The development of literature in 1950-1980 briefly. I
Goals:
Lesson type:
Lesson type: lecture with elements of analysis.
Methodical techniques:
Predicted result:
Equipment
During the classes
I. Organizational stage.
II. Motivation educational activities. Goal setting.
1. The teacher's word.
- What do you know about the “thaw” period in Russian history?
Literature has always been a reflection of life. Let's observe what changes are taking place in the literature of the second half of the twentieth century.
In 1956, the first almanac “Poetry Day” was published. In its title is the name of the poetic holiday, which has become an annual event; on this day, poems were read throughout the country, poets appeared on improvised stages in squares and stadiums. The country lived with poetry. And poetry hastened to prove that prosaic, gray everyday life does not exist, that the everyday world is beautiful if you look into it with trust and love.
A poetic echo echoed across the country. Sincerity became the motto and call of that poetic moment. After the dark Stalinist decades, poetry reflected the renewal of historical order as a return to the laws of nature, transparent and clear.
2. Discussion of the topic and objectives of the lesson.
Literary associations and trends in poetry of the 1950-1980s.
In the 1950s, the development of Russian poetry was marked by creative revival. The work of the older generation of poets was devoted to understanding the “moral experience of the era” (O. Berggolts). In their poems N. Aseev, A. Akhmatova, B. Pasternak,
A. Tvardovsky, N. Zabolotsky, V. Lugovskoy, M. Svetlov and others in a philosophical vein reflected on the problems of both the recent past and the present. During these years, actively genres of civil, philosophical, meditative and love lyrics, various lyric-epic forms developed.
Frontline lyrics
TO Poets of the front-line generation turned to “eternal” themes in their work, who sought to express their own vision of war and man at war. One of the cross-cutting motifs of the poetry of front-line soldiers was theme of memory. For S. Gudzenko, B. Slutsky, S. Narovchatov, A. Mezhirov, Yu. Drunina and others. The Great Patriotic War forever remained the main measure of honor and conscience.
I'm still sad about the overcoat,
I see smoky dreams, -
No, they failed me
Return from the War.
<...>
And where should I go?
A friend was killed in the war.
And the silent heart
It began to beat inside me.
(Yu. Drunina, “I’m still sad about the overcoat...”)
- Message. Works of Yulia Drunina (1924-1991)
Yulia Vladimirovna Drunina was born in 1924, and in 1989 a two-volume book of Yu. Drunina’s works was published, in which her autobiography was published. Sixty-one pages - and almost the whole life is a fate scorched by war. This war lasted for Yu. Drunina throughout her life and became the measure of all human values.
Yulia Drunina belongs to a generation whose youth was tested for maturity on the front roads of the Great Patriotic War. As a 17-year-old graduate of a Moscow school, she, like many of her peers, voluntarily went to the front in 1941 as a soldier in a medical platoon.
In the poems of Yulia Drunina, nostalgia for the romance of the civil war begins to sound louder and louder:
Eh, the hot days have flown away,
Don't come back again.
I remember how red it was in the former dust
Young blood.
In these words there is a childish thirst for achievement, which lived both in the young poetess and in many of her peers. The fate of Yulia Drunina can be called both happy and tragic. Tragic - because early years the war crossed out as a black stripe, happy - because she managed to survive and even become a famous poetess, whose poems truly “explode time” and show us, a generation completely far from the events of the Great Patriotic War, the hardships of the hard times of war. Yulia Drunina witnessed the war from its first days.
As a tenth-grader, she began her journey along the roads of the Great Patriotic War. The first step towards the front was taken in the hospital, where she worked, on the advice of her father, as a nurse; then she studied at the Khabarovsk School of Junior Aviation Specialists, where she received first prize for literary composition. And finally, with the rank of third sanitary inspector in 1943, she was sent to the Belarusian Front. On the way to the station, the lines were repeated: “No, it’s not merit, but luck - for a girl to become a soldier in the war...”, which after some time resulted in a poem:
No, this is not merit, but luck -
Become a girl a soldier in the war,
If only my life had turned out differently,
How ashamed I would be on Victory Day!...
Drunina saw how young guys who were not yet twenty years old died. In one of her poems, she cites statistical data: “According to statistics, among front-line soldiers born in 1922, 1923 and 1924, three percent remained alive by the end of the war.”
Fate protected the poet. She suffered from a lung disease in the battle trenches. As a result of physical exhaustion, Drunina ended up in a rear evacuation hospital in the Gorky region. There, for the first time during the war, she again wanted to write poetry...
But difficulties did not stop her. Together with the people's militia division, which was immediately digging trenches, Yulia went to the front. Later, the poetess would write: “I have been writing about everything that can be called the romance of war all my life - in poetry. But prosaic details do not fit into poetry. And I didn’t want to remember them before. Now I can remember everything almost calmly and even with some humor.”
The motive of leaving childhood for the horror of war will be heard in the later poems of the poetess, as if even decades later she had not returned from the “bloody fields.” Drunina was a nurse not somewhere in a rear hospital, but on the front line, in the thick of it. Many wounded soldiers were carried out from under fire on fragile girls’ shoulders. She was exposed to mortal danger, and dragging a wounded person on her was hard work:
A quarter of the company has already been mowed down...
Stretched out in the snow,
The girl is crying from powerlessness,
Gasps: “I can’t!”
The guy got caught heavy,
There is no more strength to drag him...
(To that tired nurse
Eighteen equals years).
The naturalness, “uninventedness” of the poetess’s poems is manifested in the clear connection of Drunina’s works with real events and faces. This is the poem “Zinka” - perhaps the best in the work of Yulia Drunina, dedicated to Zinaida Samsonova, a front-line friend of the poetess, later a Hero Soviet Union, a girl about whom there were legends.
“The fate of the poets of my generation can be called both tragic and happy. Tragic because war broke into our adolescence, into our homes and into our still unprotected, so vulnerable souls, bringing death, suffering, and destruction. Happy because, having thrown us into the midst of a national tragedy, the war made even our most intimate poems civil. Blessed is he who visited this world in its fatal moments.”
Drunina never went to the editorial office, did not demand anything, but her poems were always among the most read and loved. In 1947, the first collection entitled “In a Soldier’s Overcoat” was published. It includes poems written during the years of front-line and post-war life.
The end of Yulia Vladimirovna’s life is full of tragedy. She could have died a thousand times in the war, but she died of her own free will, on September 21, 1991 in Moscow. Wounded by the war, she could not survive another tragedy of the country - the tragedy of the era of change. The collection “The Hour of Judgment” was published posthumously.
Yulia Drunina did not change her poetry, so perhaps this is the tragedy of the poetess’s fate. Yu. Drunina’s poems are precise and laconic, lyrical and specific, they captivate me with their truth, uniqueness, their sincerity and artistic beauty - they contain all the Yulia Drunina she was in life.
- Reading and analysis of poems.
Yulia Drunina. In memory of fellow soldier - Hero of the Soviet Union Zina Samsonova.
We lay down by the broken fir tree,
We are waiting for it to start getting brighter.
It's warmer for two under an overcoat
On chilled, rotten ground.
You know, Yulka,
I don't mind sadness
But today she doesn’t count.
At home, in the apple outback,
Mom, my mother lives.
You have friends, darling,
I only have one.
Spring is bubbling beyond the threshold.
It seems old: every bush
A restless daughter is waiting...
You know, Yulka, I am against sadness,
But today she doesn’t count.
We barely warmed up,
Suddenly - an order:
“Come forward!”
Again next to me in a damp overcoat
The blonde soldier is coming.
Every day it became worse.
They walked without rallies or banners.
Surrounded near Orsha
Our battered battalion.
Zinka led us on the attack,
We made our way through the black rye,
Along funnels and gullies,
Through mortal boundaries.
We didn't expect posthumous fame.
We wanted to live with glory.
...Why in bloody bandages
The blonde soldier is lying down?
Her body with her overcoat
I covered it, clenching my teeth,
The Belarusian winds sang
About the Ryazan wilderness gardens.
...You know, Zinka, I -
against sadness
But today she doesn’t count.
Somewhere, in the apple outback,
Mom, your mother lives.
I have friends, my love,
She had you alone.
The house smells of sourdough and smoke,
Spring is bubbling beyond the threshold.
And an old lady in a flowery dress
She lit a candle at the icon.
...I don't know how to write to her,
So that she doesn't wait for you.
· Text analysis:
What feelings does the poem evoke? (A storm of feelings: compassion, regret, and indignation. It’s quite difficult to describe them).
How does the author show fighters in moments of calm? (Girl friends who are interested in chatting about everything in the world. These are not heroes at all, but ordinary people, yesterday's schoolgirls. It is no coincidence that the author chooses a form that is completely uncharacteristic for poems - a dialogue, during which the girls pour out their souls to each other and talk about their most intimate things. Probably, one could even say that there is a certain confessional motive).
What are the girls talking about? What details make up the image of your small homeland? With what feelings do you think the heroine speaks about home? (A small homeland lives in the soul of every soldier:
close people: mother, mother, friends, loved one;
native spaces: apple outback, spring on the doorstep, house, bushes;
smells of home, warmth and comfort: kvashnya, i.e. freshly baked bread, smoke, i.e. Russian stove. The feeling of something dear, infinitely close, all-encompassing love and tenderness, on the one hand. And on the other - sadness, homesickness).
Part I of the poem can be further divided. How? (Calm - conversation between friends - military everyday life. During the first part, even the rhythm changes several times: from melodious to hammered)
From your point of view, what does the selection of epithets in part I depend on? (From the rhythm set by the author:
calm - broken spruce; rotten, chilled earth;
conversation between friends - apple outback, restless daughter;
military everyday life - a damp overcoat, a blonde-haired soldier - what a terrible combination!)
The last stanza is the link between parts I and II.
What events were reflected in Part II? What feelings do they evoke? Support your answer with supporting words.
(Encirclement - attack - battle - death of Zinka. The environment - became more bitter every day - a feeling of the proximity of death, something inevitable, terrible, “a battered battalion” - a feeling of hopelessness; “they walked without rallies and banners” - without enthusiasm, with drooping head; attack: “we wanted to live” - the desire to survive; Zinka’s death: “bloody bandages”, “her body”, “she covered her, clenching her teeth” - the pain of loss loved one. War is always a tragedy).
What epithets help us understand the bitterness of what is happening? (A battered battalion, black rye, mortal milestones, bloody bandages, posthumous glory. What terrible words!)
Find the most frequently occurring sound in stanza II. What does this technique give?
([p] – imitation of the roar of battle – the horror of what is happening)
Why does the “apple outback” change to “Ryazan remote orchards”? (Transition to Part III; as if even nature yearns for the death of a young, beautiful, talented girl).
How, from your point of view, does the mood change compared to Part I, although almost the same words are used? (If in Part I the sadness is even light, then in III it is akin to hopeless melancholy. There is a feeling of treachery and tragedy of life in wartime. The form also changes compared to Part I - a monologue addressed to the deceased friend and to herself).
What is the image of a mother? (Typical image of a mother praying for her child, asking for intercession higher powers. Perhaps the image of the homeland leading to victory. The mention of a lit candle is symbolic - a spark of hope).
Prove with a test that war takes away the most valuable things from people. (The heroine’s mental pain is emphasized by understatement - the use of ellipsis; an exclamatory-interrogative sentence. It’s scary when parents have to bury their children).
If you had the opportunity to ask the author questions, what would you ask her?
How might the fates of the friends have turned out if there had been no war?
Pop lyrics
In the 1950s, a generation of poets entered literature, whose youth fell on post-war period. Poems popular during the “thaw” by E. Yevtushenko, R. Rozhdestvensky, A. Voznesensky were focused on the oratorical tradition. Their work was often journalistic character, in general, in their works young poets, on the one hand, expressed own attitude to the pressing issues of the time, and on the other hand, they spoke with a contemporary about the innermost.
breaking time screamed,
and time was me,
and I was him
and what is the importance,
who was who at first.
<.„>
What a Northerner I am, you fools!
Of course my bones were weak,
but on my face through the nodules
Mayakovsky erupted menacingly.
And, all golden from daring,
breathing the wide wheat field,
Yesenina's crazy head
rose above my head.
(E. Yevtushenko, “Estrada”, 1966)
It was these poets that contemporaries called "variety performers". The years of the “thaw” were marked by a real poetic boom: poems were read, written down, and memorized. Poets gathered sports, concert, and theater halls in Moscow,
Leningrad and other cities of the country. "Variety" later
were called "sixties".
· Message. Poetry of Robert Rozhdestvensky (1932-1994)
The voice of Robert Rozhdestvensky was heard immediately, as soon as the magazine
"October" published his youthful poem "My Love" in 1955. The young poet spoke clearly and simply about things that are close to many. I was captivated by the trusting, open intonation of this voice, the natural democracy and civic fullness of the lyrical statement, when the personal invariably sought to merge with the destinies of the time, country, and people.
Rozhdestvensky chose the most difficult path for a poet - lyrical journalism. In his poems, time openly declared itself as part of history. The blood ties of the present with the past and future are not just felt here, dissolving in the very atmosphere of the work, they are named, emphasized, and emphasis is placed on them. Lyrical hero completely merges with the personality of the author and at the same time constantly perceives himself as part of a common whole, consciously striving to express the main spiritual needs, experience, impulse into the future of his peers, comrades in fate. Sober knowledge, a sense of personal responsibility for everything good and bad that happens on native land, directs the poet. A mature faith fills him, faith in ordinary hard-working people living nearby, the true creators of history, which the poet often addresses on their behalf.
Characteristic property Rozhdestvensky’s poetry is a constantly pulsating modernity, the living relevance of the questions that he poses to himself and to us. These questions tend to concern so many people that they instantly resonate in a wide variety of circles.
Great place in the works of Robert Rozhdestvensky occupies love lyrics. His hero is intact here, as in other manifestations of his character. All of Rozhdestvensky’s poems about love are filled with anxious heart movement. The path to his beloved is always a difficult path for a poet; this is, in essence, the search for the meaning of life, the one and only happiness, the path to oneself.
He doesn’t hide anything from his readers, he’s “one of his own.” Simple truths, affirmed by his poetry - goodness, conscience, love, patriotism, loyalty to civic duty, come to readers in a shell direct word, an open sermon that truly takes our consciousness back to the period of our own childhood, when we were all in in a certain sense more free, simple-minded and noble.
Rozhdestvensky sees the world in a large, generalized way: psychological shades, precise objective details of everyday life and landscape, although they are found in his work, do not play a decisive role. The concrete is barely outlined here; it is constantly ready to dissolve into the concept.
· Study. Analysis of Rozhdestvensky’s poem “On Earth is Ruthlessly Small.”
On Earth mercilessly small
Once upon a time there was a small man.
His service was small.
And a very small briefcase.
He received a small salary...
And one day - a beautiful morning -
knocked on his window
It seemed like a small war...
They gave him a small machine gun.
They gave him small boots.
They gave me a small helmet
and a small - in size - overcoat.
...And when he fell, it was ugly, wrong,
turning his mouth out in an attacking cry,
then there was not enough marble in the whole earth,
to knock the guy out full height!
The poem “On Earth is Ruthlessly Small” by Robert Rozhdestvensky tells about the fate of a seemingly small man. Once upon a time there was a small, nondescript, gray man. Everything about him was small: a small position in a small office, a small salary, a small briefcase and a small apartment, probably not even an apartment, but a room in a workers’ dormitory or in a communal apartment. And this man would have been very small and unnoticeable for the rest of his life if war had not knocked on the door of his house...
To the little man in the army, everyone was given what he was used to having in pre-war life: everything familiar, familiar, small... He had a small machine gun, and his overcoat was small, and a flask with water was small, small tarpaulin boots... And the task was set before him as if it were small: to defend a section of the front measuring two meters by two... But when he fulfilled his sacred duty to the Motherland and the people... when he was killed and he fell into the mud, twisting his mouth in a terrible grimace of pain and death... then there was nothing in general There is enough marble in the world to put a monument on his grave of the size that he deserved...
Chanting feat of arms a simple Russian soldier - this is the main and only theme of this courageous poem. This poem does not have a classical form. It does not contain exquisite, beautiful metaphors in the spirit of Blok or Gumilyov. But behind its formal simplicity hides a rough and the brutal truth life. The author showed us life as it is.
Quiet lyrics
The counterbalance to the “loud” poetry of the “sixties” in the second half of the 1960s was lyrics, named "quiet". Poets of this direction united a community of moral and aesthetic values . If the poetry of the “sixties” was guided primarily by the traditions of Mayakovsky, then the “quiet lyrics” inherited the traditions of philosophical and landscape poetry F. Tyutcheva, A. Feta, S. Yesenina.
The “quiet lyricism” includes the work of poets N. Tryapkin, A. Peredreev, N. Rubtsov, V. Sokolov, S. Kunyaev and others.
In the darkening rays of the horizon
I looked at the surroundings
Where the soul of Ferapont saw
There is something divine in earthly beauty.
And one day it emerged from a dream,
From this praying soul,
Like grass, like water, like birch trees,
A marvelous wonder in the Russian wilderness!
And the heavenly and earthly Dionysius,
Having appeared from neighboring lands,
This wondrous wonder has been exalted
To a point never seen before...
The trees stood motionless
And the daisies turned white in the darkness,
And this village seemed to me
Something most sacred on earth.
(N. Rubtsov, “Ferapontovo”, 1970)
Yu. Kuznetsov, who entered literature in the 1960s, is also close to these poets. By its pathos the work of the “quiet lyricists” is close to the realistic direction of village prose. The civic pathos of the “sixties” poets and the subtle lyricism of the “quiet lyricists” were combined in the work of the Dagestan poet R. Gamzatov.
Since the 1950s, the literary process has been replenished with a genre original song, which has become extremely popular over time. Song creativity of B. Okudzhava, A. Galich, N. Matveeva, V. Vysotsky, Yu. Vizbor and others has become one of the forms of overcoming formal-substantive dogmatism, officialdom
official-patriotic poetry. The true peak in the development of the art song genre came in the 1960s and 1970s. The attention of songwriters was is focused on the life of an ordinary, “small”, “private” person, and in this life there is a place for both high tragedy and happiness.
Ah, I am a victim of trust,
Trouble to your parent!
I hear from behind the door:
“Bitten, come in!”
Entered: “My respect.”
I undressed slowly.
“Where is the bite site?”
I say: "Soul."
There are exes in the office
They tug at my soul:
"Tell me, bitten
Which one are you?”
I say: "Ordinary,
And he's not tall enough.
So pretty
I didn’t think it was a snake.”
(Yu. Vizbor, “Bitten”, 1982)
· Message. The work of Bulat Okudzhava. (1924-1997)
Bulat Okudzhava's songs appeared in the late 50s of the 20th century. If we talk about the roots of his work, then they undoubtedly lie in the traditions of urban romance, in the songs of Alexander Vertinsky, in the culture of the Russian intelligentsia. But the song lyrics of Bulat Okudzhava are a completely original phenomenon, in tune state of mind his contemporaries.
Okudzhava's poetry is inextricably linked with music. His poems seem to have been born with a melody: it lives inside the poem, belongs to it from the very beginning. Official criticism did not recognize Okudzhava; he did not fit into the framework of pompous Soviet culture.
But, probably, the fact that Okudzhava’s songs and his poems were known in almost every family speaks of the true value of his work. What is the reason for such phenomenal popularity?
Okudzhava creates his own original artistic world in his poems, asserts a certain moral position, and not only skillfully conveys everyday situations, interesting and funny human traits. Throughout his creative career, Okudzhava repeatedly turns to the theme of war.
All these poems by Okudzhava are not so much about the war as against it; they contain the pain of the poet himself, who has lost many friends and loved ones.
Bulat Okudzhava dedicated a very large part of his work to his beloved city of Moscow. It is interesting that the cycle of poems about Moscow took shape as if in opposition to such a significant poetic and musical phenomenon of the times of “developed socialism” as the ceremonial and bravura glorification of Soviet Moscow. His poems about his city are deeply personal, quiet, homely. They are organically intertwined with music and perfectly convey the spirit of cozy Moscow streets and alleys. Okudzhava feels inextricably linked with Moscow. This is the city of his childhood, youth, and the warmest, tender words he dedicates to him.
Okudzhava is one of the first after for long years Puritan hypocrisy again sang love, sang woman as a shrine, fell on his knees before her. Okudzhava opened people’s eyes to themselves, his songs and poems made them think about eternal values, about the essence of existence.
The world of Bulat Okudzhava’s songs is unusually diverse, it is colorful and semi-fairy-tale-like. The poet has not lost his childish look at the world, and at the same time, he is a man, wise with experience, who has gone through the war. In his work, both are surprisingly combined and intertwined.
The poet often refers to our history in his poems. In it, he is primarily attracted to people, and not historical facts. Most of his poems are devoted to the first half of the nineteenth century.
It can be assumed that Okudzhava feels a connection between his time (the thaw of the 50-60s) and the radical reign of Alexander I. He is attracted to the people of the nineteenth century, their high moral quests, the painful quests of social thought. It seems that Okudzhava writes about himself, about his friends, putting them in the place of historical heroes.
Okudzhava’s poetry carries a huge charge of kindness; it reminds us of mercy, love for our neighbors, for the Motherland, for our history, and helps us believe in a better and brighter beginning. His poems will always ring for us “a small orchestra of hope...
· Reading and analysis of the poem.
MIDNIGHT TROLLEYBUS
When I can’t overcome adversity,
when despair sets in,
I get on the blue trolleybus on the go,
in the last one,
in random.
Midnight trolleybus speeding down the street,
circle along the boulevards,
to pick up everyone who suffered in the night
crash,
crash.
Midnight trolleybus, open the door for me!
I know how in the chilly midnight
your passengers - your sailors -
come
for help.
I got away from trouble with them more than once,
I touched them with my shoulders.
How much kindness, imagine?
in silence
in silence.
A midnight trolleybus floats through Moscow,
Moscow, like a river, is dying out,
and the pain that pounded like a bird in my temple,
- How, in your opinion, do the poetic, poetic and musical principles correlate in this work?
- Can “Midnight Trolley” be called a lyrical ballad? Highlight in the text the details and signs of the emerging ballad plot and the leading lyrical beginning.
Conclusion.
I want to end the conversation about Okudzhava’s work with the words of Yuri Karabchievsky: “The Midnight Trolleybus” no longer rushes, as usual, into the park, driven by a tired and angry driver, but - in Okudzhava’s world - Sails like a rescue ship flying a flag with a red cross, “so that everyone pick up those who have been wrecked in the night, wrecked”... You have to be a very integral and sincere person in order to be able to exist in such a world to the end, without ever breaking down. Because evil is here, right next door, and even closer, it licks the fragile walls of good Moscow from all sides, splashes over the edge and spreads out in muddy waves...
Universal reckless kindness - this is the pathos of Bulat Okudzhava.”
Lianozovskaya group
Since the 1960s, avant-garde experiments have resumed in Russian poetry. Experiments in the field of poetry united various poetic groups, most notably such as Lianozovskaya group- one of the first informal creative associations the second half of the 20th century, at the origins of which stood the artists E. L. and L. E. Kropivnitsky, poets G. Sapgir, I. Kholin and others. At the origins Lianozovskaya group stood the poet and artist E. L. Kropivnitsky, whose creative career began in the 1910s. The group included poets V. Nekrasov, G. Sapgir, Y. Satunovsky, I. Kholin and artists N. Vechtomov, L. E. Kropivnitsky (son of E. L. Kropivnitsky), L. Masterkova, V. Nemukhin, O. Rabin . Poets and artists who were part of Lianozovskaya group, united the desire for the most complete self-expression and the creation of new poetics.
And boring.
Write short poems.
They contain less nonsense
And you can read them soon.
(E. L. Kropivnitsky, “Advice to Poets”, 1965)
Features of the development of poetry of the 50-80s. Literary associations and trends in poetry of the 1950-1980s.
Goals:
1) educational: formation of the moral foundations of students’ worldview; creation of conditions for involving students in active practical activities;
2) educational: acquaintance with literary associations and trends in poetry of the 1950-1980s; formation of an idea about the features of the development of poetry of the 50-80s;
3) developing: development of skills in analyzing a poetic work; development of mental and speech activity, the ability to analyze, compare, and logically correctly express thoughts.
Lesson type: lesson to improve knowledge, skills and abilities.
Lesson type: lecture with elements of analysis.
Methodical techniques: analysis literary text, conversation on issues.
Predicted result: know the social and historical situation of the “Thaw” period, the main literary associations and trends in poetry of the 1950-1980s; be able to analyze poetic text.
Equipment: notebooks, collection of poems, computer, multimedia, presentation.
During the classes
I. Organizational stage.
Rus. The literature of the Second World War period became a literature of one theme - the theme of war, the theme of the Motherland. The writers felt like “trench poets” (A. Surkov), and the entire literature as a whole, in the apt expression of A. Tolstoy, was “the voice of the heroic.” souls of the people." Pisat. during the war years they owned all branches of literature. weapons: lyrics and satire, epic and drama. Nevertheless, the lyricists and publicists said the first word.
Poetry.. Poetry “Wait for me” by Konstantin Simonov, "Dugout" by Alexander Surkov, “Spark” by Isakovsky Spiritual closeness with the people is the most remarkable and exceptional feature of the lyrics of 1941-1945.
Homeland, war, death and immortality, hatred of the enemy, military brotherhood and camaraderie, love and loyalty, the dream of victory, thinking about the fate of the people - these are the main motives of military poetry. In verse Tikhonova, Surkov, Isakovsky, Tvardovsky one can hear anxiety for the fatherland and merciless hatred of the enemy, the bitterness of loss and the awareness of the cruel necessity of war.
The character of the lyrical hero also changed in the lyrics of the war years: first of all, he became more earthly. Heroes often endure difficult, sometimes inhuman things. deprivation and suffering: “It’s enough to lift ten generations // The weight that we lifted.” (A. Surkov)
The most famous poets of that time were: Nikolai Tikhonov, Alexander Tvardovsky, Alexey Surkov, Olga Berggolts, Mikhail Isakovsky, Konstantin Simonov.
In the poetry of the war years, three main genre groups of poems can be distinguished: lyrical (ode, elegy, song), satirical and lyrical-epic (ballads, poems).
Prose. presented to the public. and essays. genres, war stories and heroic. story. Writers and poets became war correspondents for newspapers, creating a new genre of Russian literature - front-line correspondence and essays. Very diverse publics. genres: articles, essays, feuilletons, appeals, letters, leaflets. The articles wrote: Leonov, Alexey Tolstoy, Mikhail Sholokhov, Vs. Vishnevsky, Nikolai Tikhonov. military journalism was either satirical or lyrical. In satirical The fascists were mercilessly ridiculed in the articles. Favorite satirical genre journalism became a pamphlet. Journalism had a huge influence on all genres of wartime literature, and above all on the essay.
From a brief description of military events, writers move on to their moral understanding, to creating artistic images of the heroes of their essays and articles. Alexey Tolstoy after brilliant journalistic articles creates thin cycle “Stories of Ivan Sudarev”. This cycle included essay-story “Russian character”. Sholokhov Science of hatred, sparrows This is us, Lord, Tolstoy Peter the Great, Leonov, Simonov.
Post-war The 10th anniversary is the time of late Stalinism. The end of the war did not lead to the triumph of freedom and emancipation. personality. Meaning influence on society - lit life rendered. resolutions and reports of Zhdanov, against magazines "Zvezda" and "Leningrad"(Leningrad magazines), reason – publication Zoshchenko's story "The Adventures of a Monkey", the reason is the dissatisfaction of the management with the fact that the magazines regularly publish. produced by Akhmatova and Zoshchenko. The result is the persecution of Zoshchenko and Akhmatova, Leningrad is closed.
The beginning of the Cold War worsened. situation: published. production abroad eq. to the state treason. Follow. 2 main trends in literature: 1) the tendency to “conform” (more than 200 Stalin Prizes in regional literature; Bubennov “White Birch”, Polevoy “The Tale of a Real Man”, Pavlenko “Happiness”, twice rewritten “Young Guard”
Publication Nekrasov's story “In the Trenches of Stalingrad” (1946, “Banner”), the first production from the so-called. "prose of lieutenants" Tvardovsky finished. poem “House by the Road” (1942 – 1946). Even during Stalin's lifetime V. Ovechkin displays negative. desk type head of story "District everyday life"
Completed, started in the 30s. the process of forming a unified principle for depicting heroes, a unified approach to conflicts, and leveling language. Socialist realism is flourishing in the “correct” literature.
Main features of the 56 – 80s The beginning of a new period of communications. with exposure cult of personality. New magazines opened (“Youth”, “Literary studies”, “Neva”), on the page of “New World” the works of Solzhenitsyn and Dombrovsky were published; exit. almanacs “Lit. Moscow”, “Tarussky Pages” with poems by Tsvetaeva, Slutsky, Pasternak, Voloshin Prepared by the publishing houses of Babel, Zabolotsky, Zoshchenko.
Prose. The most powerful reading. the shock was connected. from publication in 1962 in the "New World" Solzhenitsyn's story "1 Day of Ivan Denisovich"(original name “Shch-282”). New material (the beginning of the “camp” theme), a new language (prisoners’ jargon) and new principles for depicting people. har-ra,
Derevensk. prose. They will notice. artist reached connection with "village" prose (F. Abramov, V. Ovechkin, S. Zalygin, V. Shukshin; later - V. Rasputin, V. Belov, V. Astafiev. different genres: essay (Ovechkin, Dorosh), stories (Yashin, Tendryakov, Troepolsky, Shukshin), stories and novels (Abramov, Astafiev, Belov, Rasputin).
. Range of problems. Unfavorable village life (poverty, disunity, thoughtless directives, tick-box system). The villagers of the 50s and 60s have no doubt. in the need for collective farms.. The problem of de-peasantization (moving to the city). reverse to the past, history was looking for a way to solve problems. (Matryona in Solzh., Belov in “Habitual Business”, Rasputin in “Live and Remember” - retribution).
New problems are being introduced: ecology, caring attitude towards people, their home, long-term traditions (“Farewell to Matera” by Rasputin, “The Tsar Fish” by Astafiev).
Military prose. In military prose: almost simultaneously. G. Baklanov, Yu. Bondarev, V. Bykov, K. Vorobyov and others came to literature (“lieutenant’s prose”). “Trench” truth, human psychology in war, acute perception of life. But cont. write bison like Simonov. Works: K. Simonov, epic novel “The Living and the Dead” (1965-1970); Boris Balter, story “Goodbye, boys” (1962); Vasil Bykov, story “Kruglyansky Bridge” (1968); Boris Vasiliev, story “The Dawns Here Are Quiet” (1969), Vyach. Kondratiev, story “Sashka” (1979), etc.
Confessional lyrical prose. Arose. such a phenomenon as a confessional, lyrical. prose (Aksenov, Gladilin, Voinovich). Both Aksenov and Voinovich subsequently. emigrate.
Poetry. 1950 – 1st almanac “Poetry Day” with poems by Tsvetaeva, Vasiliev, Slutsky, whose names were not even mentioned. These years were characterized by oral performances by poets in large halls. “loud” poetry with emphasis. social sound, journalistic (Yevtushenko, Voznesensky, Rozhdestvensky). Refusal from “loudness” occurred. in the mid-60s (“I want silence, silence...Are my nerves burned?” - Voznesensky). Along with the youth cont. create Tvardovsky, Zabolotsky, Akhmatova, Marshak and others.
But not everything is so rosy. Literat was closed. Moscow,” Pasternak was persecuted for publishing Dr. Zhivago in Italy and for awarding him the Nobel Prize. prize (accepting it was equated to treason). Brodsky was tried for “parasitism”, for publications in the West, anti-Soviet. Y. Daniel and A. Sinyavsky were arrested.
As soon as it arose, the term “pop” poetry (pop poets) acquired a negative connotation, which gradually intensified. (B. Akhmadulina, Y. Moritz, Okudzhava, V. Vysotsky, N. Matveeva). E. Evtushenko, R. Rozhdestvensky, R. Kazakova,
Period of "stagnation". The trial of Y. Daniel and A. Sinyavsky (1966, for publishing works abroad, albeit under pseudonyms) is the beginning of the period that is commonly called. stagnation. They were tried for antisov. activity, agitation and propaganda.
One of the signs of the times is the departure of young people after universities to work as stokers and janitors, departure on expeditions - the beginning of dissidence.
In the beginning. 70's leaving. Solzhenitsyn left the country “voluntarily”. country Voinovich, Aksenov, Dovlatov, Aleshkovsky, Nekrasov and others.
Trifonov, Kazakov, Belov, Abramov (then Makanin and Petrushevskaya
Bykov, Rasputin, Astafiev, Vorobiev, Dombrovsky, in stories about the past, about war, about peaceful life, more often placed heroes in the extraordinary. situations, exploring the capabilities of a person, the strength and weakness of the personal principle. Particular importance was attached to the fact of memory
The literature of this period was presented by various. types of characters. The rustic characters are colorful. residents, soldiers, diverse characters of intellectuals, etc.
The writers tried to reflect. atmosphere fear, for what is required. resp. form, Aesopian language, this helped to circumvent many prohibitions: irony, allegory, fairy tale, allegory, etc. During the same period, they were created. (but published later) books by Shalamov, Solzhenitsyn, etc.
Dramaturgy. A turning point in drama. started in lane Thaw: plays by Vampilov, Shukshin. The theory of non-conflict is being replaced by satire and anecdotal. situations, everyday life conditions, objectivity and dispassion of the author in relation to. to the heroes. narrowing of space and time, variability in the viewer’s perception of the hero’s fate, the hero’s ability to choose (plays by Rozov, Volodin, Zorin
1985-1990. . Bans on topics and names are lifted => problems that were not touched upon before are revealed: crime, prostitution, drug addiction, the Gulag, violence. collectivization, war in Afghanistan.
Published new productions on current issues. themes (“Fire” by Rasputin, “The Scaffold” by Aitmatov, “Sad Detective” by Astafiev - many works later lost their sharpness). An avalanche of semi-banned publications. and prohibited writers (Platonov, Bulgakov, Grossman, Zamyatin, memoirs of Prishvin, Chukovsky, Pasternak, Tvardovsky, etc.). Anti-Stalin mass. publications (moreover, until the early 90s, most of the exposure of Stalin was based on his opposition to Lenin; Lenin still remained an ideal). Even during the years of stagnation, such a phenomenon as postmodernism (Pelevin, Sasha Sokolov) and “other prose” (Tolstaya, Petrushevskaya, Ven. Erofeev) was formed. 1990s The rise of journalism at the turn of the 90s. influence on literature. The collapse of the Gosizdat system => a huge number of private commercial izdat-v. => Help for the development of literature. The influence is not politics, but the market. Such a phenomenon as “women’s prose” has developed (Petrushevskaya, Tolstaya, Ulitskaya, Shcherbakova, etc.). Can be mentioned. Kim, Pelevin and anyone else. Returning to the theme of the Second World War (Astafiev “Cursed and Killed”). Show. especially modern. prose – irony, grotesque.
Poetry. Poets who have seen the light (Levitansky, Dudin). Author's poetry trans. into rock poetry (Tsoi, etc.). In the poetry of relatively young people there are 2 extremes: 1) immersion. in a personal way. peace, philosophy lyrics of “pure seriousness” (I. Zhdanov, K. Kedrov); 2) anti-lyricism, anti-poetry (Prigov, Rubinstein). For modern times. youth (very young) character. anxious intonation, motive of ignorance, loss. Hood. mastery is tested in proximity to freely published books by Gumilyov, Khodasevich, Ivanov, Brodsky and others.
Dramaturgy."Blurred" hero, absent. logic in dialogues, intrafamily. conflicts have almost disappeared. action, tongue-tied characters, a lot of irony. Names of playwrights: N. Sadur, N. Kolyada, M. Arbatova.
General trends in the development of Russian literature in the 20s – 30s of the 20th century.
Lit.-soc. situation.
In the beginning. 20s origin split into three branches of literature: emigrant literature, Soviet literature and “detained” literature. . Sov. writers dreamed of remaking the whole world, exiles dreamed of preserving and restoring former cultural values. As for the “delayed” literature, there was no consistent pattern. Totalit. power rejected artists alien to it, and its faithful adherents: O. Mandelstam, Boris Pilnyak, I. Babel, the cross. poets N. Klyuev, S. Klychkov, but also most of its founders - fly by. poets, many “fierce zealots” from RAPP
1 of the characters special lit. development of the 20s - abundance of lit. Groupings: “besides the existing ones. before revolution futurists, symbolists, acmeists, took to the stage constructivists, proletkultists, expressionists, novokrest. poets. And there, like tribes from the jungle, they rushed after them, stunning the reader, Nichevoks, biocosmists, even Koekaks and Oberiuts appeared...» Many people write. and the critics had no connections in those years either. with no group (Gorky, A.N. Tolstoy, L. Leonov, K. Trenev, I. Babel, etc.): nothing (manifesto: don’t write anything! don’t read anything! don’t say anything! don’t print anything! ); fuists (there must be cerebral liquefaction in art); biocosmists (The Earth is a large spaceship that must be controlled by biocosmists, because they understand everything about everything ).
Proletarsk movement The main task is to create a new culture, suitable. to new times, the culture of the proletariat.
Proletkult(proletarian cultural-enlightenment organizations) Proletkult had at its disposal. a number of magazines and publications (“ Proletarsk Culture", "The Future", "Burn", "Beeps", etc.), Proletkult were immigrants from slaves. class. The theorist of P. was Alexander Bogdanov . He made a suggestion. build new cult. in complete isolation from the cult. of the past. “Let’s discard the bourgeois entirely. culture like old trash." The largest representatives: Alexey Gastev, V. Aleksandrovsky, V. Kirillov, N. Poletaev etc.. In proletarsk. poetry abundance of class hatred, desire for destruction. enemy, destroying the old world. 1918 – poem V. Knyazeva “The Red Gospel” ».
Particular attention should be paid to the development of the image of Russia. Leaving Rus' is drunk, dreary, sleepy, shackled. the new Russia is strong, active, working and finally... idealistic. I imagined something new, bright, fantastic. a future when man will control the universe like a mechanism. Conditional symbolic images: blacksmiths, singers, locomotive, whirlwind, fire, lighthouse.
Gradually it happened. Proletkult bundle. The Kuznitsa group emerged from Proletkult in 1920.
The largest representatives: You.You. Kazin, V. Aleksandrovsky, Sannikov . “Kuznitsa” was the initiator of the preparation of the 1st All-Russian. meetings fly by. writers (May 1920), at which, like the 1st Congress, the passage. writers (October 1920). “Forge” no longer requires a complete break from the classics.
The remains of K. and other units made up the VOAP (later RAPP).
Serapion brothers 1921. Main. the ideologist was Lev Lunts. Declaration “Why are we S.br.?” - they proclaimed non-imposition of anything on each other, non-interference in creativity. each other's affairs, the separation of literature from ideology: “We are with the hermit Serapion. We do not write for propaganda, writers of different directions: Nick. Nikitin, M. Zoshchenko, Vsevolod Ivanov, Nik. Tikhonov, V. Kaverin, Mikh. Slonimsky, K. Fedin and others.
RAPP. The remains of “Kuznitsa”, the group “October and other associations” were transformed into VAPP, which was then called RAPP. Theor. the organ is the magazine “On Post”, which is why they are called Rappovites. still napostovtsy. Everyone who was not with them was called “fellow travelers.” Gorky was also considered a fellow traveler. and A.N. Tolstoy, and others. Mayakovsky from LEF moved to RAPP. The ideology of citizenship was embodied in the activities of RAPP. wars and military communism: implemented harshly. They loved discipline and slogans very much (to catch up with and overtake the classics of bourgeois literature! For the delusion of poetry!)
LEF(left front of the lawsuit). The largest representatives: Mayakovsky, Pasternak, Aseev. However, they are sufficient. Soon we left the food. The group participants emphasized that cont. line of futurists and declarators. next things: 1) refusal to be realistic. material development; 2) exposure of reception; 3) the language of literature must be made into the language of logic; The Lefovites saw at close range. lawsuits with politics, the participation of art in the affairs of the state is most important. feature of the new art and defined their task as “deepening the class trench on the field of military action of the art.” Instead of being reflected in the literature, it is typical. Har-row art was proposed to create “processors”, “standards” of people taken in one or another production installation. The novel, poem, and playwright were rejected as outdated. genres. Two slogans were proclaimed: “social. order" and "liter of fact".
Group Pass and the Perevalians are opponents of Lef’s approach. The pass has arisen. in 1924 around the magazine “Krasnaya Nov” (edited by A. Voronsky). Representatives: Prishvin, Malyshkin, M. Svetlov, L. Seifullina and others. They preached Mozartianism, intuitiveness of art, suppression of consciousness in creativity. The general principle: not partisanship, but sincerity; Voronsky considered only the one who “creates with his gut” to be a true artist. Ultimately, this is what led to the fact that the Pereval residents began to be accused of not understanding. socialist tasks writers, break away from ideology, etc.
Imagism. Yesenin, Shershenevich, Ivlev and others. The main thing is vacuity, the image as an end in itself, the denial of grammar. Printing organ – “Sheets of Imagists”. As Yesenin later wrote: “I did not join the Imagists, they grew on my poems.” This school died on its own. In fact. the goal was good: to revive dead words through images (Yesenin “The Keys of Mary”).
OBERIU. Arose. in the fall of 1927. D. Kharms (Yuvachev), Alexander Vvedensky, N. Zabolotsky, Igor Bakhtyrev create the “Association of Real Art”. There were actually two declarations: 1) ?; 2) Zabolotsky “Poetry of the Oberiuts.” In 1930 it was published in the newspaper Smena. an article about the Oberiuts, calling their creativity “a protest against dictatorships.” of the proletariat, the poetry of the class enemy."
LOKAF(Lit. association of the Red Army and Navy). Created in July 1930 for the purpose of creativity. mastering the life and history of the army and navy. 3 magazines: “LOKAF” (currently “Znamya”), “Volley”: Pyotr Pavlenko, Vissarion Sayanov, Boris Lavrenev, Alexander Surkov.
In 1934, the 1st Congress of the Soviet Union took place. writers. All groups and meals have stopped. At this time, a single Union of Writers began to exist.
Poetry of the 20s - 30s.
Cont. write such already recognized poets as Akhmatova, Yesenin, Mayakovsky, Severyanin, Pasternak, Mandelstam, etc., new authors appeared, like truly Soviet poets (proletarian - Gastev, etc., see lit. groups; in the 30s 1980s - Tvardovsky, Pavel Vasiliev - new peasant poets, already of Soviet bottling), and “fellow travelers” and “enemies” of the new government (Zabolotsky, Kharms, ... Many emigration poets and continued or are starting to create in emigration. (Vyach Ivanov, Severyanin, Khodasevich, G. Ivanov, M. Tsvetaeva, B. Poplavsky)
Mass song. Soviet mass song is a special, unique genre that arose in the 30s. Its origins can be called artel songs, proletarian songs of the beginning of the century, civil songs. war. popular song of the 30s also a song of enthusiasm, a new romantic. lifting, communication with the rise of societies. consciousness: well, there are shocking construction projects and all that
2 directions: lyrical. song (“And who knows why he blinks”) and a marching song (“My native country is wide”, etc.) Among the authors of music we can name Dunaevsky, and the authors of the words are Mich. Isakovsky(songs - “Farewell”, “Seeing off”, “And who knows”, “Katyusha”, “In the forest near the front”, “Ogonyok”, “There is no better color than the one”, “Migratory birds are flying”), Alexey Surkov(“The fire beats in a cramped stove”, “Song of the brave”) Vasily Lebedev-Kumach(in collaboration with the composer I.O. Dunaevsky, he composed “March of the Cheerful Guys” for the film “Merry Guys”, “Song of the Motherland” (“Wide is my native country...”), “How many good girls” , “Song of the Water Carrier”, “Once Upon a Time There Lived a Brave Captain
Poem. 20s "Twelve" by Blok (1918), Mayakovsky's poems “I Love” (1921-1922) and “About This” (1923), poem Pasternak “1905” (1925 - 1926).
In the 20s, “Village” (1926) and “Pogorelshchina” (1928) Nick appeared. Klyueva, crying about leaving. Rus', about the loss. with her spiritual death. values of the people.
30s For the beginning 30s characterized by the decline of romance. the pathos of the revolution. But tech. progress and the beginning of industrialization. give impetus to a new round of romanticism. impulses N. Tikhonov creates collection of poems "Yurga", A. Tvardovsky. "Ant Country" (1936). P. Vasiliev. “Hristolyubov’s calicoes” (1935-1936
post-war years, people came to literature who, in one way or another, accepted. participation in hostilities => a large number of novels about civilians appeared. war ( Pilnyak “The Naked Year”, Blyakhin “Red Little Devils”, Zazubrin “Two Worlds”,Serafimovich "Iron Stream" etc.). a vivid image of a narrator from one environment or another ( Babel "Cavalry", works by Platonov).
On Wednesday 20s Sholokhov begins work on “Quiet Don” (1926 – 1940), at the same time Gorky is working on the 4-volume epic “The Life of Klim Samgin” (1925 – 1936), Platonov - on "The Pit" (story, 1930) and "Chevengur" (novel, 1929), here - "We" by Zamyatin (published in 1929 with an abbreviation in the magazine "The Will of Russia").
Educational novel. The new society required new literature, but not only that. It also required a new person, who had to be raised from those who were born under the old regime. A new concept of personality was formed: a person does not reflect, but creates. The prospect of re-creating the world opened before the hero and the artist => lit. the swarm is asserting itself, including the right to violence (Makarenko “Pedagogical Poem”, Ostrovsky “How the Steel Was Tempered”, Gaidar “School”).
Industrial novel of the 30s. Many writers go to construction sites, and epic events arise. production at production Topics. In prose and poetry there is a development of essay style. The theme is socialist. construction has become the main theme of modernity, has arisen. such a genre as industrial novel. The main task of novels about social build-ve - creation of heroic. image of a working person. Novel Malyshkina “People from the Outback”– 2nd type.
The background is overwhelming. predominance in prose of the 30s. “second nature”, i.e. all sorts of things kind of mechanisms, construction sites, industrial landscape, singer of “first nature” ledge. Prishvin ( M. Prishvin “Ginseng”, 1932), a book of fairy tales appeared P. Bazhov “Malachite Box” (1938) and etc.
Historical novel.. “Stepan Razin” by Alexey Chapygin (1925-1926). “The Tale of Bolotnikov” by G. Storm (1929).
In 1925 novel "Kyukhlya" lit.-art begins activities Yuri Tynyanova, like “Peter the Great” by A.N. Tolstoy (1st and 2nd books – 1929-1934, 3rd – 1934-1945), “Tsushima” by A. Novikov-Priboy, “Pushkin” by Yu. Tynyanov (two 1st books - in 1937 , the third – “Youth” - in 1943), “Sevastopol Strada” by S. Sergeev-Tsensky (1940), “Dmitry Donskoy” by S. Borodin (finished in 1940),
Satirical prose. Mikhail Zoshchenko The stories “Michel Sinyagin” (1930), “Youth Returned” (1933), the story-essay “Before Sunrise”, the widespread use of tale forms, the construction of the image of the “author” (the bearer of “naive philosophy”).
Michael Bulgakov- stories “Heart of a Dog”, “Fatal Eggs”, etc.
Romanov Panteleimon(1884-1938). Lyrical, psychological and satirical stories and stories about Soviet life in the 20s. In the novel "Rus"
Averchenko Arkady(1881-1925). In stories, plays and feuilletons (collections “Merry Oysters”, 1910, “About Essentially Good People”, 1914; the story “Pokhodtsev and Two Others”, 1917) - a caricature depiction of Russian life and customs. After 1917 in exile. The book of pamphlets “A Dozen Knives in the Back of the Revolution” (1921) satirically glorified the new system in Russia and its leaders. Humorous novel “The Patron's Joke” (1925).
Literature of emigration (first wave). Names.
“The Life of Arsenyev” (Nob. Prize 1933), “Dark Alleys” by Bunin; “Sun of the Dead”, “Summer of the Lord”, “Pilgrim” by Shmelev; “Sivtsev Vrazhek” by Osorgin; “The Journey of Gleb”, “Reverend Sergius of Radonezh” by Zaitsev; “Jesus the Unknown” by Merezhkovsky. A. Kuprin - 2 novels “The Dome of St. Isaac of Dalmatia” and “Junker”, the story “The Wheel of Time”. Means. lit. The appearance of the book of memoirs “Living Faces” by Gippius became our own.
A. Remizova “Swirled Rus'”, “Music Teacher”, “Through the Fire of Sorrows”».
"The Unsung Generation"(the term of the writer, literary critic V. Varshavsky, refusal to reconstruct what was hopelessly lost. Young writers who did not manage to create a strong literary reputation in Russia belonged to the “unnoticed generation”: V. Nabokov, G. Gazdanov, M. Aldanov, M. Ageev , B. Poplavsky, N. Berberova, A. Steiger, D. Knuth, I. Knorring, L. Chervinskaya, V. Smolensky, I. Odoevtseva, N. Otsup, I. Golenishchev-Kutuzov, Y. Mandelstam, Y. Terapiano and etc
General trends in the development of Russian literature in the late 19th and early 20th centuries.
Literary and social life 1890 – 1917
The turn of the century is characterized by a wealth of schools, directions, and the search for new concepts and contents.
In the 1890s. originated, and in the 1900s new trends already dominated. In a democratic In the camp, Marxism is replacing populism, modernism is developing and strengthening - a new phenomenon that can only conditionally be successively elevated to “pure art” and conservatism. direction
Symbolism. Expressed by a modernist. direction in the 1890s became a magazine "Northern Herald", leads. he became a critic Akim Lvovich Volynsky. Volynsky considered the main task of the magazine to be “the struggle for idealism.” The critic called for fighting not for the socio-political reorganization of society, but for "spiritual revolution". Around "Northern" "Bulletin" group. the following writers: Nikolai Minsky, Dmitry Merezhkovsky, Zinaida Gippius, Fyodor Sologub, Konstantin Balmont, Mirra Lokhvitskaya, Konstantin Ldov, etc. At the same time, individual articles by Tolstoy are published in the Severny Vestnik, and Gorky’s “Malva” also appeared in it.
New direction was not united. It is characteristic that Vladimir Solovyov, whom the modernists considered their predecessors. and ideological inspirer, he did not recognize them. His parodies of the first decadents, in which he played on his favorite ideas, became widely known. techniques of new poetry: “The immanent mandrakes // rustled in the reeds, // and the rough-decadent ones // verses in the withering ears.”
In 1895 publishing house sb-kov "Russian Symbolists", the leading author of which was the 22-year-old poet Valery Bryusov, who published. my poems are not only for my own. name, but also under several pseudonyms in order to create the impression of an already existing strong school. Much of what was printed in the collection did not need parody, because... It sounded like a parody in itself. A special scand. A one-line poem became famous: “Oh, close your pale feet!”
the Scorpion publishing house was created in Moscow in 1899. Started publishing monthly. magazine "Scales", in which Bryusov attracted young poets
Moscow also became a platform for the dissemination of new ideas. "Literary and Artistic Circle", which arose in 1899 and existed until 1919. Since 1908, it was headed by Bryusov. To St. Petersburg. - their leaders. Dmitry Serg. Merezhkovsky entered the literary world as a populist poet. direction, but soon turned to spiritual quests universally. scope. His poetic Sat "Symbols"(1892) by its very name indicated a relationship with the poetry of French. symbolism, and for many beginners Russian. poets became a program like his lecture “On the causes of decline and new trends in modern Russian literature”.
Young Symbolists. In the early 1900s. in lit. A new generation of poets is entering the field, who are usually called junior symbolists or young symbolists, naib. famous - Alexander Blok and Andrei Bely (Boris Nik. Bugaev).. Vyach. Iv. Ivanov, "tower" Vyach. Ivanova(“Vyacheslav the Magnificent”, as he was called) - lit. salon, visited by writers of different directions, mainly. modernist (“Ivanovo environments”).
2nd after “Scorpio” symbol. became a publishing house "Vulture",.
In 1906 – 1909 Symbol was published in Moscow. magazine "The Golden Fleece". In 1909, a publishing house was organized in Moscow "Musaget". Its founders were Andrei Bely and Emilius Karlovich Medtner -
1910s Therefore, literature develops in parallel with poetry. criticism - and often the poets themselves act as interpreters of their own ideas. The first theorists were the symbolists. Bryusov, Balmont, Andrei Bely, Innokenty Annensky and others created theoretical researched and substantiated symbolism, wrote studies on the theory of Russian verse. Gradually, the ideal of the poet-prophet was replaced by the image of the poet-master.
In the early 1910s. the leaders of new technologies have been identified. A moderate reaction to the symbol became acmeism(from the Greek akme - “peak”), more radical - futurism. Acmeists. The poets Nikolai Gumilyov, Sergei Gorodetsky, Osip Mandelstam, Anna Akhmatova, and Georgy Adamovich considered themselves among the Acmeists. The course of nucleation in lit. formed in 1912. circle “The Workshop of Poets” (the name reflected the general desire for “craft”). The magazine became the platform for acmeists "Hyperborea", ed. - poet-translator Mikh. Leonid. Lozinsky.
Naib. def. The principles of Acmeism were formulated by Gorodetsky. Among the Acmeists, the rose again became good in itself, with its petals, scent and color, and not with its conceivable likenesses with mystical love or anything else.”
Futurists declared themselves even more self-confident. “Only we are the face of our Time,” said the manifesto signed by David Burliuk, Alexei Kruchenykh, Vladimir Mayakovsky and Velimir Khlebnikov. - The past is tight. Abandon Pushkin, Dostoevsky, Tolstoy, etc. and so on. from the ship of modern times. Cubofuturism
In addition to Cubo-Futurism there was egofuturism, not so much known as poetic. school, how much gave 1 a bright representative– Igor Severyanin (real name Igor Vas. Lotarev). "Centrifuge"(Sergey Bobrov, Boris Pasternak, Nikolay Aseev, etc.).
Singles. There were a lot of “loners” too. Konstantin Fofanov, Mirra Lokhvitskaya, Bunin (who made his debut as a poet), Innokenty Annensky, Maximilian Voloshin and Mikhail Kuzmin did not join any of the movements; Vladislav Khodasevich collaborated with the Symbolists, but did not completely join them; he was close to the Acmeists, but Georgy Ivanov was not an Acmeist; Marina Tsvetaeva was a completely independent figure. In the 1910s poets who, after the revolution, were classified as “peasant” or “new peasant” poets began their journey: Nikolai Klyuev, Sergei Klychkov, Sergei Yesenin.
Satire. 1st Russian revol. also gave a powerful impetus to the development of satire. In the 1910s The magazine was very popular "Satyricon"– formed in 1908 from a previously existing weekly "Dragonfly", permanent editor. which was the humorist writer Arkady Timof. Averchenko. Teffi, Sasha Cherny (Alexander Mikh. Glikberg), Pyotr Petrovich Potemkin and others collaborated in the magazine. In 1913, some of the employees separated themselves and began publishing the magazine "New Satyricon"(Mayakovsky, in particular, collaborated in it). The works of the satiricists were not entertainment, momentary mass, but real good literature, which had not lost at all. relevant with the passage of time, just like the humorous. Chekhov's stories are still read with interest a century later.
The sociocultural situation of the second half of the twentieth century (1950-1990s): the entry of civilization into the stage of post-industrial, post-totalitarian society, new technologies, space exploration, further development of natural resources. Awareness of environmental and spiritual crisis modern civilization, standardization of life, mass culture that replaced the totalitarian one, consumer attitude to life, the disappearance of utopian consciousness, the destruction of faith in human reason.
Particular attention in the literature is attracted by the philosophy of P. Teilhard de Chardin, A. Schweitzer, M. Heidegger (the existence of man in being, connections with him), the theory of French post-structuralism (J. Derrida, J. Baudrillard, R. Barthes, J. Kristeva), the concepts of culture-game, culture-sport are developing (H. Ortega y Gasset, J. Huizinga).
Literature of the second half of the twentieth century is characterized by diversity genre forms(small and large epic works, psychological drama, lyrics and poem), development traditional styles and directions and the emergence of new ones, adherence to canons and the desire for innovation.
Literature of the second half of the twentieth century is divided into periods:
Literature of the late 1950s-60s (the “thaw” period): focus on mastering social reality, aesthetics of the “truth of life”, analyticism instead of synthesis, individuality instead of typicality. Restoration of social optimism is a utopian idea of moral improvement of society. Alienation public consciousness from state ideology and maintaining the value of social ties (“group man” instead of class man). Dissident movement and underground culture. Formation of various literary trends: continuation of traditions realistic literature(“industrial” novel, “village” prose, psychological poetry), revival of traditions (modernism), the emergence of Russian postmodernism. Refusal of the principle of idealization of reality, principles of analysis and criticism of reality, change in the principle of historicism, installation of a multi-conflict perception of the world. The emergence of new literary and artistic magazines: “Youth” (1955), “Friendship of Peoples” (1955), “Our Contemporary” (1964), “New World” under the leadership of A. Tvardovsky.
Literature 1970-80s: search for the metaphysical foundations of existence and universal values, the essence and meaning of human existence. Crisis of rationalism, passion for various religious, esoteric teachings. Man in natural existence and man in the history of mankind and eternity. An appeal to the poetics of myth, to symbolization, an attempt to give a holistic picture of the world. Loss of faith in universal values, the onset of mass culture, an abundance of information, the formation of a fragmented consciousness, a playful attitude towards reality. Alternative youth culture, underground literature. The eclectic nature of culture in connection with the development of “detained” and emigrant literature in the late 1980s.
Literature of the 1990s: a period of social and public upheaval, the collapse of the Soviet Union. Crisis of traditional ideas about the role of literature and culture. Playful (aesthetic) phase in history modern literature. Priorities of postmodern culture. Total skepticism in human understanding. Synthesis literary movements, a dialogue between tradition and neo-avant-garde.
Educational and reference literature:
1. Ashcheulova, I. V. Russian poetry of the second half of the twentieth century: names and motives: tutorial/ I.V. Ashcheulova. - Kemerovo, 2007.
2. History of Russian literature of the twentieth century (20-90s). Literary process: textbook. - M.: Moscow University Publishing House, 2006.
3. History of Russian literature of the twentieth century: In 2 parts / Ed. V.V. Agenosova. - M.: Bustard, 2007.
4. Leiderman, N. L. Lipovetsky, M. N. Modern Russian literature: in 3 books. Textbook / N. L. Leiderman, M. N. Lipovetsky. - M., 2001. Book. 1 - 1953-1968; book 2 - 1968-1986; book 3 - 1986-1990s.
5. Musatov, V.V. History of Russian literature of the first half
XX century / V.V. Musatov. - M., 2001.
6. Russian literature of the twentieth century: In 2 volumes: textbook / A. P. Krementsov et al. - M.: Academia, 2005.
7. Russian writers 1800 – 1917. Biographical dictionary: In 5 volumes. T. 1. - M., 1989.
8. Russian writers. Biobibliographical dictionary: In 2 volumes - M., 1990.
9. Russian writers. XX century. Biobibliographical dictionary. In 2 parts / Ed. N. N. Skatova. - M.: Education, 1998.
Additional educational literature:
1. Bavin, S.P. Fates of the poets of the Silver Age. Bibliographical essays / S.P. Bavin, I. V. Semibratova. - M., 1993.
Test on the topic “Features of the development of literature in the 1950s-1990s.”
1. The period of social reforms that began in 1953 after the death of I.V. Stalin received a figurative definition -
A) “cult of personality” B) “thaw” C) “flood” D) “storm”
2. Ernest Hemingway is
A) American spy
B) American sculptor
D) American composer
3. Gennady Aigi in the 1960s in Soviet literature -
B) translator
D) writer
4. They denied any dependence on any restrictions on artistic creativity, be it political dictates or the framework of traditions:
A) realist writers
B) futurist poets
B) avant-garde poets
D) acmeist poets
5. During the reign of L. I. Brezhnev, the government’s policy towards dissident representatives artistic culture provoked a new, third flow of emigration. Indicate the years of the third stream:
A) 1950-1980 B) 1918-1922 C) 1970-1980 D) 1941-1953
6. Indicate the group of writers and poets who emigrated from the USSR (third wave of emigration).
A) V. Shalamov, V. Voinovich, A. I. Pristavkin, A. Solzhenitsyn.
B) A. Solzhenitsyn, V. Grossman, V. Tendryakov, B. Mozhaev.
B) I. Brodsky, V. Aksenov, A. Galich, S. Dovlatov.
D) V. P. Astafiev, S. P. Zalygin, V. M. Shukshin, V. G. Rasputin
7. Works that were stored for many years in special storage facilities and published in the literary magazines “New World”, “October”, “Friendship of Peoples” received a definition
A) literature of the “Thaw”
B) returned literature
B) special literature
D) emigrant literature
8. Plurality, diversity of something, for example, opinions, views - this is
A) “thaw” B) subculture C) pluralism D) realism
9. A term used to characterize a certain worldview, an intellectual movement that arose in European thought of the 20th century with the desire to determine, first of all, the political and cultural problems of society - this is
A) pluralism B) realism
B) modernism
D) postmodernism
10. The form of illegal distribution of works of art in the USSR in typewritten form is
A) self-writing B) samizdat C) self-redemption D) self-sufficiency
11. He wrote the poem “Moscow-Petushki” in 1969
A) A. Tvardovsky
B) Vep. Erofeev
B) A. Voznesensky
D) E. Yevtushenko
12. One of the leading trends in literature of the second half of the 20th century (late 1960s-1980s) was
A) “returned prose”
B) “village prose”
IN) " urban prose»
D) “lyrical prose”
13. The story “Farewell to Matera” (1976) was written by
14. The story “Matrenin’s Dvor” (1959) was written by
A) A. I. Solzhenitsyn B) V. P. Astafiev C) V. G. Rasputin D) F. A. Abramov
15. The artistic movement that united the epic works of front-line writers is
A) village prose
B) camp prose
B) military prose
D) lyrical prose
16. The story “In the Trenches of Stalingrad” (1946) was written by
A) Vasil Bykov B) Viktor Astafiev C) Viktor Nekrasov
D) Konstantin Vorobiev
17. He wrote the stories “Sotnikov”, “The Third Rocket”, “Alpine Ballad”, “Crane Cry”
A) Yuri Bondarev B) Vasil Bykov C) Viktor Nekrasov D) Grigory Baklanov
18. “Kolyma Tales” by V. Shalamov, “Black Stones” by A. Zhigulin, “In the First Circle” by A. Solzhenitsyn are united by the theme
A) Great Patriotic War
B) the theme of the Gulag
IN) village life
D) restoration of the destroyed economy after the Second World War
19. The development of the urban or intellectual movement in Soviet literature is associated with the name of which writer?
A) Alexander Solzhenitsyn
B) Yuri Trifonov
B) Fedor Abramov
D) Valentina Rasputina
20. The works of F. Iskander “Rabbits and Boas”, V. Voinovich “Moscow 2042”, L. Leonov “Pyramid” are written in the genre
A) comedies
B) tragedy
B) dystopia
D) folklore
21. N. Aseev, O. Berggolts, V. Lugovsky, M. Svetlov
A) artists
B) writers
D) translators
22. Which poet can be called a pop poet?
A) Mikhail Svetlov B) Evgeny Yevtushenko C) Joseph Brodsky
D) Nikolai Zabolotsky
23. The works of poets N. Rubtsov, V. Sokolov, S. Kupyaev belong to
A) military lyrics B) quiet lyrics C) urban lyrics D) author’s
24. Name a poet whose work combined the civic pathos of the sixties poets and the subtle lyricism of “quiet lyricism”
A) Alexander Galich B) Rasul Gamzatov C) Yuri Vizbor D) Andrey Voznesensky
25. Which poet was awarded the Nobel Prize in Literature in 1987
A) Vladimir Vysotsky
B) Joseph Brodsky
B) Evgeny Yevtushenko
D) Bulat Okudzhava
26. The key figures of which movement in poetry are rightfully recognized
B. Okudzhava, A. Galich and V. Vysotsky
IN) pop song
D) rock poetry
27. V. Rozov, A. Volodin, A. Arbuzov, A. Vampilov is
A) writers
B) playwrights
A) A. Arbuzov B) A. Volodin C) A. Vampilov D) V. Rozov
29. The main character of the play “ Duck hunting"name
A) Victor Nilov B) Alexander Vampilov C) Nikolai Vilov D) Victor Zilov
30. Soviet film director, actor, writer, screenwriter, Honored Artist of the RSFSR, author of the books “Until the Third Roosters”, “Kalina Krasnaya”, etc.
A) Vladimir Vysotsky
B) Valentin Rasputin
B) Vasily Shukshin
preparation of presentations, newspapers, literary magazines (work in groups).
Goal of the work: generalize and concretize students’ knowledge about the development of the country during the so-called stagnant period; to form knowledge about how people lived during that period; systematization and quality control of knowledge in the section being studied.
Execution form: group work
Necessary equipment: presentations, illustrations on the topic, literary magazines, educational literature
Requirements: make a presentation in accordance with the requirements, prepare for the speech
- Features of the development of literature in the 1950s-1980s
Basic theoretical material:
Russian literature in the years 1950-1980 developed unevenly, sensitively responding to the political situation in the country. Artistic heroes grew up along with their authors, and literary works most clearly expressed the problems that worried the public at that time. To understand the soul and view of the world of a person of that time, it is not enough to find out what historical steps occurred at the time of his life; it is much more important and effective to take a book of that time. The authors of the 50-80s, like a curious child, absorbed any movement, any breath of the breeze of freedom, but they also easily succumbed to repression by the government. Despite the censorship, the Soviet reader continued to want to read; literature could not fade or bend to the demands of the authorities. And even harsh actions, such as expulsion or imprisonment for freedom of speech, did not kill the desire to write in Russian authors. This literary period very interesting in its diversity, human consciousness was seething and looking for answers to all those questions that the authorities or authors of past years could not satisfy. I would like to compare the 50-80s with the period of adolescence, when the authors tried to understand themselves, the world around them and began to ask questions critical of reality. To understand themselves, many modern boys and girls should study this literary period, and I am no exception. Literature of the "Thaw" The period of the "Thaw" is called the end of the 50s - 60s of the life of society and literature. The death of steel, the 20th Party Congress that took place after, and Khrushchev’s report on Stalin’s cult of personality led to great social changes. The literature of these years was marked by great revival and creativity. During the Thaw, censorship was noticeably weakened, primarily in literature, cinema and other forms of art, where a more critical coverage of reality became possible. A number of new magazines began to be published: “VL”, “Russian Literature”, “Don”, “Ural”, “On the Rise”, “Moscow”, “Youth”, “Foreign Literature”. Creative discussions on the topics of realism, modernity, humanism and romanticism are increasingly taking place, and attention to the specifics of art is being revived. Discussions about self-expression, about “quiet” lyrics, about document and fiction in artistic creativity also do not pass by. In 1971, the resolution “On Literary and Artistic Criticism” was adopted, which undoubtedly shows how much more importance was given to the development of criticism in these years. Undeservedly forgotten names and the books of I. Babel, A. Vesely, I. Kataev, P. Vasilyev, B. Kornilov were restored to literature. Also, the works of M. Bulgakov ("Selected Prose", "The Master and Margarita"), A. Platonov (prose), M. Tsvetaev, A. Akhmatov, B. Pasternak are returning to literature. The 60s are considered a phenomenon in the history of Russian literature of the 20th century. During this period of history, a whole galaxy of names of talented prose writers appeared to the world. First of all, these were writers who came to literature after the war: F. Abramov, M. Alekseev, V. Astafiev, G. Baklanov, V. Bogomolov, Yu. Bondarev, S. Zalygin, V. Soloukhin, Y. Trifonov, V. Tendryakov. The heyday of the creativity of these writers occurred in the 60s. During this period, the flourishing of artistic journalism became a feature of the literary process. (V. Ovechkin, E. Troepolsky, B. Mozhaev). Already at the end of the 1950s, social and cultural renewal was proceeding very slowly and internally contradictory. A distinct opposition between the two forces has emerged. Despite the clearly positive trends in the publication of new works, there were often critical attacks and even organized campaigns against writers and works that were new stage social and literary development. (I. Orenburg’s story “The Thaw” and his memoirs “People, Years, Life”, B. Pasternak’s novels “Doctor Zhivago”, V. Dudintsev’s “Not by Bread Alone”, etc.) Artists, young poets and prose writers were also attacked from N.S. Khrushchev, who gave crude, elaborate speeches at meetings with the creative intelligentsia in late 1962 and early 1963. In 1962, Khrushchev made a decision to put in place the very “loose” writers and artists who increasingly demanded freedom of creativity. At subsequent meetings, Khrushchev more than once subjected cultural figures to harsh criticism. In December 1962, an exhibition of works of fine art was organized in Manege, which Khrushchev also visited. Among the exhibits were several paintings and sculptures made in the style of abstract art, so fashionable in the West. Khrushchev was angry, believing that the authors were mocking the audience and wasting people’s money in vain. In his denunciation of the authors, Khrushchev went so far as to publicly insult him, as a result of which many participants were deprived of the right to exhibit and were also deprived of earnings (not a single publishing house accepted their work even as illustrations). Among the artistic intelligentsia, this behavior caused a sharp dissonance, discontent began to quickly spread and result in a critical opinion about Khrushchev and his policies, and many anecdotes appeared. At the same time, the works of artist Robert Volk, sculptor Ernest Neizvestny, poet Andrei Voznesensky, and film director Marlen Khutsiev were subjected to harsh criticism. The works published in "New World" by A. Tvardovsky were subject to critical attacks, which is why he was forced to leave the magazine in 1970. Also, Boris Pasternak was persecuted, trial over Joseph Brodsky, accused of “parasitism” and exiled to the North, the “case” of Andrei Sinyavsky and Yuli Daniel, convicted for their artistic works published abroad, the persecution of A. Solzhenitsyn, V. Nekrasov, Alexander Galich. Literature of the 70s-90s Since the mid-60s, the “thaw” has subsided. The “thaw” period gave way to the Brezhnev era of stagnation (70-80s), which was marked by such phenomena as dissidence. For the open expression of one's political views, significantly different from the policies of the state, communist ideology and practice, many talented authors were forever separated from their homeland and were forced to emigrate. (A. Solzhenitsyn, V. Nekrasov, G. Vladimov, N Aksenov, I. Brodsky). In the mid-80s, M. S. Gorbachev came to power, this period was called “perestroika” and it passed under the slogans of “acceleration”, “glasnost” and “democratization”. In the context of the rapid socio-political changes unfolding in the country, the situation in literature and social cultural life, which led to a publishing “explosion”. The magazines “Yunost”, “New World”, “Znamya” reach unprecedented circulations, and an increasing number of “detained” works begin to be published. A phenomenon is emerging in the cultural life of the country that has received the symbolic name “returned literature.” During this period of time, new approaches to rethinking the achievements of the past were noted, including the works of the Soviet “classics”. In the second half of the 1980s and in the 1990s, the works of M. Bulgakov and Andrei Platonov, V. Grossman and A. Solzhenitsyn, Anna Akhmatova and Boris Pasternak, which were previously banned, began to be conceptualized as the most important components of the literary processes of the XX centuries. Particular attention was paid to writers from the Russian diaspora - the first and subsequent waves of emigration: the works of Ivan Bunin and Vladimir Nabokov, Vladislav Khodasevich and Georgy Ivanov, etc. The names of Vasily Aksenov, Georgy Vladimov, Vladimir Voinovich, Sergei Dovlatov, Vladimir Maksimov, Viktor Nekrasov, Joseph Brodsky, Alexander Galich. In the works of prominent writers in the second half of the 80s, problematic and thematic layers of fiction and memoir literature, telling about the historical past, stood out. First of all, they talked about the tragic events and trials of the era (Stalinist repressions, dispossession and 1937, “ camp theme"). Illustrative examples of this period of literature include lyrical works large form: poem-cycles by A. Akhmatova (“Requiem”), A. Tvardovsky (“By the right of memory”) and others. “Detained” works were not only publications outstanding works 20-30s and 50-60s. (A. Platonov’s “The Pit”, “Chevengur”, M. Bulgakov’s “Diaboliad” and “Heart of a Dog”, V. Grossman’s “Life and Fate”, “Everything Flows”, A. Solzhenitsyn’s “In the First Circle”, “Cancer Ward” ", Y. Dombrovsky "Keeper of Antiquities", "Faculty of Unnecessary Things", V. Shalamov "Kolyma Tales"), but also the creations of contemporaries: "New Purpose" by A. Beck, "White Clothes" by V. Dudintsev, "A Golden Cloud Spent the Night "A. Pristavkina, "Children of Arbat" by A. Rybakov. The literature of these and subsequent years developed in a complex manner, showing the influences of realism, neo-avant-garde and postmodernism. The question of creating historically accurate, authentic philosophical literature about the era and its people in all its complexity hung on the lips of a silent question readership. At the end of the 1980s, the literary scholar and critic G. Belaya, in the article ““Other” prose: a harbinger of a new art,” asked one of the main questions of that time: “Who belongs to the “other” prose?” The list of authors of “other” prose was quite varied: L. Petrushevsky and T. Tolstoy, Venedikt Erofeev, V. Narbikov and E. Popov, Vyach. Pietsukh and O. Ermakov, S. Kaledin and M. Kharitonov, Vl. Sorokin, L. Gabyshev and others. These writers were really different: in age, generation, style and poetics. Works of “other” prose sharply criticized and challenged Soviet reality. Art space This school had a dormitory, communal apartments, kitchens, barracks, and prison cells. And their characters are marginalized: homeless people, lumpen people, thieves, drunkards, hooligans, prostitutes. At the same time (80s), a new generation appeared in literature that called itself “forty-year-old” prose writers (“Moscow school”). They came with their hero, to describe whom critics introduce the definitions “middle” and “ambivalent” (V. Makanin, A. Kurchatkin, V. Krupin, A. Kim). Development of Prose In the works “The Thaw” by I. Ehrenburg, “Not by Bread Alone” by V. Dudintsev, “The Battle on the Way” by G. Nikolaeva, attempts to comprehend the contradictions of socio-political development are very clearly expressed. The authors tried to focus attention on social, moral and psychological problems. Works created during the “thaw” attract attention not more with the traditional depiction of the battle between two worlds in the revolution and civil war, but with the internal dramas of the revolution, contradictions within the revolutionary camp, and clashes of different moral positions of people involved in historical action. This is what became the basis of the conflict in P. Nilin’s story “Cruelty”. The humanistic position of a young coal investigation officer, Veniamin Malyshev, comes into conflict with the senseless cruelty of the head of the criminal investigation department. A similar conflict determines the development of the plot in the novel “Salty Pad” by S. Zalygin. From the beginning to the end of the novel, the thought of the earth and the need to protect its beauty from thoughtless cruelty and selfishness of the plunderers, from indifferent connivance is stitched with a white thread. The most dear ideas to the author are presented by Nikolai Ustinov, a hero spiritually close to our time. “All people are born from the earth - children, fathers, mothers, ancestors, and descendants - but ask, do they recognize their own mother in her face? Do they love her? Or do they just pretend that they love, but in reality they only want to take from her and take, while love is, after all, the ability to give? And it can't even be true loving person don't give. The earth is always ready to die for the sake of people, to be worn out for them, to crumble into dust, but find a person who will say: “I am ready to die for the sake of the earth!” For the sake of its forests, steppes, for the sake of its arable land and the sky above it! "["Salty Pad" by S. Zalygin.] To the young prose writers of the times of the "Thaw" (: G. Vladimova, V. Voinovich, A. Gladilin, A. Kuznetsov, V. Lipatov, Y. Semenov, V. Maksimov) were characterized by moral and intellectual quests. The “young” prose of the 1960s, or “confessional”, as its critics called it, began with just one person - V. Aksenov. The works of writers of “young” prose were published in the pages of the magazine “Youth”. The hero, who did not correspond to generally accepted canons of behavior, was very attractive to prose writers of that time. Such literary heroes were characterized by an ironic attitude towards the world around them. And only now it becomes clear that behind this screen of irony and causticity of the hero, many authors had a tragic family experience: pain for the fate of repressed parents, personal instability, ordeals in life. But not only tragedy became the basis of interest in this type artistic heroes, the ins and outs were hidden in high self-esteem, which gave rise to the belief that without complete freedom they would not be able to fully realize their creative potential. Sorzrealist aesthetics imposed the idea of the Soviet man as an integral personality living in harmony with his beautiful modernity, but “young” writers could not accept this instruction, which is why a young reflective hero appeared in literature. Mostly these were yesterday's schoolchildren taking their first steps in big world. A. Kuznetsov begins his story “The Continuation of the Legend” with the hero’s recognition of his “immaturity” and helplessness. Critics found the reason for the discord in the soul of the hero of “young” prose in the breakdown in the self-awareness of Soviet society, which occurred at the beginning of the “thaw”. At that moment, the ideological myths that had been instilled for the last forty years began to creak, and in this breakdown the moral well-being of the youngest generation suffered the most , which led to a crisis of faith. “Why was it necessary to prepare us for an easy life?” [“Continuation of the Legend”, Anatoly Kuznetsov] – asks the main character, finding himself in the “open voyage” of the adult world. This is precisely what became the conflict in “young” prose; the world turned out to be different from how it was depicted in textbooks and books, and behind the doors of the school something completely different, new began, for which the younger generation was not yet prepared. The world was changing and it scared everyone. Many wanted a beautiful, excited life, such as the heroes of V. Aksenov’s story “Colleagues” (1968), but their romantic idea of the world is opposed by the rough and ugly prose of reality that colleagues face immediately after graduating from medical school. Sasha Zelenin ends up in the village, where they receive medical treatment the old fashioned way, and Maksimov has to do routine sanitary and quarantine service at the port instead of sailing the seas and oceans. Both heroes face evil: Zelenin with the bandit Bugrov, and Maksimov with the swindler Yarchuk, whom he leads to clean water. All the heroes of the confessional must pass the test of the temptations of compromise: vulgarity, cynicism, opportunism. The main conflict that develops in “young” prose is the conflict between fathers and children. In his story “Star Ticket,” V. Aksenov makes the older generation look comical. The revolt of the “star boys” is nothing more than a protest against a template, a standard, a refusal to obey old norms. This is the desire to be yourself and control your own destiny. However, it is worth noting that in to a greater extent all the spiritual wanderings of the authors of “young” prose led them to a tragic outcome - emigration, since Soviet authority I couldn’t accept such new views. In the prose of the 60s, one more movement can be distinguished - lyrical prose, which was represented by such writers as K. Paustovsky ("The Tale of Life"), M. Prishvin ("In the Fog"), V. Solomin ("A Drop of Dew" ), O. Bergoltz ("Day Stars"). Works of lyrical prose reveal not so much external movement as the world of the soul literary hero. The main thing in such works was not the plot, but the feelings of the characters. “A Drop of Dew”, “Vladimir Country Roads” by V. Soloukhin and “Day Stars” by O. Bergolz from the moment of their appearance were considered examples of lyrical prose, where not only the lyrical principle dominates, but also the epic. The story "Vladimir Country Roads" by V. Soloukhin is a narrative genre in which there is not only a lyrical beginning, but also elements of a document, essay and research. Anti-philistine, everyday prose can be represented by the works of Y. Trifonov, Y. Semin ("Seven in One House"), V. Belov ("Education According to Doctor Spock"). Novels “And It’s All About Him” by V. Lipatov and “Territory” by O. Kunaev. They were most significant in “production” prose. "Camp" prose is represented by the works of A. Solzhenitsyn ("One Day in the Life of Ivan Denisovich"), V. Shalamov ("Kolyma Tales"), G. Vladimov ("Faithful Ruslan"). This prose also includes the memoirs of former camp inmates O. Volkov (“In the Darkness”), E. Ginzburg (“ Steep route"). The deepening of artistic conflicts, the desire to explore in their entirety and complexity the contradictions of development, are especially noted in the prose of these years. One can also notice the enrichment of the genre-compositional and stylistic structure of works about war, the widespread use of conventional forms of depiction, and the complication of the author's work. Spiritual renewal society was provoked by perestroika in the 80s. It was perestroika that made it possible for many writers to talk about the lack of prosperity with the upbringing of the younger generation. It was at this time that the reasons for the decline of morals in society were revealed. Writers V. Astafiev (“Sad Detective”) spoke about this. Aitmatov (“Scaffold”), F. Abramov (“House”). The pinnacle achievement of literature of the 60-90s was military and village prose. Military prose was characterized by the authenticity of descriptions of military operations and the experiences of the heroes, so the author military prose was, as a rule, going through everything that she described in her work, for example, the novel “Cursed and Killed” by Viktor Astafiev. Village prose began to appear back in the 50s (“essays by Valentin Ovechkin” by Alexander Yashin, Anatoly Kalinin, Efim Dorosh), but did not have sufficient strength and interest to stand out as a separate direction. And only by the mid-60s did “village prose” reach the required level of artistry ( great importance had Solzhenitsyn’s story “Matryonin’s Dvor” for this purpose). Conclusion. In the forty years since the end of the “thaw,” society has managed to change dramatically, both in terms of the political regime and in its views on the world. Russian literature entered the fifties as a daring teenager who liked to look at the world, it was ready to be insolent and shout to the authorities, spit poison and resist in every possible way, defending its freedom. But over time, when gatherings in kitchens, exile and public insults began to fade, Russian literature was reborn into a timid youth, for whom the time had come to comprehend everything that he had done. Questions about the future, past and own present have become burning questions. Despite all the tragic history that the authors of the 50-90s had to endure, despite all the harsh criticism and other repressions, Russian literature, thanks to the events of these years, was greatly enriched and moved to a different, more meaningful and deep level. Studying Russian literature of Soviet times can greatly help the development of any modern teenager, since leaving schools or colleges, looking around the world, we, like the authors of the “young” generation, do not know where to put ourselves.
Main sources:
1. Zinin S.A. Sakharov V.I. Russian language and literature. Literature: textbook for 11th grade: at 2 hours - M.: Russian Word, 2014. - 280 p. and 480s.
2. Kurdyumova T. F. et al. Russian language and literature. Literature (basic level). 11th grade: in 2 hours / ed. T. F. Kurdyumova. - M., 2014
3. Mikhailov O. N., Shaitanov I. O., Chalmaev V. A. et al. Russian language and literature. Literature (basic level). 11th grade: in 2 hours / ed. V. P. Zhuravleva. - M., 2014.
Additional sources:
1. Belokurova S. P., Dorofeeva M. G., Ezhova I. V. and others. Russian language and literature. Literature (basic level). Grade 11. Workshop / ed. I. N. Sukhikh. – M., 2014.
2.Obernikhina G. A., Antonova A. G., Volnova I. L. and d R. Literature: textbook for institutions of secondary vocational education: in 2 hours / ed. G. A. Obernikhina. - M., 2015.
3. Obernikhina G. A., Antonova A. G., Volnova I. L. and etc. Literature. workshop: textbook. manual / ed. G. A. Obernikhina. - M., 2014.
4. Sukhikh I.N. Russian language and literature. Literature (basic level). 11th grade: at 2 o'clock - M., 2014.
Electronic resources:
Russian literature of the twentieth century, 20-90s. Access form: www.fplib.ru/id/russian/20vek/
Criteria for evaluation:
Verbal response
When assessing the answer, you must be guided by the following criteria:
1) completeness and correctness of the answer;
2) the degree of awareness and understanding of what has been learned;
3) linguistic design of the answer.
Grade "5" is given if the student:
1) fully presents the studied material, gives correct definitions linguistic concepts;
2) shows an understanding of the material, can substantiate his judgments, apply knowledge in practice, give the necessary examples not only from the textbook, but also compiled independently;
3) presents the material consistently and correctly from the point of view of the norms of literary language.
Grade "4" is given if the student gives an answer that satisfies the same requirements as for a “5” grade, but makes 1-2 mistakes, which he himself corrects, and 1-2 shortcomings in the sequence and linguistic design of what is presented.
Grade "3" is given if the student demonstrates knowledge and understanding of the main provisions of this topic, but:
1) presents the material incompletely and allows for inaccuracies in the definition of concepts or the formulation of rules;
2) does not know how to substantiate his judgments deeply and convincingly enough and give his examples;
3) presents the material inconsistently and makes mistakes in the language of the presentation.
Grade "2" is given if the student reveals ignorance of most of the relevant section of the material being studied, makes mistakes in the formulation of definitions and rules that distort their meaning, and presents the material in a disorderly and uncertain manner.
II. Periods of physical development