both the logs of the huts and the wooden sculpture of balusters could not do without cracks. This is how folk sculpture teaches us to understand the most complex aesthetic principles of modern sculpture.

Folk art not only teaches, but is also the basis of many modern works of art.

In the early period of his work, Marc Chagall came from the folk art of Belarus: from its colorful principles and techniques of composition, from the cheerful content of these compositions, in which joy is expressed in the flight of a person, houses seem like toys and dreams are combined with reality. His bright and colorful paintings are dominated by the people’s favorite color shades of red and bright blue, and horses and cows look at the viewer with sad human eyes. Even his long life in the West could not separate his art from these Belarusian folk sources.

The understanding of many complex works of painting and sculpture is taught by Vyatka clay toys or northern carpenter's wooden toys.

The famous French architect Corbusier, by his own admission, borrowed many of his architectural techniques from the forms of folk architecture of the city of Ohrid: in particular, it was from there that he learned the techniques of independent floor arrangement. The upper floor is placed slightly sideways to the lower one, so that its windows offer an excellent view of the street, mountains or lake.

Sometimes the point of view from which one approaches a work of art is clearly insufficient. Here is the usual “flaw”: a portrait is considered only in this way: whether it “resembles” or does not “resemble” the original. If it doesn’t look like it, it’s not a portrait at all, although it may be a beautiful work of art. What if it’s just “similar”? is that enough? After all, the best way to look for similarities is in artistic photography. There is not only similarity, but also a document: all the wrinkles and pimples are in place.

What does a portrait need in order for it to be a work of art, besides simple similarity? Firstly, the similarity itself can have different depths of penetration into the spiritual essence of a person. Good photographers also know this, striving to seize the right moment for shooting, so that there is no tension in the face, usually associated with the anticipation of shooting, so that the facial expression is characteristic, so that the body position is free and individual, characteristic of a given person. Much depends on such “internal similarity” for a portrait or photograph to become a work of art. But it’s also about another beauty: the beauty of color, lines, composition. If you are accustomed to identifying the beauty of a portrait with the beauty of the person depicted in it, and you think that there cannot be a special, pictorial or graphic beauty of a portrait, independent of the beauty of the person depicted, you cannot yet understand portraiture.

What has been said about portrait painting applies even more to landscape painting. These are also “portraits”, only portraits of nature. And here we need similarity, but even more so we need the beauty of painting, the ability to understand and display the “soul” of a given place, the “genius of the area.” But a painter can depict nature with strong “corrections” - not the one that exists, but the one that one wants to depict for one reason or another. However, if an artist sets himself the goal of not just creating a picture, but to depict a certain place in nature or in a city, and gives in his painting certain signs of a certain place, the lack of similarity becomes a major drawback.

Well, what if the artist set himself the goal of depicting not just a landscape, but only the colors of spring: the young greenery of a birch tree, the color of birch bark, the spring color of the sky - and he arranged all this arbitrarily - so that the beauty of these spring colors was revealed with the greatest completeness? We must be tolerant of such experience and not make demands on the artist that he did not strive to satisfy.

Well, what if we go further and imagine an artist who will strive to express something of his own only through a combination of colors, composition or lines, without striving to resemble anything at all? Just express some mood, some understanding of the world? It is important to think carefully before dismissing these types of experiences. Not everything that we do not understand at first glance needs us to sweep it aside and reject it. There are too many mistakes we could make. After all, serious, classical music cannot be understood without studying music.

To understand serious painting, you need to study.

Letter thirty-three

ABOUT HUMANITY IN ART

In the previous letter I said: pay attention to details. Now I want to talk about those details that, it seems to me, should be especially appreciated in themselves. These are details, little things that testify to simple human feelings, about humanity. They can exist without people - in the landscape, in the life of animals, but most often in relationships between people.

Old Russian icons are very “canonical”. This is traditional art. And the more valuable in them is everything that deviates from canonicity, which gives vent to the artist’s human attitude towards what is depicted. In one icon of the Nativity of Christ, where the action takes place in an animal cave, a small sheep is depicted licking the neck of another larger sheep. Maybe this is the daughter being affectionate to her mother? This detail is not at all provided for by the strict iconographic standards of the “Nativity” composition, so it seems especially touching. Among the very “official” - suddenly such a cute detail...

In the 17th-century murals of the Moscow church in Nikitniki, suddenly, among a stenciled landscape, a young birch tree is depicted, so “Russian” and touching that you immediately believe that the artist knew how to appreciate Russian nature. The autobiographical works of the monks of the Rila Monastery in Bulgaria have been preserved. One such 19th-century autobiography tells the life of a monk who collected donations for a monastery. And he was in very difficult situations: sometimes the doors of houses were closed in front of him, he was not allowed to spend the night, often he had nothing to eat (he did not take anything for himself from the money donated to the monastery), etc. And so he exclaims in one place of his notes: “Oh, my monastery, my monastery, how warm and satisfying it is!” This monk’s story ends with a cliched curse on anyone who spoils the book, distorts the text, etc. But then he writes: “If I write this, then don’t think badly of me, that I’m evil and bad!” Isn't it touching? Please take into account that these “curses” to the sloppy reader and inattentive copyist were a common stencil, and this is how many manuscripts ended.

But here is a deeply human feeling from Avvakum’s wonderful correspondence with noblewoman F.P. Morozova - the same one who is depicted in Surikov’s painting, located in the Tretyakov Gallery.

Avvakum, in a letter to Boyarina Morozova, written in lofty and florid expressions, at the end consoles her in the death of her beloved young son: “And you no longer need to whip a rosary, and you don’t need to see how he rides a horse, and you don’t need to pat his head, - remember.” or as it used to be." And at the end he writes to her: “And that’s it: I beat the boyars, I need to get into the heavenly boyars.”

The same noblewoman Morozova writes to Archpriest Avvakum: “For the multiplication of my sins from everywhere, a great storm is upon my soul, and I am an impatient sinner.” Why is she “impatient”? She makes sure that her eldest son finds a good “wife.” Three virtues are needed, in her opinion, for this “wife”: that she be “pious and loving of the poor and a host of strangers.” And then he asks: “Where should I get it - from a good breed, or from an ordinary one? The ones I breed are better than the girls, those are worse, and the girls that are better are the ones who are of a worse breed.” After all, this observation speaks about the boyar’s intelligence, about her lack of boyar arrogance.

It was commonly thought that in Ancient Rus' the beauty of nature was supposedly poorly understood. This opinion was based on the fact that ancient Russian works rare detailed descriptions nature, there are no landscapes like there are in new literature. But here is what Metropolitan Daniel writes in the 16th century: “And if you want to cool off (that is, take a break from work. - D. L.) - go to the threshold of your temple (your house. - D. L.), and see the sky, the sun, the moon, the stars, the clouds, how high, how low, and chill in them.”

I do not give examples from well-known works recognized as highly artistic. There are so many touching human episodes in “War and Peace,” especially in everything connected with the Rostov family, or in Pushkin’s “The Captain’s Daughter,” and in any work of art. Isn’t it for them that we love Dickens, Turgenev’s “Notes of a Hunter,” Fyodor Abramov’s wonderful “The Grass and Ant,” or Bulgakov’s “The Master and Margarita.” Humanity has always been one of the most important phenomena literature – big and small. It is worth looking for these manifestations of simple human feelings and concerns. They are precious. And they are especially precious when you find them in correspondence, in memories, in documents. There are, for example, a number of documents testifying to how ordinary peasants, under various pretexts, avoided participating in the construction of a prison in Pustozersk, where Avvakum was supposed to be a prisoner. And this is absolutely all, unanimously! Their evasions are almost childish, showing them to be simple and kind people.

Letter thirty-four

ABOUT RUSSIAN NATURE

Nature has its own culture. Chaos is not at all a natural state of nature. On the contrary, chaos (if it exists at all) is an unnatural state of nature. What is the culture of nature expressed in? Let's talk about living nature. First of all, she lives in society, community. There are “plant associations”: trees do not live mixed together, but known species are combined with others, but not with all of them. Pines, for example, have certain lichens, mosses, mushrooms, bushes, etc. as neighbors. Every mushroom picker knows this. Well-known rules of behavior are characteristic not only of animals (all dog and cat owners are familiar with this, even those living outside nature, in the city), but also of plants. Trees stretch towards the sun in different ways - sometimes in caps, so as not to interfere with each other, and sometimes spreading, in order to cover and protect another tree species that begins to grow under their cover. A pine tree grows under the cover of alder. The pine grows, and then the alder, which has done its job, dies. I observed this long-term process near Leningrad, in Toksovo, where during the First World War all the pine trees were cut down and the pine forests were replaced by thickets of alder, which then nurtured young pine trees under its branches. Now there are pine trees again. Nature is “social” in its own way. Its “sociality” also lies in the fact that it can live next to a person, be a neighbor to him, if he, in turn, is social and intellectual, takes care of her, does not cause irreparable damage to her, does not completely cut down forests, does not clog rivers... The Russian peasant, through his centuries-long labor, created the beauty of Russian nature. He plowed the land and thereby gave it certain dimensions. He laid the measure of his arable land, walking through it with a plow. Frontiers in Russian nature are commensurate with the work of a man and his horse, his ability to walk with a horse behind a plow or plow before turning back, and then forward again. Smoothing the ground, the man removed all the sharp edges, bumps, and stones. Russian nature is soft, it is cared for by the peasant in his own way. The peasant’s movements behind the plow, plow, and harrow not only created “strips” of rye, but evened out the boundaries of the forest, formed its edges, and created smooth transitions from forest to field, from field to river. The poetry of the transformation of nature through the work of a plowman is well conveyed by A. Koltsov in “The Plowman’s Song,” which begins with the urging of the sivka:

Well! trudge, Sivka,

Arable land, tithes,

Let's whiten the iron

Oh damp earth.

The Russian landscape was mainly created by the efforts of two great cultures: the culture of man, which softened the harshness of nature, and the culture of nature, which, in turn, softened all the imbalances that man unwittingly brought into it. The landscape was created, on the one hand, by nature, ready to develop and cover up everything that man had disturbed in one way or another, and on the other hand, by man, who softened the earth with his labor and softened the landscape. Both cultures seemed to correct each other and create her humanity and freedom.

The nature of the East European Plain is gentle, without high mountains, but not impotently flat, with a network of rivers ready to be “roads of communication”, and with a sky not obscured by dense forests, with sloping hills and endless roads smoothly flowing around all the hills.

And with what care the man stroked the hills, descents and ascents! Here, the plowman's experience created an aesthetic of parallel lines - lines that went in unison with each other and with nature, like voices in ancient Russian chants. The plowman laid furrow to furrow - as he combed his hair, as he laid hair to hair. So in the hut they place logs next to logs, blocks to blocks, in the fence - poles to poles, and they themselves line up in a rhythmic row over the river or along the road - like a herd going to water.

Therefore, the relationship between nature and man is a relationship between two cultures, each of which is “social” in its own way, communal, and has its own “rules of behavior.” And their meeting is built on a kind of moral foundation. Both crops are fruit historical development, and the development of human culture has been taking place under the influence of nature for a long time (since humanity has existed), and the development of nature with its multi-million-year existence is relatively recent and not everywhere under the influence of human culture. One (natural culture) can exist without the other (human), but the other (human) cannot. But still, for many past centuries, there was a balance between nature and man. It would seem that it should have left both parts equal and passed somewhere in the middle. But no, the balance is everywhere its own and everywhere on some kind of its own, special basis, with its own axis. In the north in Russia there was more “nature”, and the further south and closer to the steppe, the more “man”.

Anyone who has been to Kizhi has probably seen a stone ridge stretching along the entire island, like the backbone of a giant animal. A road runs near this ridge. The ridge took centuries to form. The peasants cleared their fields of stones - boulders and cobblestones - and dumped them here, near the road. A well-groomed topography of a large island was formed. The whole spirit of this relief is permeated with a sense of centuries. And it’s not for nothing that the family of storytellers, the Ryabinins, lived here from generation to generation, from whom many epics were recorded.

The landscape of Russia throughout its heroic space seems to pulsate, it either discharges and becomes more natural, or condenses in villages, graveyards and cities, and becomes more human.

In the countryside and in the city the same rhythm of parallel lines continues, which begins with the arable land. Furrow to furrow, log to log, street to street. Large rhythmic divisions are combined with small, fractional ones. One smoothly transitions to the other.

The old Russian city is not opposed to nature. He goes to nature through the suburbs. “Suburb” is a word that seems to have been deliberately created to connect the idea of ​​the city and nature. The suburbs are close to the city, but they are also close to nature. The suburb is a village with trees, with wooden semi-rural houses. Hundreds of years ago, he clung to the walls of the city, to the rampart and moat, with vegetable gardens and orchards, he clung to the surrounding fields and forests, taking from them a few trees, a few vegetable gardens, a little water into his ponds and wells. And all this in the ebb and flow of hidden and obvious rhythms - beds, streets, houses, logs, pavement blocks and bridges.

For Russians, nature has always been freedom, will, freedom. Listen to the language: take a walk in freedom, go out into the wild. Will is the absence of worries about tomorrow, it is carelessness, blissful immersion in the present.

Remember Koltsov:

Oh, my steppe,

The steppe is free,

You are wide, steppe,

Spread out,

To the Black Sea

Move forward!

Koltsov has the same delight in the enormity of the open air.

The wide space has always captured the hearts of Russians. It resulted in concepts and ideas that do not exist in other languages. How, for example, does will differ from freedom? Because free will is freedom combined with space, with unobstructed space. And the concept of melancholy, on the contrary, is connected with the concept of cramped space, deprivation of space. To oppress a person is to deprive him of space in the literal and figurative sense of the word.

The will is free! Even the barge haulers, who walked along the towline, harnessed to a strap like horses, and sometimes together with the horses, felt this will. They walked along a towline, a narrow coastal path, and all around them there was freedom. Labor is forced, but nature is free all around. And man needed a large, open nature, with a huge horizon. That's why it's so loved folk song pole-field. Will is large spaces through which you can walk and walk, wander, swim with the flow of large rivers and long distances, breathe free air, the air of open places, breathe in the wind widely, feel the sky above your head, be able to move in different directions - as you please.

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1

The article is devoted to the history of charity in Rus', namely the Hospice House of Count Nikolai Petrovich Sheremetev.

After the founder, all those who benefited are placed around the church, ... receiving moral values ​​through the Divine service<...>Pokrovsky - “The moral power of virtue stopped the greed and malice of the enemy” 2 1. 1 8 Ibid.

2

The article is devoted to the literary-critical understanding of A. I. Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich.”

He is close to the people's point of view, people's common sense and moral principles, but he looks<...>He was convinced that the soldiers contained "moral strength" folk life"(XI, 314) and with him I longed to penetrate<...>At first, moral principles are strong in Vakhov’s mind, but the revolutionary whirlwind draws in<...>Natural moral feeling, one must think, lived in other hearts.

3

The genesis of Russian autocracy and the discussion about its features

Tutorial on the history of autocracy in Russia

world historical knowledge, cultural vocation, political necessity, historical truth, moral<...>He was convinced that the moral and Christian duty of his subjects was to serve the king.<...>The main postulate here is the unity of the king with the people, a kind of “moral support for the whole nation” of its monarch<...>Laws for the Supreme Power therefore have only moral significance.<...>As soon as the moral truth of the law ceases to work, as soon as the law ceases to ensure the maintenance

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4

No. 3 [Higher education in Russia, 1997]

Intellectual development must therefore be organically combined with the moral development of the individual<...>How can one combine the poet's endless hobbies with the concept of morality?<...>The Savior’s teaching, having destroyed the chaos of moral arbitrariness, showed humanity the straight path, determined<...>Or we stick to one particular crowd, losing all the moral benefit of our upbringing.<...>Or to reconcile the moral and religious foundations of education with the current direction of society.

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5

Ethics of state and municipal service educational and methodological complex

Training and metodology complex represents a set of educational and methodological materials necessary for information and methodological support of the educational process and for students to effectively master educational material in the academic discipline “Ethics of State and Municipal Service” of the Higher Professional Education Program. The educational and methodological complex was prepared in accordance with the requirements of the Federal State Educational Standard for Higher Professional Education and the work program of the academic discipline “Ethics of State and Municipal Service” in the direction of bachelor’s training 081100.62 State and municipal management in the profile “State and municipal management in the social sphere” on the basis of secondary (full) general education (full-time study), on the basis of secondary (complete) general education (correspondence course), on the basis of secondary vocational education (correspondence course), on the basis of higher professional education (correspondence course). The educational and methodological complex consists of the work program of the academic discipline, lecture notes, methodological recommendations (materials) for the teacher, methodological recommendations for organizing the educational process and studying the discipline, tests on ethics of state and municipal service, personalities.

Russian moral philosophy (Vl.<...>Moral foundations of spirituality.<...>Theory of moral feelings / A.<...>There should not be professionalism at the expense of morality, and moral principles at the expense of legal principles<...>morality of masters

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6

Pages of Russian almanacs (spiritual quests of writers of Pushkin’s circle). Tutorial

The book is devoted to the study of the three best Moscow almanacs of Pushkin's time - "Urania", "Dennitsa", "Orphans", which reflected the characteristic phenomena of the era, the central of which was the process of formation of Russian philosophical thought. The role of Orthodox principles in the work of authors both widely known and now almost forgotten is revealed, and the interaction of different poetic individuals is considered.

To survive, a person had to gain spiritual and moral support.<...>", "spiritual renewal", "moral feat".<...>Mattera, Moral and Religious Reaction in Europe from 1793 to 1830.<...>David's creative talent is inseparable from his moral qualities.<...>Psalm XIV defines the moral virtues that lead to perfection.

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7

M.: PROMEDIA

On January 25, 2010, His Holiness Patriarch Kirill of Moscow and All Rus' spoke at the opening of the XVIII International Christmas educational readings “Practical experience and prospects for church-state cooperation in the field of education.” In his opening speech, he expressed the position of the church in the field of education, touched upon critical issues church-state cooperation, preservation of traditional family values, Orthodox education of children and youth. His speech is summarized.

The role of the teacher, his moral and professional authority are of key importance in the formation<...>It is obvious that in this case, dealing with the problem of progressive moral degradation of a part of society<...>Likhachev called knowledge of one’s culture and history the “moral settledness” of a person.<...>“Moral settlement” is impossible without understanding one’s past, and therefore, the rehabilitation of such a vital<...>It is obvious that in this case, dealing with the problem of progressive moral degradation of a part of society

8

The strategy for the development of education in the Russian Federation until 2025 points to such long-term target guidelines for the holistic educational process as the formation of a harmonious personality, education of a citizen of Russia, which combines love for the big and small homeland, national and ethnic identity, respect for the culture and traditions of people, living nearby

We are confident that such a culture-centered contribution to the spiritual and moral education of our children<...>to orient children and adolescents to acquire unique life experiences of the highest spiritual and moral<...>aimed at developing cultural, emotional, spiritual and moral values ​​in the younger generation and youth<...>settled way of life (according to D.<...>

9

Spiritual life of society method. instructions

Methodological instructions are intended to assist in mastering the course “Philosophical problems of specific disciplines. Section: Spiritual life of society", read to students studying in the higher professional education program in the direction 030100.62 Philosophy in the 3rd semester. Developed in accordance with the Federal State Educational Standard on the basis of the work program for the course “Philosophical problems of specific disciplines. Section: Spiritual life of society." The course is divided into 17 topics, each with a summary of the lecture course, questions for self-study and self-control. The guidelines also contain seminar lesson plans, test questions, tests, practical tasks and fragments of texts by philosophers for analysis, topics of discussion, short dictionary at the rate.

Moral assessment of activities.<...>Moral assessment of activities. 4.<...>Science and morality: a) the problem of the humanistic use of science; b) the freedom of the scientist as a moral<...>To preserve cultural monuments necessary for the “moral settlement” of people, only platonic<...>How do you understand the author’s expression “moral settlement”? 4.

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10

No. 2 [Higher education in Russia, 1996]

The journal publishes research results current state higher education in Russia, issues of theory and practice of humanitarian, natural science and engineering higher education are discussed. The journal is included in the list of peer-reviewed publications recommended by the Higher Attestation Commission for publishing the results of scientific research in the following areas: philosophy, sociology and cultural studies;

pedagogy and psychology; story.<...>It is obvious that the development and strengthening of spiritual, moral, humanitarian, social and scientific and technical<...>The presence of effective forms of education political, legal, moral, aesthetic, historical,<...>Humanism is the moral basis for the formation of a student’s personality -M.<...>And this, in my opinion, is where the sphere of professionalism coincides with the sphere of morality.

All the rest are phenomena of a psychological and moral nature.

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<...> <...> <...> <...>

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The relevance of the topic under consideration is determined by the global environmental crisis, which dictates the need to understand the fundamental problems of the existence of society and its interaction with nature and the individual, and a significant transformation of ethnic consciousness. The essence of socio-natural thinking is considered in the context of the worldview system of the Kyrgyz ethnic group. In the philosophical understanding of socio-natural thinking, two logical-dialectical aspects of the relationship between man and the environment have been clearly identified. natural environment: on the one hand, man is seen as an integral part of a rapidly changing environment, on the other hand, man himself is presented as a factor in socio-natural evolution, creating new equipment and technologies and thereby actively influencing the world. One of the main ideas of the philosophy of socio-natural thinking is the unity of planet Earth and humanity. This idea is reflected in the socio-natural thinking of the Kyrgyz ethnos, which is a set of worldviews, life-practical orientations on the involvement of people in objects, phenomena of natural life, expresses sensory-rational comprehension, perception of the real world not only with the intellect, mind, but also with the heart, in the result of personal insight. The socio-natural thinking of the Kyrgyz people reflects the spiritual, moral, socio-ecological aspect of their worldview, worldview, attitude, focus on including people in active harmonious interaction with the environment, taking into account the natural laws and rhythms of nature.

The socio-natural thinking of the Kyrgyz people reflects the spiritual, moral, socio-ecological aspect<...>Socio-natural thinking, expressing the spiritual and moral aspect of a multifaceted, contradictory relationship<...>In this regard, exploring the dynamics of nomadic and sedentary civilizations and their distinctive features, J.K.<...>Content-moral relations characterizing socio-natural integrity, to a large extent<...>While the “redundancy” of the world of a sedentary person is contrasted with the natural world.

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No. 1 [Historical and pedagogical readings, 2004]

Yearbook

Princes are reborn on this basis: from migrating from region to region and fighting, they become sedentary<...>The 1926 census noted a clear predominance in the number of reindeer of nomadic farms over settled ones.<...>The average number of animals per 1 farm in the Tobolsk North among sedentary ones is 26; among nomads - 169.<...>Kalmina was the first to document and introduce into scientific use the term “Siberian Pale of Settlement”<...>moral self-discipline and sociality.

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No. 3 [Healthcare of the Russian Federation, 2012]

Founded in 1957. Editor-in-chief Gennady Grigorievich Onishchenko - Doctor of Medical Sciences, Professor, Academician of the Russian Academy of Sciences, Honored Doctor of Russia and Kyrgyzstan, Assistant to the Chairman of the Government of the Russian Federation. The main objectives of the journal: informing about the theoretical and scientific justification of measures aimed at improving public health, demographic situation, protection environment, the activities of the health care system, publication of materials on legislative and regulatory acts related to improving the work of health authorities and institutions, publication of information on the positive experience of territorial authorities and health care institutions, new ways of this work, presentation of specific data on the health status of certain categories of the population, sanitary and epidemiological situation in various regions of Russia. In accordance with these tasks, materials are published on the results of the implementation of national projects “Health” and “Demography”, on improving the strategy in the field of economics and health care management, on the development and implementation of new forms of organizing health care, medical technologies, on the assessment and dynamics of the state health of the population of various regions of the Russian Federation, on the training of medical personnel and advanced training.

He was the first to develop moral requirements for a doctor and his attitude towards the patient and other doctors.<...>The moral requirements for a doctor are reflected in many of the works of Hippocrates.<...>Bekhterev and others) paid tribute to the moral education of the doctor. The merits of M. Ya. are especially great.<...>Mudrov delivered his famous Act speech “A Speech on the Piety and Moral Qualities of Hippocrates”<...>Thanks to the high moral principles of domestic medicine in Russia, unlike Western countries

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The main parameters shaping the culture of the Mongolian peoples

Culture is a complex, contradictory, historically developing basis of human activity, behavior and communication, which serves as a condition for the reproduction and change of social life. The parameters for studying and researching the culture of Mongol-speaking peoples are the way of life, Buddhism, man and his mentality // Russia-Mongolia: cultural identity of Mongol-speaking peoples. Collection scientific works. - Elista, 2013. - pp. 9-24

the formation of society is associated primarily with the way of life of the above-mentioned peoples: nomadic, semi-nomadic, sedentary<...>are less connected with material wealth; accordingly, they are more free and self-sufficient than sedentary people<...>place of modern settlement; nomads according to their traditional economic and cultural type; sedentary<...>acting as such during the period of socialism, it was a sanction and ideology, permeating the life of nomadic as well as sedentary<...>This specific feature of the psychology and mentality of the Kalmyks is reflected in moral concepts

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Speaking about the formation of intercultural communication in the process of teaching Russian literature in a national school (as we will conditionally call a school with Russian (non-native) and native (non-Russian languages ​​of instruction), it is necessary to define two important categories - communication and intercultural

The third option is when, despite the discrepancy with the national ideal, spiritual and moral values<...>But the writer offers a solution that sounds in the finale - to transfer the nomads to a sedentary lifestyle<...>we just said that they experience “culture shock” when faced with the facts of another culture, different, non-sedentary<...>Not brutal war for survival, but the civilization of the region, the conversion of nomadic tribes into settled inhabitants, the transformation<...>He was attracted by everything good, moral, pure, that he saw in the life of other peoples, that he noted in

17

Poetics of artistic space, textbook. allowance

Publishing house of NSTU

The purpose of the manual is to systematically present the categories of artistic space in Russian literary criticism, as well as some of the main methodological approaches to their study, to consider the features of artistic space in Russian realistic literature of the twentieth century. (using the example of the work of V.P. Astafiev).

or nomadic), which has a detrimental effect on a person (Akim’s mother now lives sedentary, among the Russians,<...>The rootedness of a person in space has ethical and moral significance for V.P.<...>At the same time, a person’s choice is limited, the choice lies only in the moral sphere: having crossed moral boundaries<...>, for example, settled Russian peasants were persecuted: people were turned into vagabonds without clan or tribe.<...>Moral search V.P.

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All-Russian scientific conference “Borders and borderlands in southern Russian history” (Rostov-on-Don, September 26–27, 2014) [Electronic resource] / Sen // News of higher educational institutions. North Caucasus region. Social Sciences.- 2015.- No. 1.- P. 120-122.- Access mode: https://site/efd/412388

The conference took place at the Institute of History and International Relations of the Southern Federal University (IIMO SFU), which organized it. The idea of ​​the conference was born during a creative discussion by the staff of the Institute of International Relations of the Southern Federal University on the issues of organizing new ongoing scientific projects aimed at consolidating the institute’s scientific and pedagogical corporation, scientific communities of the South of Russia and the development of interuniversity scientific cooperation, while relying on the best scientific traditions of the Russian State University. Taking into account these circumstances, as well as the high level of professional interest shown in the conference by a wide range of specialists from different scientific centers, the organizing committee positively reviewed all received applications, including those reflecting the history of borders and borderlands outside the South of Russia. In total, the organizing committee received more than 60 applications from various scientific and educational centers in Russia and Ukraine.

Mizisa (Tambov) “The Great Russian Steppe of Eastern Europe as a contact zone between sedentary and nomadic peoples”<...>Ivanov (Rostov-on-Don) covered the history of the centers of settlement in the Lower Don basin in the Khazar era (<...>Zelensky (Krasnodar) discussed the topic of borders between the Cumans and sedentary peoples in the North-West Caucasus<...>directions and measures to further increase the effectiveness of cultural influence in the sphere of politics, economics, moral<...> Cultural heritage Don - into modern practice. – Cultural institutions as centers of aesthetic, moral

19

The phenomenon of wandering in Russian and Western European cultures is considered: historical forms of wandering, the functions of wandering in Russian culture (“balancing transcendence”) and in Western culture (“immanent dynamism”). Philosophical analysis wandering reveals the relationship of the wanderer with time and space, the form of life of the wanderer

In other monuments, merchants, as a rule, are contrasted with other rich townspeople: the latter lead a sedentary<...>as much as an auxiliary means of public improvement as a necessary condition for personal moral<...>Rus' is not an economic burden for the people, not an ulcer of public order, but one of the main means of moral<...>His form of life is constant movement, the absence of any need for settled life, courage<...>True, here another question arises: how, freed from the nervous and fussy dynamism of the sedentary

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The problem of preserving the language and culture of the Nenets and possible ways to solve it are considered. The main reasons for the loss of the Nenets language and culture are shown, and ways of preserving them are indicated.

It showed that 98% of girls, regardless of whether their family leads a nomadic or sedentary life,<...>78% of nomads and 100% of girls whose parents lead a sedentary lifestyle have modern dolls.<...>87% of nomadic girls prefer national dolls and the same percentage of settled children Copyright JSC<...>Of course, the question of studying or not studying the culture of one’s people is purely personal and moral, because from a practical point of view<...>does not mean that you need to stop teaching your native language, it means that you need to develop national morality

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highlights the position of the nobility of the Voronezh province in relation to the main conditions for the abolition of serfdom, shows the differences in the approaches of the nobility and the administration to the issues of land provision for the peasantry, as well as to the conditions for financing the reform

The peasants had to buy out the estates with personal land (the so-called estate settlement).<...>As Gagarin stated, it was on the shoulders of the noble class that worries about material and moral life still lay.<...>despite all the hardship of such a situation, she courageously carried all this material and moral on her shoulders<...>calls to take the path of voluntary renunciation of serfdom, that it understood its moral values ​​better than the bureaucracy<...>The issue of compulsorily granting peasants a settled estate was discussed very lively.

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No. 6 [Bulletin of Moscow University. Episode 8. History. , 2018]

The magazine publishes articles and materials on domestic and general history, history of art, source studies, ethnology, archeology, etc.; archival documents with scientific comments; information about round tables and scientific conferences with the participation of university specialists. The journal's pages are open to discussion, so its content does not necessarily reflect the views of the founders and editorial board. The authors are responsible for the selection and accuracy of the given facts, quotes, proper names, geographical names, statistical and other information, as well as for the use of data not intended for public publication

Krivenky that the prevalence of Jewish anarchists was noticeable precisely in the Pale of Settlement, one can<...>The economic oppression of the masses of the Jewish proletariat, squeezed in the legal vice of the Pale of Settlement,<...>Consequently, certain provinces of the Pale of Settlement turned out to be the epicenter of the movement, since<...>L. 40–41. 25 As the famous Russian noted about the lightning-fast communication of Jews in the Pale of Settlement<...>Types of settled housing of the Turkmens of the Khorezm oasis // Brief communications of the Institute of Ethnography of the USSR Academy of Sciences.

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The paper examines the nature, causes and mechanisms of distortions in the assessment of the size of the electorate in the United States in the period from the second half of the 18th century. until the second half of the 19th century.

Note that the scale of variation in the values ​​of the residence qualification is the difference between the maximum and minimum<...>The morality and piety qualifications test is another, rather subjective one.<...>admitted to the privilege of a voter... shall, under oath, as prescribed by law, affirm good moral character<...>There are ten such qualifications: age, residence qualification, gender, property (free land ownership<...>) and its alternatives, professional, religious, qualifications of morality and piety, racial and national

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Dialogue of cultures: globalization, traditions and tolerance

The collection includes articles devoted to the consideration of the ideas of tolerance in the context of cultural diversity and globalization.

And it owes its development to its sedentary neighbors.<...>agriculture and settled cattle breeding.<...>The transition to sedentary life was facilitated by a special type of vertical nomadism.<...>The expansion of the Pale of Settlement is indicated in sources of the 15th century.<...>", "freedom as a moral category".

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Folk culture of the Bashkirs brief lecture notes

The brief lecture notes included: organizational and methodological section, content of the discipline, distribution of hours by topics and types of classes, educational and methodological support of the discipline, test questions for preparing for the test, list of recommended literature, guidelines for students, seminar lesson plans, requirements for an abstract (report), sample topics for scientific reports.

Moral principles, morality of Islamic teachings. Surahs of the Koran.<...>Spiritual administration contributes to the moral education of the population of believers.<...>In the northern forests, the transition to sedentarism began early, already in the first centuries of the 2nd millennium.<...>Changing traditions of yurt decoration as the Bashkirs transitioned to sedentism and agriculture.<...>Moral culture Bashkir people: past and present / D.Zh.

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Ecological culture [monograph]

Cognition

The writing of the monograph was due not only to the existence of an environmental problem, but also to two key modern trends related to the fact that, according to presidential decrees, 2013 was declared the year of ecological culture, and 2014 is the year of culture. The monograph outlines modern views on the concept of “ecological culture”. The authors, based on an analysis of scientific data and the results of their own research, showed the importance of ecology and ecological culture in human life. Concepts such as ecology, greening, environmental thinking and consciousness, environmental education, environmental education, environmental culture, etc. are differentiated. From various positions (from the point of view of philosophy, psychology, pedagogy, cultural studies), an attempt was made to find answers to the questions of the formation and education of environmental culture, and a model for overcoming the environmental crisis of our time was proposed.

Likhachev, “moral settlement”. The range of its manifestation is quite wide.<...>settled life."<...>Pale of Settlement.<...>The nomadic Proto-Bulgarians, moving from a nomadic to a sedentary way of life, could not yet part with the flat<...>To establish their new settled way of life, they built their first city from huge blocks of the strongest

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No. 4 [Teacher XXI century, 2014]

“Teacher XXI Century” is an all-Russian magazine about the world of education, included in the list of leading peer-reviewed scientific journals included by the Higher Attestation Commission of the Ministry of Education and Science of the Russian Federation in the list of publications recommended for publishing the main scientific results of dissertations for the degree of Doctor and Candidate of Sciences. Target audience of the magazine: teaching staff of universities; academicians and experts in the field of higher education; doctoral students, postgraduate and master's students of Russian and foreign universities and scientific- educational institutions

With the category of spirituality, morality has a dialectical contiguity (Latin moralis - moral),<...>The political models of interaction between the Sarmatians and the sedentary world are very diverse.<...>The political models of interaction between the Sarmatians and the sedentary world are very diverse.<...>Sarmatians and the sedentary world of the Lower Don region: political models of interaction [Text] / E.V.<...>He will always find moral support in them” [ibid.].

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"Time and Burden of Anxiety." Journalism of Valentin Rasputin [monograph]

For the first time, Valentin Rasputin's journalism is considered as a holistic statement about man and existence. An attempt is being made to systematically reconstruct the writer’s worldview, the factors of its formation, the stages of formation and development. The study of ideological dominants and the conceptual levels of worldview formed by them makes it possible to discover those properties of V. Rasputin’s thinking that form a personal picture of the world and determine artistic creativity. The book reveals the significance of the journalistic type of statement for the writer’s self-awareness and deepens ideas about the place and role of journalism in his creative system.

and nomadic, embodying opposite strategies for the development of Siberia - careful and colonialist. settled<...>Siberian breed. and if before the revolution a sedentary Siberian manages to survive, then in modern times it happens<...>Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 153 throughout the history of Russian Siberia. settled<...>, Wallachia and Siberia. with the appearance of the “Semey” Old Believers in the Siberian forests from the 17th century. a “sedentary” is formed<...>existence can be considered the opposite of nomadic anthropological type settled Siberian. settled

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Sociocultural dynamics of the social space of the North: monograph

Topochronic types of people living in the local (northern) environment are presented. Based on modern theoretical and methodological paradigms, an analysis of the environmental resources for the reproduction of the population of the European North of Russia was carried out. The life resources of northerners were studied (sociological analysis). Sociocultural types of community in the local (northern) environment are identified. The environmental features of the formation of social identity of individuals and sociocultural groups are determined. The risks of the social space of the northern regions of Russia are identified, technologies for managing social risks based on the self-organization of social communities are revealed. The work contains materials from sociological research conducted by the authors in 1989–2016.

Moral imperative: what was acceptable in the past is no longer acceptable today39.<...>The transition to a sedentary lifestyle gave rise to problems in maintaining skills.<...>reflecting the spiritual and moral life of society.<...>N.K. spoke about the moral principles of social development. Mikhailovsky.<...>Solidarity and cooperation are directly related to morality: “Moral, fair, reasonable and

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Law in the context of globalization: materials from all Russia. scientific conf. (Arkhangelsk, April 10, 2013)

Northern (Arctic) Federal University named after M.V. Lomonosov

<...> <...> <...> <...>

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Law in the context of globalization: materials of the All-Russian scientific conference (Arkhangelsk, April 10, 2013)

Northern (Arctic) Federal University named after M.V. Lomonosov

The collection includes articles by participants in the All-Russian scientific conference “Law in the context of globalization”, held at the Northern (Arctic) Federal University named after M.V. Lomonosov April 10, 2013. The materials in the collection are devoted to current issues of constitutional, civil, labor, financial, tax, criminal and other branches of law.

Other qualifications for residence are not established in the legislation.<...>"BIBKOM" & LLC "Agency Book-Service" 15 is necessary in order to protect the foundations of the constitutional system and morality<...>, the use of censorship under the constitutional pretext “in order to protect the foundations of the constitutional system, morality<...>yourself such elements as: recognition of the will of the other, respect for the autonomy of the counterparty, confidence that moral<...>Social and moral reasons for the criminalization of bribery of participants and organizers of sports competitions

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In the XVII-XVIII centuries. The territory of Russia increased significantly due to the inclusion of the eastern outskirts, which served to develop the missionary work of the Russian Orthodox Church in the annexed lands. The activities of the missionaries themselves, on the one hand, were a personal spiritual feat to spread the faith, and on the other, part of a policy aimed at strengthening statehood in new territories and acculturating the autochthonous population. One of the sources containing information about the activities of spiritual missions in Siberia and Kamchatka in the 19th century is the periodical press

the missionary was occupied by people who were not at all suited to their purpose either in education or moral<...>Christianity among the local population, missionaries tried to change the lifestyle of the aborigines from nomadic to sedentary<...>spread of Orthodoxy, superficial baptism local residents, without proper assimilation of Christian concepts and moral<...>It consisted in the refusal of the priests to cover up the deviation of those in power from Christian morality.<...>Russian pioneers were engaged in the local population; ● among nomadic peoples, Christianization and the emergence of settled life

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The patriotic upsurge that swept Russia at the beginning of the First World War did not leave Russian Jewry aside. Mobilization among the Jewish population took place with virtually no shortage; the percentage of Jews in the army during the war was higher than in the population of Russia as a whole: in 1914 there were 400 thousand Jews in the army, by the end of 1916 their number increased to 500 thousand1

The fundamental problem for Russian Jewry remained the existence of the Pale of Settlement and numerous<...>fire and after long desperate cries for help - this consciousness is completely incompatible with a sense of moral<...>See also: Russian press and society on the abolition of the Jewish Pale of Settlement. M., 1915.<...>But it is morally important that a tormented nation pose this question in all its force and answer it<...>Kelner of the Pale of Settlement. On the contrary, it has become one of the urgent tasks for renovating the country.

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A COMPLEX OF ARCHETYPAL IDYLLIC MOTIF IN THE TETRALOGY OF F.A. ABRAMOV “PRYASLINA” AS A REALIZATION OF THE IDYLLIC POSITION OF THE SUBJECT [Electronic resource] / Karaseva // Bulletin of Voronezh State University. Series: Philology. Journalism. .- 2011 .- No. 2 .- P. 43-48 .- Access mode: https://site/efd/523267

The article examines the question of the presence of a complex of archetypal idyllic motifs in the structure of F.A.’s tetralogy. Abramov’s “Pryasliny”, represented as a possible realization of the idyllic position of Abramov’s heroes. The correlation of idyllic motifs with the structures of the “collective unconscious”, that is, archetypal forms, is consistently substantiated

The desire for a rooted existence, economic and spiritual “settled life” proves the need<...>It is no coincidence that it is the image of the nest-house, which most clearly expresses the ontological meaning of “settled life”, that we correlate<...>At the same time, the family is the organizer of the house, the house “is a unit in the sense of the moral union of the family<...>It is in the image of a mother that the natural, biological and moral essence of a woman is fully realized<...>Work on the land, subject to the seasons, forms the moral feelings of the farmer, first of all

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No. 3 [Bulletin of Kalmyk University, 2016]

Transfer with the permission of the government for permanent or temporary use of land by the settled population<...>In the second half of the 19th century. more attention began to be paid to methods of sedentary pastoralism<...>in moral philosophy F.M.<...>Buddhist Pancasila1, which characterizes Buddhism as “the absolute of moral values”, is the Five Moral<...>“Morality is the foundation of the Buddhist path.”

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Based on an analysis of the legislation and law enforcement practice of the Russian Empire, issues of discrimination against religious denominations and their believers are considered, conclusions are drawn about the predominance of the economic and political factor in legal regulation, and about evolutionary secularization public life and confessional law, on the transition under Soviet power of discrimination on religious grounds to a new, non-legal stage

Theological postulates underlay the moral and legal systems.<...>In 1791-1917 in Russia there was a “Pale of Settlement” - a border beyond which Jews were prohibited<...>The Pale of Settlement included mainly the western provinces (modern Belarus, Ukraine and Poland),<...>Leaving the Pale of Settlement required special permission.<...>Jewish question" the government was forced by the First World War, when it was necessary to temporarily remove the Pale of Settlement

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No. 1 [Upbringing and additional education in the Novosibirsk region, 2016]

Novosibirsk), “Spiritual and moral potential of art.<...>Ethics and moral life of man. St. Petersburg: Dmitry Bulanin, 2010. Our correspondents report.<...>intellectual and emotional immersion in an organized moral and developmental environment.<...>settled way of life (according to D.<...>Such settled life, in our opinion, presupposes conscious, proactive, creative development by the growing up

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From the bourgeois reforms of the 1860-1870s. to the counter-reforms of the 80s. XIX century lecture notes

Publishing house of NSTU

The book examines the content of the Great Reforms of the 60s and 70s. XIX century, the attitude of contemporaries towards them. Talked about reforms Alexandra III and about their influence on the future fate of Russia.

they are given lands for the established duties for the permanent use of the peasants, their estate settlement<...>lands are provided, for established duties, for the permanent use of peasants, their homestead settlement<...>Peasants are given the right to purchase ownership of their estates through a contribution<...>With the consent of the landowners, peasants can, in addition to the estate settlement, acquire ownership, on the basis<...>For him, everything that contributes to the triumph of the revolution is moral.

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No. 2 (82) [Bulletin of the Chuvash State Pedagogical University named after. AND I. Yakovleva, 2014]

The scientific journal "Bulletin of the Chuvash State Pedagogical Institute named after I.Ya. Yakovlev" has been published since 1997. Articles are published in the series Natural and Technical Sciences, Humanities and Pedagogical Sciences. A separate issue may be thematic or it may publish scientific articles on current issues in the natural, technical and human sciences. The founder and publisher of the magazine is the Chuvash State Federal State Budgetary Educational Institution of Higher Professional Education Pedagogical University them. AND I. Yakovleva. Included in the List of Higher Attestation Commissions

", "transition to settled life".<...>settlement centers in sumons and arbans, lists of arats who wanted to settle down were compiled, and issued<...>Khludneva, young people were deprived of the foundations of moral education.<...>China in its civil and moral

– based on some data characterizing the realities of culture and elements of religious practice of sedentary<...>From all that has been said, we can conclude that in the sedentary environment of Central Asia, women and men draw their<...>We can talk about the existence in the sedentary environment of Central Asia of certain elements predominantly<...>Consequently, the basis for peaceful coexistence in the culture and religion of the sedentary continues to exist.<...>The ideology they profess, “the world as it is,” allows them to preserve the features of those moral and moral-ethical

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The article examines the contribution of the Eurasian doctrine in philosophical and historical significance. The states and people of the Central Asian region belong to the Eurasian civilization and have distinctive features of a common historical path, mentality and worldview.

In his article “Steppe and Settlement” he notes that Russian culture is simultaneously characterized by “sedentary<...>Eurasian piety and universally binding morality are among the most important imperatives of Eurasianism.<...>confessions and religions there is no fundamental difference in supporting the state’s course towards establishing basic moral

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No. 3 [Emergency reserve. Debates on Politics and Culture, 2017]

"Emergency ration. Debates about politics and culture" - a magazine of debates, information and observations about politics, culture, economics and society. On the pages of NZ, scientists, experts and publicists of all generations, regardless of age or academic degree, discuss topics that are relevant to Russia, Europe and the whole world. The magazine's goal is to make intellectual debate accessible to our readers without reducing the level of discussion: each issue examines in detail current topics from the field of politics or society, economics and culture.

The first and main Pale of Settlement The Pale of Settlement, or, more precisely, the “Permanent Jewish Settlement Line”<...>What about the Pale of Settlement?<...>But personality is not limited to moral qualities alone.<...>Our life will become morally cleaner, we will save money and create jobs.<...>On frontal place: Literature of Moral Resistance 1946–1976. London, 1979.

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No. 2 [Bulletin of Kalmyk University, 2017]

The journal publishes the results of scientific research in biology, history, pedagogy, physics, mathematics, philology, philosophy, economics, law, agricultural and technical sciences. Along with the results of scientific research, the journal systematically publishes reviews, personalities, and chronicles the scientific life of Kalmyk State University.

KAZAKH STATE UNIVERSITY NAMED AFTER S. M. KIROV

The dissertation gives critical analysis pre-revolutionary... works of Russian researchers of Kazakhstan, as well as articles of pre-revolutionary Kazakh authors who appeared on the pages of periodicals.

The differentiation that has taken place within the Kazakh village necessitates a transition to settled life and development<...>A complete, widespread transition to settled life -!!<...>Altynsarin saw the inevitability and objective necessity of the settlement of nomads, the positive influence of settlement<...>- he wrote, “developing” progressively, must eventually move from a nomadic life to a settled life<...>That is why he believed that only the spread of education leads “to correct economic and moral philosophy I.A.<...>The problem of morality in the philosophy of P.D. Yurkevich and F.A.<...>Morality and ethics of schoolchildren // Youth. Education.<...>responsibility 364 Moral 644 Moral education 976 Morality and humanism 153 Moral

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Formation of state policy towards the indigenous peoples of the North in the historical and legal dimension (using the example of the “Arkhangelsk” Nenets) [Electronic resource] / Troshina, Minchuk // "Arctic and North" - an interdisciplinary electronic scientific journal. - 2015 . - No. 4 ( 21).- Access mode: https://site/efd/336010

Northern (Arctic) Federal University named after M.V. Lomonosov

Models of state policy aimed at including European Nenets in the national legal space are analyzed. Drawing on a large number of published testimonies from officials and travelers, as well as archival documents, illustrates both the positive and unsuccessful consequences of the implementation of this policy, which took similar forms in the imperial, early Soviet, Soviet and post-Soviet periods. The problem of cultural stability of the Nenets ethnic group is posed, which has developed mechanisms to counter internal and external forces that destroy ethnic unity.

Attempts to implement the program of transferring the Nenets to a settled life had several positive examples,<...>The same impression was made by the settled Nenets. Kolva on N.E.<...>With the exception of these few examples, the transfer of the Nenets to sedentarism was not successful.<...>a more prosperous and cultural life, but on the contrary - impoverishment; such sedentary Nenets “fed”<...>From the outside, this could be perceived as moral laxity.

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The main directions of development of local history as a general pedagogical discipline are revealed in the context of the implementation of the new generation Federal State Educational Standard. General theoretical approaches to teacher professional training are proposed

The spiritual and moral renewal of society today is aimed at the revival of national culture based on<...>Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 147 carefully cultivate, instill spiritual settledness<...>Ermolaeva defines the goal of local history education as the opportunity to “create conditions for spiritual and moral<...>In search of ways for further spiritual and moral development of society, the formation of moral ideals<...>values ​​and spiritual and moral culture of the future specialist.

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M.: PROMEDIA

Religious reformism manifests itself during periods of historical renewal. In Russia in 1905, groups of “free” or “social Christianity” appeared in reformist structures. One of its leaders, Bishop. Mikhail (Semyonov) planned to create a new, free church. Free Christianity relied on programs that had a religious justification for social demands. Which program belonged to Mikhail (Semyonov)? Why did the “neo-Christians” who supported “Calvary Christianity” then refuse to help the “Calvary”? The author compares program options and resolves these issues.

Religious sections perform the function of “serving” the idea of ​​social liberation and have a moral and ethical<...>there is a typological similarity. 9 in 1904 he published more than 10 books of religious and moral<...>The third part was supplemented with: a “confession” that “there should be no poverty in the kingdom of Christ”, “the Pale of Settlement<...>marriage law"; and the priest - to preach “freedom of conscience, speech, assembly, unions, personality... the Pale of Settlement

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No. 5 [Additional education and upbringing, 2015]

A magazine for seeking creative people and real teachers. This indispensable assistant and a consultant in the world of theory and practice of additional education from preschool education to courses and institutes for advanced training of educators. Teachers of educational schools will find a lot of interesting things for themselves on the pages of the magazine. The magazine's headings are “Questions of Theory”, “Pedagogical Experience”, “Classical Heritage”, “Pedagogical Living Room”, “Creative Workshop”, “Regulatory Acts”, “Correspondence School of Methodist” and others. Among the authors are candidates and doctors of science of the Russian Academy of Education and the Ministry of Education and Science, managers, methodologists and teachers of educational institutions and institutions of further education. THE PUBLISHER PUBLISHES ISSUE WITH A DELAY OF 3 MONTHS!!!

The textbook on institutional economics, intended for the preparation of bachelors in the direction of “Vocational Training (Economics and Management),” reveals the concepts of property and institutionalism and provides pre-institutional theories of the state. Much attention is paid to the concept of human capital.

Its moral foundations in the civilized world take into account and implement the objective needs of society<...>M. Olson called such detachments “sedentary bandits.”<...>The population preferred to obey the settled bandits rather than the touring ones.<...>This is, firstly, the Scottish moral philosophy of Hutchison, Hume, Ferguson and Smith, which first proposed<...>Sen is a well-known proponent of classification characters in accordance with moral criteria –

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