STATE AUTONOMOUS EDUCATIONAL INSTITUTION OF SECONDARY VOCATIONAL EDUCATION OF THE NOVOSIBIRSK REGION
"KUPINSKY MEDICAL TECHNIQUE"
METHODOLOGICAL DEVELOPMENT OF THE LESSON
in the discipline LITERATURE
Chapter: Literature of the second half XX century
Subject:
Specialty: 060501 Nursing Course: 1
Kupino
2015
Explanatory note
Educational and methodological characteristics of the lesson
Progress of the lesson
Handout
Additional material
Materials for current control
EXPLANATORY NOTE
This methodological development is intended for organizing classroom work for students when studying the literature of the last decade. The lesson is conducted in the form of a lecture.
The methodological manual presents tasks on the topic. The manual includes material that complements the material in the textbook.
As a result of studying the topic Review of the literature of the last decade
The student must:
know/understand:
Content of the studied literary works;
The main patterns of the historical and literary process and features of literary movements;
be able to:
Reproduce the content of a literary work;
Compare literary works;
Analyze and interpret a work of art using information on the history and theory of literature (topics, problems, moral pathos, system of images, compositional features, figurative and expressive means of language, artistic detail); analyze an episode (scene) of the studied work, explain its connection with the problems of the work;
Relate fiction to social life and culture; reveal the specific historical and universal content of the studied literary works; identify “cross-cutting” themes and key problems of Russian literature; correlate the work with the literary direction of the era;
use acquired knowledge and skills in practical activities and everyday life for:
Creating a coherent text (oral and written) on the required topic, taking into account the norms of the Russian literary language;
Participating in dialogue or discussion;
Independent acquaintance with the phenomena of artistic culture and assessment of their aesthetic significance.
EDUCATIONAL AND METHODOLOGICAL CHARACTERISTICS OF THE CLASSES
Lesson topic: Review of the literature of the last decade
Type of lesson: learning new things
Lesson form: lecture
Location audience
Duration of the lesson: 90 minutes
Topic motivation: activating cognitive activity and interest of students in studying this topic, setting the goals and objectives of the lesson
Lesson objectives:
1. Educational: know/understand the content of the studied literary works; the main patterns of the historical and literary process and features of literary movements;
2. Developmental: to develop the ability to analyze and interpret a work of art, using information on the history and theory of literature.
3. Educational: reveal the specific historical and universal content of the studied literary works; use acquired knowledge and skills in practical activities and everyday life for independent acquaintance with the phenomena of artistic culture and assessment of their aesthetic significance.
Interdisciplinary integration: history, Russian language
Intradisciplinary integration: Review of Russian literature of the second half of the 20th century
Equipment: projector, computer, presentation, book exhibition
List of literature:
Main:
- Literature. 10th grade: textbook for general education. institutions / T.F. Kurdyumova, S.A. Leonov and others; under. ed. T.F. Kurdyumova. – M.: Bustard, 2008
Literature. 11th grade At 2 o'clock: a textbook for general education. institutions/T.F. Kurdyumova and others; under. ed. T.F. Kurdyumova. – M.: Bustard, 2011
Additional:
Lebedev Yu.V. Literature. 10th grade: textbook for general education institutions. Basic and profile levels. At 2 o'clock - M.: Education, 2006
Petrovich V.G., Petrovich N.M. Literature in basic and specialized schools. Grade 11. Book for teachers. M., 2006
Krutetskaya V.A. Literature in tables and diagrams. Grade 10. - St. Petersburg, 2008
Dictionary of literary characters in 8 volumes - Compiled and editor Meshcheryakov V.P. - M.: Moscow Lyceum, 1997
Chernyak M.A. Modern Russian literature (grades 10-11): educational and methodological materials. - M.: Eksmo, 2007
Internet resources:
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Creative Teachers Network
Progress of the lesson
Organizing time: greeting the group, identifying those who are absent, assessing the hygienic conditions of preparing the audience for the lesson.
Motivation for learning activities
Designation of the topic of the lesson, formation of the purpose of the lesson, designation of the plan for the upcoming work in the lesson.
3. Updating of reference knowledge
- student messages
4. Assimilation of new knowledge
Lecture-conversation (presentation) –
The modern literary process is characterized by the disappearance of former canonized themes (“the theme of the working class,” “the theme of the army,” etc.) and a sharp rise in the role of everyday relationships. Attention to everyday life, sometimes absurd, to the experience of the human soul, forced to survive in a situation of breakdown, shifts in society, gives rise to special subjects. Many writers seem to want to get rid of their former pathos, rhetoric, and preaching, and fall into the aesthetics of “shocking and shock.” The realistic branch of literature, having experienced a state of lack of demand, is approaching the understanding of the turning point in the sphere of moral values. “Literature about literature,” memoir prose, is coming to a prominent place.
Perestroika opened the door to a huge stream of “detained” and young writers professing different aesthetics - naturalistic, avant-garde, postmodernist, realistic. One of the ways to update realism is to try to free it from ideological predetermination. This trend led to a new round of naturalism: it combined the traditional belief in the cleansing power of the cruel truth about society and the rejection of pathos of any kind, ideology, preaching (prose by S. Kaledin - “The Humble Cemetery”, “Building Battalion”; prose and drama by L. Petrushevskaya ).
The year 1987 has special significance in the history of Russian literature. This is the beginning of a unique period, exceptional in its general cultural significance. This is the beginning of the process of returning Russian literature. The main motive of four years ( J987--1990) becomes the motive for the rehabilitation of history and prohibited - “uncensored”, “seized”, “repressive” - literature. In 1988, speaking at the Copenhagen meeting of artists, literary critic Efim Etkind said: “Now there is a process that is of unprecedented, phenomenal significance for literature: the process of return. A crowd of shadows of writers and works about which the general reader knew nothing poured onto the pages of Soviet magazines... Shadows are returning from everywhere.”
The first years of the rehabilitation period - 1987-1988 - are the time of the return of spiritual exiles, those Russian writers who (in the physical sense) did not leave the borders of their country.
From the publications of works by Mikhail Bulgakov (“Heart of a Dog”, “Crimson Island”), Andrei Platonov (“Chevengur”, “The Pit”, “Juvenile Sea”), Boris Pasternak (“Doctor Zhivago”), Anna Akhmatova (“Requiem”) , Osip Mandelstam (“Voronezh Notebooks”), the creative heritage of these (famous even before 1987) writers was restored in full.
The next two years - 1989-1990 - are a time of active return of an entire literary system - the literature of Russian abroad. Until 1989, isolated publications by emigrant writers - Joseph Brodsky and Vladimir Nabokov in 1987 - were sensational. And in 1989-1990, “a crowd of shadows poured into Russia from France and America” (E. Etkind) - these are Vasily Aksenov, Georgy Vladimov, Vladimir Voinovich, Sergei Dovlatov, Naum Korzhavin, Viktor Nekrasov, Sasha Sokolov and, of course, Alexander Solzhenitsyn .
The main problem for literature in the second half of the 1980s was the rehabilitation of history. In April 1988, a scientific conference with a very revealing title was held in Moscow - “Current Issues of Historical Science and Literature.” The speakers talked about the problem of the truthfulness of the history of Soviet society and the role of literature in eliminating “blank historical spots.” In the emotional report of economist and historian Evgeniy Ambartsumov, the idea, supported by everyone, was voiced that “true history began to develop outside the ossified official historiography, in particular, by our writers F. Abramov and Yu. Trifonov, S. Zalygin and B. Mozhaev, V. Astafiev and F. Iskander, A. Rybakov and M. Shatrov, who began to write history for those who could not or did not want to do this.” Also in 1988, critics started talking about the emergence of a whole movement in literature, which they designated as “new historical prose.” The novels “Children of Arbat” by Anatoly Rybakov and “White Clothes” by Vladimir Dudintsev, published in 1987, and the story “The Golden Cloud Spent the Night” by Anatoly Pristavkin became public events of this year. At the beginning of 1988, Mikhail Shatrov’s play “Further... further... further...” became the same socio-political event, while the images of “living bad Stalin” and “living non-standard Lenin” barely passed the then existing censorship.
The state of modern literature itself, that is, that which was not only published, but also written in the second half of the 1980s, confirms that during this period literature was primarily a civil matter. Only the ironist poets and authors of “physiological stories” (“Guignol prose” (Sl.)) were able to make a loud statement about themselves at this time): Leonid Gabyshev (“Odlyan, or the Air of Freedom”) and Sergei Kaledin (“Stroibat”), in whose The works depicted the dark sides of modern life - the morals of juvenile delinquents or army hazing.
It should also be noted that the publication of stories by Lyudmila Petrushevskaya, Evgeny Popov, Tatyana Tolstoy, authors who today define the face of modern literature, went almost unnoticed in 1987. In that literary situation, as Andrei Sinyavsky rightly noted, these were “artistically redundant texts.”
So, 1987-1990 is the time when Mikhail Bulgakov’s prophecy (“Manuscripts don’t burn”) came true and the program so carefully outlined by academician Dmitry Sergeevich Likhachev was fulfilled: “And if we publish the unpublished works of Andrei Platonov “Chevengur” and “Pit ", some of the works of Bulgakov, Akhmatova, Zoshchenko still remaining in the archives, then this, it seems to me, will also be useful for our culture" (from the article: The culture of truth is the anticulture of lies // Literary newspaper, 1987. No. 1). Over the course of four years, a colossal array was mastered by the general Russian reader - 2/3 of the previously unknown and inaccessible corpus of Russian literature; all citizens became readers. “The country has turned into an All-Union Reading Room, in which, following Doctor Zhivago, Life and Fate is discussed (Natalya Ivanova). These years are called the “reading feast” years; There was an unprecedented and unique increase in the circulation of periodical literary publications (“thick” literary magazines). Record circulation of the magazine “New World” (1990) - 2,710,000 copies. (in 1999 - 15,000 copies, i.e. slightly more than 0.5%); all writers became citizens (in that year, the vast majority of people's deputies from creative unions were writers - V. Astafiev, V. Bykov, O. Gonchar, S. Zalygin, L. Leonov, V. Rasputin); civil (“severe”, not “graceful”) literature triumphs. Its culmination is
year - “the year of Solzhenitsyn” and the year of one of the most sensational
publications of the 1990s - the article “Wake of Soviet Literature”, in which its author, a representative of “new literature”, Viktor Erofeev, announced the end of the “Solzhenization” of Russian literature and the beginning of the next period in modern Russian literature - postmodernist (1991-1994). ).
Postmodernism appeared in the mid-40s, but was recognized as a phenomenon of Western culture, as a phenomenon in literature, art, and philosophy only in the early 80s. Postmodernism is characterized by an understanding of the world as chaos, the world as a text, an awareness of the fragmentation of existence. One of the main principles of postmodernism is intertextuality (the correlation of the text with other literary sources).
The postmodern text forms a new type of relationship between literature and the reader. The reader becomes a co-author of the text. The perception of artistic values becomes multi-valued. Literature is seen as an intellectual game.
Postmodern storytelling is a book about literature, a book about books.
In the last third In the 20th century, postmodernism became widespread in our country. These are works by Andrei Bitov, Venedikt Erofeev, Sasha Sokolov, Tatyana Tolstoy, Joseph Brodsky and some other authors. The system of values is being revised, mythologies are being destroyed, the views of writers are often phonic and paradoxical.
Changes in political, economic, social conditions in the country at the end The 20th century led to many changes in literary and near-literary processes. In particular, since the 1990s, the Booker Prize appeared in Russia. Its founder is the English Booker company, which is engaged in the production of food products and their wholesale. The Russian Booker Literary Prize was established by the founder of the Booker Prize in Great Britain, Booker Pic, in 1992 as a tool to support authors writing in Russian and to revive publishing activity in Russia with the goal of making good contemporary Russian literature commercially successful in its homeland.
From a letter from the Chairman of the Booker Committee, Sir Michael Caine:
“The success of the Booker Prize, with its annual change of committee, independence from the interests of publishers and from government agencies, prompted us to establish similar awards for works in other languages. The most tempting idea seemed to be to create a Booker Prize for the best novel in Russian. With this we want to express respect for one of the greatest literatures in the world and hope that we will be able to help attract general attention to the living and problem-filled Russian literature of today.” The system for awarding the prize is as follows: nominators (literary critics speaking on behalf of literary magazines and publishing houses) nominate nominees and candidates for the prize (the so-called “long list” ( long-list)). From among them, the jury selects six finalists (the so-called “short-list”), one of whom becomes the laureate (booker).
Russian bookers were Mark Kharitonov (1992, “Lines of Fate, or Milashevich’s Chest”), Vladimir Makanin (1993, “A table covered with cloth and with a decanter in the middle”), Bulat Okudzhava (1994, “The Abolished Theater”), Georgy Vladimov (1995 , “The General and His Army”), Andrei Sergeev (1996, “Album for Stamps”), Anatoly Azolsky (1997, “Cage”), Alexander Morozov (1998, “Other People’s Letters”), Mikhail Butov (1999, “Freedom” ), Mikhail Shishkin (2000, “The Capture of Izmail”), Lyudmila Ulitskaya (2001, “The Case of Kukotsky”), Oleg Pavlov (2002, “Karaganda Departures, or the Tale of the Last Days”). It should be understood that the Booker Prize, like any other literary prize, is not intended to answer the question “Who is our first, second, third writer?” or “Which novel is the best?” Literary awards are a civilized way to arouse publishing and reader interest (“To bring together readers, writers, publishers. So that books are bought, so that literary work is respected and even generates income. For the writer, for publishers. And in general, culture wins” (critic Sergei Reingold) ).
Close attention to the Booker laureates already in 1992 made it possible to identify two aesthetic trends in the latest Russian literature - postmodernism (among the 1992 finalists are Mark Kharitonov and Vladimir Sorokin) and post-realism (postrealism is a trend in the latest Russian prose). Characteristic of realism is the traditional attention to the fate of a private person, tragically lonely and trying to self-determinate (Vladimir Makanin and Lyudmila Pstrushevskaya).
Nevertheless, the Booker Prize and the literary prizes that followed it (Anti-Booker, Triumph, Pushkin Prize, Paris Prize for Russian Poet) did not completely eliminate the problem of confrontation between non-commercial literature (“pure art”) and the market. “The way out of the impasse” (that was the title of an article by critic and cultural critic Alexander Genis, dedicated to the literary situation of the early 1990s) for “non-market” literature was its appeal to traditionally popular genres (literary and even song) -
fantasy (“fantasy”) - “The Life of Insects” (1993) by Victor Pelevin;
fantasy novel - “Cassandra’s Brand” (1994) by Chingiz Aitmatov;
mystical-political thriller - “The Guardian” (1993)
Anatoly Kurchatkin;
erotic novel - “Eron” (1994) by Anatoly Korolev, “The Road to Rome” by Nikolai Klimontovich, “Everyday Life of a Harem” (1994) by Valery Popov;
Eastern - “We can do anything” (1994) by Alexander Chernitsky;
adventure novel - “I am not me” (1992) by Alexei Slapovsky (and his “rock ballad” “Idol”, “thieves’ romance” “Hook”, “street romance” “Brothers”);
“new detective” by B. Akunin; ,
“ladies detective” by D. Dontsova, T. Polyakova and others.
A work that embodied almost all the features of modern Russian prose was “Ice” by Vladimir Sorokin, nominated in the 2002 shortlist. The work caused a wide resonance due to the active opposition of the “Walking Together” movement, which accuses Sorokin of pornography. V. Sorokin withdrew his candidacy from the short list.
A consequence of the blurring of the boundaries between high and mass literature (along with the expansion of the genre repertoire) was the final collapse of cultural taboos (prohibitions), including: on the use of obscene (profanity) language - with the publication of Eduard Limonov’s novel “It’s me, Eddie!” (1990), works by Timur Kibirov and Viktor Erofeev; to discuss in literature the problems of drugs (Andrei Salomatov’s novel “Kandinsky Syndrome” (1994)) and sexual minorities (the two-volume collected works of Evgeniy Kharitonov “Tears on Flowers” became a sensation in 1993).
From the writer’s program to create a “book for everyone” - both for the traditional consumer of “non-commercial” literature and for the general reading public - a “new fiction” emerges (its formula was proposed by the publisher of the anthology “End of the Century”: “Detective, but written in good language” ). A trend towards “readability” and “interesting” can be considered a trend of the postmodern period. Genre " fantasy", which turned out to be the most viable of all genre new formations, was the starting point for one of the most noticeable phenomena in modern Russian literature - this is the prose of fiction, or fiction-prose - fantasy literature, "modern fairy tales", the authors of which do not reflect, but invent new absolutely implausible, artistic realities.
Fiction is literature of the fifth dimension, as the unbridled author's imagination becomes, creating virtual artistic worlds - quasi-geographical and pseudo-historical.
5. Homework, instructions on how to complete it:
- Working on lecture notes
- Preparation for the test
6. Summing up the lesson. Reflection.
ADDITIONAL MATERIAL
Information for the teacher
The Russian Booker was awarded for the first time in 1991. Since then, not a single awarded novel has become a bestseller, which is not at all surprising, since famous writers were the first to be eliminated from the list of nominees. Over the years - Viktor Pelevin, Vladimir Sorokin, Dmitry Bykov, Anatoly Naiman. This time, for example, TV journalist Leonid Zorin and detective author Leonid Yuzefovich. And the winner who received the prize remained unknown to anyone.
In total, thirty-one works were accepted into the Russian Booker competition this year. Of these, six novels made it to the finals: “Villa Reno” by Natalia Galkina, “White on Black” by Ruben David Gonzalez Gallego, “Jupiter” by Leonid Zorin, “Frau Scar” by Afanasy Mamedov, “Lavra” by Elena Chizhova and “Cazarosa” by Leonid Yuzefovich.
As Yakov Gordin, chairman of the prize jury, said at the ceremony announcing the laureate, the Booker committee chose the work in which “soil and fate breathe” to the greatest extent. Such a work, according to the committee, turned out to be the book “White on Black,” published last year by the Limbus Press publishing house.
R. D. Gonzalez Gallego, despite his rather exotic name, is quite a Russian writer. In any case, he had never written in any other language other than Russian. The laureate was born in Moscow in 1968 into a family of Spanish communists who fled to the USSR from the Franco regime. His maternal grandfather, Ignacio Gallego, was the general secretary of the Spanish Communist Party. Ruben David Gonzalez Gallego has been suffering from a serious illness since birth - cerebral palsy. One day, when he was only one and a half years old, his condition deteriorated sharply, and everyone thought that the child was no longer a survivor. And this opinion of the doctors somehow reached his mother as news of the death of the unfortunate baby. The grief-stricken parent could not even bring herself to even look at her supposedly dead son. And by some miracle he survived. And since then I have been wandering around various institutions for the disabled. Ruben David met his mother only thirty years later.
The period of wandering around shelters became the main theme of the writer’s work. His “Booker” book “White on Black” is, in fact, a collection of short stories, where the author depicts the people with whom fate brought him together in the bleak orphan period of his life. And in all these short stories, of course, the character and fate of the narrator himself are realized. That is why the collection “White on Black” is a complete work. As Tatyana Nabatnikova, editor-in-chief of the Limbus Press publishing house, noted, calling “White on Black” a novel would not be a mistake. He typed the novel “White on Black,” which was recognized as the best Russian book of this year, with two working fingers of his left hand.
For the past few years, Gonzalez Gallego has been living with his old mother in Madrid. He works very productively. His works are reprinted and published in many countries. By the way, from this year the value awards Booker laureates have increased. Previously the bonus was twelve thousand five hundred dollars. And now - fifteen. Finalists still receive a thousand.
MATERIALS FOR CURRENT CONTROL
Seminar
Sections: Literature
Explanatory note
In the formation of a harmoniously developed and spiritually rich personality, capable of creating a new life in the Russian Federation, fiction and its teaching in high school play an important role.
Today in Russia, books of hundreds of different titles appear every day. For the modern reader this is a real challenge. More and more writers are striving to gain reader recognition and, with luck, popularity. How to navigate this growing flow of literature? In a market economy, reading preferences are partly reflected in the circulation of books. When buying a book, a person seems to vote: I need this book, I am ready to pay for it, I want to see it in my home, on my desk. It helps me become myself, realize why I live, or just have fun, disconnect from everyday worries. Another opportunity to find out the literary tastes of society is prizes for literary works, of which there were quite a lot in the 90s of the 20th century, as well as the opinions of literary critics. They read books before others, expressing their views on what they read in the media and on popular websites. Critics' ratings certainly influence the tastes and preferences of readers, but their point of view is not final and unconditional. It is the reader who ultimately decides how “classic” and “long-lasting” this or that writer, this or that book is.
The purpose of our course is to help high school students form their own idea of the modern literary process, its trends, issues and aesthetic positions of the authors of works that have received recognition in the literary community. By interpreting the works they read and comparing their judgments with the assessments of experts, ultimately the high school student will be able to freely navigate the modern sea of book production and, perhaps, find “his” book and “his” writer.
Of course, only a few of the works we have proposed will become national classics and compulsory reading for every educated person, but still these works are in the spotlight, they are talked about, debated, and some of them are awarded literary prizes. It is inherent in the Russian mentality that “well-read” or at least awareness of the modern literary process is an important evidence of a person’s intelligence. And intelligence is a modern synonym for decent behavior and a humanistic way of thinking. This course is designed for 34 hours (1 hour per week). The indicated number of hours is approximate; the teacher can change it based on specific working conditions or for his own methodological reasons.
Basic requirements for knowledge, skills and abilities of students
As a result of completing the elective course, students must:
- read and, under the guidance of a teacher, study the works of modern Russian authors;
- be able to characterize and evaluate the main characters, know the problems of the works and their ideological meaning;
- be able to evaluate a work based on personal perception;
- be able to competently express and justify one’s attitude to a work of art, give a message or report on a literary topic, participate in a conversation, debate, write essays of different genres;
- Having studied a minimum of works, be prepared to independently search for the book you need, and navigate the development of modern literature in general.
- be able to compare the work with film and television adaptations and performances.
Forms of monitoring students' knowledge.
- Oral and written detailed answers to questions.
- Seminars and colloquia.
- Drawing up a plan and theses based on the biography of writers.
- Drawing up questions to characterize the hero and evaluate the work as a whole.
- Preparation of oral reports about the read work and its author.
- Writing essays, reports, abstracts.
- Creation of computer presentations.
- Participation in scientific and practical conferences.
- Credit for the course.
Educational and thematic plan
| № | Subject | Number of hours | Lesson form. Types of student activities |
| 1 | Introduction. Main directions and trends in the development of modern literature | 1 | Teacher lecture |
| 2 | Neorealism (New Realistic Prose) | ||
| Vladimir Makanin "Underground, or Hero of Our Time" | 1 | Teacher's lecture, student messages | |
| Lyudmila Ulitskaya “The Kukotsky Case”, “Daniel Stein, translator” | 2 | Lecture, drawing up a lecture plan, seminar | |
| Andrey Volos “Khurramabad”, “Real Estate” | 2 | Messages, student reports | |
| Alexey Slapovsky “I am not me” | 1 | Making questions based on the text | |
| 3 | Military theme in modern Russian literature | ||
| Victor Astafiev "The Jolly Soldier" | 1 | Dispute | |
| Arkady Babchenko "Alkhan-Yurt" | 1 | Reports, presentation | |
| Anatoly Azolsky “Saboteur” | 1 | Teacher lecture | |
| 4 | Russian postmodernism | ||
| Venedikt Erofeev “Moscow – Petushki” | 1 | Commented reading | |
| Victor Pelevin “Life of Insects”, “Generation “II” | 2 | Lecture, abstracts, reports | |
| Dmitry Galkovsky "Endless Dead End" | 1 | Student messages | |
| Vladimir Sorokin “Queue” | 1 | Lecture, student reports | |
| Test on the topics studied | 1 | Written detailed answer | |
| 5 | Modern poetry | ||
| Joseph Brodsky | 2 | Lecture, presentation, seminar, colloquium | |
| Conceptualism Timur Kibirov, Dmitry Prigov, Lev Rubinstein, Vsevolod Nekrasov, Sergey Gandlevsky, Denis Novikov |
3 | Colloquium, commented reading, reports, abstracts | |
| Metarealism Ivan Zhdanov, Alexander Eremenko, Olga Sudakova, Alexey Parshchikov |
3 | Commented readings, reports, presentations | |
| 6 | Science fiction, utopia and dystopia | ||
| Arkady and Boris Strugatsky “Inhabited Island” | 1 | Presentation, reports | |
| Sergei Lukyanenko “Emperors of Illusions”, “Dancing in the Snow”, “Night Watch”, “Day Watch” | 3 | Lecture, student reports | |
| 7 | Dramaturgy |
||
| Ksenia Dragunskaya “Red Play” Nina Sadur "Pannochka" Evgeny Grishkovets “How I Ate the Dog” |
2 | Seminar, attending performances | |
| 8 | Revival of the detective |
||
| Alexandra Marinina Boris Akunin Darya Dontsova |
3 | Lecture, debate, presentations, reports | |
| Final test on the topics studied | 1 | Written detailed answer to a question | |
Introduction.
General trends in the development of artistic and ideological-moral traditions of modern literature. Versatility, variety of genres and directions.
Block 1. New realistic prose.
Neorealism is a synthesis of the artistic experience of realist writers of the 19th century with the postmodernist thinking of people at the end of the 20th century. Search for new aesthetic principles that differ from the critical realism of the 19th century and socialist realism. Vladimir Makanin “Undergrand, or Hero of Our Time” - the fate of the “sixties” in the era of the late nineties. Italian Pene Prize 1999. Lyudmila Ulitskaya is a two-time winner of the Booker Prize (for the novels “The Case of Kukotsky” and “Daniel Stein, Translator”). “The Kukotsky Incident” is a combination of the traditional outline of a family novel with the philosophical and mystical side of the heroes’ lives, the transformation of familiar reality into a multidimensionality that corresponds to the worldview of a modern person. Screen adaptation of the novel. “Daniel Stein, Translator” is about the wanderings of the spirit in the world of darkness, about how to find the light in yourself and around you. Andrey Volos “Khurramabad” is a novel about the life of several generations of Russians in Tajikistan, about their forced transformation into refugees. This is an artistic representation of what turns out to be one's own and someone else's. The novel “Real Estate” is about the work of a realtor and the notorious housing issue. Psychological realism, recreating the flavor of time.
“I am not me” by Alexey Slapovsky is an adventurous and philosophical modern “plutish” novel.
Block 2. Military theme in modern Russian literature.
A new look at war, the “human scale” of its perception, reflections on the “price of Victory”, the tragedy of ethical conflicts in which a person finds himself at war - this is what the novel “The Jolly Soldier” by the writer of the “military generation” Viktor Astafiev is about.
Arkady Babchenko is a laureate of the Debut Prize. The story “Alkhan-Yurt” is based on personal impressions and tells about one episode of the Chechen campaign. The meaninglessness of war is the central theme of the story. Anatoly Azolsky is a laureate of awards from the magazines “Friendship of Peoples” (1999) and “New World” (2000). The novel “Saboteur” is the humanistic pathos of modern military literature, the preservation of the traditions of military prose in the works of young writers.
Block 3. Postmodernism.
The origins of Russian postmodernism - the poem “Moscow - Cockerels” by Venedikt Erofeev - free handling of Russian classics, a mixture of high and low, irony and grotesque.
Victor Pelevin “The Life of Insects” – reminiscences from popular stories, an ironic interpretation of myths and stereotypes. “Generation “P” is a journey into virtual reality. Dmitry Galkovsky is a laureate of the Anti-Booker Prize. The novel “Endless Dead End” is intertextuality, the merging of reality and literature.
The work of Vladimir Sorokin and his novel “The Queue” is parodic stylization, naturalism, destruction of established literary genres.
Block 4. Contemporary poetry.
The work of Joseph Brodsky (biography, themes and motives of lyrics, landscape, image of time, lyrical hero, language and artistic techniques) Conceptualism and its origins. The concept of "concept". Conceptual schools. The work of some conceptual poets and their poetic language. Metarealism as a poetic direction. The work of some poets - metarealists.
Block 5. Science fiction, utopia and dystopia.
The rise of the dystopian genre in the 20th century. Human psychology and the psychology of society in the dystopia of the Strugatsky brothers “Inhabited Island.” Sergei Lukyanenko is the best European science fiction writer of 2003. The responsibility of Lukyanenko’s heroes for the world in which they live, the combination of questions specific to science fiction with truthful, memorable images.
Block 6. Features of modern dramaturgy.
Search for special artistic means and language. Nina Sadur's dramaturgy is an integral part of avant-garde culture. The play “Pannochka” is an unusual interpretation of Gogol’s story “Viy”. The originality and metaphorical nature of the play is the confession of Evgeny Grishkovets “How I Ate a Dog”, the color symbolism and psychologism of the “Red Play” by Ksenia Dragunskaya. Film version of the play.
Block 7. Revival of the detective.
Specifics of the detective genre. Why do people love detective stories? The revival of the detective story in the late 80s of the 20th century. Psychological detective stories by Alexandra Marinina, retro detective stories by Boris Akunin, ironic detective stories by Daria Dontsova.
List of literature for teachers and students
- In the world of literature, grade 11; textbook for educational institutions of humanitarian profile, /ed. A.G. Kutuzova. M.: “Drofa”, 2002.
- Russian literature of the 20th century, grade 11; textbook-workshop for educational institutions / ed. Y.I.Lysogo - M. “Mnemosyne”, 2005.
- Contemporary Russian literature; textbook a guide for high school students and those entering universities, /ed. B.A. Lanina, M.: “Ventana-Graf”, 2006.
- Chalmaev V.A., Zinin S.A. Russian literature of the 20th century: textbook for grade 11; in 2 parts - M.: "TID "Russian Word", 2006.
Internet literary resources
- “Bukinist” – mybooka.narod.ru
- “Debut” – www.mydebut.ru
- “Babylon” – www.vavilon.ru
- “Victor Pelevin” – pelevin.nov.ru
- “Graphomania” – www.grafomania.msk.ru
- “Interactive fiction” – if.gr.ru
- “Joseph Brodsky” – gozepf Brodsky.narod.ru
- “Islet” – www.ostrovok.de
- “Modern Russian poetry” – poet.da.ru
- “Fandorin” – www.fandorin.ru
In addition, each writer has his own individual website. Internet searches are endless, so this list is open ended and could go on.
A people deprived of public freedom has the only platform from the height of which they make the cry of their indignation and their conscience heard,” wrote A.I. Herzen in the last century. For the first time in the entire centuries-old history of Russia, the government has now given us freedom of speech and press. But, despite the enormous role of the media, domestic literature is the ruler of thoughts, raising layer by layer the problems of our history and life. Maybe E. Yevtushenko was right when he said: “in Russia - more than a poet!..”.
Today, one can very clearly trace the artistic, historical, socio-political significance of a literary work in connection with the socio-political situation of the era. This formulation means that the characteristics of the era are reflected in the theme chosen by the author, his characters, and artistic means. These features can give a work great social and political significance. Thus, in the era of the decline of serfdom and the nobility, a number of works about “superfluous people” appeared, including the famous “Hero of Our Time” by M.Yu. Lermontov. The very name of the novel and the controversy surrounding it showed its social significance in the era of the Nikolaev reaction. A.I. Solzhenitsyn’s “One Day in the Life of Ivan Denisovich,” published during the period of criticism of Stalinism in the early 60s, was also of great importance. Modern works demonstrate an even greater connection than before between the era and the literary work. Now the task is to revive the rural owner. Literature responds to it with books about the dispossession and de-peasantization of the village.
The close connection between modernity and history even gives rise to new genres (for example, chronicles) and new visual means: documents are introduced into the text, time travel for many decades is popular, and more. The same applies to problems of environmental protection. It can't be tolerated anymore. The desire to help society forces writers, for example Valentin Rasputin, to move from novels and stories to journalism.
The first theme that unites a very large number of works written during the 50s - 80s is the problem of historical memory. The epigraph to it could be the words of Academician D.S. Likhachev: “Memory is active. It does not leave a person indifferent or inactive. She controls the mind and heart of a person. Memory resists the destructive power of time. This is the greatest meaning of memory."
“Blank spots” were formed (or rather, they were formed by those who constantly adapted history to their interests) not only in the history of the entire country, but also in its individual regions. Viktor Likhonosov’s book “Our Little Paris” about Kuban. He believes its historians owe a debt to their land. “Children grew up without knowing their native history.” About two years ago the writer was in America, where he met with residents of the Russian colony, emigrants and their descendants from the Kuban Cossacks. A storm of reader letters and responses was caused by the publication of the novel, the chronicle of Anatoly Znamensky “Red Days,” which reported new facts from the civil history of the Don. The writer himself did not immediately come to the truth and only in the sixties realized that “we know nothing at all about that era.” In recent years, several new works have been published, such as Sergei Alekseev’s novel “Sedition,” but there is still a lot unknown.
The theme of those innocently repressed and tortured during the years of Stalin's terror is especially prominent. Alexander Solzhenitsyn did a tremendous amount of work in his “GULAG Archipelago.” In the afterword to the book, he says: “I stopped working not because I considered the book finished, but because there was no more life left for it. I not only ask for leniency, but I want to shout: when the time comes, the opportunity comes, gather together, friends, survivors, those who know well, and write another comment next to this one...” Thirty-four years have passed since those were written, no, embossed on heart, these words. Solzhenitsyn himself has already edited the book abroad, dozens of new evidence have come out, and this call will remain, apparently, for many decades, both to the contemporaries of those tragedies, and to descendants, before whom the archives of the executioners will finally open. After all, even the number of victims is unknown!.. The victory of democracy in August 1991 gives hope that the archives will soon be opened.
And therefore, the words of the already mentioned writer Znamensky seem to me not entirely true: “And how much should have been said about the past, it seems to me, has already been said by A.I. Solzhenitsyn, and in “Kolyma Stories” by Varlam Shalamov, and in the story “Bas-relief on rock" Aldan - Semenova. And I myself, 25 years ago, during the years of the so-called Thaw, paid tribute to this topic; my story about the camps called “Without Repentance”... was published in the magazine “North” (N10, 1988).” No, I think witnesses, writers, and historians still have to work hard.
Much has already been written about Stalin’s victims and executioners. I note that a continuation of the novel “Children of the Arbat” by A. Rybakov, “The Thirty-Fifth and Other Years,” has been published, in which many pages are devoted to the secret springs of the preparation and conduct of the trials of the 30s against the former leaders of the Bolshevik Party.
Thinking about Stalin’s time, your thoughts involuntarily turn to the revolution. And today it is seen in many ways differently. “We are told that the Russian revolution did not bring anything, that we have great poverty. Absolutely right. But... We have a perspective, we see a way out, we have the will, the desire, we see the path before us...” - this is what N. Bukharin wrote. Now we are wondering: what did this will do to the country, where did this path lead and where is the way out. In search of an answer, we begin to turn to the origins, to October.
It seems to me that A. Solzhenitsyn explores this more deeply than anyone else. Moreover, these issues are addressed in many of his books. But the main thing of this writer about the origins and beginning of our revolution is the multi-volume “Red Wheel”. We have already printed parts of it - “August the fourteenth”, “October the sixteenth”. The four-volume “March the Seventeenth” is also being published. Alexander Isaevich continues to work hard on the epic.
Solzhenitsyn persistently does not recognize not only the October, but also the February revolution, considering the overthrow of the monarchy a tragedy of the Russian people. He argues that the morality of the revolution and revolutionaries is inhumane and inhumane; the leaders of revolutionary parties, including Lenin, are unprincipled and think, first of all, about personal power. One cannot agree with him, but one cannot help but listen, especially since the writer uses a huge number of facts and historical evidence. I would like to note that this outstanding writer has already agreed to return to his homeland.
There are similar discussions about the revolution in the memoirs of the writer Oleg Volkov, “Plunge into Darkness.” , an intellectual and patriot in the best sense of the word, spent 28 years in prison and exile. He writes: “In the more than two years that my father lived after the revolution, it was already clearly and irrevocably determined: the harshly tamed peasant and the somewhat softer bridled worker had to identify themselves with the authorities. But it was no longer possible to talk about this, to expose imposture and deception, to explain that the iron lattice of the new order leads to enslavement and the formation of an oligarchy. And it’s useless..."
Is this the way to evaluate the revolution?! It's hard to say; only time will make a final verdict. Personally, I do not consider this point of view correct, but it is also difficult to refute it: you will not forget either about Stalinism or about the deep crisis of today. It is also clear that it is no longer possible to study the revolution and the civil revolution from the films “Lenin in October”, “Chapaev” or from V. Mayakovsky’s poems “Vladimir Ilyich Lenin” and “Good”. The more we learn about this era, the more independently we will come to some conclusions. A lot of interesting things about this time can be gleaned from Shatrov’s plays, B. Pasternak’s novel “Doctor Zhivago”, V. Grossman’s story “Everything Flows” and others.
If there are sharp differences in the assessment of the revolution, then everyone condemns Stalin’s collectivization. And how can it be justified if it led to the ruin of the country, the death of millions of hardworking owners, and a terrible famine! And again I would like to quote Oleg Volkov about the time close to the “great turning point”:
“Then they were just organizing the mass transportation of robbed men into the abyss of the desert expanses of the North. For the time being, they snatched it selectively: they would impose an “individual” unpaid tax, wait a little, and then declare him a saboteur. And then there’s lafa: confiscate the property and throw it in prison!...”
Vasily Belov tells us about the village before the collective farm in the novel “Eves”. The continuation is “The Year of the Great Turnaround, Chronicle of 9 Months,” which describes the beginning of collectivization. One of the true works about the tragedy of the peasantry during the period of collectivization is the novel - the chronicle of Boris Mozhaev “Men and Women”. The writer, relying on documents, shows how that stratum in the village is formed and takes power, which prospers from the ruin and misfortune of fellow villagers and is ready to be fierce in order to please the authorities. The author shows that the culprits of the “excesses” and “dizziness from success” are those who ruled the country.
Need a cheat sheet? Then save - » Literary review of works of recent years. Literary essays!Theory:
In the 1950s, a number of decrees were issued in the USSR aimed at improving the quality of drama. The close interest of the ruling circles in modern drama was determined not only by general ideological considerations, but also by one additional reason. The seasonal repertoire of the Soviet theater was supposed to consist of thematic sections (Russian classics, foreign classics, a performance dedicated to an anniversary or holiday, etc.). At least half of the premieres had to be prepared according to modern drama. It was desirable that the main performances should be based not on light comedy plays, but on works with serious themes. Under these conditions, most of the country's theaters, concerned about the problem of the original repertoire, were looking for new plays.
The general rise of theatrical art in the late 1950s entailed the rise of drama. Works by new talented authors appeared, many of whom determined the main paths for the development of drama in the coming decades. Around this period, the personalities of three playwrights were formed, whose plays were staged widely throughout the Soviet period - V. Rozov, A. Volodin, A. Arbuzov.
Among the variety of genres and styles that have swept the theater from the late 50s of the 20th century until the present day, in modern drama we can note the clear predominance of the traditional for Russian theater socio-psychological plays. Despite the frankly everyday, even everyday background of the action itself, most of these works had a very deep, multi-layered philosophical and ethical subtext.
Here writers actively used such techniques as:
· creation of an “undercurrent”
· built-in plot,
· expanding the stage space by introducing poetic or object symbols.
· For example, a small flower garden with daisies in A. Vampilov’s play “Last Summer in Chulimsk,” like the old cherry orchard from A. Chekhov’s famous drama of the same name, becomes for Vampilov’s characters a kind of test for the ability to love, humanity, and love of life.
· Very effective, enhancing the psycho-emotional impact on the viewer, were such techniques as off-stage “voices”, sometimes constituting, in fact, a separate plan of action, or fantastic visions of heroes.
The late 1950s - early 1970s were marked by the bright personality of A. Vampilov. During his short life he wrote only a few plays: “ Farewell in June", « Eldest son", « Duck hunting", « Provincial jokes", « Twenty minutes with an angel" And " The case of the master page», « Last summer in Chulimsk" and unfinished vaudeville " Incomparable Tips". Returning to Chekhov's aesthetics, Vampilov determined the direction of development of Russian drama in the next two decades.
Exercise: P Read one of the plays by the proposed authors (A. Volodin, V. Rozov, A. Vampilov) and prepare a short retelling.
Independent work No. 55-56.
Theory: textbook by V.A. Chalmaev, S.A. Zinin “Literature of the XX CENTURY. Part 2", pp. 326 – 352.
Exercise: Based on the theoretical material in the textbook, prepare answers to the following questions:
1. What events in literary life in recent years do you consider the most significant? Which books (publications) attracted your attention and why? By what criteria do you determine the degree of significance of a particular work of art in modern culture?
2. Based on materials from the site http:// magazines.russ.ru, prepare short reports about the leading “thick” literary magazines: “New World”, “Znamya”, “Zvezda”, “October”, “Neva”. Find information about the time of creation of the magazine, restore its brief history, characterize its place in the literary process of recent decades.
3. Explain how you understand the meaning of the concepts postmodernism, postrealism, neonaturalism, neosementalism. Describe the main features of each of these movements.
4. What sociocultural factors have a decisive influence on the development of modern cultural and social life?
5. Prepare a report on modern Russian literary awards (Booker Prize, Anti-Booker Prize, Apollo Grigoriev Prize, Andrei Bely Prize, Ivan Petrovich Belkin Prize). Pay attention to what literary merits are noted by each prize.
Independent work No. 57
V. Shakespeare “Hamlet”, O. Balzac “Gobsek”, G. Flaubert “Salammbô”, J.-W. Goethe. "Faust"
Impressionist poets (C. Baudelaire, A. Rimbaud, O. Renoir, P. Mallarmé, etc.).
Exercise: prepare a review (in writing) of an independently read work of foreign literature of the 19th century.
Approximate review plan:
1. Brief bibliographic information about the book.
2. The meaning of the title of the work.
3.Personal impressions of what you read.
4. Features of the plot and composition.
5. The writer’s skill in depicting the characters’ characters.
6. Language and style of behavior.
7. The main idea of the work.
8. Relevance of the problem.
Independent work No. 58.
E. Hemingway. “The Old Man and the Sea”, E.-M. Remarque. “Three Comrades”, G. Marquez. “One Hundred Years of Solitude”, P. Coelho. "Alchemist".
Assignment: prepare an electronic presentation on one of the suggested topics:
1. Based on the textbook material and additional literature, prepare a review of E. Hemingway’s work. What are the main themes of his works. Expand the content, main theme and idea of the story “The Old Man and the Sea.” What works of the author would you recommend reading?
2. Get acquainted with the work of G. - G. Marquez. Expand the content, main themes and idea of the novel “One Hundred Years of Solitude.” What interested you in the writer’s work? What works would you recommend getting acquainted with?
3. Get acquainted with the work of P. Coelho. Reveal the content, main theme and idea of one of the works of this writer. What interested you in the work of this writer? What works would you recommend reading?
APPENDIX No. 1.
Poem Analysis Scheme
· Determine the topic (What?)
· Lyrical plot: how does the lyrical hero appear at the beginning, does his state change at the end?
· What kind of mood are you in? Does it change throughout the poem?
· The role of the landscape (if any)
· What figurative and expressive means does the poet use? (anaphora, metaphors, epithets, similes, litotes hyperboles);
· Verse genre (elegy, message, address, ode, landscape lyrics, madrigal, epigram, epitaph)
· Composition of the poem (can the verse be divided into semantic parts)
· Features of the syntactic structure (which sentences predominate in terms of the purpose of the utterance and intonation)
Sound structure of the language (predominance of sounds)
· Your attitude towards what you read.
Visual and expressive means
· Anaphora – repetition of a word or phrase at the beginning of several lines of poetry
· Hyperbola– exaggeration
· Litotes– understatement
· Metaphor– hidden comparison of an object or phenomenon based on similarity of features.
· Personification- animation of inanimate objects.
· Oxymoron- a combination of words with opposite meanings ( hot snow, living corpse, sweet poison)
· Comparison- comparison of objects based on their similarity (there is a word How).
· Epithet– figurative definition of an object or phenomenon
Lyric genres:
ü Oh yeah- a solemn lyrical poem glorifying a heroic feat.
ü Landscape sketch- a picture of nature.
ü Elegy- a poem permeated with sadness, sad reflection about life, fate, one’s dream.
ü Message- addressing another person.
ü Satire- a work that makes fun of shortcomings.
ü Epigram- a satirical poem addressed to a specific person.
ü Madrigal – a short poem expressing admiration or compliment.
ü Epitaph - a gravestone inscription in poetic form dedicated to the deceased.
APPENDIX No. 2.
Theory:
An episode is a part of the text that reveals semantic and compositional unity.
1. Determine the place of this episode in the development of the plot:
· At what point in the hero’s life do we meet him?
· What do we already know about him and the author’s attitude towards him?
2. Formulate the general impression of what you read, think about what caused it. In what ways does the author create it?
· What is interesting about the events, the actions of the hero, and the attitude of people towards him?
· Pay attention to the form of the narrative: on whose behalf is it being told? What is the advantage of this technique?
· Imagine whose eyes we see the picture?
· Think about how place and time are depicted (in other words, what is unique about the chronotope)?
· Pay attention to the peculiarities of word selection and grammatical organization of the text. How do they clarify their understanding of what is happening?
3. Draw a conclusion about the main idea of the episode:
· What new things did you learn about the hero? What questions have arisen?
· How did you imagine the hero’s future fate?
4. Compare your understanding of the episode with its interpretation in criticism and other forms of art.
APPENDIX No. 3.
How to make a note?
Abstract– these are genres of working with another source. The purpose of this genre is to record and rework a particular scientific text.
The summary is verbatim extracts from the source text. At the same time, a synopsis is not a complete rewriting of someone else’s text. Usually, when writing a summary, the source text is first read, the main provisions are highlighted, examples are selected, the material is rearranged, and only then the text of the summary is drawn up. The summary can be complete when the work is carried out with the entire text of the source, or incomplete when one or more issues raised in the source are of interest.
The general sequence of actions when compiling a textual summary can be defined as follows:
1. Understand the goals and objectives of note-taking.
2. Get acquainted with the work as a whole: read the preface, introduction, table of contents and highlight informationally significant sections of the text.
4. Make a note, for this:
Consistently highlight theses in the text and write them down with subsequent argumentation;
Write a short summary - summarize the text of the summary, highlight the main content of the material studied, and evaluate it.
Notes can be planned, written on the basis of a drawn up plan for an article or book. Each question of the plan corresponds to a certain part of the outline.
APPENDIX No. 4.
Plan for analyzing a dramatic work:
2. Poster (list of characters): in what main way have they already been characterized? How does the arrangement of characters help one guess about the character (social, love, philosophical, psychological) of a dramatic work? We pay attention to the choice of names, the sequence of their presentation, and the author's remarks.
3. Design directions for the play: what “hints” do they contain for the director and actors? What features of the temporal and spatial organization of action explain the guess about the conflict of the play?
4. First appearance of the main characters. How are they revealed in the system of monologues, dialogues, aside remarks? Are we talking about the external or internal (psychological), conscious or unconscious conflict of the hero?
5. The main stages of the development of a dramatic conflict: its culmination and denouement of action. How are they related to the author's idea of the play?
6. You know some scenes of the work. Try to explain one of them.
List of literature
Main literature:
1. Lebedev Yu. V. Literature. Grade 10. Textbook for educational institutions. At 2 o'clock - M.: « Education »
2. Zinin S.A. Sakharov V. I Literature of the 19th century. Grade 10 Reading book for educational institutions. At 2 o'clock - M., LLC « TID « Russian word - RS »
3. Belokurova S.P., Sukhikh I.N. Literature. Grade 10 (basic level): workshop: secondary (complete) general education - M.: Publishing Center "Academy" - 176 p.
4. Zinin S.A. Literature of the 20th century. 11th grade: Educational. for educational institutions. At 2 o'clock - M.: LLC "TID "Russian Word", 2007. - 600 p.
Additional literature:
1.Kozhinov V. Prophet in his Fatherland. – M., 2002.
3.Musatov V.V. History of Russian literature of the first half of the twentieth century. – M., 2001.
4. Nabokov V. Lectures on Russian literature. – M., 2001.
5. Russian literature of the twentieth century. / Ed. A.G. Andreeva. – M., 2002.
6. Russian literature of the 19th century. (Parts 1, 2, 3). 10 grades / Ed. Ionina G.N. – M., 2001.
7. Smirnova L.N. Russian literature of the late nineteenth – early twentieth centuries. – M., 2001.
8. Sokolov A.G. History of Russian literature of the 19th–20th centuries. – M., 2000.
9.Timina S.I. Russian prose of the late twentieth century. – M., 2001.
Modern literature is a collection of prose and poetic works written at the end of the 20th century. – beginning of the 21st century.
Classics of modern literature
In broad terms, modern literature includes works created after the Second World War. In the history of Russian literature, there are four generations of writers who have become classics of modern literature:
- First generation: writers of the sixties, whose work occurred during the “Khrushchev Thaw” of the 1960s. Representatives of the time - V.P. Aksenov, V.N. Voinovich, V.G. Rasputin - are characterized by a manner of ironic sadness and a passion for memoirs;
- Second generation: the seventies - Soviet writers of the 1970s, whose activities were limited by prohibitions - V.V. Erofeev, A.G. Bitov, L.S. Petrushevskaya, V.S. Makanin;
- Third generation: writers of the 1980s who came to literature during perestroika - V. O. Pelevin, T. N. Tolstaya, O. A. Slavnikova, V. G. Sorokin - wrote in conditions of creative freedom, which believed in getting rid of censorship and mastering experiments;
- Fourth generation: writers of the late 1990s, prominent representatives of prose literature - D. N. Gutsko, G. A. Gelasimov, R. V. Senchin, Prilepin, S. A. Shargunov.
Features of modern literature
Modern literature follows classical traditions: works of modern times are based on the ideas of realism, modernism, postmodernism; but, from the point of view of versatility, it is a special phenomenon in the literary process.
Fiction of the 21st century seeks to move away from genre predetermination, as a result of which canonical genres become marginal. Classic genre forms of the novel, short story, and story are practically never found; they exist with features that are not characteristic of them and often contain elements not only of different genres, but also of related types of art. The known forms are the film novel (A. A. Belov “Brigade”), the philological novel (A. A. Genis “Dovlatov and the Surroundings”), the computer novel (V. O. Pelevin “Helmet of Horror”).
Thus, modifications of established genres lead to the formation of unique genre forms, which is primarily due to the separation of fiction from mass literature, which carries genre definition.
Elite literature
Currently, the prevailing opinion among researchers is that modern literature is poetry and prose of the last decades, the transition period at the turn of the 20th-21st centuries. Depending on the purpose of modern works, elite and mass, or popular, literature are distinguished.
Elite literature - “high literature”, which was created in a narrow circle of writers, clergy, artists and was accessible only to the elite. Elite literature is opposed to mass literature, but at the same time it is a source for texts adapted to the level of mass consciousness. Simplified versions of texts by W. Shakespeare, L. N. Tolstoy and F. M. Dostoevsky contribute to the spread of spiritual values among the masses.
Popular literature
Mass literature, unlike elitist literature, does not go beyond the genre canon, is accessible and focused on mass consumption and commercial demand. The rich genre variety of popular literature includes romance, adventure, action, detective, thriller, science fiction, fantasy, etc.
The most popular and widely circulated work of mass literature is the bestseller. The worldwide bestsellers of the 21st century include the series of novels about Harry Potter by J. Rowling, the series of publications by S. Mayer “Twilight”, the book by G. D. Roberts “Shantaram”, etc.
It is noteworthy that popular literature is often associated with cinema - many popular publications have been filmed. For example, the American TV series “Game of Thrones” is based on the series of novels by George R. R. Martin “A Song of Ice and Fire.”