After reading Trifonov’s works, the reader may get the impression that the author has no ideals. And indeed in the work “Exchange” the writer does not single out anyone, making only positive, or only negative character. All heroes are on equal terms. Thus, Trifonov shows that he is not “white and black”. After all, everything in life is relative.
The mother of the protagonist of the work, Viktor Dmitriev, is terminally ill. She may have only months, or maybe even days, left to live. All her life she showed in the eyes of the public that there was nothing in her at all. malice, no self-interest. Meanwhile, the woman condemns to my own son because of his choice of “passion”.
The same thing happens with her daughter Laura. A woman with a good “proletarian” education, and from an intelligent family, is herself unhappy in her marriage. For her, one consolation is work. After all, it is there that she can realize herself as an individual.
The work also mentions father and grandfather. Men, seeing how their relatives were “fighting,” often said that one cannot live with hatred. However, first Victor's father and then his beloved grandfather die. stays with his mother, but they have no common themes, plans or even interests. But there is Victor’s wife, Lena, whom both his mother and sister Laura hate, because the woman is completely different both in character and in beliefs.
Nothing is impossible for Lena. What she plans, she will definitely implement. It would seem very positive quality! But there is also another side to the coin. She does not always achieve her goals honestly. If a woman is faced with the choice of compromising with her conscience or stepping aside, then she will choose the first option. Her desires are always very real, and her arguments are very weighty. Lena always hides behind the fact that she does everything for the sake of her family. She repeats the same thing to Victor.
Victor is also not a “positive” character in the work. He completely depends on Lena's decisions and her arguments. His lack of character is evident already at the beginning of the work, when the author clarifies that the man gave up his dream because he was unable to enter the desired university. Later, he met his future wife, and she said that it was too late to dream about anything. You need to live here and now. And there is, of course, some truth in this, which is why Victor “obeyed.”
But is there love between married couple? Most likely not. Both characters are comfortable with each other. “made” what she needed from Dmitriev, and the man, with his own wife, covers up his own low moral imperfections. She is a kind of shield for him, from other people’s comments and condemnations.
And yet, deep down, Victor sees himself with Tatyana. He knows that she is not capable of betrayal, base acts, hypocrisy and deception. Dmitriev appreciates this in her and thinks that he himself is the same. Victor will only later understand how different their levels of spiritual and moral state are. He will understand, but it will be too late to fix anything.
30.03.2013 25511 0Lesson
79
"Urban prose in modern literature."
Yu. V. Trifonov. " Eternal themes and moral
problems in the story "Exchange"
Goals : give an idea of “urban” prose of the twentieth century; consider eternal problems, raised by the author against the background of urban life; determine the features of Trifonov’s work (the semantic ambiguity of the title, subtle psychologism).
Lesson progress
Take care of the intimate, the intimate: the intimacy of your soul is more valuable than all the treasures of the world!
V. V. Rozanov
I. “Urban” prose in the literature of the 20th century.
1. Working with the textbook.
– Read the article (textbook edited by Zhuravlev, pp. 418–422).
– What do you think the concept of “urban” prose means? What are its features?
– Present your conclusions in the form of a plan.
Rough plan
1) Features of “urban” prose:
a) this is a cry of pain for a person “being turned into a grain of sand”;
b) literature explores the world “through the prism of culture, philosophy, religion.”
3) “City” prose by Yu. Trifonov:
a) in the story “Preliminary Results” he reasons with “empty” philosophers;
b) in the story “The Long Farewell” he reveals the theme of the collapse of the bright principle in a person in his concessions to philistinism.
2. Referring to the lesson epigraph.
II. “Urban” prose by Yuri Trifonov.
1. Vital and creative path Trifonova.
The complexity of the fate of the writer and his generation, the talent for embodying spiritual quests, the originality of manner - all this predetermines attention to life path Trifonova.
The writer's parents were professional revolutionaries. Father, Valentin Andreevich, joined the party in 1904, was sent into administrative exile in Siberia, and went through hard labor. Later he became a member of the Military Revolutionary Committee in October 1917. In 1923–1925. headed the Military Collegium of the Supreme Court of the USSR.
In the 30s, father and mother were repressed. In 1965, Yu. Trifonov’s documentary book “Reflection of the Fire” appeared, in which he used his father’s archive. From the pages of the work emerges the image of a man who “kindled a fire and himself died in this flame.” In the novel, Trifonov first used it as a unique artistic technique principle of time editing.
History will constantly disturb Trifonov (“The Old Man”, “House on the Embankment”). The writer realized his philosophical principle: “We must remember - the only possibility of competition with time is hidden here. Man is doomed, time triumphs."
During the war, Yuri Trifonov was evacuated to Central Asia, worked at an aircraft plant in Moscow. In 1944 he entered the Literary Institute. Gorky.
The memories of his contemporaries help to visually imagine the writer: “He was over forty. An awkward, slightly baggy figure, short-cropped black hair, with barely visible lambskin curls here and there, with sparse threads of gray, an open, wrinkled forehead. From a wide, slightly swollen pale face, through heavy horn-rimmed glasses, intelligent gray eyes looked at me shyly and unprotected.”
The first story “Students” - thesis aspiring prose writer. The story was published by the magazine New world"A. Tvardovsky in 1950, and in 1951 the author received the Stalin Prize for it.
It is generally accepted that the main theme of the writer is everyday life, the procrastination of everyday life. One of the famous researchers of Trifonov’s work, N.B. Ivanova, writes: “When reading Trifonov for the first time, there is a deceptive ease of perception of his prose, immersion in familiar situations close to us, collisions with people and phenomena known in life...” This is true, but only when reading superficially.
Trifonov himself asserted: “It’s not everyday life that I write, but being.”
Critic Yu. M. Oklyansky rightly asserts: “The test of everyday life, the power of everyday circumstances and the hero, one way or another romantically opposing them... is the cross-cutting and main theme of the late Trifonov...”
2. P issue of the story Y. Trifonova “Exchange”.
1) – Remember the plot of the work.
The family of Viktor Georgievich Dmitriev, an employee of one of the research institutes, lives in a communal apartment. Daughter Natasha, a teenager, is behind the curtain. Dmitriev's dream of moving in with his mother did not find support from Lena, his wife. Everything changed when my mother was operated on for cancer. Lena herself started talking about the exchange. The actions and feelings of the heroes, manifested in solving this everyday issue, which ended in a successful exchange, and soon the death of Ksenia Fedorovna, constitute the content of the short story.
– So, exchange is the plot core of the story, but can we say that this is also a metaphor that the author uses?
2) The main character of the story is a representative of the third generation of Dmitrievs.
Grandfather Fyodor Nikolaevich is intelligent, principled, and humane.
– What can you say about the hero’s mother?
Find the characteristic in the text:
“Ksenia Fedorovna is loved by friends, respected by colleagues, appreciated by her neighbors in the apartment and at Pavlinov’s dacha, because she is friendly, compliant, ready to help and take part...”
But Viktor Georgievich Dmitriev falls under the influence of his wife and “becomes foolish.” The essence of the title of the story, its pathos, author's position, as it follows from the artistic logic of the story, is revealed in the dialogue between Ksenia Fedorovna and her son about the exchange: “I really wanted to live with you and Natasha...” Ksenia Fedorovna paused. “But now - no” - “Why?” - “You have already exchanged, Vitya. The exchange took place."
– What is the meaning of these words?
3) What makes up the image of the main character?
Characteristics of an image based on text.
– How does the emerging conflict with your wife over the exchange end? (“...He lay down in his place against the wall and turned his face to the wallpaper.”)
– What does this pose of Dmitriev express? (This is the desire to escape the conflict, humility, non-resistance, although in words he did not agree with Lena.)
– And here’s another subtle psychological sketch: Dmitriev, falling asleep, feels his wife’s hand on his shoulder, which first “lightly strokes his shoulder” and then presses “with considerable heaviness.”
The hero understands that his wife’s hand is inviting him to turn around. He resists (this is how the author depicts in detail internal struggle). But... “Dmitriev, without saying a word, turned on his left side.”
– What other details indicate the hero’s subordination to his wife, when we understand that he is a driven person? (In the morning, my wife reminded me of the need to talk to my mother.
“Dmitriev wanted to say something,” but he “took two steps after Lena, stood in the corridor and returned to the room.”)
This detail - “two steps forward” - “two steps back” - is clear evidence of the impossibility for Dmitriev to go beyond the boundaries imposed on him by external circumstances.
– Whose rating does the hero receive? (We learn his assessment from his mother and grandfather: “You are not a bad person. But you are not amazing either.”)
4) Dmitriev was denied the right to be called an individual by his relatives. Lena was denied by the author: “...she bit into her desires like a bulldog. Such a pretty bulldog woman... She didn’t let go until her desires - right in her teeth - turned into flesh..."
Oxymoron* pretty bulldog woman further emphasizes the author’s negative attitude towards the heroine.
Yes, Trifonov has clearly defined his position. This is contradicted by N. Ivanova’s statement: “Trifonov did not set himself the task of either condemning or rewarding his heroes: the task was different - to understand.” This is partly true...
It seems that another remark of the same literary critic: “...behind the external simplicity of presentation, calm intonation, designed for an equal and understanding reader, there is Trifonov’s poetics. And – an attempt at social aesthetic education.”
– What is your attitude towards the Dmitriev family?
– Would you like life to be like this in your families? (Trifonov managed to paint a typical picture family relations of our time: the feminization of the family, the transfer of initiative into the hands of predators, the triumph of consumerism, the lack of unity in raising children, the loss of traditional family values. The desire for peace as the only joy forces men to put up with their inferiority in the family. They lose their solid masculinity. The family is left without a head.)
III. Lesson summary.
– What questions did the author of the story “Exchange” make you think about?
– Do you agree that B. Pankin, speaking about this story, calls a genre that combines a physiological outline of modern urban life and parables?
Homework.
“The exchange was published in 1969. At this time, the author was criticized for reproducing the “terrible sludge of little things”, for the fact that in his work “there is no enlightening truth”, for the fact that in Trifonov’s stories spiritual dead people roam, pretending to be alive. There are no ideals, man is crushed and humiliated, crushed by life and his own insignificance.”
– Express your attitude to these assessments by answering the questions:
џ What comes to the fore in the story when we perceive it now?
џ Does Trifonov really have no ideals?
џ In your opinion, will this story remain in literature and how will it be perceived in another 40 years?
Summary of a literature lesson in 11th grade
"Urban prose in modern literature."
Yu. V. Trifonov. story "EXCHANGE"
Goals: give an idea of “urban” prose of the twentieth century; consider the eternal problems raised by the author against the backdrop of urban life; determine the features of Trifonov’s work (the semantic ambiguity of the title, subtle psychologism).
Lesson progress
Take care of the intimate, the intimate: the intimacy of your soul is more valuable than all the treasures of the world!
V. V. Rozanov
I. “Urban” prose in the literature of the 20th century.
1. Working with the textbook.
Read the article (textbook edited by Zhuravlev, pp. 418-422).
What do you think the concept of “urban” prose means? What are its features?
Present your conclusions in the form of a plan.
Rough plan
1) Features of “urban” prose:
a) this is a cry of pain for a person “being turned into a grain of sand”;
b) literature explores the world “through the prism of culture, philosophy, religion.”
3) “City” prose by Yu. Trifonov:
a) in the story “Preliminary Results” he reasons with “empty” philosophers;
b) in the story “The Long Farewell” he reveals the theme of the collapse of the bright principle in a person in his concessions to philistinism.
2. Appeal to the epigraph of the lesson.
How is the content of “urban” prose related to the epigraph of today’s lesson?
II. “Urban” prose by Yuri Trifonov.
1. Trifonov’s life and creative path.
The complexity of the fate of the writer and his generation, the talent for embodying spiritual quests, the originality of manner - all this predetermines attention to Trifonov’s life path.
The writer's parents were professional revolutionaries. Father, Valentin Andreevich, joined the party in 1904, was sent into administrative exile in Siberia, and went through hard labor. Later he became a member of the Military Revolutionary Committee in October 1917. In 1923-1925. headed the Military Collegium of the Supreme Court of the USSR.
In the 30s, father and mother were repressed. In 1965, Yu. Trifonov’s documentary book “Reflection of the Fire” appeared, in which he used his father’s archive. From the pages of the work emerges the image of a man who “kindled a fire and himself died in this flame.” In the novel, Trifonov first used the principle of time montage as a unique artistic device.
History will constantly disturb Trifonov (“The Old Man”, “House on the Embankment”). The writer realized his philosophical principle: “We must remember - the only possibility of competition with time is hidden here. Man is doomed, time triumphs."
During the war, Yuri Trifonov was evacuated in Central Asia and worked at an aircraft plant in Moscow. In 1944 he entered the Literary Institute. Gorky.
The memories of his contemporaries help to visually imagine the writer: “He was over forty. An awkward, slightly baggy figure, short-cropped black hair, with barely visible lambskin curls here and there, with sparse threads of gray, an open, wrinkled forehead. From a wide, slightly swollen pale face, through heavy horn-rimmed glasses, intelligent gray eyes looked at me shyly and unprotected.”
The first story “Students” is the thesis work of a novice prose writer. The story was published by the magazine “New World” by A. Tvardovsky in 1950, and in 1951 the author received the Stalin Prize for it.
It is generally accepted that the main theme of the writer is everyday life, the procrastination of everyday life. One of the famous researchers of Trifonov’s work, N.B. Ivanova, writes: “When reading Trifonov for the first time, there is a deceptive ease of perception of his prose, immersion in familiar situations close to us, collisions with people and phenomena known in life...” This is true, but only when reading superficially.
Trifonov himself asserted: “It’s not everyday life that I write, but being.”
Critic Yu. M. Oklyansky rightly asserts: “The test of everyday life, the power of everyday circumstances and the hero, one way or another romantically opposing them... is the cross-cutting and main theme of the late Trifonov...”
2. Problems of the story “Exchange” by Yu. Trifonov.
1) - Remember the plot of the work.
The family of Viktor Georgievich Dmitriev, an employee of one of the research institutes, lives in a communal apartment. Daughter Natasha - a teenager - behind the curtain. Dmitriev's dream of moving in with his mother did not find support from Lena, his wife. Everything changed when my mother was operated on for cancer. Lena herself started talking about the exchange. The actions and feelings of the heroes, manifested in solving this everyday issue, which ended in a successful exchange, and soon the death of Ksenia Fedorovna, constitute the content of the short story.
So, exchange is the plot core of the story, but can we say that this is also a metaphor that the author uses?
2) Main character the story is a representative of the third generation of Dmitrievs.
Grandfather Fyodor Nikolaevich is intelligent, principled, and humane.
What can you say about the hero’s mother?
Find the characteristic in the text:
“Ksenia Fedorovna is loved by friends, respected by colleagues, appreciated by her neighbors in the apartment and at Pavlinov’s dacha, because she is friendly, compliant, ready to help and take part...”
But Viktor Georgievich Dmitriev falls under the influence of his wife and “becomes foolish.” The essence of the title of the story, its pathos, the author’s position, as it follows from the artistic logic of the story, are revealed in the dialogue between Ksenia Fedorovna and her son about the exchange: “I really wanted to live with you and Natasha... - Ksenia Fedorovna was silent. - But now - no” - “Why?” - “You have already exchanged, Vitya. The exchange took place."
What is the meaning of these words?
3) What makes up the image of the main character?
Characteristics of an image based on text.
How does the emerging conflict with your wife over the exchange end?(“...He lay down in his place against the wall and turned his face to the wallpaper.”)
What does this pose of Dmitriev express?(This is the desire to escape the conflict, humility, non-resistance, although in words he did not agree with Lena.)
And here’s another subtle psychological sketch: Dmitriev, falling asleep, feels his wife’s hand on his shoulder, which first “lightly strokes his shoulder” and then presses “with considerable heaviness.”
The hero understands that his wife’s hand is inviting him to turn around. He resists (this is how the author depicts the internal struggle in detail). But... “Dmitriev, without saying a word, turned on his left side.”
What other details indicate the hero’s submission to his wife when we understand that he is a driven man?(In the morning, my wife reminded me of the need to talk to my mother.
“Dmitriev wanted to say something,” but he “took two steps after Lena, stood in the corridor and returned to the room.”)
This detail - “two steps forward” - “two steps back” - is clear evidence of the impossibility for Dmitriev to go beyond the boundaries imposed on him by external circumstances.
What rating does the hero receive?(We learn his assessment from his mother and grandfather: “You are not a bad person. But you are not amazing either.”)
4) Dmitriev was denied the right to be called an individual by his relatives. Lena was denied by the author: “...she bit into her desires like a bulldog. Such a pretty bulldog woman... She didn’t let go until her desires - right in her teeth - turned into flesh..."
Oxymoron* pretty bulldog womanfurther emphasizes the author’s negative attitude towards the heroine.
Yes, Trifonov has clearly defined his position. This is contradicted by N. Ivanova’s statement: “Trifonov did not set himself the task of either condemning or rewarding his heroes: the task was different - to understand.” This is partly true...
It seems that another remark of the same literary critic is more fair: “... behind the external simplicity of presentation, calm intonation, designed for an equal and understanding reader, there is Trifonov’s poetics. And - an attempt at social aesthetic education.”
What is your attitude towards the Dmitriev family?
Would you like life to be like this in your families?(Trifonov managed to draw typical picture family relations of our time: the feminization of the family, the transfer of initiative into the hands of predators, the triumph of consumerism, the lack of unity in raising children, the loss of traditional family values. The desire for peace as the only joy forces men to put up with their inferiority in the family. They lose their solid masculinity. The family is left without a head.)
III. Lesson summary.
What questions did the author of the story “Exchange” make you think about?
Do you agree with what B. Pankin, speaking about this story, calls a genre that combines a physiological outline of modern urban life and a parable?
Homework.
“The exchange was published in 1969. At this time, the author was criticized for reproducing the “terrible sludge of little things”, for the fact that in his work “there is no enlightening truth”, for the fact that in Trifonov’s stories spiritual dead people roam, pretending to be alive. There are no ideals, man is crushed and humiliated, crushed by life and his own insignificance.”
Express your attitude to these assessments by answering the questions:
What in the story comes to the fore when we perceive it now?
Does Trifonov really have no ideals?
In your opinion, will this story remain in literature and how will it be perceived in another 40 years?
Lesson objectives:
educational – to reveal the philosophical meaning of the work; identify the position of the characters in the story in relation to the issue of exchange; having created a problematic situation, encourage students to express their own point of view about the life principles of the Dmitriev and Lukyanov families, as well as the main characters - Victor and Lena Dmitriev;
educational – to promote the formation of students’ own point of view on the identified problem; create situations in which students understand that there is a way out of any difficult situation;
developmental – to promote the formation of skills in group work, public speaking, and the ability to defend one’s point of view; activation of students' creative abilities.
Equipment: slide material, computer, screen, images of the characters in the play.
Methodical techniques: educational dialogue, elements role playing game, creating a problematic situation.
Methods: verbal, visual, partially search and research.
Lesson form: reflection lesson.
Lesson progress
“Ice on the ground, ice...”.
Vladimir Vysotsky
From good to bad one chateau "k.
Proverb
“There are two abysses in a person,” Dostoevsky taught, and he does not choose between them, but rushes about like a pendulum.”
Joseph Brodsky
1. Opening remarks teachers.
Today, in a series of events, you and I have our last joint open lesson. Very soon we will part with you, and you will enter adult life with its ups and downs, joys and disappointments, wonderful acquaintances and the desire to separate yourself from someone... Say, didn’t all this happen in our lives today? It happened, of course, but it was not always conscious, it happened when the shoulder of loved ones and relatives was always nearby, and their opinion was almost undeniable and very authoritative. However, in adult life you will find many pitfalls, stones in your bosom, the opinions of former authorities do not work. And I would really like our excursion into adulthood to be remembered one day and at least make difficult moments a little easier.
2. Questions for discussion.
A) Working with the lesson epigraph:
Look at the epigraphs that I offered you to start our conversation?
How do they fit into the topic of our lesson? And which one would be preferable for you? Give reasons for your point of view. (Slide No. 1 teacher)
B) Working with the title of the story.
You already know that title is an important component of the text, it is important for revealing the ideological and philosophical meaning of the work.
The title is always a message about the content of what we have to read. “When starting to read a book,” noted A.M. Peshkovsky, “the reader is interested in its content and in the title he sees a hint of this content or even a condensed expression of it... This means that the title of a book is always something more than a title.”
Look at the title of our story and determine the future direction of the conversation, the semantic core.. (Presentation)
Why does an ordinary everyday, family situation suddenly develop into a conflict? Give us a brief summary of this story.
So, in order to understand the conflict, let’s take a closer look at the main character of the story, Viktor Georgievich Dmitriev.
Before giving the floor to the first creative group, I remind you of the basic requirements that we impose on speakers (clarity of thought, conciseness, consistency, evidence, clarity, schematization when working with presentations. Students have sheets in front of them that contain an assessment of the materials of the speakers’ presentations )
1) Group “Viktor Georgievich Dmitriev” relying on textual material - general acquaintance with the character without going into depth:
A native Muscovite from a family of pre-revolutionary intellectuals;
In the story - a junior researcher, a specialist at a research institute for pumping units - 37 years old;
Married, has a wife Elena and a daughter Natasha, a student at a special school for studying English;
Lives in Moscow in a small communal apartment;
Organizes an exchange of apartments precisely at the moment when it is discovered that the mother is terminally ill.
Teacher's word:
What kind of person could do this: an unprincipled grabber? Spineless spineless? Who is he? Or maybe just a selfish person? To answer these questions, let's take a closer look at his origins, his family (already in the composition in which we find it). And let’s try to answer the main question: in what world was Victor’s worldview formed? What influenced the development of Victor's character?
In the article “Choose, Decide, Sacrifice,” the writer rightly said that “everyday life is ordinary life, a test of life, where a new, modern morality is manifested and tested.” And further he added that “everyday life is a war that knows no truce.” According to Yu. Trifonov, in “The Exchange” he strove for density of writing, to “depict as fully as possible the complexity of the circumstances in which a person lives,” the complexity of relationships. That is why the story is full of subtexts, and that is why it rests on allegories. Every action here is a move in a positional struggle, every remark is a fencing attack. Let's try to understand the essence of the story.
2) Dmitriev family:
Origin, social status(mother, father, grandfather, sister Laura);
Everyone’s range of interests, hobbies, and activities;
Family priorities;
The cult of family is sacrifice, fear of being a burden to someone.
Bottom line: so what does the Dmitriev family appear before us, at least at first glance?
origin, social status;
Family priorities;
Cult of family.
Bottom line: so what does the Lukyanov family appear before us, at least at first glance?
Origin, social status;
Range of interests, hobbies, activities;
Priorities;
Lena's trouble is not in her desires and aspirations, but in the means of realizing them.
5) So who is he more, the main character: Dmitriev or Lukyanov?
The steps of gradual “peeling” are an irreversible process that boils down to getting bogged down in details
“You have already exchanged, Vitya. The exchange took place... It was a very long time ago. And it always happens. Every day, so don’t be surprised, Vitya. And don't be angry. It’s just so unnoticed..”:
The first very inconspicuous step was to rush after failing to enter the art school at least somewhere. The first loss of oneself is an unloved job;
Marrying another girl is not a dream come true - loss of family happiness and eternal concessions on small things;
Dreams about.. and “.. you’re late, Vitenka.” Page 50;
Dmitriev - candidate of sciences, gave up - did not finish his dissertation - page 51.
The story with the portrait of the father;
Trip to Golden Sands in Bulgaria – father’s illness (stroke);
The story with my grandfather (talk about contempt);
Grandfather's funeral and wake - death and canned saury - shortage (pp. 47-49);
The transition to the Institute of Gas and Oil - and the reasons for this transition (the story of Levka Bubrik) (according to the grandfather, everyone expected that Victor would turn out something different. “Nothing terrible, of course, happened. You are not a bad person. But not amazing” - betrayal of a friend;
The story with Tatyana is a game – deception – a break in Tanya’s family;
Exchange of apartment due to mother's illness;
Mother's funeral and exchange.
Compare with another character – Ionych + Solzhenitsyn’s “Young Ones”.
Find in these “micro-concessions” those where there is an equalization of concepts that are incomparable in their significance.
So why is the death of his grandfather and the death of Viktor Georgievich’s mother mentioned in passing? Why did these, perhaps, the most tragic moments of life, especially the loss of the mother, not become a tragedy? What role did the Dmitriev family play in this? (The same sacrifice that was cultivated in the Dmitriev family was the fundamental basis for the son’s rejection from the family; it was the sacrifice of the parents (not to be a burden to their children) that gave birth to Viktor Georgievich’s complete conviction that parents and grandfathers are not the most sacred. It is not for nothing that they say that evil does not seek harmony, his strength lies in routine. And this routine was able to regenerate. moral values in the inner world of the main character).
Another detail is alarming and keeps us from feeling sorry for him: Lena calls a spade a spade, but Victor does not. He needs cover, some noble legend. Like the one he gives to his sister Laura: “I don’t need a damn thing, absolutely not a damn thing. Besides, to make our mother feel good. She always wanted to live with me, you know that, and if now this can help her...”
6) Please share the observations and reasoning of our parent experts who also took part in the discussion of this story. Tell me the ways out of this zugzwang. (Children’s statements, parents’ statements about the main character and his actions are read out). Presentation
I would like to conclude our lesson with the words of Joseph Brodsky, which he spoke to students at the University of Michigan back in 1988.
"Consider what you are about to hear as simply the advice of the tip of a few icebergs, so to speak, and not Mount Sinai. I am not Moses, you are not the Old Testament Jews either; these slightly disordered sketches, (...) are not tablets. Ignore them, question them if you like, if necessary, forget them, if you cannot do otherwise: there is nothing obligatory in them. If some of them are useful to you now or in the future, I will be glad. If not, my anger will not overtake you. ”
Lesson note: create a syncwine (each group has its own character).
Reflection:
Mark your emotional state during the lesson with colored cards lying on your table and put them in an envelope.
We ask the guests of the lesson - parents - to express their observations and thoughts on the topic of the lesson.
Homework: written work “Reflecting on what you read.”
1) - Remember the plot of the work.
The family of Viktor Georgievich Dmitriev, an employee of one of the research institutes, lives in a communal apartment. Daughter Natasha - a teenager - behind the curtain. Dmitriev’s dream of moving in with his mother did not find support from Lena, his wife. Everything changed when my mother was operated on for cancer. Lena herself started talking about the exchange. The actions and feelings of the heroes, manifested in solving this everyday issue, which ended in a successful exchange, and soon the death of Ksenia Fedorovna, constitute the content of the short story.
So, exchange is the plot core of the story, but can we say that this is also a metaphor that the author uses?
2) The main character of the story is a representative of the third generation of Dmitrievs.
Grandfather Fyodor Nikolaevich is intelligent, principled, and humane.
What can you say about the hero’s mother?
Find the characteristic in the text:
“Ksenia Fedorovna is loved by her friends, respected by her colleagues, appreciated by her neighbors in the apartment and at Pavlinov’s dacha, because she is friendly, compliant, ready to help and take part...”
But Viktor Georgievich Dmitriev falls under the influence of his wife and “becomes foolish.” The essence of the title of the story, its pathos, the author’s position, as it follows from the artistic logic of the story, are revealed in the dialogue between Ksenia Fedorovna and her son about the exchange: “I really wanted to live with you and Natasha... - Ksenia Fedorovna was silent. - But now not” - “Why?” - “You have already exchanged, Vitya. The exchange took place."
What is the meaning of these words?
3) What makes up the image of the main character?
(Characteristics of the image based on the text.)
How does the emerging conflict with your wife over the exchange end?
(“... He lay down in his place against the wall and turned his face to the wallpaper.”)
What does this pose of Dmitriev express?
(This is the desire to escape the conflict, humility, non-resistance, although in words he did not agree with Lena.)
And here’s another subtle psychological sketch: Dmitriev, falling asleep, feels his wife’s hand on his shoulder, which first “lightly strokes his shoulder” and then presses “with considerable heaviness.”
The hero understands that his wife’s hand is inviting him to turn around. He resists (this is how the author depicts the internal struggle in detail). But... “Dmitriev, without saying a word, turned on his left side.”
What other details indicate the hero’s submission to his wife when we understand that he is a driven man?
(In the morning, my wife reminded me of the need to talk to my mother.
“Dmitriev wanted to say something, but he, “taking two steps after Lena, stood in the corridor and returned to the room.”)
This detail - “two steps forward” - “two steps back” - is clear evidence of the impossibility for Dmitriev to go beyond the boundaries imposed on him by external circumstances.
What rating does the hero receive?
(We learn his assessment from his mother and grandfather: “You are not a bad person. But you are not amazing either.”)
4) Dmitriev’s right to be called an individual was denied by his relatives. Lena was denied by the author: “... she bit into her desires like a bulldog. Such a pretty bulldog woman... She didn’t let go until her desires - right in her teeth - turned into flesh...”
Oxymoron pretty bulldog woman further emphasizes the author’s negative attitude towards the heroine.
Yes, Trifonov has clearly defined his position. This is contradicted by N. Ivanova’s statement: “Trifonov did not set himself the task of either condemning or rewarding” his heroes; the task was different - to understand.” This is partly true...
It seems that another remark of the same literary critic is more true: “Behind the external simplicity of presentation, calm intonation, designed for an equal and understanding reader, is Trifonov’s poetics. And - an attempt at social aesthetic education.”
What is your attitude towards the Dmitriev family?
Would you like life to be like this in your families?
(Trifonov was able to paint a typical picture of family relations of our time: the feminization of the family, the transfer of initiative into the hands of predators, the triumph of consumerism, the lack of unity in raising children, the loss of traditional family values. The desire for peace as the only joy forces men to put up with their inferiority in the family. They lose their solid masculinity. The family is left without a head.)
III. Lesson summary.
What questions did the author of the story “Exchange” make you think about?
Do you agree with what B. Pankin, speaking about this story, calls a genre that combines a physiological outline of modern urban life and a parable?
Homework.
“The exchange was published in 1969. At this time, the author was criticized for reproducing “terrible types of trifles”, for the fact that in his work “there is no enlightening truth”, for the fact that in Trifonov’s stories spiritual dead people roam, pretending to be alive. There are no ideals, man is crushed and humiliated, crushed by life and his own insignificance.”
Express your attitude to these assessments by answering the questions:
What in the story comes to the fore when we perceive it now?
Does Trifonov really have no ideals?
In your opinion, will this story remain in literature and how will it be perceived in another 40 years?
Lesson 31
Drama of the 50-90s.
Plays by Vampilov
Goals: give an overview of Vampilov’s life and work; reveal the originality of the play " Duck hunting"; Develop the ability to analyze dramatic work
Lesson progress
I. Introductory conversation.
When they say this: “a dream in your hand”, “ prophetic dream»?
Are dreams really “prophetic”?
“Dear Tasya! - Vampilov’s father addresses his wife in anticipation of his birth... I’m sure everything is fine. And, probably, there will be a robber, and I’m afraid that he might not be a writer, since I see writers in my dreams.
The first time when you and I were getting ready, on the night of departure, I was looking for fractions in a dream with Lev Nikolaevich Tolstoy himself, and we found..."
August 19, 1937: “Well done, Tasya, she finally gave birth to a son. No matter how I justified the second... I, you know, have prophetic dreams.”
The dreams, indeed, turned out to be prophetic. The son, the fourth child in the family, grew up into the writer-playwright Alexander Valentinovich Vampilov.