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The “camp” theme again rises sharply in the twentieth century. Many writers testified to the horrors of camps, prisons, and isolation wards. They all looked at what was happening through the eyes of people deprived of freedom, choice, who knew how the state itself destroys a person through repression, destruction, and violence. And only those who have gone through all this can fully understand and appreciate any work about political terror and concentration camps. The camp is most reliably described by Alexander Solzhenitsyn in his legendary works “One Day in the Life of Ivan Denisovich”, “The Gulag Archipelago” and Varlam Shalamov in “Kolyma Tales”. "GULAG Archipelago" and " Kolyma stories» were written over many years and are a kind of encyclopedia camp life. In their works, both writers, when describing concentration camps and prisons, achieve the effect of life-like persuasiveness and psychological authenticity; the text is filled with signs of uninvented reality. In Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich” most of the characters are genuine heroes taken from life, for example, brigadier Tyurin, captain Buinovsky. Only main character Shukhov's story contains collective image an artillery soldier of the battery that the author himself commanded at the front, and the prisoner Shch-262 Solzhenitsyn. Shalamov’s “Kolyma Stories” are closely connected with the writer’s own exile in Kolyma. This also proves high degree detail. The author pays attention to terrible details that cannot be understood without heartache- cold and hunger, sometimes depriving a person of reason, purulent ulcers on the legs, cruel lawlessness of criminals. In the story “The Carpenters,” Shalamov points to a tightly closed space: “ thick fog“that no person was visible two steps away”, “few directions”: hospital, shift, canteen - which is symbolic for Solzhenitsyn too. In the story “One Day in the Life of Ivan Denisovich,” open areas of the zone are hostile and dangerous for prisoners: each prisoner tries to run across the areas between rooms as quickly as possible, which is the complete opposite of the heroes of Russian literature, who traditionally love the expanse and distance. The described space is limited to a zone, a construction site, a barracks. The prisoners are fenced off even from the sky: spotlights are constantly blinding them from above, hanging so low that they seem to be depriving people of air. But still, in the works of Solzhenitsyn and Shalamov, the camp also differs, is subdivided in different ways, since each person has his own views and his own philosophy on the same things. In Shalamov’s camp, the heroes have already crossed the line between life and death. People seem to show some signs of life, but they are essentially already dead, because they are deprived of any moral principles, memory, will. In this vicious circle, time forever stopped, where hunger, cold, and bullying reign, a person loses his own past, forgets his wife’s name, and loses contact with others. His soul no longer distinguishes between truth and lies. Even all human need for simple communication. “I wouldn’t care whether they would lie to me or not, I was beyond the truth, beyond lies,” Shalamov points out in the story “Sentence.” The relationships between people and the meaning of life are clearly reflected in the story “The Carpenters.” The task of the builders is to survive “today” in the fifty-degree frost, and there was no point in making plans “further” than two days.” People were indifferent to each other. "Frost" has reached human soul, she was frozen, shrank and, perhaps, would remain cold forever. In Solzhenitsyn’s camp, on the contrary, there are living people, like Ivan Denisovich, Tyurin, Klevshin, Buchenwald, who maintain their inner dignity and “don’t let themselves down,” don’t humiliate themselves because of a cigarette, because of rations, and certainly don’t lick the plates , do not inform on their comrades for the sake of improving their own fate. The camps have their own laws: “In the camps, this is who dies: who licks the bowls, who hopes in the medical unit, and who goes to knock on the godfather,” “Groan and rot. But if you resist, you will break”, “Whoever can do it will gnaw at him.” The camp, according to Solzhenitsyn, is a huge evil, violence, but suffering and compassion contributed to moral purification, and the state of hunger of the heroes introduces them to a higher moral existence. Ivan Denisovich proves that the soul cannot be captured, it cannot be deprived of its freedom. Formal release can no longer change inner world hero, his value system. Shalamov, unlike Solzhenitsyn, emphasizes the difference between a prison and a camp. The picture of the world is upside down: a person dreams of leaving the camp not to freedom, but to prison. According to Solzhenitsyn, life remains in the camps: Shukhov himself could no longer imagine his “existence” in freedom, and Alyoshka the Baptist is happy to stay in the camp, since there a person’s thoughts come closer to God. Outside the zone, life is full of persecution, which is already “incomprehensible” to Ivan Denisovich. Having condemned the inhumane system, the writer creates a genuine folk hero who managed to go through all the trials and save best qualities Russian people. In Shalamov’s stories, it’s not just the Kolyma camps fenced off with barbed wire, outside of which free people live, but everything outside the zone is also drawn into the abyss of violence and repression. The whole country is a camp where everyone living in it is doomed. The camp is not an isolated part of the world. This is a cast of that society. A representative of the memoir movement of “camp prose” was A. Zhigulin. Zhigulin’s story “Black Stones” is a complex and ambiguous work. This is a documentary and artistic narrative about the activities of the KPM (Communist Youth Party), which included thirty boys who, in a romantic impulse, united to consciously fight against the deification of Stalin. It is constructed as the author's memoirs about his youth. Therefore, unlike the works of other authors, there is a lot of so-called “criminal romance” in it. But at the same time, Zhigulin managed to accurately convey the feeling of that era. With documentary accuracy, the writer writes about how the organization was born and how the investigation was carried out. The writer very clearly described the conduct of the interrogations: “The investigation was generally conducted in a vile manner... The notes in the interrogation reports were also vilely kept. It was supposed to be written down word for word - how the accused answers. But the investigators invariably gave our answers a completely different color. For example, if I said: “Communist Youth Party,” the investigator wrote down: “Anti-Soviet organization KPM.” If I said “meeting,” the investigator wrote “gathering.” Zhigulin seems to be warning that the main task of the regime was to “penetrate thought” that had not even been born, to penetrate and strangle it to its cradle. Hence the advance cruelty of the self-adjusting system. For playing with the organization, a semi-childish game, but deadly for both sides (which both sides knew about) - ten years of a prison-camp nightmare. This is how a totalitarian system works.
One of the most terrible and tragic topics in Russian literature is the theme of the camps. The publication of works on such topics became possible only after the 20th Congress of the CPSU, at which Stalin’s cult of personality was debunked. Camp prose includes the works of A. Solzhenitsyn “One Day in the Life of Ivan Denisovich” and “The Gulag Archipelago”, “Kolyma Tales” by V. Shalamov, “Faithful Ruslan” by G. Vladimov, “The Zone” by S. Dovlatov and others.
In his famous story “One Day in the Life of Ivan Denisovich,” A. Solzhenitsyn described only one day of a prisoner - from waking up to lights out, but the narrative is structured in such a way that the reader can imagine the camp life of the forty-year-old peasant Shukhov and his entourage in its entirety. By the time the story was written, its author was already very far from socialist ideals. This story is about the illegality, the unnaturalness of the very system created by the Soviet leaders.
The prototypes of the central character were Ivan Shukhov, former soldier artillery battery of Solzhenitsyn, and the writer-prisoner himself, and thousands of innocent
victims of monstrous lawlessness. Solzhenitsyn is sure that the Soviet camps were the same death camps as the fascist ones, only they killed their own people there.
Ivan Denisovich got rid of illusions long ago; he does not feel himself Soviet man. The camp authorities and guards are enemies, nonhumans with whom Shukhov has nothing in common. Shukhov, carrier universal human values, which he failed to destroy the party-class ideology. In the camp, this helps him to survive, to remain human.
Prisoner Shch-854 - Shukhov - is presented by the author as a hero of another life. He lived, went to war, fought honestly, but was captured. He managed to escape from captivity and miraculously made his way to “his own people.” “Counterintelligence beat Shukhov a lot. And Shukhov’s calculation was simple: if you don’t sign, it’s a wooden pea coat; if you sign, you’ll at least live a little. Signed.”
In the camp, Shukhov is trying to survive, controlling every step, trying to make money where he can. He is not sure that he will be released on time, that they will not add another ten years to him, but he does not allow himself to think about it. Shukhov doesn’t think about why he and many other people are in prison; he’s not tormented by eternal questions without answers. According to the documents, he is imprisoned for treason. For carrying out the task of the Nazis. And neither Shukhov nor the investigator could come up with what task.
By nature, Ivan Denisovich belongs to natural, natural people who value the very process of life. And the prisoner has his own little joys: drink hot gruel, smoke a cigarette, eat a ration of bread, hide somewhere warm and take a nap for a minute.
In the camp Shukhov’s work saves him. He works with passion, is not used to slacking, and does not understand how one can not work. In life, he is guided by common sense, which is based on peasant psychology. He “strengthens” himself in the camp without dropping himself.
Solzhenitsyn describes other prisoners who did not break down in the camp. Old man Yu-81 is in prisons and camps, how much does Soviet power cost? Another old man, X-123, is a fierce champion of truth, deaf Senka Klevshin, a prisoner of Buchenwald. Survived torture by the Germans, now in a Soviet camp. Latvian Jan Kildigs, who has not yet lost the ability to joke. Alyoshka is a Baptist who firmly believes that God will remove the “evil scum” from people. Captain of the second rank Buinovsky is always ready to stand up for people, he has not forgotten the laws of honor. To Shukhov, with his peasant psychology, Buinovsky’s behavior seems a senseless risk.
Solzhenitsyn consistently depicts how patience and resilience help Ivan Denisovich survive in the inhumane conditions of the camp. The story “One Day in the Life of Ivan Denisovich” was published during the “ Khrushchev's thaw” in 1962, caused a great resonance among readers, opened the world the terrible truth about the totalitarian regime in Russia.
In the book created by V. Shalamov “ Kolyma stories“The whole horror of the camp and camp life is revealed. The writer's prose is amazing. Shalamov’s stories were published after the books of Solzhenitsyn, who, it would seem, wrote everything about camp life. And at the same time, Shalamov’s prose literally turns the soul upside down and is perceived as a new word in the camp theme. In the style and author's view of the writer, one is struck by the height of spirit with which the stories are written, and the author's epic comprehension of life.
Shalamov was born in 1907 into the family of a Vologda priest. He began writing poetry and prose back in early years. Studied at Moscow University. Shalamov was first arrested in 1929 on charges of distributing an allegedly false political will of V. Lenin. The writer spent three years in camps in the Urals. In 1937, he was arrested again and sent to Kolyma. He was rehabilitated after the 20th Congress of the CPSU. Twenty years in prisons, camps and exile!
Shalamov did not die in the camp in order to create an impressive force psychological impact a kind of Kolyma epic, to tell the merciless truth about life - “not life” - “anti-life” of people in the camps. The main theme of the stories: man in inhuman conditions. The author recreates the atmosphere of hopelessness, moral and physical impasse, in which long years There are people whose condition is approaching the “superhuman” state. “Hell on earth” can engulf a person at any moment. The camp takes away everything from people: their education, experience, connections with normal life, principles and moral values. They are no longer needed here. Shalamov writes: “The camp is a completely negative school of life. No one will take anything useful or necessary out of there, neither the prisoner himself, nor his boss, nor his guards, nor involuntary witnesses - engineers, geologists, doctors - neither superiors nor subordinates. Every minute of camp life is a poisoned minute. There is a lot there that a person should not know, and if he has seen it, it is better for him to die.”
The narrator's tone is calm, the author knows everything about the camps, remembers everything, and is devoid of the slightest illusions. Shalamov argues that there is no such measure to measure the suffering of millions of people. What the author is talking about seems completely impossible, but we hear the objective voice of a witness. It tells about the life of the camp prisoners, about their slave labor, the struggle for bread rations, illnesses, deaths, and executions. His cruel truth is devoid of anger and powerless exposure, there is no longer any strength to be indignant, feelings have died. The reader shudders from the realization of how “far” humanity has gone in the “science” of inventing torture and torment for their own kind. To the Writers of the XIX century and never dreamed of the horrors of Auschwitz, Majdanek and Kolyma.
Here are the words of the author, spoken on his own behalf: “The prisoner learns to hate work there - he cannot learn anything else there. There he learns flattery, lies, small and large meanness, and becomes an egoist. Moral barriers have moved somewhere to the side. It turns out that you can do mean things and still live... It turns out that a person who has committed mean things does not die... He values his suffering too highly, forgetting that every person has his own grief. He has forgotten how to be sympathetic to the grief of others - he just doesn’t understand it, doesn’t want to understand it... He has learned to hate people.”
In a piercing and scary story“Vaska Denisov, the Pig Thief” tells the state to which hunger can bring a person. Vaska sacrifices his life for food.
Fear, which corrodes personality, is described in the story “Typhoid Quarantine.” The author shows people who are ready to serve the bandit leaders, to be their lackeys and slaves for the sake of a bowl of soup and a crust of bread. The hero of the story, Andreev, sees in the crowd of such slaves Captain Schneider, a German communist, an educated man, an excellent connoisseur of Goethe’s work, who now plays the role of a “heel scratcher” for the thief Senechka. After this, the hero does not want to live.
The camp, according to Shalamov, is a well-organized state crime. All social and moral categories are deliberately replaced by their opposites. Good and evil for the camp are naive concepts. But still there were those who retained their soul and humanity, innocent people reduced to a bestial state. Shalamov writes about people “who were not, who were not able to and who did not become heroes.” The word “heroism” has a connotation of pomp, splendor, and short-lived action, but no one has yet come up with a word to define the long-term torture of people in the camps.
Shalamov’s creativity has become not only documentary evidence enormous power, but also a fact philosophical understanding an entire era, a common camp: a totalitarian system.
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“Camp” theme in the works of A. Solzhenitsyn and V. Shalamov
Our dispute is not a church one about the age of books,
Our dispute is not a spiritual one about the benefits of faith,
Our dispute is about freedom, about the right to breathe,
About the will of the Lord to knit and decide.
V. Shalamov
The “camp” theme again rises sharply in the twentieth century. Many writers, such as Shalamov, Solzhenitsyn, Sinyavsky, Aleshkovsky, Ginzbur, Dombrovsky, Vladimov, testified to the horrors of camps, prisons, and isolation wards. They all looked at what was happening through the eyes of people deprived of freedom, choice, who knew how the state itself destroys a person through repression, destruction, and violence. And only those who have gone through all this can fully understand and appreciate any work about political terror and concentration camps. For us, the book only lifts the curtain, which, fortunately, is not possible to look behind. We can only feel the truth with our hearts, somehow experience it in our own way.
The camp is most reliably described by Alexander Solzhenitsyn in his legendary works “One Day in the Life of Ivan Denisovich”, “The Gulag Archipelago” and Varlam Shalamov in “Kolyma Tales”. “The Gulag Archipelago” and “Kolyma Stories” were written over many years and are a kind of encyclopedia of camp life.
In their works, both writers, when describing concentration camps and prisons, achieve the effect of life-like persuasiveness and psychological authenticity; the text is filled with signs of uninvented reality. In Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich” most of the characters are genuine heroes taken from life, for example, brigadier Tyurin, captain Buinovsky. Only the main character of the story, Shukhov, contains a collective image of a soldier-artilleryman of the battery that the author himself commanded at the front, and the prisoner Shch-262 Solzhenitsyn. Shalamov’s “Kolyma Stories” are closely connected with the writer’s own exile in Kolyma. This is also proven by the high level of detail. The author pays attention to terrible details that cannot be understood without mental pain - cold and hunger, which sometimes deprive a person of reason, purulent ulcers on the legs, the cruel lawlessness of criminals. In the story “The Carpenters,” Shalamov points to a dull closed space: “thick fog that no person could be seen two steps away,” “few directions”: the hospital, the shift, the canteen, which is symbolic for Solzhenitsyn. In the story “One Day in the Life of Ivan Denisovich,” open areas of the zone are hostile and dangerous for prisoners: each prisoner tries to run across the areas between rooms as quickly as possible, which is the complete opposite of the heroes of Russian literature, who traditionally love the expanse and distance. The described space is limited to a zone, a construction site, a barracks. The prisoners are fenced off even from the sky: spotlights are constantly blinding them from above, hanging so low that they seem to be depriving people of air.
But still, in the works of Solzhenitsyn and Shalamov, the camp also differs, is subdivided in different ways, since each person has his own views and his own philosophy on the same things.
In Shalamov’s camp, the heroes have already crossed the line between life and death. People seem to show some signs of life, but they are essentially already dead, because they are deprived of any moral principles, memory, and will. In this vicious circle, time forever stopped, where hunger, cold, and bullying reign, a person loses his own past, forgets his wife’s name, and loses contact with others. His soul no longer distinguishes between truth and lies. Even all human need for simple communication disappears. “I wouldn’t care whether they would lie to me or not, I was beyond the truth, beyond lies,” Shalamov points out in the story “Sentence.”
The relationships between people and the meaning of life are clearly reflected in the story “The Carpenters.” The task of the builders is to survive “today” in the fifty-degree frost, and there was no point in making plans “further” than two days.” People were indifferent to each other. “Frost” reached the human soul, it froze, shrank and, perhaps, will remain cold forever.
In Solzhenitsyn’s camp, on the contrary, there are living people, like Ivan Denisovich, Tyurin, Klevshin, Buchenwald, who maintain their inner dignity and “don’t let themselves down,” don’t humiliate themselves because of a cigarette, because of rations, and certainly don’t lick the plates , do not inform on their comrades for the sake of improving their own fate. The camps have their own laws: “In the camps, this is who dies: who licks the bowls, who hopes in the medical unit, and who goes to knock on the godfather,” “Groan and rot. But if you resist, you will break”, “Whoever can do it will gnaw at him.” The camp, according to Solzhenitsyn, is a huge evil, violence, but suffering and compassion contributed to moral purification, and the state of hunger of the heroes introduces them to a higher moral existence. Ivan Denisovich proves that the soul cannot be captured, it cannot be deprived of its freedom. Formal liberation will no longer be able to change the hero’s inner world, his value system.
Shalamov, unlike Solzhenitsyn, emphasizes the difference between a prison and a camp. The picture of the world is upside down: a person dreams of leaving the camp not to freedom, but to prison. In the story “Funeral Word” there is a clarification: “Prison is freedom. This is the only place where people, without fear, said everything they thought. Where they rest their souls."
The creativity and philosophy of two truly amazing writers lead to different conclusions about life and death.
According to Solzhenitsyn, life remains in the camps: Shukhov himself could no longer imagine his “existence” in freedom, and Alyoshka the Baptist is happy to stay in the camp, since there a person’s thoughts come closer to God. Outside the zone, life is full of persecution, which is already “incomprehensible” to Ivan Denisovich. Having condemned the inhumane system, the writer creates a genuine folk hero who managed to go through all the trials and preserve the best qualities of the Russian people.
In Shalamov’s stories, it’s not just the Kolyma camps fenced off with barbed wire, outside of which free people live, but everything outside the zone is also drawn into the abyss of violence and repression. The whole country is a camp where everyone living in it is doomed. The camp is not an isolated part of the world. This is a cast of that society.
Having gone through all the suffering and pain, Solzhenitsyn and Shalamov found themselves folk heroes, who were able to convey the whole true picture of society of that time. And they are united by the presence of a huge soul, the ability to create and contemplate.
Bibliography
To prepare this work, materials were used from the site http://www.coolsoch.ru/
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Memory is the most precious thing in people's hearts. But there are moments in life that are impossible to remember without tears. Tragic events leave a big imprint on the lives and destinies of people and nations, so these pages of history must be studied with special attention. Political repression is one of the most tragic pages of our history. But this is our history, and studying it is a sign of memory and tribute to the innocent victims. Knowledge of all the facts of our past, especially tragic ones, gives us a complete understanding of ourselves, of our time.
In modern Russian schools, the topic of political repression is hushed up and practically not considered. Suffice it to say that in the approved by the Ministry of Education of Russia school programs This topic is allocated no more than two hours, and in school textbooks recommended by the Ministry of Education - one or two pages of text.
We were faced with the following tasks: to deepen general idea students about repression, consider how the theme of repression is revealed in the works of Solzhenitsyn and Shalamov; find out their features narrative style; develop the ability to construct oral and written statements in connection with the studied work; participate in a dialogue on the works read, develop skills in interpreting prose text, comparative analysis creativity of several writers, work with primary sources; to instill in students a sense of responsibility towards other people and towards their country; the ability to resist the power of evil, respect for people who have become victims of repression.
At the preliminary stage, the main direction of work was determined (independent search work with sources of information), a research plan was outlined, sources of information were specified (artistic texts of works V. Shalamova, A. Solzhenitsyn, materials from the Penza branch of the Memorial Society, the film “Lenin’s Testament”, Internet materials). Groups of 11th grade students, reading the works of V. Shalamov and A. Solzhenitsyn, analyzed them from the point of view of the features of the depiction of camp life, and correlated the writers’ work with historical and political events in the country.
The lesson began with watching a fragment from the feature film “Lenin’s Testament,” based on the stories of V. Shalamov, which helped introduce students to the historical era and emotionally attuned them to the perception of the lesson material. During the lesson, students were asked to take notes on the main points of the lecture in accordance with the plan. Next, the teacher gave a historical commentary of the era.
Before discussing the features of the embodiment of the camp theme in the works of Solzhenitsyn and Shalamov, it is advisable to tell students about the most bright moments life and creativity of Alexander Isaevich and Varlam Tikhonovich.
At the next stage, work is organized in groups, during which students briefly retell the works they have read, discuss them, and fill out a comparative table.
At the final stage of the lesson we find out , why we discussed the camp theme in the works of Solzhenitsyn and Shalamov. And in general, did Solzhenitsyn, Shalamov and other writers have the right to discuss this topic at the global level, since these are not the brightest pages of our history?
We invite the children to continue thinking about this question at home in the process of creating their own essay “The Soul and Barbed Wire.”Goals:
- deepen students’ general understanding of repression, consider how the theme of repression is revealed in the works of Solzhenitsyn and Shalamov;
- find out the features of their narrative style;
- develop the ability to construct oral and written statements in connection with the studied work;
- participate in a dialogue on the works read, develop skills in interpreting prose text, comparative analysis of the works of several writers, and working with primary sources;
- to instill in students a sense of responsibility towards other people and towards their country;
the ability to resist the power of evil, respect for people who have become victims of repression, a sense of citizenship and responsibility for the fate of the Motherland.
- Equipment:
- portraits of writers A.I. Solzhenitsyn and V. Shalamov, I.V. Stalin
- exhibition of books by A.I. Solzhenitsyn and V. Shalamov,
- literary texts of works,
multimedia equipment for demonstrating a slide presentation, a fragment of a feature film. Methodological justification
: summary lesson on the creativity of A.I. Solzhenitsyn and V.T. Shalamova; In addition to program works, the lesson discusses independently read chapters from “The Gulag Archipelago,” the story “Cancer Ward,” and the novel “In the First Circle.”
Board design. Soul and barbed wire.
(Reflection of the camp theme in the works of A.I. Solzhenitsyn and V.T. Shalamov)
I don't want revenge, I don't want trial.I want people to know and remember how it all happened.
Akmal Ikramov Kamil, writer, executed in 1938
- Lecture outline:
Political repression.
A) What is repression? Victims of the “great madness.”- B) The theme of repression in literature.
A.I. Solzhenitsyn and V.T. Shalamov. Camp universities.
A) V.T. Shalamov is a martyr who failed to become a hero. What formed the basis of “Kolyma Tales”?- B) A.I. Solzhenitsyn. Autobiographical nature of his work.
- What is unique about the depiction of the camp theme in the works of A.I. Solzhenitsyn and V.T. Shalamov?
What method of revealing this topic turned out to be historically justified?
On the students' desks there are materials for vocabulary work, texts, cards for independent work in groups, and a lecture plan.
DURING THE CLASSES
– I. Organizational moment
Hello. Today we have an unusual lesson. During class, you must take notes of the main points of the lecture according to the plan. There are dictionaries on the tables that you will need during today's discussion. Let's start by watching a video clip, after which you must answer the question:– What historical era is illustrated?
– II. Watching a video clip historical era is this passage talking about? What is repression?
(Repression - punitive measures, punishments applied by government agencies in order to suppress or intimidate their opponents, both real and imaginary.)
– We will watch the feature film “Lenin’s Testament”, based on V. Shalamov’s work “Kolyma Tales”.III. Historical commentary(teacher's word)
- Behind last decades In the last century, many books have been published that truthfully tell about Stalin and Stalin’s repressions. The main figure of these works is Stalin. A scary figure. His victims are innumerable. He personally knew only a small part of them. The years when I.V. Stalin was in power brought many dark days to our country. The worst thing about this time is repression. Thousands of people were arrested and exiled to settlements and camps. Thousands of illegally convicted people.
In Western literature, the events of those years in our country are often called “the great terror”, sometimes “the great madness”, i.e. an action that had no explanation.
From 1921 to 1954, 3,777,380 people were convicted throughout the country for so-called “counter-revolutionary actions”, including 642,980 people sentenced to capital punishment, and 2,369,220 people to detention in camps and prisons for a term of 25 years or less. , 765,880 people were sent into exile.
By 1940, the Gulag system included 53 camps, 425 correctional labor colonies and 50 juvenile colonies, therefore
A.I. Solzhenitsyn introduces the concept of “archipelago”: “the camps are scattered throughout the Soviet Union, small islands and larger ones. All this together cannot be imagined otherwise, compared with something else, not with an archipelago. They are torn from each other as if by another environment - will, that is, not the camp world. And at the same time, these many islands form a kind of archipelago.”
– In Russian prose of the 1970s–90s, as well as “returned” literature, a significant place is occupied by works that recreate the tragedy of the people who survived mass repressions in the Stalin era. Camp theme was reflected in the prose of V. Shalamov, A. Solzhenitsyn, Y. Dombrovsky, Y. Grossman, O. Volkov and other authors who experienced the hell of the Gulag. Solzhenitsyn and Shalamov were among the first in modern literature to speak openly on this topic.
– The topic of our lesson is “The Soul and Barbed Wire.” Today we will talk about how the camp theme was embodied in the works of Solzhenitsyn and Shalamov.IV. A.I. Solzhenitsyn and V.T. Shalamov. Camp universities
1. A story about the biography and work of V.T. Shalamova
– What is Kolyma? How did Kolyma come into the life of V. Shalamov?
“My life has always split into two parts, two sides, from my earliest childhood...
The first is art, literature. I was sure that I was destined to have my say... and it was in literature, in artistic prose, in poetry. The second was participation in the public comparisons of that time, the inability to escape from them, given my main credo - the correspondence of words and deeds.”
The words of Varlam Shalamov ring in a special way: “I learned mental strength from my father.” About his mother he wrote: “I owe my poetry to her.”
Varlam Tikhonovich Shalamov was born on June 18 (June 5, old style) in 1907 in the northern provincial city of Vologda.
The writer’s father, Tikhon Nikolaevich, a hereditary priest, was a prominent person in the city, since he not only served in the church, but was also involved in active social activities, he maintained connections with exiled revolutionaries
“The year 1918 was a collapse for our entire family... Dark forces rushed in like a storm, they could not calm down and get enough.”
In 1924, he left forever the “city of his youth,” the house where he was born and raised. “It was a windy, rainy autumn... During the fall of the hawthorn leaves...” In 1926, V. Shalamov entered Moscow University at the Faculty of Soviet Law.
V. Shalamov “actively participated in the events of 1927, 1928 and 1929. on the side of the opposition... those who tried to be the very first, selflessly giving their lives, to hold back that bloody flood that went down in history under the name of the cult of Stalin.” On February 19, 1929, he was arrested for distributing the “Will of V.I. Lenin" "...I consider this day and hour the beginning of my social life...”
V.T. Shalamov was sentenced to three years of imprisonment in the camps and sent to the Vishera camp (Northern Urals)
“I returned to Moscow in 1932 and stood firmly on all fours, began working in magazines, and wrote a lot.
On January 12, 1937, Varlam Shalamov, “as a former “oppositionist,” was again arrested and sentenced for “counter-revolutionary Trotskyist activities” to five years of imprisonment in camps with heavy physical labor. In 1943 new term– 10 years for anti-Soviet agitation: he called I. Bunin, who was in exile, “a great Russian classic.” V. Shalamov’s acquaintance with the camp doctors saved him from death. Thanks to their help, he completed paramedic courses and worked in the central hospital for prisoners until his release from the camp. He returned to Moscow in 1953, but, not receiving registration, was forced to work at one of the peat enterprises in the Kalinin region.
Rehabilitated V.T. Shalamov was in 1954. Later he would write: “I was over 45 years old, I tried to get ahead of time and wrote poems and stories day and night. Each of my stories is a slap in the face of Stalinism... Each of my stories is the absolute authenticity of the document..."
The writer's further lonely life was spent in persistent literary work. However, during the life of V.T. Shalamov’s “Kolyma Stories” were not published. A very small part of the poems was published, and even then often in a distorted form...
Varlam Tikhonovich Shalamov died on January 17, 1982, having lost his hearing and sight, completely defenseless in the Literary Fund House for the Invalids, having completely drunk the cup of non-recognition during his lifetime.
"Kolyma Tales" - main work writer V.T. Shalamov.
He devoted 20 years to their creation.
20 years of my life were spent in the icy hell of Vishera and Kolyma.
The amazing quality of “Kolyma Tales” is their compositional integrity despite the seemingly incoherent plots at first glance. The Kolyma epic consists of 6 books, the first of which is called “Kolyma Tales”, and the books “Left Bank”, “Shovel Artist”, “Essays on the Underworld”, “Resurrection of the Larch”, “The Glove, or KR” are adjacent to it. -2". The book “Kolyma Stories” consists of 33 stories, standing in a strictly defined, but not chronological order. This order allows us to see Stalin’s camps as a living organism, with its own history and development. The narration is always conducted in the third person, but the main character of most stories, speaking under different names (Andreev, Golubev, Krist), is extremely close to the author
– Describe in one word your first impression from reading the stories in this collection..
– How does V. Shalamov portray the camp? (Reading fragment literary text)
- And this is understandable. For “Kolyma Tales” is the pain, suffering, horror, and atrocities of a person who experienced this for 17 years.2. A story about the biography and work of A.I. Solzhenitsyn
– Solzhenitsyn’s fate is no less unique, which is expressed in the severity of the trials that befell him: the war against fascism, Stalin’s camps, cancer building, sudden fame associated with the publication of One Day in the Life of Ivan Denisovich, then silencing, bans, expulsion from the country and the re-discovery of the Russian reader.
The biography of Alexander Isaevich is almost identical to the biography of post-revolutionary Russia.
Year of birth: 1918 . Civil war, famine, terror and childhood without a father, who died a few months before Sasha was born.
The year of maturity is the 41st. A graduate of the Physics and Mathematics Department of Rostov University goes to officer school, then to the front. Solzhenitsyn commands an artillery battery. At the end of the war, he received the rank of captain and was awarded the Order of the Patriotic War, 2nd degree and the Red Star.
In February 1945 - a change in fate : Solzhenitsyn is arrested for criticizing Stalin in a letter to a childhood friend, which was viewed by counterintelligence. 8 years of forced labor camps “for anti-Soviet agitation and an attempt to create an anti-Soviet organization.”
1947 - transferred as a mathematician to the Marfinsk “sharashka” - Research Institute of the Ministry of Internal Affairs-KGB, where he stayed until 1950. Later, this “sharashka” will be described in the novel “In the First Circle”. Since 1950 in the Ekibastuz camp (experience of general work
recreated in the story “One Day in the Life of Ivan Denisovich”). Here he gets cancer. In the camps he works as a laborer, mason, and foundry worker.
1953 – Solzhenitsyn at the “eternal exile settlement” in the village of Kok-Terek (Dzhambul region, Kazakhstan). He was treated for cancer twice in Tashkent; on the day of discharge from the hospital in 1955, a story about a terrible illness was conceived - the future "Cancer Ward" (1963–1966). It reflected the author’s impressions of his stay at the Tashkent Oncology Clinic and the story of his healing. The life story of the main character Oleg Kostoglotov resembles the fate of Solzhenitsyn himself: he served time in the camps on trumped-up charges, and is now an exile.
In the year the thaw began - the 56th - he was rehabilitated. Solzhenitsyn settles in middle lane Russia for the heroine of the future story "Matrenin's Dvor" , teaches mathematics and physics at a rural school. And he is working on his first novels. The prototype of the main character is the Vladimir peasant woman Matryona Vasilievna Zakharova, with whom the writer lived; the narration, as in a number of Solzhenitsyn’s later stories, is told in the first person, on behalf of the teacher Ignatich (the patronymic is consonant with the author’s - Isaevich), who moves to European Russia from distant links.
1959 - the story “Shch-854 (One day of one prisoner)” was written in three weeks, which in 1961, through a fellow Marfa sharashka literary critic Kopelev, was transferred to the magazine “ New world" Directly from Khrushchev, Tvardovsky seeks permission to publish the story, called “One Day in the Life of Ivan Denisovich.”
The 62nd is the year of a breakthrough: against the backdrop of a short-term flourishing of freedom in the USSR, Alexander Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich” is published for the first time. The magazine "New World" becomes the writer's first circle of fame. Image Ivan Denisovich was formed from the appearance and habits of the soldier Shukhov, who fought in A.I. Solzhenitsyn’s battery during the Soviet-German war (but was never imprisoned), from the general experience of the post-war flow of “prisoners” and the author’s personal experience in the Special Camp as a mason. The rest of the characters in the story are all taken from camp life, from their authentic biographies. The author knows Ivan Denisovich himself in his own way, he essentially creates him, passes on to him a significant part of his life experience: So, the entire famous scene of laying a wall is clearly an episode from the writer’s biography.
"One Day in the Life of Ivan Denisovich" shocked readers with the knowledge of the forbidden - camp life under Stalin. For the first time, one of the countless islands of the Gulag archipelago was discovered. Behind him stood the state itself, a merciless totalitarian system that suppresses people.
The circle closed in '65: The end of the Thaw, the KGB seizes Solzhenitsyn's archive. Harassment, letters of condemnation that everyone is forced to sign, a ban on publications. “In the First Circle” and “Cancer Ward” are published only abroad.
1967/68 – completed "Archipelago" , which the author himself defined as “our petrified tear.” Gulag Archipelago(the subtitle of the book is “an experience in artistic research”) - at the same time historical research with elements of a parody ethnographic essay, and the author’s memoirs telling about his camp experience, and an epic of suffering, and a martyrology - stories about the martyrs of the Gulag. With strict documentation, this is quite a work of art.
IN " The Gulag Archipelago" Solzhenitsyn acts not so much as an author, but as a collector of stories told by many prisoners (227 co-authors, without names, of course). Just like in the story " One day of Ivan Denisovich", the narrative is structured in such a way as to make the reader see with their own eyes the torment of the prisoners and, as it were, experience it for themselves. In the novel “The Gulag Archipelago” A. Solzhenitsyn shows what kind of people ended up in the camp. There were mixed Mensheviks and Trotskyists, “saboteurs” and representatives of religion, draft dodgers and non-party people, many, many of all those who were unlucky enough to hide from the terrible network of the NKVD. People behave differently. Some broke down right away, others are ready to imprison hundreds of people and give any testimony. But there were some that didn’t break. For some prisoners, to whom the author himself primarily belongs, being in the hell of the Gulag meant taking spiritual and moral heights. People were internally cleansed and began to see clearly, which is why in Solzhenitsyn one can often find words of gratitude addressed to the prison that are incomprehensible at first glance .
And the Solzhenitsyn convict camp, one of the Gulag archipelago, - with all the terrible and undoubted reality of its existence in our history, in the destinies of millions of people - is also a kind of sign of the darkening of the soul and mind, a perversion of the meaning of the life of the people and society. A mediocre, dangerous, cruel machine that grinds everyone who gets into it...
1969 – Solzhenitsyn is expelled from the Writers' Union . In 1974, the writer was expelled from the country: KGB officers discovered the manuscript of the Gulag Archipelago.
Second circle of links. Life outside the homeland began with the presentation of the Nobel Prize, awarded to Solzhenitsyn back in 1970. Fame becomes worldwide.
Both in Germany and in the States the writer works hard. From his pen comes not only prose, but also journalistic essays, and a large historical work, “The Red Wheel.” The dying Soviet Union continues to fight Solzhenitsyn - now in absentia.
Alexander Isaevich perceives the beginning of perestroika with caution and speaks of the danger of a “new February”, fraught with a “new October”. But in 1989, along with the opening of the Congress of People's Deputies - the first sign of a new democracy - several chapters from the "Archipelago" were published and again in the "New World". And in 1990, Solzhenitsyn’s citizenship was returned.
The return to normal took place only in 1994. Alexander Isaevich has already arrived in a new country. And again work, active participation in public life. And again public disagreement. Disagreement based on three pillars - principles, faith and unbending spirit.
– In “One Day in the Life of Ivan Denisovich” and in “The Gulag Archipelago” there are many examples of human baseness, meanness, and hypocrisy. But nevertheless, Solzhenitsyn notes that those who succumbed to moral corruption in the camp were mainly those who were already prepared for it in the wild. You can learn flattery, lies, “small and great meanness” everywhere, but a person must remain human even in the most difficult and cruel conditions. Moreover, Solzhenitsyn shows that humiliation and trials awaken internal reserves in a person and free him spiritually.3. Formulation of the conclusion
– Both Solzhenitsyn and Shalamov experienced what it means to be repressed. Both devoted their works to this topic. Solzhenitsyn A.I. told the world and his homeland about the inhuman system of violence and lies that kept the tyrannical regime in power for more than seven decades. In his person, Russian culture discovered within itself the source of its salvation, liberation, and revival. Solzhenitsyn, all the way through the hellish abysses of the Archipelago, is driven by the hope of resurrection.
– Distinctive feature Shalamov’s creativity is universal hopelessness. The writer never evaluates anything. He claims that his stories "depict people in an extremely important, as yet undescribed state, when a person approaches a state of beyond-humanity."
– The works of Shalamov and Solzhenitsyn are united by a common concept – enemies of the people. Who are these writers' enemies of the people? What are they convicted of?V. Reflection of the camp theme in the works of Solzhenitsyn and Shalamov
1. Work in groups, filling out the table
2. Discussion of student answers
VI. Summarizing
– What is the purpose of our lesson? Why did we discuss the camp theme in the works of S. and Sh. today? And in general, did Solzhenitsyn, Shalamov and others have the right to discuss this topic at the global level, since these are not the brightest pages of our history?
Final words from the teacher.“I don’t want revenge, I don’t want trial. I want people to know and remember how it all happened.” These words were spoken by Akmal Ikramov Kamil, a writer who was executed in 1938.
– Concluding our conversation, I would like to say that all innocent victims have the right to our memory, our grief, the right to immortality. In any churchyard you want to be silent, to be alone with your thoughts for at least a minute. Let's keep quiet too. (Minute of silence)
– The worst thing in life is to betray yourself, to live according to the formula “what do you want?” The most difficult loss in life is the loss of one's own freedom.
Today's lesson is not about the past, it is about the future. For, as Yevgeny Yevtushenko said, “we must know how this happened so that no one can ever steal our future again. Studying the past is the salvation of the future, its guarantor.”VII. Homework
Essay “The Soul and Barbed Wire.”
“Camp” theme in the works of A. Solzhenitsyn and V. Shalamov
Our dispute is not a church one about the age of books,
Our dispute is not a spiritual one about the benefits of faith,
Our dispute is about freedom, about the right to breathe,
About the will of the Lord to knit and decide.
V. Shalamov
The “camp” theme again rises sharply in the twentieth century. Many writers, such as Shalamov, Solzhenitsyn, Sinyavsky, Aleshkovsky, Ginzbur, Dombrovsky, Vladimov, testified to the horrors of camps, prisons, and isolation wards. They all looked at what was happening through the eyes of people deprived of freedom, choice, who knew how the state itself destroys a person through repression, destruction, and violence. And only those who have gone through all this can fully understand and appreciate any work about political terror and concentration camps. For us, the book only lifts the curtain, which, fortunately, is not possible to look behind. We can only feel the truth with our hearts, somehow experience it in our own way.
The camp is most reliably described by Alexander Solzhenitsyn in his legendary works “One Day in the Life of Ivan Denisovich”, “The Gulag Archipelago” and Varlam Shalamov in “Kolyma Tales”. “The Gulag Archipelago” and “Kolyma Stories” were written over many years and are a kind of encyclopedia of camp life.
In their works, both writers, when describing concentration camps and prisons, achieve the effect of life-like persuasiveness and psychological authenticity; the text is filled with signs of uninvented reality. In Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich” most of the characters are genuine heroes taken from life, for example, brigadier Tyurin, captain Buinovsky. Only the main character of the story, Shukhov, contains a collective image of a soldier-artilleryman of the battery that the author himself commanded at the front, and the prisoner Shch-262 Solzhenitsyn. Shalamov’s “Kolyma Stories” are closely connected with the writer’s own exile in Kolyma. This is also proven by the high level of detail. The author pays attention to terrible details that cannot be understood without mental pain - cold and hunger, which sometimes deprive a person of reason, purulent ulcers on the legs, the cruel lawlessness of criminals. In the story “The Carpenters,” Shalamov points to a dull closed space: “thick fog that no person could be seen two steps away,” “few directions”: the hospital, the shift, the canteen, which is symbolic for Solzhenitsyn. In the story “One Day in the Life of Ivan Denisovich,” open areas of the zone are hostile and dangerous for prisoners: each prisoner tries to run across the areas between rooms as quickly as possible, which is the complete opposite of the heroes of Russian literature, who traditionally love the expanse and distance. The described space is limited to a zone, a construction site, a barracks. The prisoners are fenced off even from the sky: spotlights are constantly blinding them from above, hanging so low that they seem to be depriving people of air.
But still, in the works of Solzhenitsyn and Shalamov, the camp also differs, is subdivided in different ways, since each person has his own views and his own philosophy on the same things.
In Shalamov’s camp, the heroes have already crossed the line between life and death. People seem to show some signs of life, but they are essentially already dead, because they are deprived of any moral principles, memory, and will. In this vicious circle, time forever stopped, where hunger, cold, and bullying reign, a person loses his own past, forgets his wife’s name, and loses contact with others. His soul no longer distinguishes between truth and lies. Even all human need for simple communication disappears. “I wouldn’t care whether they would lie to me or not, I was beyond the truth, beyond lies,” Shalamov points out in the story “Sentence.”
The relationships between people and the meaning of life are clearly reflected in the story “The Carpenters.” The task of the builders is to survive “today” in the fifty-degree frost, and there was no point in making plans “further” than two days.” People were indifferent to each other. “Frost” reached the human soul, it froze, shrank and, perhaps, will remain cold forever.
In Solzhenitsyn’s camp, on the contrary, there are living people, like Ivan Denisovich, Tyurin, Klevshin, Buchenwald, who maintain their inner dignity and “don’t let themselves down,” don’t humiliate themselves because of a cigarette, because of rations, and certainly don’t lick the plates , do not inform on their comrades for the sake of improving their own fate. The camps have their own laws: “In the camps, this is who dies: who licks the bowls, who hopes in the medical unit, and who goes to knock on the godfather,” “Groan and rot. But if you resist, you will break”, “Whoever can do it will gnaw at him.” The camp, according to Solzhenitsyn, is a huge evil, violence, but suffering and compassion contributed to moral purification, and the state of hunger of the heroes introduces them to a higher moral existence. Ivan Denisovich proves that the soul cannot be captured, it cannot be deprived of its freedom. Formal liberation will no longer be able to change the hero’s inner world, his value system.
Shalamov, unlike Solzhenitsyn, emphasizes the difference between a prison and a camp. The picture of the world is upside down: a person dreams of leaving the camp not to freedom, but to prison. In the story “Funeral Word” there is a clarification: “Prison is freedom. This is the only place where people, without fear, said everything they thought. Where they rest their souls."
The creativity and philosophy of two truly amazing writers lead to different conclusions about life and death.
According to Solzhenitsyn, life remains in the camps: Shukhov himself could no longer imagine his “existence” in freedom, and Alyoshka the Baptist is happy to stay in the camp, since there a person’s thoughts come closer to God. Outside the zone, life is full of persecution, which is already “incomprehensible” to Ivan Denisovich. Having condemned the inhumane system, the writer creates a genuine folk hero who managed to go through all the trials and preserve the best qualities of the Russian people.
In Shalamov’s stories, it’s not just the Kolyma camps fenced off with barbed wire, outside of which free people live, but everything outside the zone is also drawn into the abyss of violence and repression. The whole country is a camp where everyone living in it is doomed. The camp is not an isolated part of the world. This is a cast of that society.
Having gone through all the suffering and pain, Solzhenitsyn and Shalamov turned out to be folk heroes who were able to convey the whole true picture of society of that time. And they are united by the presence of a huge soul, the ability to create and contemplate.
Bibliography
To prepare this work, materials were used from the site http://www.coolsoch.ru/