Non-fiction a special kind of literature telling about science, about scientific research, the “drama of ideas” in science and the fate of its real creators; is born at the intersection of fiction, documentary-journalistic and popular science literature. Developing into an independent species, N.-kh. l. retains close kinship with all three types of literature; understanding its essence and aesthetics remains a subject of debate. In contrast to popular science literature itself (See Popular science literature) ,
whose attention is focused on cognitive and educational tasks, N.-kh. l. refers primarily to the human side of science, to the spiritual appearance of its creators, to the psychology of scientific creativity, to philosophical origins and the consequences of scientific discoveries. It has not only intellectual and cognitive value, but also aesthetic value; is designed to combine “general interest” with scientific reliability in revealing problems, imagery of the narrative with the documentary accuracy of life material. N.-kh. l. originated in the 20th century; but some genres of didactic literature can be considered its early examples (See Didactic literature)
(for example, “Works and Days” by Hesiod, “On the Nature of Things” by Lucretius Cara, “Metamorphoses of Plants” by Goethe), as well as autobiographies and biographies of a number of scientists of the 19th century. Soviet N.-kh. l. began to take shape at the turn of the 20-30s; At the same time, M. Gorky spoke about the need for “... imaginative scientific and artistic thinking” (Collected works, vol. 27, 1953, p. 107). The works of M. Ilyin, B. S. Zhitkov, “Forest Newspaper” by V. V. Bianki, “Kara-Bugaz” by K. G. Paustovsky, essays by B. N. Agapov, M. M. Prishvin, M. S. Shaginyan. A special rise began at the turn of the 50-60s. (the works of D. S. Danin, O. N. Pisarzhevsky, V. N. Orlov, B. N. Aganov, Yu. G. Weber, A. I. Sharov, etc.), since 1960 annual collections of N.- X. l. “Paths to the Unknown” (Moscow). In most foreign literature, the term adequate to the concept of “N.-kh. l.”, no, and the literature corresponding to it is usually not isolated from the publicly available literature about science. However, many works undoubtedly belong to N.-kh. l.: “Microbe Hunters” by P. de Kreif, “Brighter than a Thousand Suns” by R. Jung, “A. Flemming" A. Maurois et al. Lit.: Andreev K., On equal rights, “The Year Thirty-Seven,” 1954, No. 3; Danin D., Thirst for Clarity, M., 1960; Formulas and images. Dispute about scientific topic in fiction, M., 1961; Ivich A., Poetry of Science, M., 1967. V. A. Revich.
Big Soviet encyclopedia. - M.: Soviet Encyclopedia. 1969-1978 .
See what “Scientific and artistic literature” is in other dictionaries:
A branch of literature that tells in figurative form about real life scientists, their creative destinies and spiritual appearance, about the drama of scientific ideas. Combines features of fiction, documentary and popular science prose... Big Encyclopedic Dictionary
Non-fiction- artist lit., the factual basis of which is people and problems of science... Publishing dictionary-reference book
Literature devoted to the description of the “human” in science: the psychology of the creator, the clash of representatives of various schools, the spiritual appearance of scientists, their work, the prerequisites and consequences of discoveries. In scientific fiction, scientific and... Literary encyclopedia
A branch of literature that figuratively tells about the real life of scientists, their creative destinies and spiritual appearance, about the “drama” of scientific ideas. Combines features of fiction, documentary and popular science prose (“The Inevitability strange world"D... Encyclopedic Dictionary
SCIENTIFIC FICTION LITERATURE- SCIENTIFIC FICTION LITERATURE, a special kind of literature, addressed primarily to the human aspect of science, to the spiritual appearance of its creators, to the psychology of scientific creativity, to the “drama of ideas” in science, to philosophical origins and consequences... ... Literary encyclopedic dictionary
SCIENTIFIC AND FICTION LITERATURE- a branch of literature that combines the main features of fiction, documentary and popular science prose, telling about the origin and development of science, the discoveries of scientists, inventions, ideas, etc... Vocational education. Dictionary
Popular science literature- literature devoted to the presentation of scientific ideas in a form accessible to understanding wide range non-specialist readers. For the younger generation N. p.l. a source of knowledge of the diversity of the world, familiarization with the joy of the first independent scientific... Pedagogical terminological dictionary
The data in this article is presented as of the beginning of the 20th century. You can help by updating the information in the article... Wikipedia
Location... Wikipedia
Fiction in the Thai language, created and being created in Thailand. Traditionally created under the influence of Indian literature. The most famous monument of Thai literature is the Ramakien, the Thai version of the Indian epic Ramayana.... ... Wikipedia
Books
- Gathering of minds. Scientific and journalistic essays, Evgeny Panov. Modern prose- This is not only fiction. This is also journalism. It is gaining more and more attention, and our contemporaries are reading it more and more willingly. The secret is simple: journalism... e-book
Specifics of popular science (scientific and educational) literature
Scientific educational (popular) literature is works about science and its creators, not intended for specialists in this field of knowledge. It includes works about the foundations and individual problems of fundamental and applied sciences, biographies of scientists, descriptions of travel, etc., written in various genres. Problems of science and technology are considered in them from a historical perspective, in interrelation and development.
The first popular work about science in Europe was written in poetic form. About the nature of things » Lucretia Cara And " Letter on the benefits of glass » M. Lomonosov. From the conversations arose « History of the candle » M. Faraday And " Plant life » K. Timiryazeva. Known popular works, written in the form of a nature calendar, sketches, essays, “intellectual adventures.”
Popularization scientific knowledge works of science fiction also contribute.
Scientific fiction is a special kind of literature that tells about science, scientific research, the “drama of ideas” in science and the fate of its real creators. The NHL is born at the intersection of fiction, documentary-journalistic and popular science literature Developing into an independent species, NHL maintains a close relationship with all three types of literature. Unlike NPL, whose attention is focused on cognitive and educational tasks, NHL turns primarily to the human side of science, to the spiritual appearance of its creators, to the psychology of scientific creativity, to the philosophical origins and consequences of scientific discoveries. The NHL can be classified as fictional biographies of scientists and historical figures, works about nature, in which scientific information is presented in figurative form. NHL has not only intellectual and cognitive value, but also aesthetic value; is designed to combine “general interest” with scientific reliability in revealing problems, the imagery of the narrative with the documentary accuracy of life material. NHL originated in the 20th century, but some genres of didactic literature can be considered its early examples: “ Works and days » Hesiod, a series of biographies and autobiographies of 19th century scientists. The scientific and artistic works of B. Zhitkov, V. Bianki, K. Paustovsky, and M. Prishvin became widespread in Russia.
NPL and NHL are similar primarily in that these works are based on accurate scientific fact, i.e. information. NPL presents it in a form accessible to the reader, trying to arouse his interest in the facts being reported. NHL is distinguished by greater expression of the author’s personality and greater artistry, i.e., imagery.
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Classmates
25 books that put forward bold and, most importantly, correct guesses about future technologies and events.
1. Mars has two natural satellites
Such a surprisingly accurate guess can be found on the pages of the book Gulliver's Travels, written by Jonathan Swift in 1735. Only 142 years later, in 1872, the satellites of the Red Planet - Phobos and Deimos - were discovered by astronomers.
2. Solar sails
In 1865, in his science fiction novel From the Earth to the Moon, Jules Verne put forward the idea of solar sails. This bold guess was realized 145 years later when the first solar sail (IKAROS) was used.
3. Submarine on electricity
In the book “20,000 Leagues Under the Sea” (1870) by the same Verne, the amazing submarine “Nautilus” runs on electricity. Real submarines with an electric motor appeared 90 years later - in the 60s of the twentieth century.
4. Credit cards
Edward Bellamy predicted the advent of credit cards in his science fiction work "Look Back" 62 years before their invention, which occurred in 1962.
And again we return to Jules Verne. A rich imagination suggested to the writer the idea of aerial advertising, when the inscription is drawn by an airplane in the air through a smoke trail.
The conjecture was expressed in a story written in 1889. It came true quite soon - in 1915 at an air show in San Francisco.
6. Automatic sliding doors
Another great science fiction writer H.G. Wells predicted the advent of automatic sliding doors in the novel When the Sleeper Awake (1899). This type of door was invented 60 years later.
7. Tanks
A few years later, Wells wrote the story “Land Battleships” (1903), in which he described tanks. After 13 years these combat vehicles appeared on the battlefields of the First World War.
8. Lie detector
In fiction, the first mention of a lie detector can be found in the work of E. Bulmer and V. Machagen “Luther Trent” (“The Achievements of Luther Trant”, 1910). The first use of a real polygraph occurred in 1924.
9. Solar energy
In 1911, Hugo Gernsback began publishing his novel “Ralph 124C 41+” (this work can also take its rightful place on the list of books with the strangest names) in the magazine “Modern Electrics”.
One of the technical predictions concerned the use of solar energy for the benefit of humanity. 67 years passed - and in 1978 the first calculators appeared, which were recharged with the energy of our luminary.
10. Atomic bomb
One of the darkest predictions made by H.G. Wells, which unfortunately came true, was the invention of the atomic bomb and nuclear war, described in the book “The World Set Free” (1914).
Just over three decades have passed and atomic bombs fell on Japanese cities. By the way, in the same novel the English science fiction writer spoke about
A little longer - about 57 years it took Wells's prediction about the use of voice mail to come true (the novel Men Like Gods). This technical innovation became widespread after 1980.
12. Artificial insemination
J. B. S. Haldane became famous as a brilliant popularizer of science and a prominent scientist. In one of his books “Daedalus, or Science and the Future” (1924), along with other interesting guesses, he expressed the idea of artificial insemination.
The first successful “in vitro conception” was carried out after more than five decades, in 1973.
13. Genetic engineering In his famous dystopia “O wondrous new world"Aldous Huxley gave a vivid description of genetic engineering. Today's science has not yet reached the level described in the book, although the first genetic manipulations began back in 1972.
14. Total control
George Orwell painted a very impressive picture of total state control over its citizens in his book “1984,” written in 1948.
And recently, in 2013, a scandal erupted related to the espionage activities of the NSA, which tapped the phones of many American
15. Drop headphones
A description of this type of miniature headphones can be read on the pages of Ray Bradbury's novel Fahrenheit 451, published in 1950. Music lovers had to wait a little more than half a century until Apple released the first headphones of this type to the market.
16. Communications satellites
In 2001: A Space Odyssey (1951), American science fiction writer Arthur C. Clarke predicted the appearance of artificial communications satellites in Earth orbit. We didn’t have to wait long - already in 1965 the first such satellite was launched.
17. Virtual reality
Five years later, Clark wrote The City and the Stars, which references virtual reality video games. In 1966, that is, just 10 years later, the first flight simulator was developed, bringing this brilliant science fiction writer’s guess to life.
18. Waterbeds
Another famous science fiction writer, Robert Heinlein, also distinguished himself in the field of predictions. The 1961 book Stranger in a Strange Land describes waterbeds, and the first patent for them was issued in 1971.
19. Space tourism
The idea of space travel for tourist purposes was expressed by the same Clark in the novel “Moon Dust”, and in practice it was first put into practice by Dennis Tito, the first space tourist.
20. European Union
In John Brunner's book “All Stand on Zanzibar” (1969) you can find a mention of the European Union, which received official
21. Bionic prosthetics
Martin Caidin expressed this idea in the pages of his Cyborg (1972). 41 years later, in 2013, the first bionic leg prosthesis was created.
22. Real-time translation
Douglas Adams's humorous novel The Hitchhiker's Guide to the Galaxy (1980) features a "Babel fish" that can translate from one language to another in real time.
In 2014, Google introduced real-time translation functionality into its application.
23. World Wide Web
The founder of the cyberpunk genre, William Gibson, predicted the emergence of cyberspace and hacking in his novel Neuromancer.
In the early 90s, the World Wide Web, or simply the Internet, began to cover the Earth with its web, involving more and more people in its virtual networks.
24. The best human chess player will be beaten by a computer before the year 2000
This is precisely the forecast made by Raymond Kurzweil in his book “The Age of Intelligent Machines,” published in 1990, when chess computers were still quite weak and could be beaten by grandmasters almost without problems.
However, just 7 years later, the supercomputer Deep Blue beat Garry Kasparov, the strongest chess player on the planet.
Today, chess programs are so powerful that a match between a person and a computer has lost all sporting meaning.
25. The lunar module will be launched in Florida and, returning to Earth, will splash down in the ocean
104 years before the Apollo 11 flight to the Moon, this is exactly how everything was described in Jules Verne’s novel “From the Earth to the Moon” (1865).
The same scenario followed in reality - a team of American astronauts led by Neil Armstrong splashed down in a special module and were soon picked up by the aircraft carrier Hornett.
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“That is why “Capital” had such a gigantic success, that this book of the “German economist” showed the reader the entire capitalist social formation as living - with its household parties, with the actual social manifestation of the class antagonism inherent in production relations,” writes Lenin in the book “What are Friends of the People.”
How alive! Anyone who reread the works of Marx could not help but be struck by their artistic integrity, their imagery, their structure, which does credit to any work of so-called fiction. The architectonics of Capital are grandiose, where in the first volume we are in a factory, in the second in the office of capitalism, and in the third we cover the entire process of capitalist production. The dramatization of events is extremely dramatic, expressed in vivid, figurative language: “In place of an individual machine, a mechanical monster appears here, whose body occupies entire factory buildings and whose demonic power, at first almost disguised, breaks through the solemnly measured movement of its gigantic members in the feverishly frenzied dance of its countless workers organs in the proper sense of the word" (Vol. I, Chapter XIII). The irony is deadly: “the market is the true Eden of innate human rights. Here only freedom, equality, property and Bentham reign!”
“...Newborn capital exudes blood and dirt from all its pores, from head to toe” (Vol. I, Chapter 24). These are quotes from the first volume of Capital.
Let's open at random "The 18th Brumaire of Louis Bonaparte" - brilliant historical research and a revolutionary pamphlet, designed extremely artistically. “The evil spell of Tsiruen was not needed to turn the artistically beautiful bourgeois republic into an ugly monster. This republic has lost nothing but decent visibility. Modern France was a ready-made parliamentary republic. One prick with a bayonet was enough for the bubble to burst, and the monster appeared before the eyes” (chap. 7). Or a phrase about the Napoleonic idea of Louis Bonaparte - the dominance of priests as an instrument of government and the anti-religion of impoverished peasants: “The sky was not a bad addition to the newly acquired piece of land, especially since it makes the weather; but heaven becomes an outrage as soon as it is imposed like a gamen for a parcel,” etc.
Marx always resolved scientific ideas with the help of artistic influence. A great connoisseur and lover of the best examples of fiction, Marx mobilized his artistic skill to better design his economic, philosophical and historical works. The same applies to other great scientists. Engels's language is simple and artistic. What is Darwin's Voyage Around the World on the Beagle - a series of artistic essays or a scientific work? Everything, starting from the first phrase, represents artistic fabric and at the same time is an example of scientific creativity. Works of Timiryazev, acad. I. Pavlova - these are our contemporaries - testify that the combination of artistry with a truly scientific presentation is not only quite possible, but gives scientific work a special power, which lies in the emotional increase in the effectiveness of the work.
The matter is not limited to the simple use of artistic means by the greatest scientists. History knows examples of the development of scientific problems through art.
The Roman horseman Lucretius Carus, who died in 51 BC, in his poem “On the Nature of Things” sets out the teachings of Epicurus, as Marx put it, “the radical enlightener of ancient times.” The poem interprets the physics of Epicurus, develops the theory of atoms, the theory of the structure of the world. To develop philosophical questions, purely scientific questions, the form of a work of art was chosen and the means of art were used. And this is not just the popularization of science through poetry. The rhythm and imagery of the poem do not hinder, but promote the development of thought. Art and poetic creativity here are inseparable from scientific thinking. Lomonosov wrote the poem “On the Benefits of Glass,” which had great educational value for its time.
The circle of readers of so-called fiction is always much wider than the circle of readers of special technical issues. Cooperation artistic word and sciences mutually enrich each other, not to mention the enormous cultural and educational significance of the works born from this unity. Attempts to create this union have been made at all times. Poets of the first class society (slaveholding) Geznod, Empedocles, Ovid, Virgil and /84/ poets of the feudal formation of the Middle Ages - Dante, Jean de Maing - in artistic creativity interpreted the scientific issues of their era. Growing capitalism, whose youth went into battle with feudalism under the banner of science, gave Swift, Goethe, later Lecomte de Lisle, Victor Hugo, then Jules Verne, Rene Gil, Verhaeren, Flammarion. Wells in England and Valery Bryusov in Russia complete this list. But the “junction” between science and artistic and literary creativity is also achieved in other ways. It can be said without exaggeration that every great writer is also a scientific researcher.
Pushkin had a library of 3,000 volumes (the largest at that time) with a significant percentage of books of scientific content. There is a well-known note by Pushkin that “one must be on par with the century” - to stand at the heights of scientific knowledge of our time.
Dostoevsky's works are of unconditional interest for a psychiatrist. Tolstoy's "War and Peace" is a unique theory of military art.
The influence of the work of Goethe - a great naturalist, a great scientist of his time - on the scientific works of his contemporaries is well known. Engels writes in his famous letter to Margaret Harknes that from “ Human Comedy"Balzac, he, Engels, "even learned more about the meaning of economic details... than from the books of all professional historians, economists, and statisticians of this period taken together."
The history of literature knows examples of absolutely exceptional scientific conjectures of people of great artistic emotion. Oridius and Virgil also spoke about liquid air, the reality of our days. Examples are closer: the same Honoré Balzac in one of his novels predicted the discovery of the endocrine glands several decades in advance. Strindberg, in his novel Captain Kohl, pointed out the possibility of extracting nitrogen from the air. Here I am deliberately not talking about scientific foresight in the works of Jules Verne - we will talk about it below. But I would like to mention greatest genius science and art, the greatest scientist, the first engineer of his time, musician, genius artist- about Leonardo da Vinci. The huge clot of artistic emotion embedded in this man made it possible to obtain a number of profound predictions science.
The so-called inspiration is present in all creative work. M. Gorky in his article “Conversations on Craft” quotes Laplace as saying: “Impatiently striving to know the cause of phenomena, a scientist, gifted with a vivid imagination, often finds this cause before observations give him reason to see it.” “The work of a writer is similar to the work of a scientist,” adds Gorky. Artistic emotion and its role in scientific work - the specifics of “inspiration” here and there - this issue has not yet been developed by psychologists.
***
If you imagine the types of scientific novel (story, short story, poem) - a work of art that develops problems science as topics, and not the background (scientific and technical), for the social biography of the hero, then the following types can be outlined: historical, geographical, industrial and fantasy novel.
Authors of historical novels - much more than authors of any other genre - are connected with the scientific basis of the subject of their work. Each author has his own historical concept of the events depicted. In this sense, Alexei Tolstoy’s work on the theme of Peter I, a theme to which he is known to return for many years, is extremely characteristic. And if in the first story, published before the revolution, “The Day of Peter I,” Peter is interpreted in terms of an individual moving history in isolation from the masses, then in the romance that Tolstoy wrote in our days, the historical pattern and driving class forces of that era are artistically shown. There is no need to talk about the unconditional educational value of historical novels.
The writer generally always willingly took on historical topics(Shakespeare’s chronicles alone are worth something) - just as the chronicler contributed a share fiction in the event record. This is explained by the contiguity of two types of ideologies - literature and history. The specificity of history as a science is that it is an ideology, just like literature. That is why, recognizing the great positive significance of the works of Jules Verne, we resolutely reject historical novels such as Mordovtsev, Solovyov, etc. On the other hand, it should be noted the negativity of “artistic” works of this type, such as the “historical” novels of Anatoly Vinogradov - clear evidence what happens when the author treats the concept of a thing, facts, and the calendar too freely.
A significant portion of what has been said can also be attributed to geographical novels. Some of the novels by Mine Reid and the same Jules Verne certainly required a lot of special preparation by the author, and their educational value is undoubted. On the other hand, such a geographical study as “Man and Earth” by the famous French scientist Elisée Reclus contains many elements of artistic emotion. There is no need to talk /85/ about the artistic entertainment and educational benefits of descriptions of all kinds of travel.
The mentioned types of scientific novels, of course, do not exhaust all the possibilities for artistic interpretation of the ideas of science and technology. Any scientific discipline and any scientific problem can be a topic for the writer's development.
Science fiction has a special place. Not only young people were captivated by the book “20,000 Leagues Under the Sea.” Military specialists and naval engineers were engrossed in the exploits of Captain Nemo, and after several decades the Nautiluses became a reality. An aerostat or an airplane is the theme of “Airship.” The scientific foresight of victory and the possibilities of developing heavier-than-air vehicles is the merit of Jules Verne, not only the merit of a historical and literary order. Jules Verne, an expert on all scientific and technical achievements of his time, a talented visionary, organized young people to study technical issues. Books by Jules Verne - still big driving force, directing readers' interests to effective work in science and technology.
The science fiction novel is the most established and widespread type of science novel. The poet Cyrano de Bergerac, a scientist and explorer, one of the most educated people of the 17th century, wrote about flying to the moon using rockets. The artistic works of the scientist Flammarion are well known. The science fiction novel also includes novels, so to speak, social fiction such as Thomas More's "Utopia", which inspired many revolutionaries, and Bellamy's "In a Hundred Years' Time".
The greatest exponent of the science fiction novel is our recent guest H.G. Wells. Someone calculated that in their artistic works Wells touched on over 1,600 scientific problems. And he, like Jules Verne, is a man of great culture and deep knowledge of scientific issues. In the story “In the Deep Sea,” Wells describes a diving device for diving into the ocean to a depth of 5 miles. Modern technology is similar to Wells's vision. The moving sidewalks in the novel “When the Sleeper Awake” (this novel, by the way, is an experiment in combining social and scientific-technical fiction) are known to many.
It should be noted, however, that the works of Jules Verne are closer to us than the works of Wells. Jules Verne is a representative of the still healthy bourgeois class; the word “science” is still written in large letters on its banners. By the time of Wells, the time of decaying capitalism, when thousands of inventions cannot achieve patents due to sales crises, when killing machines are invented, when the terrible slogan is in use - “a moratorium on inventions!”, by this time the science fiction novel of the capitalist world is losing its scientific clarity. Already in “The Struggle of the Worlds”, the Martians conquering the earth fight with a heat ray - a device of a very vague design.
Modern Western science fiction novels are very characteristic of the era dominated by the philosophy of Spengler, who agitates against technology (“Man and Technology”). Pierre MacOrlan in 2000 divides humanity into two groups: scientists and robots - mechanical people. The new world is beautiful, but six-armed iron robots disperse gatherings of scientists. In Jean Painlevé, the author of Cupsill Courant, robots destroy people.
Aldous Huxley's novel Brave New World promotes the idea of "science for the few." The world is ruled by scientists (compare with the ideas of technocracy in the USA), and the golden age, dating back to the “Ford era,” is created at the cost of people losing their ability to have emotional life and abandoning art. Huxley, a scientist (nephew of the famous Julian Huxley), artistically developed in the novel a number of scientific problems in terms of the latest achievements of science. But the picture of the world is given in such a way that a person of our era, finding himself in a “magnificent new world,” commits suicide. The artist of the West is afraid of the triumph of science, he imagines science only in the hands of the bourgeois, and gloomy pictures of the future are drawn to the science fiction writer. New social order, who will take science and develop it in a way that the best science fiction novelists of the bourgeoisie never dreamed of, will force technology to serve man - something some Western artists do not see or do not want to see. Such a science fiction novel may scare the reader away from science rather than bring it closer to it.
But if the scientific imagination of Western artists is constrained by their social blindness, then what immense prospects for scientific foresight open up in the country of victorious young science - in the USSR! Let us recall the words of Engels that with the victory of the proletariat begins true story humanity as opposed to the prehistory of time associated with class struggle. Our greatest scientific future waiting for his descriptions. The country greedily absorbs everything scientific discoveries world, implements them. Splitting of the atom, blood transfusion of corpses, work on determining the sex of the embryo, the work of Michurin, Ioffe, Pavlov - hundreds and thousands of interesting problems are waiting for their artistic embodiment.
But the engineers of the Sevkabel plant write to our writers (Lit. Len-d, 26/VII 1934): “We have /86/ k Soviet writers a request directly related to our specialty. IN Soviet literature not a science fiction novel at all. Bogdanov's novels, Belyaev's very boring and gray novels - that's all. There was, however, also “The Hyperboloid of Engineer Garin” (A. Tolstoy), but it cannot be called a science fiction novel. Rather simply fantastic. The trouble with Belyaev’s novels, for example, is that he proceeds not from real achievements modern technology , continuing its possibilities into the future, but from some completely fictitious concepts. Meanwhile we what is needed is not just fiction technical topics , but, so to speak, a promising novel that would reveal the possibilities of technology development under the conditions of a planned socialist economy. We need a Soviet Jules Verne or Wells.”
However, Belyaev’s novels, with all their technical and scientific imperfections, were read to the gills by our youth. There is such a great need for this genre. The demand for science fiction novels is huge. This was persistently emphasized by the Congress of Writers in the speeches of pioneers and adult readers and, finally, the writers themselves. Unfortunately, Alexei Tolstoy’s novels “Engineer Garin’s Hyperboloid” and “Aelita” gained wide readership. Both novels are anti-scientific. A. Tolstoy's education (he is a process engineer) did not serve the writer as well as one might have hoped for. Much has been written about the helplessness of these novels in terms of science fiction. I will only note the confession of A. Tolstoy himself (“Struggle for Technology”, No. 17-18): “In “The Hyperboloid of Engineer Garin” I wrote about a cannonball launched into the ground to a depth of 25 km. And only now, reworking my Garin, I found this error. After all, the core, falling 25 km, will be completely flattened.” The engineer Los' description of the apparatus for the flight to Mars was more than vague. Such negligence is unacceptable for the author of a science fiction novel. But if the education of an engineer did not benefit A. Tolstoy in his work on science fiction, then the novel by engineer V. Nikolsky “After a Thousand Years” is of unconditional interest: hydrogen smelting, transparent iron, a metallurgical plant without blast furnaces - a number of valuable technical problems. Let us also mention A. A. Bogdanov - a mathematician, political economist, philosopher, director of the blood transfusion institute, a man who dreamed of creating a “unified science”, and the author of the well-known novels “Engineer Manny” and “Red Star”. And here, the combination of deep scientific knowledge and renowned artistic talent brought positive results.
Science fiction certainly deserves the utmost attention from writers, engineers, and scientists. The prospects for this genre are enormous. Eng. M. Ilyin, a writer who gained worldwide fame with his “Tale of a Great Plan,” writes: “We are bad with science fiction books. What do the authors of such a book do? They are already combining arbitrarily, in all sorts of ways known facts... Earth 2000 is like an exhibition of the latest inventions. This is not how a science fiction book should be! Genuine Science fiction should be based not on an arbitrary combination of the known, but on drawing the necessary consequences from new conditions.”
"The true science fiction novel is an outpost of science into the unknown."
Let's return to Lucretius Carus and Lomonosov. Both “On the Nature of Things” and “On the Use of Glass” are formally poems, that is, poetic works. Therefore, there is an opportunity to develop scientific questions in the most constrained form of poetic creativity - in verse. Poetry, the form of the purest artistic emotion in the realm of words, can carry a cognitive load. The very specificity of verse - rhythm, sound organization - has, in comparison with artistic prose greater power of direct emotional impact on the reader. The use of scientific themes in this form promises, on the one hand, a great channel for promoting the ideas of science and technology, and on the other hand, it represents a very interesting field of activity for the poet.
In the preface to the collection of poems “Dali” (M., 1922), Bryusov wrote: “The poems collected in this collection can be reproached that they too often contain words that are not known to everyone: terms from mathematics, astronomy, biology, history and other sciences, as well as hints at various scientific theories and historical events.
The author, of course, must acknowledge this fact, but cannot agree that all this should be forbidden for poetry. He thinks that a poet should, if possible, stand at the level of modern scientific knowledge and have the right to dream of a reader with the same worldview. It would be unfair if poetry had to forever be limited, on the one hand, to motifs about love and nature, and on the other, to civic themes. Everything that interests and excites modern man has the right to be reflected in poetry."
The meaning is where the integral snakes
Between numbers and letters, between d and f. /87/
In the next collection “Mea” (1924), Bryusov places among the scientific poems the famous poem “The World of the Electron”:
Perhaps these electrons -
Worlds with five continents.
Arts, knowledge, wars, thrones
And the memory of forty centuries.
Every atom can still be
A universe with a hundred planets.
Everything that is here, in a compressed volume, is there
But also what is not here.
Bryusov composes a special note for the collection “Mea”, which has cultural and educational significance. Bryusov will forever remain the merit of the man who paved the way for a new theme of poetry.
From Soviet poets Vl. has been working hard and hard in the field of scientific poetry for a long time. Narbut and Zenkevich. Narbut’s poems “Malaria”, “Ball Train” and even “Microscope” are interesting both educationally and genre-wise, although they suffer from some mechanism. The poets Selvinsky and Antokolsky in a number of poems approach scientific poetry. The experience of Selvinsky’s poem “How a Light Bulb is Made” - a poem undeservedly little appreciated by our critics - is very interesting. Nowhere does poetry lag so far behind as on one of the main fronts of our reality - on the front of science and technology. More than 100 years ago, the poet Oznobishin wrote a poem about his contemporary, the famous naturalist Cuvier. Has the life and work of such world-famous scientists as Joffe, Bach, Michurin become the property of poetry? No.
The technical and scientific illiteracy of our poets is even greater than that of prose writers. Take any work of our poets - their educational value in terms of scientific and technical issues is negligible, if not completely absent. Poets write about the plant in the most general terms. They write about the earth as they wrote hundreds of years ago. I take this opportunity to recall the correct idea of Marietta Shaginyan that “the writer (and poet), when describing nature, does not take into account the development of agriculture, and the “popularization” of, for example, virgin forests is a reactionary display of the thing. It’s simply amazing that not a single poet (or writer) has been artistically ignited by such a question as the collision of classical physics with new discoveries, the collision of Newton and Einstein.” Both poet and writer best case scenario they think like Zinger and Kraevich. And for poets, like thousands of years ago, the sun continues to rise in the east and set in the west. Here Copernicus still has not broken Ptolemy.
In the article “On the Poet’s Library,” M. Gorky quotes the following poems:
According to Capital
(In the first volume, in the fifth chapter)
New home occurs first
In the human head
Although of dwarf size,
But in finished form already
It will be born in the brains of engineers
And on a tracing paper drawing of them.
And then the author poetically develops Marx’s thought about the preliminary, ideal representation of the result of labor in a person who changes the form of what is given by nature, fulfilling a conscious goal - about work as a purposeful activity (the famous example of an architect and a bee is taken by the author in the epigraph of the poem):
Well, and you, to the tunes of harmonics
He came from the village with a saw,
Who will you be, comrade seasonal worker,
Architect or bee?
The poem is large in size. Gorky writes: “I read these poems several times to various people, the listeners greeted the poems with indifferent silence or superficial criticism of their technical weakness... But no one noted the fact that one of the most valuable ideas of the founder of true revolutionary philosophy became the property of poetry.” By the way, the question about the architect and the bee also applies to our writers and poets. “Science, its discoveries and conquests, its workers and heroes - all this should be the property of poetry. This scientific area of human activity may be more worthy of admiration, amazement, and pathos than any other.” - These words of Maxim Gorky have not yet found a sufficient creative response.
The development of scientific themes in poetry promises an undoubted formal renewal of verse, and brings with it a change in the methods of verbal transmission of verse. It is difficult now to discern the type of reader of scientific poetry. In any case, this is not a reader of the “Mkhatovsky” type and not a chanting reciter-poet.
***
The question of the union of artistic expression and science, the union of art and science, is not limited to science as the theme of the work.
The question is that every work of art socialist realism must carry a cognitive load. And if science and technology are taken as the background for the social biography of the heroes, then in this case, the accuracy of the description of production, place and working conditions should be included in the artistic minimum required of the writer. /88/
Growing technology leads to the growth of scientific, engineering and technical workers, who are becoming the main group of the intelligentsia of our country. This, firstly, creates a particularly demanding cadre of readers of fiction in certain matters, and secondly, obliges writers to show heroes of production, technology and science. Meanwhile, technical illiteracy of writers is so widespread that it is not even considered a sin. For the most part, the writer simply avoids touching on issues of science and technology.
It is interesting that if we were to conduct a questionnaire on the value famous book Vsev. Ivanov’s “Armored Train 14-69”, grouping reviewers by profession, then “Armored Train” would probably be least popular among railway workers. Writer D. Sverchkov informed the author of the article that when he worked as director of the House of Equipment of the NKPS, the feedback from railway workers about Ivanov’s book was almost standard - “The book is good, but only... the author does not know at all railway" In conditions civil war, battle lines - a combat unit - an armored train would never stop in front of a corpse on the rails. But this is the climax of the story. In addition, the locomotive of an armored train is placed not at the beginning, but in the middle of the train, and the driver could not see the corpse.
An oversight or negligence of the author regarding the material reduces artistic value things. Reader Volkov formulated this correctly (Literaturnaya Gazeta, October 5, 1933), pointing out that “the plot is the property of the author, but natural, historical and everyday features must be presented truthfully, otherwise the work loses its value.”
Another type of “approach”, or rather, bypassing the technical and scientific side of the issue, extremely widespread, is demonstrated by Leonid Leonov in the novel “Skutarevsky”. Its shortcomings were well formulated by Katanyan (“Literaturnaya Gazeta” dated September 5, 1934): “Science, methodology and technology of Soviet scientific work“secret” among our authors to such an extent that Soviet scientists appear to readers almost like medieval alchemists: somewhere they are boiling something like this, pumping it, mixing it, using some kind of capacitors and rectifiers, suffering, worrying, and then suddenly it becomes clear whether the trick was brilliant “failed” or “successful”.
As an example of an extremely conscientious attitude to the material, I will cite Gladkov’s “Energy”, about which the chief engineer of GUMP Tochinsky (“Literaturnaya Gazeta” dated July 14, 1934) says: “The technical material that the writer introduced into the novel is presented basically correctly and vividly , and this is a significant and rare success. But “Energia” was the result of Gladkov’s five years at Dneprostroy and careful study on site technological processes. “I systematically took advantage,” Gladkov reports, “of the consultation of the most prominent and talented engineers and studied the literature on metallurgy, hydraulic engineering, etc.”
Complaints about amateurism in matters of science and technology are heard from most writers. But this is not the writers’ problem, but their fault. Reluctance to work on material that requires long and deep study, for some reason a view of the scientific and technical side of a work of art as a matter of fifth and tenth importance, and finally a view of the development of scientific topics as an unwinnable and unnoticeable matter - all this is associated with outrageous disregard for this genre (scientific topics) of our publishing organizations - leads to the strange situation when sharp demand works of art on scientific subjects are met with only a declarative, but by no means a creative response from the majority of our writers. Not a single writer will object to the fact that it is necessary, the priority is to show the hero of the second five-year plan - the five-year plan for mastering technology - the drummer, the technician, the engineer. But we must firmly understand that teaching and showing people technology without studying and mastering knowledge about the technology itself is completely impossible.
The novel, firstly, loses its educational value, and secondly, the writer is deprived of the opportunity to show the hero in the most full-blooded way. In addition, the influence of labor on the remaking of a person is in itself differentiated, and metallurgy, say, introduces different features into a person’s character than mechanical engineering. The influence of profession on a person’s character and behavior is known. But to detail this question in relation to, say, an industry - who else but a writer should notice this? Here the writer could contact a psychotechnician. I don’t know whether our writers have already become familiar with the fact that the city of Vitebsk is becoming a city of continuous technical literacy. But this is a new, higher level of mass culture. What demands will these readers place on the writer?
***
It is not only literature itself that lags behind life, from our reality, in its content (in the presentation of heroes, etc.). Tool for creating fiction - language, lexicon, dictionary of literature, image system- too outdated. This is especially noticeable in our poetic practice. Take a look at the arsenal of our /89/ lyrics: five-petalled lilac, the moon and stars, the image of which would do honor only to a Stone Age man. I do not want to be understood that there should be some kind of poetic “taboo” imposed on the stars. I only want to point out that poets stubbornly refuse to get acquainted with cosmography and astronomy. The moon can be compared with the face of a beloved girl, as is customary with most poets, and with the seal on a mandate, as Lugovskoy does - in both cases the benefit for the reader is very dubious.
In general, the coordination of images and metaphors is one of the most important and responsible tasks for a poet. Jean Giraudoux correctly noted that in general one can compare anything with anything. There will always be moments for comparison. This means that the point is not in a vivid comparison, but in making the whole complex of comparisons most responsive to the needs of the reader of today and tomorrow. This need is connected with cultural issues, issues of promoting the ideas of science and technology. Used same literary dictionary such that it can only serve as a brake on the development of human consciousness.
The most important task of the second five-year plan is to destroy the roots of capitalism in the economy and consciousness people - requires from workers of fiction such attention to issues of words, to issues of metaphor, which no era has ever required from a writer. The system of images used by many of our modern poets is reactionary. Here we are faced with the issue of ideological survivals in the language of modern poets and writers - with the phenomenon of so-called animism and anthropomorphism. The “sobbing” wind, the “crying” sea - all this is still viewed as a sign of the artistry of the work, although it is rather anti-artistic and anti-scientific. The struggle for the purity of language, raised by M. Gorky, must be connected with the struggle for the accuracy of language. Communication with science will undoubtedly play a huge role in this regard. Science will enrich the language.
From what has been said it is quite clear what paths, what prospects in the sense of developing the culture of the masses and in the sense of mutual benefit are promised by the union of artistic expression and science. First of all, the cultural horizon of the reader, the cultural horizon of the masses, expands enormously. Prof. points out correctly. Lapirov-Skoblo that “a fiction book, more than any student, can infect a love of science and technology, become a conductor of the greatest scientific ideas, discoveries and inventions.” Through art, through works of art, the mass reader becomes acquainted and connected with the most important problems of science and technology. In fiction, science and technology acquire a powerful lever for preparing the broad masses to accept science. “In our literature there should not be a sharp distinction between fiction and popular science literature,” says Maxim Gorky. The cognitive value of a novel, story, short story, or poem increases many times over. And more: the writer’s imagination, his artistic emotion, based on a deep study of scientific and technical problems, can serve as a significant factor in the movement of science forward and higher. Jules Verne is evidence of this.
Joint work will enrich the language of scientific works, give them emotional charge, expand the contingent of consumers of scientific creativity, and make the latter accessible to the public. Until now, with regard to the language of scientific works, there has been observed (with a few exceptions) a certain disregard for issues of verbal dress, a neglect that makes us recall the Laputans from Swift’s Gulliver’s Travels or the theologians of Erasmus of Rotterdam: “They consider their inarticulate muttering a sign of profundity, inaccessible to the understanding of the crowd. The laws of grammar seem to them incompatible with the virtues of sacred science" (Praise of Stupidity). Thought will be dressed in beautiful clothes, and the perception of scientific work will be much stronger than when “the sonorous titles of majestic doctors, sophisticated doctors, most sophisticated doctors, seraphic doctors, saint doctors and indisputable doctors are heard in the ears of the listeners. Then follow large and small syllogisms, conclusions, corollaries, suppositions and other scholastic rubbish.” And Abbot Jerome Coignard in Anatole France will not say that “the most learned among us differ from the ignorant only by the ability they have acquired to amuse themselves with complex and intricate reasoning.”
Writers must help scientists get into fiction. Literature will be enriched by the creation of popular science books, which are so necessary for the mass reader. This is exactly what Gorky dreams of when he writes that “not everyone in our country still understands why a small stone or a piece of wood thrown into the air falls to the ground, and huge airplanes can fly like a bird... We need to organize close and friendly cooperation between literature and science."
Science, in turn, enriches the language, brings new forms of works, new heroes. Finally, communication with science and technology expands the cultural horizon of the writer himself. Communication is not a simple acquaintance with the achievements of various branches of science. Communication - in the study of methodology, ways of development, prospects of science, inclusion in its life. In addition, the very approach of people of science to the study of material, the very /90/ principles of scientific work, so to speak, are a great school for a writer. It is enough to remember how Balzac worked.
As a writer, you have to read everything. But in the development of scientific topics there is a need for limitation, deepening at the expense of width, universality, which brings with it amateurism. The writer must remember that there is no “just a scientific researcher, but there are mathematicians, mechanics, physicists, chemists, biologists, physicians, sociologists, historians, linguists, etc.” (Academician V. Komarov). In this regard and in the promotion of science and technology, close cooperation between scientists and writers is necessary. The “coupled ride” between the writer and the scientist, which Gorky spoke about at the writers’ congress, is the most important form of cooperation. A writer working on a scientific topic follows the progress of the work, he makes guesses, he submits his work to the scientists for judgment. A scientist argues with a writer - what other compliment does a writer need? Imagine the job team writers and scientists (with specialization and “attachment” of a writer to a certain branch of science) over big book about the future of our country, about the future of the world. Each writer and scientist brings his own imagination and knowledge, building his part of the overall monumental building. What grandiose architecture! What a fascinating and cultural work of art. What planning in the creation of scientific and artistic works designed to shape the scientific worldview of the reader! The writer must be given wide access to laboratories, museums, and archives, providing him with constant instruction from specialists. This is especially important for a young writer who does not yet have a name that can open the door for him to collaborate with figures in science and technology.
Importance organizational moment it's clear here. Organization of ongoing consultation of scientific workers for the writer. Organization of public readings of scientific and artistic works. A valuable proposal was put forward at a meeting of scientists and writers in the editorial office of the magazine “October” by prof. Levin and Associate Professor Apirin about creating a team of writers and scientists to review the recent years fiction on scientific topics. The results of this survey will undoubtedly be very instructive. This work should also be connected with watching how writers show our scientists and technicians. I remember the writer Lidin’s essay about Acad. I. P. Pavlov. Lidin began with a message about Pavlov's repeatedly expressed skepticism regarding the ability of a writer - an emotional nature par excellence - to understand the work of a scientist - par excellence a thinker. Unfortunately, neither Lidin himself nor other writers did anything to deprive this skepticism of its foundations.
The organization of readers' conferences on scientific and artistic literature, convened jointly by writers and scientists, is also one of the forms collaboration. We have never organized reader response to questions of science and technology in works of art. Organization of meetings, conversations between scientists and artists, and finally public performances - evenings of scientific and artistic literature carried out by writers and scientists. Evenings of scientific and artistic literature in scientific and technical institutions, universities, universities of culture.
Science and art in our country are not an end in themselves and not only a means of knowledge, but a means of changing, remaking the world. The task of Soviet fiction is to remake man, i.e. reader remake. This is achieved by showing the transformation of people, people who carry within themselves a new, socialist quality of personality - and by reflecting the disgustingness of the capitalist system, this is also achieved by showing the achievements of science and technology in their dynamics, in their prospects in the conditions of a socialist economy. Here is the writer’s right to develop scientific topics. The focus remains on the person. A person who masters the heights of science and technology, the study and demonstration of his psyche, the search for plot springs in the very solution of a scientific and technical problem - such a person has not yet been shown in our literature. All this work can be carried out only with a close union of artistic expression, science and technology.
***
The rapprochement of science and art is not limited to one area of artistic expression. Already now the question of the relationship between science and cinema can practically be raised. There are historical, geographical, and production-technical films here.
Science fiction about cinema is also not new. Now the film “Space Flight” is being prepared - the basis of this film is the work of Tsiolkovsky. The potential of cinema is extremely great both in promoting the ideas of science and technology, and in the interaction of the specifics of science and cinema. The issue of creating a scientific and artistic theater can be resolved in a very interesting way. /91/
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