Life as a reflection of literature. Fiction and reality

The fifth grade literature course begins with an introductory lesson on the topic “Literature as an artistic reflection of life,” which is a natural continuation of the work begun in the fourth grade (“Initial concept of literature as the art of speech”), and is subordinated to the task of giving students an initial understanding at an accessible level about fiction as a special form of knowledge of reality. This idea, formulated in the most general outline in the lesson, forms the basis of the entire subsequent literature course of the fifth grade as a guideline for the teacher’s methodological efforts aimed at overcoming the naive-realistic perception of literary works by schoolchildren and developing in them special reading skills (the ability to recreate pictures of the life depicted by the writer, empathize with the characters, understand and evaluate their behavior, motives for actions, relationships, etc.; the ability to see the author’s attitude to the world he created).

Naturally, the complexity of the topic forces the teacher to limit its consideration to any one aspect. It seems necessary already at

The first steps literary education to direct students' attention to the features of the artistic reproduction of life, to the difference between a work of art and the facts of life on which it is based.

It is advisable to start a conversation about fiction with the question of what a literary work can give a person, what a reader should be like in order for the work to be revealed to him in all the richness of thoughts, feelings, and aesthetic value.

In order for this conversation to become meaningful and not be limited to the children’s groundless guesses, it is necessary to work with the students to understand the texts proposed for the introductory lesson: “Love the Book” by M. Gorky, “The Ballad of a Boy” by F. Iskander, a fragment from an article by V. Kaverin “Memory and Imagination” and an excerpt from K. G. Paustovsky’s memoirs about V. Lugovsky. Let us turn first of all to M. Gorky’s statement “Love the book.” His deep meaning can be identified in the process of discussing the following questions: what significance did the book have in the life of M. Gorky? What attitude towards man and his affairs did M. Gorky develop under the influence of reading?

Carefully reading the text, students will note that the books revealed to M. Gorky the richness and diversity of life, showed how “great and beautiful a person is in striving for the best,” sharpened his attention to people, and aroused respect for his work. Schoolchildren should realize that books helped the writer, already in his childhood, determine his attitude towards the world around him. Reflections on the text “Love a Book” allow the teacher to draw the attention of fifth-graders to what a thoughtful reader M. Gorky was, why he believed that a book could make a person’s life easier, help sort out the “confusion of thoughts, feelings, events,” and teach respect for a person and ourselves. At the same time, the teacher tries to update and revive the personal reading experience of students and encourage them to evaluate themselves as readers.

Fifth-graders can meet another type of reader when reading “The Ballad of a Boy” by F. Iskander:

A long time ago, the whole house fell asleep... A book is wide open, An excited boy is reading it at the table. A boy is sitting at the table and in the silence of the night, as if around the corner, he hears this fight. They brought “legions of darkness, and each one a dozen,

And I want to shout to him “Wrong! Can not be so!" Spartacus is being squeezed by the legion, and is surrounded on four sides by the Romans. Everything is at stake!

Spartak is calling his friends over, but where are his friends? There is dust and clouds above them, The ground is not damp for them. They don't see Spartak, they don't hear the commander. The teacher himself will read the ballad in class, and then ask the children the following questions and tasks: Did you like this poem? How does a boy read a book? How does he respond to what he reads? Can he see in his imagination the pictures drawn by the author? Does he experience them, does the characters evaluate the events? Support your judgments with the text of the poem. pay attention to last part poems. What does the boy's dream tell us? How tall human qualities appear in a boy under the influence of reading?

It is important that the children appreciate the boy’s lively reaction to the fate of the characters in the book, become infected with his experiences, and understand his desire to change the course of events. And at the same time, the teacher needs to show the children that unbridled imagination when reading sometimes takes them beyond the boundaries of the world created by the writer, preventing them from perceiving with sufficient depth and completeness author's intention, depicted time and historical circumstances.

All this work should help the student gain, on the one hand, an idea of the enormous possibilities of the book, and, on the other hand, about different readers: a qualified, experienced reader and a novice reader who perceives a work of art as real life. The testimony of an authoritative writer will provide especially convincing confirmation of these conclusions for fifth-graders.

Let's read to them an excerpt from an article by V. A. Kaverin, the author of the beloved teenager. mi of the novel “Two Captains”: “It is a rare work of art that does without invention, without imagination. Imagination is involved both in thinking about the character of the hero and in drawing up a plan. Many readers intertwine literature so closely with life, with such captivating, touching insistence, they accept literature as a photographically accurate record of what is happening in reality, that it is not uncommon to receive a letter asking how this or that hero is doing now, how he is doing, did he get married, etc.

In fact, one cannot equate a real person with a hero. literary work. The basis of the personality that the writer talks about is almost always a genuine, real biography. But the writer selects from it only those features that he needs to create his hero. The character he intended to portray is subordinate overall plan works, his main idea, his plan." Let’s ask after reading: what readers does V. A. Kaverin write about?

As an option for an introductory lesson based on repeating material about a work of art already familiar to fourth-grade students, it compositional elements, we can offer a comparison of fate literary character Gerasima from the story “Mumu” and history real prototype- mute janitor Andrei, serf of I.S.'s mother, Turgenev.

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Literature as an artistic reflection of life

Honore de Balzac (). French writer. Books introduce us to a better society, introduce us to the greatest minds of all times. S. Smiles. The task of art is not to copy nature, but to express it. You are not a pathetic copyist, you are a poet! Honore de Balzac French writer

Science and art 1. Studies the phenomena of life and nature, establishes patterns, consequences, etc. 2. Deals with facts 1. The writer depicts life, trying to express his attitude towards what is depicted 2. Deals with images 3. The main subject of the image is a person

Artistic image ARTISTIC -ven, -ve nna. 1. see art. 2. full f. Relating to art, to activities in the field of art. Art school. X theater director. Gymnastics. Amateur artistic activity. Artistic construction (design). 3. full f. Depicting reality in images. Piece of art. Fiction. X. film. 4. Meeting the requirements of art and aesthetic taste; aesthetic, beautiful. Art products. Artistic execution of something. X. taste. * Artistic part - concert after the meeting, lectures. II noun artistry, -i, g. (to 4 digits).

AUTUMN -i, w. The time of year following summer and preceding winter. Late, rainy o. Golden o. (the time when the leaves turn yellow and golden). In autumn (autumn; obsolete and simple). About life (translated: about old age). II adj. autumn, -yaya, -ee. It will rain like autumn (adv.).

Mikhail Yurjevich Lermontov. “Autumn” The leaves in the field have turned yellow, and are spinning and flying; Only in the forest do drooping spruce trees preserve the gloomy greenery. Under the overhanging rock, the Plowman sometimes does not like to rest between the flowers from his midday labors. The brave beast involuntarily hurries to hide somewhere. At night the moon is dim and the field only shines silver through the fog. I. Ostroukhov. "Autumn"

In the original autumn there is a short but wonderful time - The whole day is as if crystal, And the evenings are radiant... Where the cheerful sickle walked and the ear fell, Now everything is empty - space everywhere - Only cobwebs thin hair Glistens on the idle furrow. The air is empty, the birds are no longer heard, But the first winter storms are still far away - And clear and warm azure is pouring onto the resting field... Fyodor Ivanovich Tyutchev Poet, translator, publicist

What psychologism is, the concept will not give a complete idea. Examples from works of art should be given. But, in short, psychologism in literature is the depiction of the hero’s inner world using various means. The author uses systems that allow him to reveal deeply and in detail state of mind character.

Concept

Psychologism in literature is the author’s transmission to the reader of the inner world of his characters. Other forms of art also have the ability to convey sensations and feelings. But literature, thanks to its imagery, has the ability to depict a person’s state of mind down to the smallest detail. The author, trying to describe the hero, gives his details appearance, room interior. Often in literature, a technique such as landscape is used to convey the psychological state of characters.

Poetry

Psychologism in literature is the disclosure of the inner world of heroes, which can have a different character. In poetry, it usually has an expressive quality. Lyrical hero conveys his feelings or carries out psychological introspection. Objective knowledge of the inner world of man in poetic work almost impossible. conveyed quite subjectively. The same can be said about dramatic works, where the hero’s inner experiences are conveyed through monologues.

A striking example of psychologism in poetry is Yesenin’s poem “The Black Man.” In this work, although the author conveys his own feelings and thoughts, he does so somewhat detached, as if observing himself from the outside. The lyrical hero in the poem is having a conversation with a certain person. But at the end of the work it turns out that there is no interlocutor. The black man symbolizes a sick consciousness, pangs of conscience, the oppression of mistakes made.

Prose

The psychologism of fiction received special development in the nineteenth century. Prose has a wide range of possibilities for revealing the inner world of a person. Psychologism in Russian literature has become the subject of study by domestic and Western researchers. The techniques used by Russian writers of the nineteenth century were borrowed by later authors in their work.

The systems of images that can be found in the novels of Leo Tolstoy and Fyodor Dostoevsky have become an example to be followed by writers all over the world. But you should know that psychologism in literature is a feature that can only be present if the human personality is a great value. He is unable to develop in a culture characterized by authoritarianism. In literature, which serves to impose any ideas, there is not and cannot be an image of the psychological state of an individual.

Psychologism of Dostoevsky

How does the artist reveal inner world your hero? In the novel “Crime and Punishment,” the reader gets to know Raskolnikov’s emotions and feelings through the description of his appearance, the interior of the room, and even the image of the city. In order to reveal everything that happens in the soul of the main character, Dostoevsky does not limit himself to presenting his thoughts and statements.

The author shows the situation in which Raskolnikov finds himself. A small closet, reminiscent of a closet, symbolizes the failure of his idea. Sonya's room, on the contrary, is spacious and bright. But most importantly, Dostoevsky pays special attention to the eyes. In Raskolnikov they are deep and dark. Sonya's are meek and blue. And, for example, nothing is said about Svidrigailov’s eyes. Not because the author forgot to describe the appearance of this hero. Rather, the point is that, according to Dostoevsky, people like Svidrigailov have no soul at all.

Tolstoy's psychologism

Each hero in the novels “War and Peace” and “Anna Karenina” is an example of how subtle a master artistic word can convey not only the torment and experiences of the hero, but also the life that he led before the events described. Techniques of psychologism in literature can be found in the works of German, American, and French authors. But Leo Tolstoy's novels are based on a system of complex images, each of which is revealed through dialogues, thoughts, and details. What is psychologism in literature? Examples are scenes from the novel Anna Karenina. The most famous of them is the horse racing scene. Using the example of the death of a horse, the author reveals Vronsky’s selfishness, which subsequently leads to the death of the heroine.

Anna Karenina’s thoughts after her trip to Moscow are quite complex and ambiguous. Having met her husband, she suddenly notices irregular shape his ears - a detail that I had not paid attention to before. Of course, it is not this feature of Karenin’s appearance that repels his wife. But with the help small detail the reader learns how painful it becomes for the heroine family life, filled with hypocrisy and devoid of mutual understanding.

Chekhov's psychologism

The psychologism of Russian literature of the 19th century is so pronounced that in the works of some authors of this period the plot fades into the background. This feature can be observed in the stories of Anton Chekhov. Events in these works do not play a major role.

Forms of psychological image

Psychologism in the literature of the 19th century is expressed using various All of them can have both direct meaning, and indirect meaning. If the text says that the hero blushed and lowered his head, then we're talking about about direct form psychological image. But in the works classical literature often more complex artistic details. In order to understand and analyze indirect form psychological depiction, the reader must have a sufficiently developed imagination.

In Bunin's story "Mr. from San Francisco" the hero's inner world is conveyed through the depiction of a landscape. Main character This piece says nothing at all. Moreover, he doesn't even have a name. But the reader understands from the first lines what he is and what his way of thinking is.

Psychologism in the prose of foreign authors

Bunin was inspired to write a story about a rich and unhappy man from San Francisco by a novel by Thomas Mann. in one of his small works depicted psychological condition a man who dies for the sake of passion and lust in a city engulfed by an epidemic.

The novella is called "Death in Venice." There is no dialogue in it. The hero's thoughts are expressed using direct speech. But the author conveys the internal torment of the main character with the help of many symbols. The hero meets a man in a frightening mask, which seems to warn him of mortal danger. Venice is wonderful old City- shrouded in stench. And in this case, the landscape symbolizes the destructive power of lustful passion.

"Flying over Cuckoo's Nest"

Wrote a book that became a cult favorite. In a novel about a man who finds himself in psychiatric clinic in order to avoid imprisonment, the main idea is not tragic fate heroes. A hospital for the mentally ill symbolizes a society in which fear and lack of will reign. People are unable to change anything and resign themselves to the authoritarian regime. McMurphy symbolizes strength, determination and fearlessness. This person is capable of, if not changing fate, then at least trying to do it.

The author can convey the psychological state of the characters in just one or two lines. An example of this technique is a fragment from Kesey's novel in which McMurphy makes a bet. Since it seems obvious to others that he will not be able to win the argument, they are happy to place bets. He's losing. Gives money. And then he says the key phrase: “But I still tried, I at least tried.” With this small detail, Ken Kesey conveys not only McMurphy's mindset and character, but also the psychological state of other characters. These people are not able to take a decisive step. It’s easier for them to be in unbearable conditions, but not take risks.

The fifth grade literature course begins with an introductory lesson on the topic “Literature as an artistic reflection of life,” which is a natural continuation of the work begun in fourth grade (“Initial concept of literature as the art of words”), and is subordinated to the task of giving students an initial understanding at an accessible level about fiction as a special form of knowledge of reality. This idea, formulated in the most general terms during the lesson, forms the basis of the entire subsequent literature course of the fifth grade as a guideline for the methodological efforts of the teacher aimed at overcoming the naive-realistic perception of literary works by schoolchildren and developing in them special reading skills (the ability to recreate pictures depicted by the writer life, empathize with the characters, understand and evaluate their behavior, motives of actions, relationships, etc.; the ability to see the author’s attitude to the world he created).

Naturally, the complexity of the topic forces the teacher to limit its consideration to any one aspect. It seems necessary, already at the first stages of literary education, to direct students’ attention to the features of the artistic reproduction of life, to the difference between a work of art and the facts of life on which it is based.

In order for this conversation to become meaningful and not be limited to the children’s groundless guesses, it is necessary to work with the students to comprehend the texts proposed for the introductory lesson: “Love the Book” by M. Gorky, “The Ballad of a Boy” by F. Iskander, a fragment from an article by V. Kaverin “Memory and Imagination” and an excerpt from K. G. Paustovsky’s memoirs about V. Lugovsky. Let us turn first of all to M. Gorky’s statement “Love the book.” Its deep meaning can be revealed in the process of discussing the following questions: what significance did the book have in the life of M. Gorky? What attitude towards man and his affairs did M. Gorky develop under the influence of reading?

Carefully reading the text, students will note that the books revealed to M. Gorky the richness and diversity of life, showed how “great and beautiful a person is in striving for the best,” sharpened his attention to people, and aroused respect for his work. Schoolchildren should realize that books helped the writer, already in his childhood, determine his attitude towards the world around him. Reflections on the text “Love a book” allow the teacher to draw the attention of fifth-graders to what a thoughtful reader he was, why he believed that a book could make a person’s life easier, help sort out the “confusion of thoughts, feelings, events,” and teach them to respect people and themselves . At the same time, the teacher tries to update and revive the personal reading experience of students and encourage them to evaluate themselves as readers.

Fifth graders can meet another type of reader when reading F. Iskander’s “The Ballad of a Boy”:

A long time ago the whole house fell asleep...
The book is wide open,
Reading it at the table
Excited boy.
A boy is sitting at the table
And in the silence of the night,
It's like it's just around the corner,
He hears this fight.
They drove “legions of darkness,
and each - a dozen,

And he wants to shout
"Wrong! Can not be so!"
Spartacus is being squeezed by the legion,
And on four sides
He is surrounded by Romans.
Everything is at stake!

Spartak is calling his friends over, but where are his friends? There is dust and clouds above them, The ground is not damp for them. They don't see Spartak, they don't hear the commander. The teacher himself will read the ballad in class, and then ask the children the following questions and tasks: Did you like this poem? How does a boy read a book? How does he respond to what he reads? Can he see in his imagination the pictures drawn by the author? Does he experience them, does the characters evaluate the events? Support your judgments with the text of the poem. Pay attention to the last part of the poem. What does the boy's dream tell us? What high human qualities appear in a boy under the influence of reading?

It is important that the children appreciate the boy’s lively reaction to the fate of the characters in the book, become infected with his experiences, and understand his desire to change the course of events. And at the same time, the teacher needs to show the children that unbridled imagination when reading sometimes takes them beyond the boundaries of the world created by the writer, preventing them from perceiving with sufficient depth and completeness the author’s intention, the time and historical circumstances depicted.

All this work should help the student gain, on the one hand, an idea of the enormous possibilities of the book, and, on the other hand, of different readers: a qualified, experienced reader and a novice reader who perceives a work of art as real life. The testimony of an authoritative writer will provide especially convincing confirmation of these conclusions for fifth-graders.

In fact, one cannot equate a real person with the hero of a literary work. The personality that the writer talks about is almost always based on a genuine, real biography. But the writer selects from it only those features that he needs to create his hero. The character that he intended to portray is subordinated to the general concept of the work, its main idea, its plan.” Let’s ask after reading: what readers does V. A. Kaverin write about?

As a variant of the introductory lesson, based on the repetition of material already familiar to fourth-grade students about a work of art and its compositional elements, we can offer a comparison of the fate of the literary character Gerasim from the story “Mumu” and the history of a real prototype - the mute janitor Andrei, the serf of I.S.’s mother, .

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Homework on the topic: Literature as an artistic reflection of life.

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Text content of presentation slides: Figurative reflection life in art. Artistic image. Literature as the art of words. Materials for an introductory literature lesson in 8th grade P. Ilyinsky2008 Honore de Balzac (1799-1850). French writer. Books introduce us to the best society, introduce us to the greatest minds of all times. S. Smiles. The task of art is not to copy nature, but to express it. You are not a pathetic copyist, you are a poet! Honore de Balzac French writer Science and art 1. Studies the phenomena of life and nature, establishes patterns, consequences, etc.2. Deals with facts 1. The writer depicts life, trying to express his attitude towards what is depicted 2. Deals with images3. The main subject of the image is a person. Artistic image ARTISTIC -aya, -oe; -ven, -ve nna. 1. see art. 2. full f. Relating to art, to activities in the field of art. Art school. X theater director. Gymnastics. Amateur artistic activity. Artistic construction (design). 3. full f. Depicting reality in images. Piece of art. Fiction. X. film. 4. Meeting the requirements of art and aesthetic taste; aesthetic, beautiful. Art products. Artistic execution of something. X. taste. * Artistic part - concert after the meeting, lectures. II noun artistry, -i, g. (to 4 digits). AUTUMN -i, w. The time of year following summer and preceding winter. Late, rainy o. Golden o. (the time when the leaves turn yellow and golden). In autumn (autumn; obsolete and simple). About life (translated: about old age). II adj. autumn, -yaya, -ee. It will rain like autumn (adv.). Mikhail Yurjevich Lermontov. “Autumn” The leaves in the field have turned yellow, and are spinning and flying; Only in the drooping spruce forest are the gloomy greens stored. Under the overhanging rock The plowman sometimes does not like to rest between the flowers From his midday labors. The brave beast, involuntarily, is in a hurry to hide somewhere. At night, the moon is dim and the field Through the fog only silver I. Ostroukhov. “Autumn” There is a short but wonderful time in the original autumn - The whole day is as if crystal, And the evenings are radiant... Where the cheerful sickle walked and the ear fell, Now everything is empty - space is everywhere, - Only the cobwebs of thin hair Glistens on the idle furrow. The air is empty, the birds can no longer be heard, But the first winter storms are still far away - And clear and warm azure is pouring onto the resting field... Fyodor Ivanovich TyutchevPoet, translator, publicist “Painting” in the art of words Created with words Dynamic, mobile The reader sees not only the details, but also hears sounds, smells smells, learns about the thoughts and feelings of other people HISTORICISM -a, m. Consideration of phenomena, events in their historical development, from a historical point of view.

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