Literature lesson based on the story by D.I. Solzhenitsyn "The Incident at Kochetovka Station". The feeling of involvement in the destinies of one’s native country in the lyrics of A. T. Tvardovsky. Reflection of tragic conflicts of history in literature

23.04.2019

Briefly:

Conflict (from lat. conflictus - clash) - disagreement, contradiction, clash embodied in the plot of a literary work.

Distinguish life and artistic conflicts. The first include contradictions that reflect social phenomena(for example, in I. Turgenev’s novel “Fathers and Sons” the confrontation between two generations is depicted, personifying two social forces - the nobility and the common democrats), and the artistic conflict is a clash of characters that reveals their character traits; in this sense, the conflict determines the development of action in plot (for example, the relationship between Pavel Petrovich Kirsanov and Evgeny Bazarov in the said essay).

Both types of conflict in a work are interrelated: artistic conflict is convincing only if it reflects the relationships that exist in reality itself. And life is rich if it is embodied highly artistically.

There are also temporary conflicts(emerging and exhausting themselves as the plot develops, they are often built on twists and turns) and sustainable(unsolvable within the limits of the depicted life situations or unsolvable in principle). Examples of the former can be found in the tragedies of W. Shakespeare, detective literature, and the latter - in the “new drama”, the works of modernist authors.

Source: Student's Handbook: grades 5-11. - M.: AST-PRESS, 2000

More details:

An artistic conflict—a clash of human wills, worldviews, and vital interests—serves as a source of plot dynamics in a work, provoking, at the will of the author, the spiritual self-identification of the characters. Resonating throughout the compositional space of the work and in the system of characters, it draws both the main and minor participants in the action into its spiritual field.

All this, however, is quite obvious. But something else is much less obvious and infinitely more important: the transformation of a private life conflict, firmly outlined in the form of external intrigue, its sublimation into the highest spiritual spheres, which is the more obvious, the more significant the artistic creation. The usual concept of “generalization” here does not so much clarify as confuse the essence of the matter. After all, the essence lies precisely in this: in great works of literature, the conflict often retains its private, sometimes random, sometimes exclusively individual life shell, rooted in the prosaic thickness of existence. From there it is no longer possible to smoothly ascend to the heights where higher power life and where, for example, Hamlet's revenge the very specific and spiritually insignificant culprits behind the death of his father are transformed into a battle with the whole world, drowning in dirt and vice. What is possible here is only an instantaneous leap, as it were, into another dimension of existence, namely the reincarnation of a collision, which leaves no trace of its bearer’s presence in the “former world,” at the prosaic foothills of life.

It is obvious that in the sphere of a very private and very specific confrontation that obliges Hamlet to take revenge, it proceeds quite successfully, in essence, without hesitation and any signs of reflective relaxation. At spiritual heights, his revenge is overgrown with many doubts precisely because Hamlet initially feels like a warrior, called upon to fight the “sea of evil,” fully aware that the act of his private revenge is blatantly incommensurate with this higher goal, which tragically eludes him. The concept of “generalization” is not suitable for such conflicts precisely because it leaves a feeling of a spiritual “gap” and incommensurability between the external and internal actions of the hero, between his specific and narrow goal, immersed in the empirics of everyday, social, concrete historical relations, and his a higher purpose, a spiritual “task” that does not fit within the boundaries of an external conflict.

In Shakespearean tragedies the “gap” between the external conflict and its spiritual transformation is, of course, more tangible than anywhere else; tragic heroes Shakespeare: Lear, Hamlet, Othello, and Timon of Athens are placed in the face of a world that has lost its way (“the connection of times has fallen apart”). In many classical works this feeling of heroic combat with the whole world is absent or muted. But even in them, the conflict, which locks in the will and thoughts of the hero, is addressed, as it were, to two spheres at once: to the environment, to society, to modernity and at the same time to the world of unshakable values, which are always encroached upon by everyday life, society, and history. Sometimes only a glimpse of the eternal shines through in the everyday vicissitudes of the confrontation and struggle of the characters. However, even in these cases, a classic is a classic because its collisions break through to the timeless foundations of existence, to the essence of human nature.

Only in adventure or detective genres or in "comedies of intrigue" This contact of conflicts with higher values and the life of the spirit is completely absent. But that is why the characters here turn into a simple function of the plot and their originality is indicated only by an external set of actions that do not refer to the originality of the soul.

The world of a literary work is almost always (perhaps only with the exception of idyllic genres) an emphatically conflicting world. But infinitely stronger than in reality, the harmonious beginning of existence reminds itself here: whether in the sphere of the author’s ideal, or in the plot-embodied forms of cathartic purification of horror, suffering and pain. The artist’s mission is, of course, not to smooth out the conflicts of reality, neutralizing them with pacifying endings, but only to, without weakening their drama and energy, see the eternal behind the temporary and awaken the memory of harmony and beauty. After all, it is in them that the highest truths of the world remind themselves of themselves.

External conflict, expressed in the plot-imprinted clashes of characters, is sometimes only a projection internal conflict, played out in the soul of the hero. The beginning of an external conflict in this case carries only a provoking moment, falling on spiritual soil that is already quite ready for a strong dramatic crisis. The loss of a bracelet in Lermontov's drama "Masquerade", of course, instantly pushes the action forward, tying up all the knots of external conflicts, feeding the dramatic intrigue with ever-increasing energy, prompting the hero to search for ways to take revenge. But this situation in itself could be perceived as the collapse of the world only by a soul in which there was no longer peace, a soul in latent anxiety, pressed by the ghosts of past years, having experienced the temptations and treachery of life, knowing the extent of this treachery and therefore eternally ready for defense Happiness is perceived by Arbenin as a random whim of fate, which must certainly be followed by retribution. But the most important thing is that Arbenin is already beginning to be burdened by the stormless harmony of peace, which he is not yet ready to admit to himself and which comes through dully and almost unconsciously in his monologue preceding Nina’s return from the masquerade.

That is why Arbenin’s spirit so quickly breaks away from this unstable point of peace, from this position of precarious balance. In a single moment, previous storms awaken in him, and Arbenin, who has long cherished revenge on the world, is ready to bring this revenge down on those around him, without even trying to doubt the validity of his suspicions, because the whole world in his eyes has long been under suspicion.

As soon as conflict comes into play, the characters' system immediately experiences polarization of forces: The characters are grouped around the main antagonists. Even the side branches of the plot find themselves in one way or another drawn into this “infecting” environment of the main conflict (such, for example, is the line of Prince Shakhovsky in A. K. Tolstoy’s drama “Tsar Fyodor Ioannovich”). In general, a clearly and boldly outlined conflict in the composition of a work has a special binding force. In dramatic forms, subject to the law of a steady increase in tension, this binding energy of conflict is expressed in its most distinct manifestations. The dramatic intrigue with its entire “mass” rushes “forward”, and a single collision here cuts off everything that could slow down this movement or weaken its pace.

The all-pervasive conflict (the motor “nerve” of the work) not only does not exclude, but also presupposes the existence of small collisions, the scope of which is an episode, situation, scene. Sometimes it seems that they are far away from the confrontation of central forces, just as far, for example, at first glance, are those “little comedies” that are played out in the compositional space "Woe from Mind" at the moment when a string of guests appears, invited to Famusov’s ball. It seems that all this is just a personalized paraphernalia of the social background, carrying within itself a self-sufficient comedy that is in no way included in the context of a single intrigue. Meanwhile, this whole panopticon of monsters, each of which is nothing more than amusing, in its entirety gives rise to an ominous impression: the crack between Chatsky and the world around him grows here to the size of an abyss. From this moment on, Chatsky’s loneliness is absolute and thick tragic shadows begin to fall on the comedic fabric of the conflict.

Outside of social and everyday clashes, where the artist breaks through to the spiritual and moral foundations of existence, conflicts sometimes become particularly problematic. Special because their insolubility is fueled by duality, the hidden antinomy of opposing forces. Each of them turns out to be ethically heterogeneous, so that the death of one of these forces does not excite only the thought of the unconditional triumph of justice and goodness, but rather instills a feeling of heavy sadness caused by the fall of that which carried within itself the fullness of the strengths and possibilities of being, even if broken fatal damage. This is the final defeat of Lermontov’s Demon, surrounded, as it were, by a cloud of tragic sadness, generated by the death of a powerful and renewing aspiration for harmony and goodness, but fatally broken by the inescapability of demonism and, therefore, carrying tragedy in itself. Such is the defeat and death of Pushkin's Evgeniya in " Bronze Horseman» , despite all the glaring incommensurability of him with Lermontov’s symbolic character.

Chained by strong bonds to everyday life and, it would seem, forever separated from great history by the ordinariness of his consciousness, pursuing only small everyday goals, Eugene, in a moment of “high madness”, when his “thoughts became terribly clear” (the scene of rebellion), soars to such a tragic height at which he finds himself, at least for a moment, as an antagonist equal to Peter, a herald of the living pain of the Personality, pressed by the bulk of the State. And at that moment his truth is no longer the subjective truth of a private person, but a Truth equal to the truth of Peter. And these are equal Truths on the scales of history, tragically irreconcilable, for, equally dual, they contain both sources of good and sources of evil.

That is why the contrasting coupling of the everyday and the heroic in the composition and style of Pushkin’s poem is not just a sign of the confrontation between two non-contacting spheres of life, assigned to opposing forces (Peter I, Eugene). No, these are spheres, like waves, interfering both in the space of Eugene and in the space of Peter. Only for a moment (however dazzlingly bright, equal to a lifetime) Eugene joins the world where the highest historical elements reign, as if breaking into the space of Peter 1. But the space of the latter, heroically ascended to the supernatural heights of great History, like an ugly shadow, is accompanied by a pitiful Evgeny’s living space: after all, this is the second face of the royal city, the brainchild of Petrov. And in a symbolic sense, this is a rebellion that disturbs the elements and awakens it, the result of his statesmanship is the trampling of the individual thrown on the altar of the state idea.

The concern of the artist of the word, forming a conflict, is not limited to cutting its Gordian knot, crowning his creation with an act of triumph of some opposing force. Sometimes the vigilance and depth of artistic thinking lies in refraining from the temptation to resolve a conflict in such a way that reality does not provide grounds for it. Courage artistic thought especially irresistible where she refuses to follow the prevailing spiritual trends of the time. Great art always goes “against the grain.”

Mission of Russian literature XIX century in the most critical moments of historical existence was to shift the interest of society from the historical surface into the depths, and in the understanding of man to shift the direction of a caring view from a social person to a spiritual person. To bring back, for example, the idea of personal guilt, as Herzen did in the novel “Who is to Blame?”, at a time when the theory of comprehensive environmental guilt was clearly claiming dominance. To return this idea, without, of course, losing sight of the guilt of the environment, but trying to understand the dialectic of both - this was the corrective effort of art in the era of the tragic, in essence, captivity of Russian thought by superficial social doctrinaire. The wisdom of Herzen the artist is all the more obvious here since he himself, as a political thinker, participated in this captivity.

One day. Is this a lot or a little? Everyone sets their own regime. But not in totalitarian state. You can re-read a lot of history books, encyclopedias and just textbooks to find out how people lived in an authoritarian country. But to feel this, you need to read the work of A.

I. Solzhenitsyn. The truth cannot be made up. It can be written off from reality. And all other camp works pale in comparison to the work of the author who survived this horror.

Camp literature is always distinguished by its deep experience of social upheaval; it is never singular. It did not become such in A. I. Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich,” despite the fact that it describes a seemingly fragmentary piece of the life of an “ordinary” prisoner. No, those prisoners are not “ordinary”, they all do not have numbers on faded sweatshirts, but their own private lives and behavior patterns, personal lives before the zone and the same dream for everyone: to return home. How could Solzhenitsyn so restrainedly, but without holding his mouth, describe the story of one prisoner (himself?

) and everyone else, however, with pain and a suppressed groan of the soul? Solzhenitsyn, while studying in his fourth year at the Faculty of Physics and Mathematics of Rostov University, simultaneously entered MIFLI as a correspondence student. At that time he was seriously interested in literature and also studied at courses in English. In 1941, like everyone else, he was mobilized and later in 1942 he went to the front. With his battery suppressing enemy artillery, he marched from Orel to eastern Prussia. And then in February 1945, censorship discovered sharply critical reviews of Stalin’s personality in Solzhenitsyn’s correspondence, for which the writer was arrested and received a prison sentence of 8 years. The wanderings began: Kaluga outpost, research institute ("sharashka"), general work in the camps of Kazakhstan.

After his release, he lived for about three years in the south of Kazakhstan, then moved to the Ryazan region and worked as a mathematics teacher in a rural school. This autobiographical moment is presented in the story "Matrenin's Dvor". And 1962 magazine" New world", whose editor at that time was A. T. Tvardovsky, published the story "One Day in the Life of Ivan Denisovich." In recent years, novels and stories by Solzhenitsyn have also been published. The figure of this writer stands out noticeably against the background of 20th-century literature as a whole.

Solzhenitsyn took a special place not only in literature modern Russia, but also in its spiritual culture. The fate of Solzhenitsyn, embodied in the fates of the heroes of his works, merged with pain and resentment for the country, is worthy of veneration in the civil consciousness of society. Solzhenitsyn himself became the embodiment of the moral authority and conscience of the nation. In the minds of the average reader, the name Solzhenitsyn is usually associated with the reflection and development of the camp theme with the characteristics and criteria of real, genuine “truthfulness,” “exposure of totalitarian violence,” and “historical authenticity.” All this is true. But with the story “One Day in the Life of Ivan Denisovich,” he opened a new world for readers and had an unprecedented impact on the minds and souls of his contemporaries.

The camp theme under his pen is not limited to suffering in the zone. The works were supposed to convey to the reader not so much everyday life camp life how much to present literary lesson. The state machine twisted destinies, redrew maps, displaced entire nations, exterminated thinking intelligentsia, destroyed science (for example, genetics). What could the fate of an individual mean to her? So, the main theme of the story is the theme of the fate of Russia. Shukhov Ivan Denisovich is an ordinary Soviet person, a village peasant. He lived, fought at the front, was surrounded and, as a result, captured - miraculously managed to escape.

During his captivity, he was accused of treason and espionage for Nazi Germany. If you want to live, slander yourself, but you’re tired of it, so defend your truth, which no one needs... It’s a camp life, but... Now he’s just a number. Despite this, Shukhov is endowed by the author with “normality”, non-flamboyant behavior, perseverance, and most importantly, indestructible inner dignity. He never “drops himself.”

Shukhov represents folk character- he does not know how and does not want to complain about hardships, but, on the contrary, is able to settle in a deliberately unfavorable environment. He is a dexterous person: he managed to wind up his trowel, hides pieces of aluminum wire, and has a folding knife. Shukhov survives in the zone as an individual. Next to Ivan Denisovich there is Alyosha, a Baptist who received a 25-year sentence for his faith. Two Estonians live and work, also serving 25 years for the fact that one is a fisherman from the coast, and the second was taken as a child to Sweden, but returned to his homeland and was immediately taken in as a foreign agent.

And then there is Tsezar Markovich, Brigadier Tyurin - excellent in combat and political training, but the son of a kulak, Yu-81, who "is in camps and prisons countless times, how much the Soviet government is worth," and "mongrel Fetyukov." Solzhenitsyn describes only one day of a political prisoner, but we see so many broken destinies and ruined, innocent human lives. There are hundreds of thousands of prisoners, who in the overwhelming majority were not at all guilty of what the Soviet authorities accused them of, which they served both in freedom and in the camp. And arbitrariness and impunity reigned in the camp. Under these conditions, the strong, like Shukhov, survived and were respected, and the weak, as a rule, died.

Solzhenitsyn closes the circle in the artistic topography of the story, that is, the work has a ring composition, which gives it symbolic meaning. Prisoner's view: circle surrounded by barbed wire; The spotlights are blinding from above, depriving them of air, the sky, the horizon; in the morning they go to their point - their place of work, and in the evening they return back to the barracks. And so every day, as if in a vicious and damned circle. As a result, prisoners do not have a normal life.

But they have their own inner world, a space of memory in which images of the village and the world arise... Solzhenitsyn, using a number of proverbs and folk beliefs, refrains from loud words and displays of emotions. He does not allow expression: it is enough for the reader to feel these feelings in his own soul. And this is the writer’s goal, which is achieved and guaranteed by the entire narrative. Solzhenitsyn, having independently experienced this nightmare, which lasted not only eight camp years, but also 70 years of communist totalitarian times, told readers about the slavery of prisoners, about the humiliation of human dignity, that in a totalitarian state a person cannot be free. And that means happy.

The camp is a copy of reality. And the whole Soviet reality was one big camp. And the people in it were all equal - all imprisoned in the cruel framework of authoritarianism and the cult of personality.

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Below are flowcharts of some basic spelling rules.

The principle of using the algorithm allows you to correctly solve any spelling problem. Block diagrams will help the listener to repeat and consolidate spelling rules in a generalized form.

Block diagram No. 1

Roots with alternation

1) -gor-/ -gar-
Clone-/-clan-	Without accent - *ABOUT* . Remember: utensil
Creation-/-creation-

2) -zor-/-zar- (z A rya – z O ri). Without accent - A

3) roots of “...IRA”. If behind the root A , I’m basically writing AND

Beer-/-beer-		Steel-/-steel-
Ter-/-tir-		Shine-/-glitter-
Per-/-pir- Der-/-dir-	(you are t e r out *And* army)	Burnt-/-zhig- Even-/-cheat-
Mer-/-world- And:
I- (-a-) – -im-	(zan I t - zan *them* at)
I- (-a-) – -in-	(beginning A th – beginning in at)

(Proposal A go - sentence O life,	before G writing A ,
cas A to be - to O dream)	before *AND* – *ABOUT* .

5) -growing- / -growing- / -growing-

A st, sch.

The spelling of the root depends on the consonant in it:

vyr A puppy, p A groaning, but expressing O With .

Remember: R O stov, R O stislav, r O stockman, r O stock, but negative A s.l.

The spelling of roots depends on the meaning:

6) th A k- (“to immerse something in liquid”); exchange A dip the pen into the ink.

M O k (“to let moisture through”); prom O read cotton wool.

R O vn- (“even, smooth); arr. O pick up the edges of the sheet.

Equal- (“equal, identical”); command “Equal!”

Remember: ur O ven, r A vnina.

Sk A k- (long-term action), obsk A kick someone.

Remember: jump O To.

Sk O h- (short action), high O chilled unexpectedly.

7) -pl s c- (if the word is a substantive formation); pl s present.

Pl O c- I write in words pl O vec, pl O sneeze.

Pl A c- I write in all other cases. (Pl A vuchy).

Block diagram No. 2 pre-; at –

I. Spelling pre-, pre- depends on the meaning

II. Distinguish by context

1. Pr e to be in the city ( *Where?* ) = to be.	1. Pr And to visit the city (where?) = to arrive (approaching).
2. Pr e to bow before a feat = to respect very much.	2. Pr And bow to the ground = bend down (approach)
3. Put something into practice = “translate from plans.”	3. Close the door = close (incomplete action).
4. Pr e matters of patience = limit.	4. Chapel of the temple = what is attached.
5. Pr e adopter of ideas = one who adopts.	5. Pr And receiver (radio) = one who receives.
6. Pr e to give someone away = to hand over, to betray someone treacherously.	6. Pr And to give appearance to something = to come closer to some appearance.
7. Pr e to look at a traitor = to disrespect very much, to treat with contempt.	7. Pr And to look after an orphan = to shelter.

Block diagram No. 3

Letter b at the end of words

A. Feminine nouns numbers – mouse, daughter.

B. Verbs:

in the initial form: protect - take care, teach - learn (spelling b checked by the question: if b is in the question, then it is written in the word: (what is he doing?) studies; but he started (what to do?) study);

in the second person singular present and future tense: you are w b , I think w b , read w b ;

Do, do -

will - there are .

If he does,

That - tsya .

V. At the end of adverbs there is a sibilant, except for the words: already, married, unbearable. Compare: backhand, wide open, but: married.

Soft sign in parts of speech

Algorithm 4

s/u at the root after the prefixes

Example of reasoning: disinfection: 1) prefix according to; 2) excl. 1 is not included; 3) foreign language. Priest. dez ® AND.

Background – 1) prefix in acc.; 2) not included in the exception; 3) not inter-, super- and not foreign languages, Russian. ® Y.

Algorithm 5

o/e after sibilants under stress

Example of reasoning: Uprooting - 1) uprooting - spelling in suf., 2) uprooting - suf. verbal origin ® Ё

Hacksaw – 1) knife – spelling in suf.; 2) from knife, suf. non-verbal ® O

Algorithm 6

n/nn in participles and adjectives

End of Algorithm 6

We must distinguish

Adjective (denotes constant quality)	Participle (denotes a sign according to the produced action, can be replaced with a verb)
Planted father and mother	Planted trees (trees that have been planted)
Named brother and sister	Named by the teacher (the teacher named)
Dowry	Unit attached to the army
Finished man	Finished business
The girl is modest and well-mannered	A love for books has been brought up since childhood
The girl is stubborn and spoiled	The actress is spoiled by attention
Children today are distracted and inattentive	Grains scattered across the field
His actions are deft and focused	Troops are concentrated on the border
The city lived tensely all these days	The athlete's body is tense to the limit
He acted rashly	The matter has been thought out from all sides

An example of a specific reasoning: Liver fried in oil - 1) na-ny form - full; 2) fry - from the verb; not included in the exception; 3) no -ovanna-, -evan-; 4) what to do? fry - nesov. view; 5) fried in what? in oil – there is a dependent word ® NN.

Uninvited guests – 1) form on - full; 2) from (not) call – from the verb; not included in the exception; 3) no -ovanna-, evan-; 4) what to do? (not) to call - nesov. view; 5) the question is not asked from the word “uninvited”, there is no dependence. words ® N.

The night is long – 1) form -na – short; long – full form; 2) from length – noun; 3) the base ends with H+H ® NN. This means that in short form"long" ® NN.

Algorithm 7

Particle NOT with different parts of speech

Continuation of Algorithm 7

Particles are not and neither

1. Denial.

He doesn't know this.

(we check: does he know this? No.).

2. In negative and indefinite pronouns and pronominal adverbs under stress.

No one, nowhere, no one.

3. In exclamatory sentences.

Where has he been?

What has he not seen!

Such sentences are used either independently or as main ones.

What did I do to please him?

4. In combinations, none other (other) than...; nothing else but...

1) in an affirmative sentence;

2) in meaning can be replaced by “not someone else, namely (he)”, “not something else, but precisely this.” It was none other than Ivan Ivanovich = it was not anyone, but precisely Ivan Ivanovich.

5. In combination, it is he, and not anyone else.

I told him specifically, and not anyone else.

1. Strengthening negation (there is or is implied negation in the sentence).

He doesn't know anything. There is not a rustle on the Neva.

2. In negative pronouns and pronominal adverbs without stress.

No one, nowhere, no one.

3. B subordinate clauses with conjunctions:

whatever..., wherever..., wherever..., no matter how much... etc.

Whoever comes, everyone is welcomed.

Signs: 1) have a condescending connotation of meaning;

2) cannot be used independently.

4. In combinations none other (other); nothing else (other) except.

in negative sentences (there is a word with the particle NOT).

Nothing else could interest him. No one else but Paul could have written this. You just knew how to wait like no one else (didn’t wait).

5. In combination, it is he and no one else.

I told him and no one else.

End of Algorithm 7

1) union “A”;

2) contrastive-negative meaning.

6. In combinations: almost, isn’t it, almost; in unions it’s not that – not that, not only..., but also.

7. Double negative (Generally a statement)

He couldn't help but say (he said).

1) conjunction “And”;

2) hidden denial; told him and didn't tell anyone else.

6. At steady speed:

1) no more no less; neither give nor take; neither two nor one and a half, neither fish nor meat; not a sound, not a breath; neither light nor dawn; neither here nor there; neither here nor there; break a leg; no answer, no hello; neither this nor that; neither ours nor yours; neither alive nor dead; neither one nor the other, etc.

2) out of nowhere, at all costs, wherever it goes, whatever you say, whatever the cost, etc.

OO municipal budgetary educational institution

"Padunskaya average comprehensive school»

Reflection of tragic conflicts

stories in the destinies of heroes

(based on the story by A.I. Solzhenitsyn

"The Incident at Kochetovka Station")

Prepared by: Pozdnyakova

Olga Dmitrievna, teacher

Russian language and literature

OOMBOU "Padunskaya Secondary"

comprehensive school"

2016

Content

Goals and objectives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

During the classes. Introduction.. . . . . . . . . . . . . . . . . . .4

Analytical work on the text

Creating a problematic situation

Statement of research problems. . . . . . . . . . . . . . . .5

Proposing hypotheses. . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Educational problem of the lesson. . . . . . . . . . . . . . . . . . . . . . . . . . 6

Independent work in groups

Testing hypotheses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6

Conclusions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Homework. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Reflection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Literature. . . .. . . . . . . .. . . . … .. . . .. . . . . .. . . . . . . . .. 8

Appendix No. 1-2

Messages about the main characters. . . . . . . . . . . . . . . . . . . . . . 9

Appendix No. 3.

Excerpts from an article by O. Sedakova. . . . . . . . . . . . . . . . 10

Appendix No. 4

Project sheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Appendix No. 5

Reflection sheet... . . . . . . . . . . . . . . . . . . . . . . . . . .13

Appendix No. 6

Presentation with audio recording of the performance. . . . . . . . . . . . .15

Problem lesson

Subject field: literature

Topic: Reflection of the tragic conflicts of history in the destinies of heroes

(based on the story by A.I. Solzhenitsyn “The Incident at Kochetovka Station”)

Goal: To bring students to holistic analysis moral issues considered by the writer.

Tasks.

1.Teachanalyze factual material and operate with it in such a way as to obtain from it new information. Revealissues considered by A.I. Solzhenitsyn in the story (responsibility for someone else’s fate, decency, conscientiousness)

2.Develop the ability of textual analysis, selection of visual and audio information, skills of selection of linguistic material when analyzing the topic and idea of creative work. Develop collaboration skills in groups, creative abilities when creating a mini-project: essay, art publication, report, article, essay, presentation (at the choice of groups)

3.Shape positive attitude to unshakable values: patriotism, national spirit, decency, sense of proportion in deeds and actions using the example of the heroes of the story by A.I. Solzhenitsyn.

Preliminary work: reading the story by A.I. Solzhenitsyn “The Incident at Kochetovka Station”, acquaintance with the biography of the writer, preparation of quotes, illustrations, messages about the main characters

Form of work: group

Target audience: 10-11 grade

Technologies: Problem-dialogical, project-based (group mini-projects)

Equipment:multimedia complex, presentation, audio recording of the performance (excerpt), text of the story, Internet class, student messages.

During the classes

1. Introductory speech by the teacher, accompanied by slides. You are already familiar with the biography of A.I. Solzhenitsyn. “The Incident at Kochetovka Station” was the second story published in the January 1963 issue of Novy Mir.

You have read the story. What time are we talking about? (The beginning of the war) Remember from history what the beginning of the war was like.

(The start of the war was unsuccessful. The fascist hordes were rushing towards Moscow, encircling and capturing thousands of our soldiers and officers. Everything that could be evacuated was sent to the rear. The country was in a state of siege)

A.I. Solzhenitsyn argued that the incident on which the story was based actually took place. The writer changed the name several times.The manuscript was created in November 1962, according to the author, “directly for the magazine, for the first time in my life.” On November 26, at a discussion in the editorial office of Novy Mir, it was decided to rename the story, since Kochetovka was associated with Vsevolod Kochetov, editor-in-chief of the competitive magazine Oktyabr. As Vladimir Lakshin noted in his diary, the options “Green Cap” and “On Duty” were proposed, but in the end the name of the station was simply changed to Krechetovka.

2 Analytical work on the text.

Remember the content of the story. Let's listen to an excerpt from a radio play from 2011. and share our thoughts about why Zotov suddenly starts saying “to the side” during a conversation? After listening, try to formulate research problems.

Zotov is a patriot. The laws of war require vigilance.

Vasya Zotov is young, he is a very correct person. And he simply does not understand how a Soviet person can not know the former name of Stalingrad. So he is the enemy.

Zotov does not belong to himself. He even briefly remembers his wife, expecting a child, left in Belarus, under the Germans. He is entirely subordinated to one goal - the fight against the enemy. Therefore, in everyone he first of all looks for an enemy, a spy.

Then let's reread the last paragraph:

And all winter Zotov served at the same station, as the same assistant commandant. And more than once he was tempted to call again, to inquire, but it could seem suspicious.

One day, an investigator came from the central commandant's office on business. Zotov asked him casually:

- Don’t you remember this Tveritinov? I detained him one day in the fall.

- But why are you asking? - The investigator frowned significantly.

- Just like that... I wonder... how did it end?

- They will also deal with your Tveritinov. We don't have marriage.

But never later in his entire life could Zotov forget this man.…

Analyze the last phrase. Why does the writer end the story this way? Why does it differ from the listened dialogue?

(Proposing hypotheses in groups. Voicing them)

Zotov really liked Tveritinov. He had never felt so easy and free with anyone. Therefore, he could not forget this person.

Zotov betrayed the man who trusted him. He handed him over to the NKVD. But he himself does not understand whether he did the right thing.

After all, Zotov accepted Tveritinov, a kind, intelligent man, even opened his soul, and then he realized it, perhaps he was afraid for himself and deceitfully led the actor to the detective, i.e. good man commits meanness.

Let's listen to pre-prepared messages (Appendices No. 1, 2)

Let's summarize all our answers. Vasya Zotov, an honest, kind, good, ideological person, gives away another honest, kind, good, but unprincipled aging actor Igor Dementievich Tveritinov to an NKVD detective. What can you say about this? What is the learning problem of the lesson?

(Why people, even good and kind people, can commit evil)

Use this link to go online and select from Olga Sedakova’s article,teacher at the Department of Theory and History of World Culture , « Little masterpiece: “The Incident at Kochetovka Station” is what she writes about the main characters of the story. (Appendix No. 3) Compare with your hypotheses. Build their evidence.

3. Independent work of students in groups.

Each group, based on available material, works to prove its hypothesis and educational problem lesson, filling out the project sheet (Appendix No. 4) (in telegraph style, i.e. the main facts are reported, conclusions are drawn) For example:

Zotov feels sympathy for Tveritinov, but asks to confirm the story with material evidence (photos).

Zotov, in a conversation with the actor, reveals himself as a kind, sympathetic person, a true patriot, a person incapable of doing anything bad.

Igor Dementievich’s fatal question about Stalingrad makes the “Soviet man” (“social” in O. Sedakova) “cold heart” and draw an instant conclusion - he is a spy, an enemy.

But doubt does not leave him. Did he do that? The heart feels that he was mistaken. It is no coincidence that he tries several times to find out about Tveritinov’s fate.

“We don’t have marriage!” The marriage is written off. The marriage is destroyed by deed. There is no guessing about the actor's fate. But Zotov will always live with a feeling of guilt. Everything was done according to instructions, in the name of the Motherland, but not in the name of Man. It turns out that Zotov also did not pass the test for the title of Man.

Conclusion from the lesson. I would like to quote the words of Sergei Vasilyevich Antipov from the article “Was Christ a Revolutionary?”: “And was Christ crucified among the robbers because Pilate wanted to humiliate him? It was just such a day - to crucify, Golgotha - alone, time was short. And he is numbered among the villains." Think about this when doing your homework.

4.Homework. Using material this lesson, project sheets you created, complete at home creative work. This could be an essay, report, sketch, presentation or some other type of work on the following topics:

“We don’t have marriage!”, “And he’s considered a villain,” “Who is given the power to decide human destinies?”, “ Moral issues, raised by A.I. Solzhenitsyn in the story “The Incident at Kochetovka Station.” You can formulate the topic as you wish.

5. Reflection.

For each group you have reflection sheets with a drawn oak branch. (Appendix No. 5) Why oak? In September 1995, A.I. Solzhenitsyn visited the former estate of his maternal grandfather Zakhar Vasilyevich Shcherbak. In the courtyard of the estate, the same oak tree grows, which was planted by my grandfather. Alexander Isaevich, like this oak tree, is not subject to time.

Each group member will choose that oak leaf and glue it onto the reflective sheet. You can see the color meaning of each leaf on the slide. The sheets are posted on the board and discussed if there is a need for comment. The work of the group members is assessed by the students themselves.

Literature

1. Abelyuk, E.Is Solzhenitsyn difficult for schoolchildren? No more difficult than Pushkin/ E. Abelyuk–Moscow RAS, 2014. – 64 p.– Bibliography:With. 60–65. –ISBN5-201-14433

2. Bondarenko, V. Core literature./V. Bondarenko Our contemporary. – 1989. - No. 12. – P. 174

3.Melnikova, E.L. Problem lesson, or How to discover knowledge with students: A manual for teachers / E.L. Melnikova. – M., 2002

4.Melnikova E.L. Problem-based dialogue learning: concept, technology, subject specificity / E.L. Melnikova. Under scientific ed. D.I. Feldshtein. – M.: Balass, 2010. – P.272-282).

5.Sapelkina, K.G. Innovative techniques for organizing independent activity in a literature lesson in high school / K.G. Sapelkina.- Volgograd, Publishing House “Teacher”, P. 52

6. Saraskina, L. To discussions about the place of Alexander Solzhenitsyn in history / L. Saraskina - Moscow RAS, 2014. - 10 p.

7. Solzhenitsyn, A.I. Incident at Kochetovka station / A.I. Solzhenitsyn - New World. 1963, no. 1.

8.Antipov, S.V. Was Christ a revolutionary?[Text] : article/ S.V.Antipov – M., 2014. – Regimeaccess

9. Sedakova, O. A small masterpiece: “The incident at Kochetovka station”[Text] : article/ About Sedakova - M., 2012 .- Access mode

10. Incident at Kochetovka station / audio play M., 2011. - Radio Russia - Access mode

Appendix No. 1

The hero of the story “The Incident at Kochetovka Station,” Vasya Zotov, a young lieutenant, a not evil, honest man who puts the interests of the Motherland in mind, is worried not about his abandoned wife in occupied Belarus, not about lost personal property, but about the uncertainty of the situation. No one could really say where the front line was now, or what to do if the station suddenly ended up on enemy territory. The Germans had already bombed Kochetovka, and 10 days ago two Nazi motorcyclists burst into the station, shooting everyone with machine guns. One was shot down, and the other escaped.

Vasya is outraged that many, forgetting about conscience at this time, exchange things from evacuees for food. Even the encirclement, having forgotten what it was like on the front line, rob the flour that is being transported to the front line.

The Avdeevs’ lodger, the canteen manager, “fed by thieves’ satiety,” the food station storekeeper, the “fattened wolf” Samorukov, the accountant Chichishev are immoral opportunists. But there are others. Sergeant Dygin, cheering for his convoy, which has been on hunger strike for the eleventh day, old man Kordubailo went out to work “if necessary.”

Zotov, reserved and disciplined, is embarrassed by his rear position. He dreams of going to the front. He performs his duties well, as it should be, as required by the instructions.

Appendix No. 2

An unexpected visitor for Zotov was the actor Ivan Dementievich Tveritinov, who had fallen behind his echelon. He was an artist of the Moscow theater, a militia member. Near Vyazma I fell into a cauldron. He managed to reach his own people with other front-line soldiers. He was sent to the front again. I fell behind in Skopin when I went to exchange things for food. The train left. He was traveling on passing trains, not knowing where. He turns to Zotov for help. And although he feels an “involuntary disposition towards this well-mannered person”, still asks to confirm the story with material evidence. Vasya liked the photographs that Tveritinov showed. “Zotov smelled of smart comfort from these two photographs.” He sincerely wants to help the old actor. But the fact that Tveritinov does not know Stalingrad forces Zotov to cool his heart and act according to the instructions: “So, he is not surrounded. Sent! Agent! Probably a white emigrant, that’s why his manners are like that.” Under the pretext of going together to the checkpoint, the kind Vasya Zotov leads Tveritinov under escort to the authorized representative of the NKVD, who “has never let anyone off the hook”

Appendix No. 3

Excerpts from an article by O. Sedakova:

« Place of action - nodal railroad station- this is not a habitat, it is a point of passage that everyone passes, safely or not. But more than that, the land itself at this time - passing from hand to hand, and in whose hands it is unknown at the time of the story - is also not a habitat. This is the place of advance or retreat. The theme of homelessness, general displacement, the “carousel,” as the hero of the story says, is brought to fantastic tension, while being completely realistically motivated.”

“Such time-space... a field of incredible meetings. Such meetings, which they talk about, were brought together by fate. ...how could the two protagonists of “The Case” come together, the young lieutenant Vasya Zotov, from somewhere in the northern wilderness (as his name says), and the capital’s actor Igor Dementievich Tveritinov, who met the revolution as a 25-year-old man? And to meet in such a way that the fate of one depends entirely on the other?”

“The world we see here, the world gone off the rails, is a social world.”

“The social person is instructed ideally for any situation. He knows, he, in principle, must know everything necessary about every thing - both what it is and how to deal with it. Quite social person There is nothing to be perplexed about. He must recognize: oh, this is this; I was taught this way; here I have to behave like this. A social person cannot look for a way out of an unforeseen situation, out of bewilderment - in himself or somewhere else, in the unknown. He cannot, because nothing other than firmly internalized instructions represents an authoritative authority for him.”

"He really new person- not out of duty, not out of self-interest, but from the bottom of my heart. His words are remarkable: “It made no sense to survive for yourself.” Zotov is written carefully and without biased judgment. In his relationships with other characters, the reader's sympathy will most often be on his side, because these unfinished, unprocessed people are clearly self-interested, petty, etc., and only he entirely belongs to some higher sphere. This is especially evident in his history of relations with the refugee Polina (“He loved Polina, her child and mother in a way that people do not know how to love outside of trouble”)

“He cannot imagine - where the whole tragedy begins - how his contemporary and compatriot could not know the new name of the city of Stalingrad. We simply do not and cannot have such people. The instructions answer: this is the enemy. Zotov is doomed to his fatal mistake. That is, in fact, this ideology or sociality lays down the possibility of such a collapse in every person who surrenders to it.”

“Is Tveritinov a messenger, some kind of angel or something like that? We'll find out character traits Visits. Whenever we talk about the appearance of some messenger from another - God's - world, he is distinguished primarily by simplicity. It is simple among an extremely complex, complicated life, among the ingenious plexuses of the accepted, practical, useful, political. Where everyone knows perfectly well the conventions and conditions of existence, it is somehow too simple. Its simplicity is revealed by many features. He is trusting: “those trusting eyes”; he does not expect a dirty trick from Zotov until the last moment. Zotov has no words to name what attracts him and disposes him to this wonderful man. He chooses a completely inappropriate word - “balanced”: “Zotov could no longer restrain his sympathy for this balanced person.” And one more word – “attentive”

Then we see how Zotov, who aroused our undoubted sympathy with his purity and childishness, - this same Zotov behaves meanly, and he himself feels his own meanness (“He himself was cut by the disgusting falseness of his own voice”). This is an amazing transformation. With a person like Zotov, something, but meanness is somehow not associated. (“But Zotov didn’t know how to lie”). “An opportunity to take your soul away” turns out to be “an opportunity to destroy your soul.”

“Here, in Solzhenitsyn’s “Case,” what is being tested is not man in himself, not Zotov as such, but this very sociality. This is her, in her best incarnation, experienced a strange meeting, an “incident”, and she guessed it - again, not Zotov - she guessed in this messenger her most dangerous enemy: not at all the kind of enemy as poor Zotov thought, not a spy, not an officer, but in the most radical sense the enemy of all this sociality, the enemy who can be called this way - living human life.”

Appendix No. 4

Project sheet

Analyze the dialogue between Zotov and Tveritinov. Motivate Zotov's behavior.

Comment on some of the images in O. Sedakova’s article.

In the name of what is Zotov destroying Tveritinov?

Why couldn't he forget this man all his life?

Do we need victory if “we won’t stand up for the price”?

Every person throughout his life has to evaluate his actions. Life bears the reward and punishment for them. What is Zotov’s reward?

Appendix No. 5

Reflection sheet

Appendix No. 5

Reflection sheet

If the topic of the lesson excited you and helped you determine your point of view on human values, if you believe that any actions of a person should be performed in the name of a person, because none of the people is given the power to control the destinies of others - stick on a green sheet.

If you think that a person’s life is valuable, but it must obey the demands of the time, that sacrifices are sometimes justified, stick on a yellow sheet.

If the topic of the lesson seemed far-fetched and boring to you, and in your opinion, you need to live, strictly following all the requirements and instructions, so as not to be responsible for the misdeeds of others, that it is much calmer to live if decisions are made for you - stick a brown sheet.

Appendix No. 6

Presentation to problem lesson“The Incident at Kochetovka Station” based on the story by A.I. Solzhenitsyn

The complexity of creative searches and the tragedy of the destinies of Russian writers and poets: A. Akhmatova, B. Pasternak, O. Mandelstam, N. Zabolotsky and others.

M.I. Tsvetaeva. Information from the biography.

Poems: “To my poems, written so early...”, “Poems to Blok” (“ Your name- a bird in the hand..."), "Who is created from stone, who is created from clay...", "Longing for the homeland! For a long time…",

The main themes of Tsvetaeva’s creativity. The conflict between everyday life and existence, time and eternity. Poetry as a tense confessional monologue. Folklore and literary images and motifs in Tsvetaeva’s lyrics. The originality of the poetess's style.

Literary theory

O.E. Maldenstam. Information from the biography.

"Insomnia. Homer. Tight sails...", "For the explosive valor of the coming centuries...", "I returned to my city, familiar to tears...". The poet's confrontation with the "wolfhound age". The search for spiritual support in art and nature. Petersburg motives in poetry. The theory of the poetic word of O. Mandelstam.

Literary theory: development of the concept of means of poetic expression.

A.P. Platonov. Information from the biography.

The story "Pit".

Search positive hero writer. Unity of the moral and aesthetic. Labor as the basis of human morality. Principles of character creation. The social and philosophical content of A. Platonov’s work, the originality of artistic means (the interweaving of the real and the fantastic in the characters of truth-seekers, the metaphorical nature of images, the language of Platonov’s works). Traditions of Russian satire in the writer’s work.

Literary theory: development of the concept of writer's style.

M.A. Bulgakov. Information from the biography.

Novel "The Master and Margarita". The originality of the genre. The novel's versatility. System of images. Yershalaim chapters. Moscow of the 30s. Secrets of human psychology: fear powerful of the world before the truth of life. Woland and his entourage. Fantastic and realistic in the novel. Love and fate of the Master. Traditions of Russian literature (the works of N. Gogol) in the works of M. Bulgakov. The originality of the writing style.

Literary theory: variety of types of novels in Soviet literature.

A.N. Tolstoy. Information from the biography.

"Peter the First". The theme of Russian history in the writer’s work. "Peter the First" - art history Russia of the 18th century. The unity of historical material and artistic fiction in the novel. Image of Peter. The problem of personality and its role in the fate of the country. The people in the novel. The pathos of the struggle for the power and greatness of Russia. The artistic originality of the novel. Film adaptation of the work .

Literary theory: historical novel.

M.A. Sholokhov. Information from the biography.

"Don Stories" novel "Quiet Don" (review).

The world and man in the stories of M. Sholokhov. The depth of realistic generalizations. The tragic pathos of "Don Stories". Poetics of the early works of M. Sholokhov.

"Quiet Don" An epic novel about the fate of the Russian people and the Cossacks during the Civil War. The originality of the genre. Features of the composition. The collision of the old and new worlds in the novel. Mastery of psychological analysis. Patriotism and humanism of the novel. Image of Grigory Melekhov. The tragedy of a man from the people at a turning point in history, its meaning and significance. Women's destinies. Love on the pages of a novel. Versatility of the story. Traditions of L.N. Tolstoy in the novel by M. Sholokhov. The originality of the writer's artistic style.

Literary theory: development of the concept of the writer’s style.

Literature of the Great Period Patriotic War And

first post-war years

Literary and artistic figures in defense of the Fatherland. Painting by A. Deineka and A. Plastov. Music by D. Shostakovich and songs of the war years (S. Solovyov-Sedoy, V. Lebedev-Kumach, I. Dunaevsky, etc.). Cinematography of the heroic era.

Lyrical hero in the poems of front-line poets: O. Berggolts, K. Simonov, A. Tvardovsky, A. Surkov, M. Isakovsky, M. Aliger, Yu. Drunina, M. Jalil and others.

Realistic and romantic depiction of war in prose: M. Sholokhov’s story “The Fate of a Man” and others.

Stories and novels by B. Vasiliev “And the dawns here are quiet”, V. Rasputin “Live and Remember”, etc.

A. A. Akhmatova. Life and creative path.

Poems "Song of the Last Meeting" “I have no need for odic armies,” “I clenched my hands under a dark veil...”, “I am not with those who abandoned the lands...”, “ Motherland", "I had a voice" . Poem "Requiem". Akhmatova’s early lyrics: the depth, brightness of the poet’s experiences, his joy, sorrow, anxiety. Theme and tone of the lyrics of the period of the First World War: the fate of the country and the people.

Personal and public issues in poems of the revolutionary and first post-revolutionary years. Themes of love for the native land, for the Motherland, for Russia. Pushkin's themes in Akhmatova's works. The theme of love for the Motherland and civil courage in the lyrics of the war years. The theme of poetic skill in the work of the poetess.

Poem "Requiem". The historical scale and tragedy of the poem. The tragedy of life and fate lyrical heroine and poetesses. The originality of Akhmatova's lyrics.

Literary theory: the problem of tradition and innovation in poetry. Poetic mastery.

B.L. Parsnip. Information from the biography.

Poems: “February. Get some ink and cry...", "Hamlet", “In everything I want to get to the very essence...”, “Winter Night. Aesthetic searches and experiments in early lyrics. Philosophical lyrics. The theme of the path is the leading one in Pasternak’s poetry. Features of poetic perception. Simplicity and lightness of late lyrics. The originality of the artistic form of poems.

A.T. Tvardovsky. Information from the biography.

Poems: “The whole essence is in one single covenant”, “In memory of the mother”, “I know: it’s not my fault...”, "On the day the war ended..." Poem “Vasily Terkin”, “By right of memory”.

The theme of war and memory in the lyrics of A. Tvardovsky. Affirmation of moral values.

The lyrical hero of the poem “Vasily Terkin”, his life position. The artistic originality of A. Tvardovsky’s creativity.

Literary theory: traditions of Russian classical literature and innovation in poetry.

Literature of the 50s–80s (review)

Death of I.V. Stalin. XX Party Congress. Changes in social and cultural life countries. New trends in literature. Topics and problems, traditions and innovations in the works of writers and poets.

Reflection of the conflicts of history in the destinies of the heroes: A. Solzhenitsyn “One Day in the Life of Ivan Denisovich” and others.

A new understanding of the problem of man in war: Y. Bondarev “Hot Snow”, V. Bogomolov “Moment of Truth”, V. Kondratiev “Sashka”, etc. Study of the nature of heroism and betrayal, philosophical analysis of human behavior in an extreme situation in the works of V. Bykov "Sotnikov" and others.

The role of works about the Great Patriotic War in the education of patriotic feelings of the younger generation.

Poetry of the 60s . Searching for something new poetic language, form, genre in the poetry of B. Akhmadullina, R. Rozhdestvensky, A. Voznesensky, E. Yevtushenko, B. Okudzhava and others. Development of the traditions of Russian classics in the poetry of N. Fedorov, N. Rubtsov, Yu. Drunina and others.

Reflection on the past, present and future of the Motherland, affirmation of moral values in the poetry of A. Tvardovsky.

« Urban prose» . Subjects, moral issues, artistic features of the works of Yu. Trifonov and others.

« Village prose» . A depiction of life in a Soviet village. Depth, integrity of the spiritual world of man, bound by life with the land, in the works of B. Mozhaev, V. Shukshin, and others.

Historical theme in Soviet literature. Resolving the issue of the role of personality in history, the relationship between man and power in the works of S. Alexievich and others.

Author's song. Its place in the historical and cultural process (meaningfulness, sincerity, attention to the individual). The significance of the creativity of V. Vysotsky, Yu. Vizbor, B. Okudzhava and others in the development of the genre of art song.

Multinationality of Soviet literature.

A.I. Solzhenitsyn. Information from the biography.

« Matrenin Dvor» . “One day in the life of Ivan Denisovich.” A new approach to depicting the past. The problem of generational responsibility. The writer's reflections on the possible ways of human development in the story. The skill of A. Solzhenitsyn - a psychologist: the depth of characters, historical and philosophical generalization in the writer’s work.

V.M. Shukshin. Information from the biography .

Stories: "Weirdo", « cut off», « « Oratorical reception» . A depiction of the life of a Russian village: the depth and integrity of the spiritual world of the Russian person. Artistic features of V. Shukshin's prose.

Russian literature of recent years (review)

Abstract topics

XIX century

ON THE. Nekrasov is the organizer and creator of the new Sovremennik.

Roman I.A. Goncharov “Oblomov” as a socio-psychological and philosophical novel.

“Notes of a Hunter” by I.S. Turgenev - history of creation, problems and artistic originality. V.G. Belinsky about “Notes”.

The novel “Fathers and Sons” by I.S. Turgenev, his problems, ideological content and philosophical meaning.

The main conflict of the novel “Fathers and Sons” and its reflection of the socio-political struggle on the eve of and during the reforms.

The image of Bazarov as a “transitional type” of a “restless and yearning man” in the novel by I.S. Turgenev "Fathers and Sons".

Controversy surrounding the novel. DI. Pisarev, M.A. Antonovich and N.N. Fears about “Fathers and Sons.”

I.S. Turgenev “Poems in Prose”, themes, main motives and genre originality.

Drama “The Thunderstorm” by A.N. Ostrovsky. The problem of personality and environment, ancestral memory and individual human activity in relation to the moral laws of antiquity.

The innovative character of A.N.’s dramaturgy Ostrovsky. The relevance and topicality of the problems raised in his works.

Soul and nature in the poetry of F.I. Tyutcheva.

Features of love lyrics by F.I. Tyutchev, its dramatic tension (“Oh, how murderously we love…”, “Last Love”, “On the eve of the anniversary of August 4, 1864”, etc.).

The spontaneity of artistic perception of the world in the lyrics of A.A. Feta (“Don’t wake her up at dawn…”, “Evening” “How poor our language is!..”, etc.).

Genre diversity of creativity of A.K. Tolstoy. The main motives of the poet’s lyrics (“Among the noisy ball...”, “Not the wind, blowing from above...”, etc.).

M.E. Saltykov-Shchedrin is a contributor and editor of Sovremennik and Otechestvennye zapiski.

“Fairy Tales” by M.E. Saltykov-Shchedrin, their main themes, fantastic orientation, Aesopian language.

Roman F.M. Dostoevsky’s “Crime and Punishment”, formulation and solution of problems in it moral choice and human responsibility for the fate of the world.

Raskolnikov and his theory of crime.

The essence of “punishment” for a lost personality and its path to spiritual rebirth in the novel by F.M. Dostoevsky "Crime and Punishment".

N.S. Leskov and his tales about truth-seekers and people's righteous people (“Soborians”, “The Enchanted Wanderer”, “Lefty”).

“War and Peace” L.N. Tolstoy. Concept, issues, composition, system of images.

Search for a positive hero and ideals of A.P. Chekhov in his stories (“My Life”, “House with a Mezzanine”, “The Jumper”).

Innovation of Chekhov's dramaturgy.

The cognitive, moral, educational and aesthetic role of Russian literature of the 19th century, its global significance and relevance for modern times.

The end of the 19th – the beginning of the 20th century

Modernist movements. Symbolism and young symbolism. Futurism.

Motives of the immortality of the soul in the works of I.A. Bunina.

A.I. Kuprin. Affirmation of the high moral ideals of the Russian people in the writer’s stories.

Concept of society and man in dramatic works M. Gorky.

Autobiographical stories by M. Gorky “Childhood”, “In People”, “My Universities”

Ideals of serving society as interpreted by V. Ya. Bryusov.

The theme of the historical destinies of Russia in the works of A.A. Block.

Acmeism as a movement in literature; representatives of Acmeism.

Fate and Creativity M.I. Tsvetaeva.

M. Sholokhov's epic novel “Quiet Don”. The uniqueness of the depiction of Russian character in the novel.

Soviet historical novel “Peter the Great” by A. Tolstoy.

Satirical novels and stories by I. Ilf and E. Petrov.

Reflection of the tragic contradictions of the era in the works of A. Akhmatova, O. Mandelstam.

Development of the traditions of Russian folk culture in the poetry of the 30s by A. Tvardovsky, M. Isakovsky.

Patriotic poetry and songs of the Great Patriotic War.

M.A. Sholokhov - the creator of the epic painting folk life in "Don Stories".

Military theme in the works of M. Sholokhov.

The originality of the composition of the novel “The White Guard” by M.A. Bulgakov.

Early lyrics of B. Pasternak.

A. Tvardovsky “Vasily Terkin”. A book about a fighter is the embodiment of the Russian national character. I. Bunin about “Vasily Terkin”.

“Camp” prose by A. Solzhenitsyn “The Gulag Archipelago”, novels “In the First Circle”, “Cancer Ward”.

Philosophical novels by Ch. Aitmatov: “Stormy Stop”, “And the Day Lasts Longer than a Century”, “The Scaffold”.

Philosophical fantastic prose by A. and B. Strugatsky.

Neomodernist and postmodernist prose by V. Erofeev “Moscow - Petushki”.

Artistic exploration of the everyday life of modern man in the “cruel” prose of T. Tolstoy, L. Petrushevskaya, L. Ulitskaya and others.

The spiritual world of the Russian person in the lyrical verses and poems of N. Rubtsov.

Philosophical and parable narrative about the war in V. Bykov’s stories “Sotnikov”, “Obelisk”, “Sign of Trouble”.

The variety of folk characters in the works of V. Shukshin.

Early stories by A. Solzhenitsyn: “One Day in the Life of Ivan Denisovich”, “Matrenin’s Yard”.

Poetry of the 60s XX century.

N. Rubtsov. The development of Yesenin’s traditions in the books “Star of the Fields”, “The Soul Keeps”, “The Noise of Pines”, “Green Flowers”, etc.

I. Brodsky's Nobel lecture is his poetic credo.

Books of poems by I. Brodsky “Part of Speech”, “The End of a Beautiful Era”, “Urania”, etc.

Social and psychological dramas by A. Arbuzov “Irkutsk History”, “Tales of the Old Arbat”, “Cruel Intentions”.

Theater of A. Vampilov: “The Eldest Son”, “Duck Hunt”, “Provincial Anecdotes”, “Last Summer in Chulimsk”.

Conventional metaphorical novels by V. Pelevin “The Life of Insects” and “Chapaev and Emptiness.”

Literary criticism of the mid-80s–90s. XX century

Development of the detective genre at the end of the twentieth century.

THEMATIC PLAN

Name of sections and topics	Number of hours
Name of sections and topics

LITERATUREXIXCENTURIES
Introduction
Russian literature of the second half of the 19th century
Study time reserve
Total
LITERATUREXXCENTURIES
Introduction
Russian literature at the turn of the century
Poetry of the early 20th century
Literature of the 20s (review )
Literature of the 30s - early 40s. (review)
Literature of the Great Patriotic War war and the first post-war years
Literature of the 50s–80s (review)
Russian literature of recent years (review)
Study time reserve
Total
Total

REQUIREMENTS FOR LEARNING OUTCOMES

As a result of studying the academic discipline “Literature”, the student must

know/understand:

the figurative nature of verbal art;

basic facts of the life and work of classical writers of the 19th–20th centuries;

the main patterns of the historical and literary process and features of literary movements;

basic theoretical and literary concepts;

be able to:

reproduce the content of a literary work;

analyze and interpret piece 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 literary direction eras;

determine the type and genre of the work;

compare literary works;

formulate your attitude to the work you read in a reasoned manner;

write reviews of works read and essays of different genres on literary topics;

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 phenomena artistic culture and assessment of their aesthetic significance;

determining your reading range and evaluating literary works.

for students

Literary texts

Literature of the 19th century.

A.N. Ostrovsky. Storm.

I.A. Goncharov. Oblomov.

ON THE. Nekrasov. On the road. Yesterday, at about six o'clock... Listening to the horrors of war... Poet and citizen. Reflections at the front entrance. Song to Eremushka. Knight for an hour. In memory of Dobrolyubov. Prophet. Peddlers. Railway. Frost - Red nose. Grandfather. Russian women. Who lives well in Rus'?

I.S. Turgenev. Fathers and Sons.

M.E. Saltykov-Shchedrin. The story of one city. Gentlemen Golovlevs.. Fairy tales.

N.S. Leskov. The Enchanted Wanderer.

F.I. Tyutchev. There is in the original autumn... Cicero. Fountain. Don’t believe, don’t trust the poet, maiden... Russian woman. These poor villages... Oh, how murderously we love... Last love. All day she lay in oblivion... You can’t understand Russia with your mind... We can’t predict... I met you...

A.A. Fet. Don’t wake her up at dawn... Share your living dreams... Whisper, timid breathing... The night was shining... How poor our language is... I won’t tell you anything... I still love, I still languish...

F.M. Dostoevsky. Crime and Punishment.

L.N. Tolstoy. Sevastopol stories. War and Peace.

A.P. Chekhov. Death of an official. Man in a case. Gooseberry. About love. Lady with a dog. Ionych. Student. The Cherry Orchard.

Literature of the late nineteenth – early twentieth centuries.

A.A. Akhmatova. Song of the last meeting. Walk. We are all hawkmoths here, harlots... I escorted my friend to the front hall... I heard a voice... The secrets of the craft. There is a cherished quality in the closeness of people... Petrograd, 1919. Oath. Courage. Requiem.

K.D. Balmont. I caught the departing shadows with a dream... I am the free wind... Disgraced angels. I came into this world to see the Sun... I am the sophistication of Russian slow speech... In houses. I don’t know wisdom... There is a tired tenderness in Russian nature...

A. Bely. My words. In the fields. Declaration of love. Abandoned house. Troika. Despair. From the carriage window.

A.A. Block. Retribution. Nightingale Garden. Twelve. Lyrics.

V.Ya. Bryusov.To the young poet. Dagger. We have a test. To the happy ones. Enough.

I.A. Bunin. Antonov apples. Gentleman from San Francisco. Easy breath.

M. Gorky. Makar Chudra. Old Isergil. Chelkash. At the bottom. Untimely thoughts.

Z.N. Gippius. Song. Inscription on the stone. Sonnet. Spiders. Seamstress. Everything is all around. December 14. December 14, 17. Damn doll.

N.S. Gumilev. Captains. Worker. Baby elephant. Telephone. Lost tram. Lake Chad. Giraffe. Telephone. South. Scattering stars. About you. Word.

A.I. Kuprin. Olesya. Garnet bracelet. Shulamith.

V.V. Mayakovsky. Myself (autobiography). Listen! A cloud in pants. Ode to revolution. Left march. Poems about the Soviet passport. Those who sat for a long time. An extraordinary adventure... ROSTA windows.

D.S. Merezhkovsky. Parks. Children of night. Double abyss. Prayer for wings. Foreign land is homeland. God. About the reasons for the decline and about new trends in modern Russian literature.

F. Sologub. You can’t see a thing in the field... I love to wander over the quagmire... Captive animals. Damn swing.

M. Tsvetaeva. To my poems, written so early... Who was created from stone, who was created from clay... So many of them fell into this abyss... A poem of air. Pied Piper. My Pushkin.

Literature of the 20th century.

M. Gorky. Old Isergil. Chelkash. At the bottom.

V. Mayakovsky. Night. From street to street. Could you? A few words about myself. Here you go. To you. Listen. Violin and a little nervous. Left march. Order for the army of art. Good attitude towards horses. Those who sat for a long time. Lilichka! Love. Letter to Comrade Kostrov... Letter to Tatyana Yakovleva. It must have been the second time you went to bed... About this. Fine! In a loud voice. Bug. Bathhouse.

S. Yesenin. Winter is singing and calling... The scarlet light of dawn has woven on the lake... The Lord has come to torture people in love... Goy you, Rus', my dear... Letter to the mother. The golden grove dissuaded me... O Rus', flap your wings... Cow. Song about a dog. I'm tired of living in native land... I won’t deceive myself... I am the last poet of the village... The fields are compressed, the groves are bare... Yes, now it’s decided, no return... I have only one fun left... I don’t regret, I don’t call, I don’t I’m crying... I asked the money changer today... Shagane, you are mine, Shagane... Let others drink you... You don’t love me, don’t feel sorry for me... To Kachalov’s dog. I walk through the valley, On the back of my cap... You are my fallen maple, icy maple... Now we are leaving little by little... Goodbye, my friend, goodbye... Soviet Rus'. Rus' is leaving. Letter to a woman. Anna Snegina.

M. Bulgakov. Dog's heart. Master and Margarita.

M. Sholokhov. Quiet Don. The fate of man.

A. Tolstoy. Peter the First.

A. Platonov. Pit.

A. Akhmatova. Gray-eyed king. She clenched her hands under a dark veil... You drink my soul like a straw... Song of the last meeting. In the evening. IN last time we met then... I accompanied my friend to the front hall... It would be better if I cheerfully called out ditties... He loved... I learned to live simply, wisely... We are all hawk moths here, harlots... Confusion. I came to visit the poet... We thought: we are beggars... I am not with those who abandoned the earth... Everything was stolen, betrayed, sold... Requiem.

B. Pasternak. February. Get some ink and cry!.. Marburg. My sister - life is in flood today... Spring. August. Explanation. Winter night. Hamlet. Nobel Prize. On Strastnaya. Doctor Zhivago.

O. Mandelstam. Voronezh poems.

M. Tsvetaeva. You, walking past me... To my poems, written so early... So many of them fell into this abyss... Nobody took anything away... Yesterday I looked into my eyes... Poems to Blok. I like that you are not sick with me... Poet. Hamlet's dialogue with conscience. I keep repeating the first verse... I know I will die at dawn...

M. Zoshchenko. Aristocrat. Marriage of convenience. Love. Happiness. Bathhouse. Nervous people. A crisis. Administrative delight. Monkey tongue. The thieves. Husband. A strong remedy. Galoshes. The delights of culture. Bourgeois. Operation. Minor incident. Serenade. Wedding. Blue Book.

A. Surkov. Beats in cramped stove fire…

K. Simonov. Poems from Sat. "War". With you and without you... The Living and the Dead (Book 1).

A. Tvardovsky. I was killed near Rzhev... On the day the war ended... Vasily Terkin. Beyond the distance is the distance.

M. Isakovsky. Enemies burned down my home... Migratory birds are flying... In the forest near the front. Katyusha.

V. Nekrasov. In the trenches of Stalingrad.

A. Solzhenitsyn. One day of Ivan Denisovich. Matrenin's yard. Tiny ones.

Yu. Bondarev. Hot Snow.

V. Vasiliev. And the dawns here are quiet.

V. Bykov. Sotnikov.

V. Astafiev. Tsar-Fish (stories “The Drop”, “Ear on Boganida”, “Tsar-Fish”, “Dream of the White Mountains”, etc.). Cursed and killed.

V. Shukshin. Weird guy. Microscope. Boots. Stuck. Cut it off. Tough man. Oratorical reception. I believe. Master. Dancing Shiva. Red viburnum.

V. Rasputin. Live and remember.

Yu. Trifonov. Exchange.

V. Makanin. Exchange strip. Caucasian prisoner.

L. Petrushevskaya. The time is night. Three girls in blue.

T. Tolstaya. Stories.

N. Rubtsov.Plantain.

A. Arbuzov. Cruel games.

V. Rozov. Capercaillie nest.

A. Vampilov. Duck hunting. Provincial jokes.

Textbooks and tutorials

Agenosov V.V. and others. Russian literature of the twentieth century. (Parts 1, 2). 11th grade – M., 2005.

Russian literature of the 19th century. (Parts 1, 2). 10 grades – M., 2005

Russian literature of the 19th century. Workshop textbook (part 1, 2, 3). 11th grade / Ed. Yu.I. Baldy. – M., 2003.

Russian literature of the twentieth century. (Parts 1, 2). 11th grade / Ed. V.P. Zhuravleva.

Literature (part 1, 2). 11th grade / Program ed. V.G. Marantsman. – M., 2002.

Lebedev Yu.V. Russian literature of the 19th century. (Parts 1, 2). 10 grades – M., 2003.

Marantsman V.G. and etc. Literature. Program (part 1, 2). 10 grades – M., 2005.

Russian literature of the 19th century. (Parts 1, 2, 3). 10 grades / Program ed. Obernikhina G.A. – M., 2005.

Obernikhina G.A., Antonova A.G., Volnova I.L. and others. Literature. Workshop: textbook. allowance. /Ed. G.A. Obernikhina. – M., 2007.

Digital resources of Dubna University

- scientific electronic library (SEL).

/biblweb/- website of the Dubna University library with access to the electronic catalog and other library and information resources

/biblweb/search/resources.asp?sid=18– a specialized section of the library website with access to electronic resources provided on the basis of license agreements concluded between organizations - resource holders and Dubna University

Explanatory note…………………………………………….

LiteratureXIXcentury………………………………………………..

Introduction………………………………………………………...

Russian literature of the second half of the 19th century………………….

LiteratureXXcentury…………………………………………………

Introduction…………………………………………………………………………………

Russian literature at the turn of the century…………………………………..

Poetry of the early 20th century……………………………………………………….......

Literature of the 20s (review)……………………………………...

Literature of the 30s and early 40s (review)………………………....

Literature of the Great Patriotic War and the first post-war years………………………………………………………..

Literature of the 50s–80s (review) …………………………………………………….......

Russian literature of recent years (review)………………….......

Topics of abstracts ............................................................................. ........

Thematic plan…………………………............................

Requirements for learning outcomes………………………….......

Literature lesson based on the story by D.I. Solzhenitsyn "The Incident at Kochetovka Station". The feeling of involvement in the destinies of one’s native country in the lyrics of A. T. Tvardovsky. Reflection of tragic conflicts of history in literature

News

New publications

Not everyone will answer the question

1. Abelyuk, E.Is Solzhenitsyn difficult for schoolchildren? No more difficult than Pushkin/ E. Abelyuk–Moscow RAS, 2014. – 64 p.– Bibliography:With. 60–65. –ISBN5-201-14433

6. Saraskina, L. To discussions about the place of Alexander Solzhenitsyn in history / L. Saraskina - Moscow RAS, 2014. - 10 p.

The complexity of creative searches and the tragedy of the destinies of Russian writers and poets: A. Akhmatova, B. Pasternak, O. Mandelstam, N. Zabolotsky and others.

M.I. Tsvetaeva. Information from the biography.

REQUIREMENTS FOR LEARNING OUTCOMES