Features of the development of literature 1950 1980. The work program of the academic discipline od b

After studying the chapter, the student must:

know

• changes in the social and cultural situation during the "thaw";
• about the ideological and creative positions of the magazines "New World" and "Our Contemporary", about the role of these publications in the literary process of the second half of the 1950s - early 1980s;
• about the most important directions of prose during the second half of the 1950s - early 1980s;
• the role of M. A. Sholokhov and A. I. Solzhenitsyn in the literary situation of the period under consideration;
• the reasons for the emergence of literature of the third wave of Russian emigration;

be able to

• determine the typological features of military, village and urban prose; analyze literary texts of the most significant works of the second half of the 1950s - early 1980s;
• to highlight the elements of conventional narrative, mythopoetics, postmodern poetics in the works of realist writers;

own

the concepts of "socialist realism", "urban prose", "village prose", "symbolism", "mythopoetics".

Literary and social situation

Literary process of the second half of the XX century. is fundamentally different from the previous period of literary development (1930–1950s). Previously, the main characteristic of literature was the obvious opposition of realism and modernism, very sharp in the 1920s, weakening in the 1930s and almost disappearing by the middle of the century, giving rise at the same time to the phenomenon of socialist realism. The next period of literary development

tia, especially the 1950s – 1960s, was not marked by the opposition of any aesthetic systems. First of all, this is due to the fact that a kind of result of literary (and extra-literary, socio-political) development of the 1930-1950s. was the formation monistic concept Soviet literature, which excluded the existence of any aesthetic system other than socialist realism, which canceled the very possibility of aesthetic or ideological opposition. The movement of literature was determined by circumstances of a different kind: it was the knowledge of different aspects of national life and national destiny in the historical realities of the 20th century. Aesthetically, this was a return to realism, a gradual departure from the aesthetic and ideological canon of socialist realism, as it had developed by the early 1950s; in the cognitive, cognitive terms - a gradual movement from the socialist realist mythology that was formed at the same time to comprehending the actual and historically significant facets of national life.

Every era, reflected. M. Bakhtin, has its own value center in the ideological outlook, to which all the paths and aspirations of ideological creativity converge. Such ideological centers, forming their own circle of cognitive interests, the literature of the second half of the XX century. knew a few. They folded into a kind literary directions, each of which was defined by its subject, its theme, its in-depth study, research of its socio-historical genesis. The fate of the Russian village in the historical realities of the 20th century; The Great Patriotic War; GULAG as a national tragedy; the personality of a modern thinking person, immersed in everyday life and at the same time striving to gain orientation in the historical and cultural space - these themes constituted the main directions of literature in the second half of the 1950s - early 1980s. Village, military, camp, urban prose - they all developed in line with realistic aesthetics, which in the second half of the century re-discovered its productivity.

However, the literature of this period is not limited to the development of realistic trends. In the 1960-1970s. initially marginal unrealistic tendencies, which later became much more noticeable and paved the way for the aesthetic expansion postmodernism in the 1990s. It was a deviation from realism, an appeal to the forms of conventional imagery, grotesque, fantastic plot, as in the prose of N. Arzhak (IO. M. Daniel) and A. Terts (A. D. Sinyavsky), L. S. Petrushevskaya and Yu. V. Mamlev, A. G. Bitov and Venedikt Erofeev.

And yet it was not the interaction between various aesthetic systems that determined the literature of the period under review, but its problematics, the main thematic nodes, created by her, and those political and ideological processes, which society has experienced since the mid-1950s. Stalin's death (1953) and the subsequent XX Congress of the CPSU (1956) affected all aspects of social life, including literature. The most significant works created in the post-war years ("Doctor Zhivago" by B. L. Pasternak, the works of A. I. Solzhenitsyn, "Life and Fate", "Everything flows" by V. S. Grossman) could not have been published earlier on political and ideological reasons. But the XX Congress of the CPSU and the report at it by NS Khrushchev on the personality cult of JV Stalin and measures to overcome it became a turning point in Soviet history. From this moment begins a new period of historical and literary development.

A conditional milestone that determines its beginning was the story of M. A. Sholokhov "The fate of man", published in two issues of the newspaper Pravda (December 31, 1956 and January 2, 1957). The story offered a new one for Soviet literature concept of humanism and new heroic concept. His hero, Andrei Sokolov, embodies the typical character of the Russian Soviet man, whose fate is wholly and without a trace connected with national life. He participates in pre-war construction, industrialization, in a war he gives all his strength to victory and loses the most precious thing he had: his wife and child. The narrator, whose meeting with Andrei Sokolov and motivates the composition of the work (the story in the story), notices in the hero traces of incineration by the tragic events of his fate: gray hair, eyes, as if sprinkled with ashes. This is a man who gave everything he had to his country. But if he did everything he could, why didn't he get anything in return? Why is he seen by the narrator in the halo of a wanderer, a wanderer, a pilgrim, walking through his country in search of work, warmth and shelter? Why is he only needed by Vanyushka, the same war orphan like himself - and no one else? Thus, the question of a person's unconditional duty to society, country, state, people, posed by socialist realism back in the 1930s, Sholokhov examines from a new perspective. Does a person who has completely fulfilled his duty have the right to count on reciprocal care - if not material reward, then at least social attention, recognition of his merits, and unconditional respect?

Soviet literature traditionally asserted the heroic on the battlefield, in the transformation of the world, in opposition to inert or hostile historical circumstances (Soviet historical novel), in the resistance of an internally strong personality to a fatal disease ("How the Steel Was Tempered" by N. A. Ostrovsky, "The Road to the Ocean" L . M. Leonova), etc. In M. A. Sholokhov's work, the new concept of the heroic is embodied in concrete historical circumstances least of all suitable for a heroic deed: in a German concentration camp. At the climax of the story, in confrontation with the head of the German camp and other German officers, Sokolov asserts his superiority, keeping his own moral values \u200b\u200bunshakable, remaining a man in inhuman conditions. A thread stretches from the publication of this story to the appearance of the story in Novy Mir (1962, No. 11) "One day of Ivan Denisovich" AI Solzhenitsyn, who opened the topic of the GULAG, which was simply unthinkable a few years earlier. In other words, M. A. Sholokhov's story opened thaw period, as I. G. Ehrenburg aptly defined it as the title of his novel.

This literary period, chronologically almost completely coinciding with the political "thaw", is associated with the editorial policy and literary position of the journal "New world"led by A. T. Tvardovsky... It is impossible to imagine the Soviet 1960s without Novy Mir and its editor-in-chief. The magazine was both a sign, a guarantor, and an organ for the renewal of Soviet society; the book of "Novy Mir" in the hands was like a password, by which they recognized "their" people. Tvardovsky accurately and decisively pursued the policy of the 20th Congress of the CPSU, not going beyond the boundaries of ideological and literary freedom, outlined by the decisions of the Congress. It was then that the words "sixties", "sixties" and the concept denoted by them and including a whole complex of political and ideological ideas arose: loyalty to the communist idea, upholding the ideals of 1917, belief in revolution as a form of world transformation, unconditional Leninism. All this was accompanied by harsh and even uncompromising criticism of the personality cult and confidence in its random and atypical character for the socialist system.

The history of "Novy Mir" under the leadership of A. T. Tvardovsky includes two stages: 1) from the second half of the 1950s. until 1964 (removal of NS Khrushchev from the political leadership); 2) from the second half of the 1960s. before Tvardovsky's forced departure from the magazine in 1970. At the first stage, despite all the inconsistency of Khrushchev's policy, its ideological zigzags and fluctuations, the position of the journal was quite strong, and its artistic and literary-critical orientation was entirely party-oriented: even in Solzhenitsyn's work, Tvardovsky did not see a clear inconsistencies with the sixties ideology. In the Brezhnev era, the position of the magazine became almost critical. After 1964, Tvardovsky spent more than five years trying to maintain the previous course, fighting bureaucratic restoration. This fight ended with his removal.

In terms of aesthetics, "New World" developed the principles real criticism, laid by N. A. Dobrolyubov. Real criticism is, in principle, alien to normativity. The task of the critic is to judge society by literature, since literature is thought of as a unique, in its own way the only source of social information: the artist looks into such spheres of public life, where the gaze of a journalist, publicist, scientist-sociologist does not penetrate. Thus, the Novymirovtsy set themselves the task of identifying the objective social equivalent of a work of art. In this sense, the main opponent of Novy Mir was the Oktyabr magazine, headed by V. A. Kochetov and focused on the old socio-political traditions and social-realistic aesthetic and ideological preferences.

After the departure of A. T. Tvardovsky from the post of editor-in-chief (1970), Novy Mir abruptly lost its former positions in the 1970s – 1980s. the place of the most significant, interesting and consonant with its decade was taken by the magazine "Our contemporary"... It is difficult to imagine a complex of views as far from the "Novyirovsk" ones, with which "Our Contemporary" addressed its reader. It was a yearning for russian national self-identification, attempts to remember the Russian idea through decades of national oblivion and unconsciousness under the sign of internationalism. Such critics as V.V.Kozhinov, Μ. P. Lobanov, V. A. Chalmaev, Yu. M. Loshchits. Turning to Russian history and social thought, the magazine tried to reveal, often quite successfully, the specifics of the Russian view of the world reflected in literature. From the point of view of its literary and social role, its position as the brightest journal that forms a complex of nationally significant literary and socio-political ideas was similar to the one that Novy Mir occupied a decade earlier. It is no coincidence that both magazines found themselves at the epicenter of literary life and both became the object of sharp criticism - both from literary opponents and in the official party periodicals.

To contemporaries observing the literary process during these two decades, it seemed likely that the "New World" of the 1960s and "Our Contemporary" of the 1970s – 1980s. are the poles of the literary-critical process. Indeed, the democracy and internationalism of Novy Mir, social activism and progressivism in the present, the socialist revolution and Leninism as the glorious prehistory of this present clearly did not correspond to the pathos of Our Contemporary, whose authors were inclined to regard the Soviet decades in the subtext of their works as by no means not conducive to Russian national self-identification. The opposition and even hostility of these currents of literary thought for two adjacent decades was quite obvious, although both of them belonged to the same literature and predetermined the nature of its development - each in its own direction. The polemics between the journals enriched literature, increased its semantic volume, supplementing the problematics of a concrete historical perspective with a plan of the eternal, existential, illuminated by thousands of years of national experience.

The decade that followed Stalin's death found an excellent self-determination in literature: the Khrushchev era was called "thaw" by the name of the novel by I. G. Ehrenburg that appeared then. Two subsequent, Brezhnev decades, already in the mid-1980s. were called time stagnation. "Thaw" and stagnation, in fact, characterize two vectors of socio-political development, which both influenced the literary process and were reflected in it.

Of course, the decade of Khrushchev's rule was not overly liberal. It was during this period that such events of social and literary life fell as the persecution of BL Pasternak for the publication in 1957 in Italy of the novel Doctor Zhivago and the award of the Nobel Prize to the writer (1958); the seizure of the novel by V. S. Grossman "Life and Fate" by the state security organs; the famous "bulldozer exhibition" of avant-garde artists, crushed by tractor tracks. Towards the end of the Khrushchev decade, the differences between young avant-garde art and political power became more and more acute. In 1963, Khrushchev visited the exhibition of modernists and avant-garde artists in the Manege and gave the authors a real political blast. V. P. Aksenov and A. A. Voznesensky at the same time found themselves "dragged to the podium in the face of the all-Union activists and, having behind their backs the entire Politburo and Nikita, waving his arms and threatening," they tried to explain their aesthetic views.

This kind of "frost", which happened during the "thaw", began to determine the tendencies of social and political life in the second half of the 1960s. It was during this period that the emergence of third wave of Russian emigration as a literary and political phenomenon. In essence, the third wave of emigration was generated by the duality of the "thaw". On the one hand, an opportunity has opened up for getting out of the oppression of both the political dogma and the socialist realist canon to new aesthetic solutions - both modernist and realistic. On the other hand, the "thaw" did not create the conditions for the realization of these opportunities, and the stagnation that followed made them practically impracticable. Writers who sought to realize their own creative potential, which did not fit into the official Procrustean bed of political and artistic ideology, saw emigration as the path to creative freedom.

The conditional milestone, with which the history of the third wave of Russian emigration begins, may become 1966, when Valery Yakovlevich Tarsis (1906-1983) was expelled from the USSR and deprived of his citizenship. The personality traits of the writer are reflected in his autobiographical character, passing through all 10 volumes of the epic "The Risky Life of Valentin Almazov". The ego is also a romantic, approaching reality from the point of view of his ideal, painfully experiencing loneliness and restlessness, but deliberately choosing such a path that dooms him to the rejection of his contemporaries.

Each of the third wave writers had their own path to the west. In 1969, A. Kuznetsov remained in England, who went there on a business trip; In 1974, A. I. Solzhenitsyn was arrested and subsequently deported, who did not consider himself an emigrant, i.e. voluntarily left. But the overwhelming majority of the writers of the third wave left of their own free will, although the reasons for leaving were different: fear of persecution (V.P. Aksenov, Yu. Aleshkovsky, F.N. Gorenshtein, G.N. Vladimov, A.L. Lvov), desire to be published, to find a reader, to realize creative potential (I. A. Brodsky, Sasha Sokolov, S. D. Dovlatov, Yu. A. Galperin). The integrity of the third wave of emigration is determined only by the then general position of these writers outside their homeland, while internal contradictions, artistic and ideological, were much stronger than the connecting principles.

Cm.: Zubareva E. /ABOUT. Prose of the Russian Diaspora (1970-1980s). M., 2000. P. 7. This book contains a detailed study of the literature of the Russian emigration of the third wave as an integral and internally contradictory literary and socio-political phenomenon.

The peculiarities of the culture of the USSR of this period consisted in the government's struggle against deviations from the "tasks of socialist construction." The pressure and control from the party were so great that they oppressed the freedom of art and science workers. Mass discussions in various branches of science of that time had a negative impact on their participants.

After coming to power N. S. Khrushchevahis meetings with the intelligentsia, at which the secretary general criticized the "formalists" and avant-gardeists for "incomprehensibility", became familiar. It should be noted that Khrushchev was poorly versed in cultural issues, and the majority of "progressive" cultural figures could not openly oppose him. The development of culture took on a utilitarian character.

L. I. Brezhnevspoke out against the two extremes of culture: "denigration" and "embellishment of reality." Works on topical issues were criticized. Works in the spirit of neo-Stalinism were supported. In order to control the culture in the mid-1970s. a system of state orders was introduced. Censorship has increased. The acquaintance of Soviet citizens with foreign artistic culture was constantly limited.

The development of culture in the 1960s-80s. was controversial. Despite the fact that the funds for the development of culture were constantly increasing, the achievements did not match the costs.

During this period, the leadership of the USSR began to pay great attention to education. In 1946, the Soviet government significantly increased spending on science (they were 2.5 times higher than the expenses of the previous year). At the same time, the Academies of Sciences of Ukraine, Belarus and Lithuania were restored, and created in Kazakhstan, Latvia and Estonia. In the post-war period, a whole series of research institutes was organized. War and repression of the 1930s dealt a heavy blow to the intelligentsia, therefore in the 1940s - early 50s. in the Soviet Union there was a shortage of specialists with higher and secondary education.

In the 1940s - early 50s. Soviet science and technology achieved a number of successes in the fields of physics, chemistry, and precision mechanics, but they were mainly directed towards military needs. In 1949, an atomic bomb was tested in the USSR, and research was carried out in the field of chemical and bacteriological weapons.

Branches of science that were not directly related to defense were subject to strict control. The persecution of cybernetics, which was declared a science contrary to the laws of materialism, was indicative in this respect. This had a negative impact on the level of world development of the USSR. A monopoly position in agricultural sciences was taken by the supporters of Academician T. D. Lysenko, who promised to quickly increase the productivity of agricultural crops without serious capital investments.

After Nikita Khrushchev came to power, there was a certain emancipation of historical science. Gradually, there was a departure from the dogmas of a short course in the history of the CPSU (b), a revision of the role of Stalin in the history of the Soviet state. The personality cult of Khrushchev himself was growing.

During the 7-year period (1959–1965), there was a significant shift in the field of technical progress. In July 1956, the first Soviet jet passenger plane TU-104 took off. In 1957, a multistage intercontinental ballistic missile was launched. On October 4, 1957, the Soviet artificial Earth satellite was launched. The USSR became a pioneer in space exploration. On April 12, 1961, the Soviet cosmonaut Yuri Gagarin made the first ever space flight.

In the mid-1950s and early 60s. the development of the mass media (media). Radio broadcasting covered the whole country.

The time of the "thaw" was characterized by the rise of Soviet science and culture. Much attention was paid to secondary and higher education. In December 1958, a law was passed, according to which a universal compulsory 8-year education was introduced instead of a 7-year education.

In 1957, the most powerful elementary particle accelerator in the world, the synchrophasotron, was launched in the USSR. In 1956, a large international research center, the Joint Institute for Nuclear Research, was established in Dubna. The works of Soviet physicists — academicians L. D. Landau, A. D. Sakharov, and others — gained worldwide fame. The production of domestic computer technology began.

The crisis in school education prompted attempts to reform the school (1983–1984). But unpreparedness, lack of understanding of the causes of the crisis in this area led to a rapid rejection of the reform. Already in 1985-1986. it has been folded.

Higher education faced the same problems. Despite the fact that the number of universities and universities in the country was constantly growing, industry and agriculture of the country were in need of qualified personnel. The main reasons for this were:

1) irrational use of university graduates;

2) low level of their training;

3) decline in the prestige of a certified specialist.

The scientific situation was slightly better. Soviet science only in fundamental fields did not lag behind the science of Western countries, in the applied field, and especially in computerization, it was in the last ranks. Significant successes have been achieved by Soviet science in the fields of physics, chemistry, and space exploration.

1985-1991 in the field of education, science and culture are characterized by ambiguity. In the field of education, changes began to take place since 1988. The shortage of teachers increased, as they began to go into commerce in order to secure a decent income. The interest of young people in getting an education has sharply decreased. Alternative education was gradually introduced:

1) gymnasiums were created;

2) lyceums and colleges.

During the 2nd half of the 1980s. in the USSR, there were practically no serious discoveries, and the leading branches of science, such as astronautics, nuclear physics, molecular biology, and others, barely maintained the level achieved in the previous period.

The campaign against cosmopolitanism, which unfolded in the late 1940s and early 50s, had a negative impact on the development of literature and art. Its purpose was:

1) denigrate everything non-Soviet, non-socialist;

2) put up a barrier between the USSR and Western countries.

In 1946-1948. decisions of the Central Committee of the party "On the magazines" Zvezda "and" Leningrad "," On the repertoire of drama theaters and measures to improve it "," On the film "Big Life", "On V. Muradeli's opera" Great Friendship ". Famous Soviet composers and writers were persecuted: S. S. Prokofiev, A. N. Khachaturian, N. Ya. Myaskovsky, A. A. Akhmatova, M. M. Zoshchenko and others, whose work was classified as anti-Soviet.

During the years of the "thaw", the standard of living of the Soviet people rose noticeably. Since 1956, a 6-hour working day has been established for adolescents aged 16-18. In 1956-1960. ended the transfer of all workers and employees to a 7-hour, and in underground and hazardous work - to a 6-hour day.

During the period of the "thaw", there was a noticeable rise in literature and art, which was greatly facilitated by the rehabilitation of some of the cultural figures who were repressed under Stalin. In 1958 the Central Committee of the CPSU adopted a resolution “On correcting mistakes in evaluating the operas“ Great Friendship ”and“ Bogdan Khmelnitsky ”.

At the same time, it was in the sphere of culture that the relapses of Stalinism were most clearly manifested. In 1957-1962. "meetings" of party leaders with cultural and art workers were held, at which extremely harsh assessments of such anti-Stalinist works as the novels "Not by bread alone" by Dudintsev, "Levers" by A. A. Yashin, "Own opinion" by D. A. Granin were heard, and the novel Doctor Zhivago, which was not even published in the USSR, became the reason for the persecution of B. L. Pasternak.

Within the framework of the literary and artistic process of the "thaw", a layer of intelligentsia was formed that was in opposition to the existing regime - dissidents. The appearance of "samizdat" and "tamizdat" literature also belonged to this time.

In many cities, the number of theater studios has increased dramatically. New films began to appear on the screens. It is necessary to name the films of T. E. Abuladze. The penetration of Western cultural products into the country, especially video films, has significantly increased. The prestige of the magazines Novy Mir (editor AT Tvardovsky) and Yunost (editor VP Kataev) was constantly growing.

A real shock for millions of Soviet people was the publication of a short story by A. I. Solzhenitsyn, One Day in the Life of Ivan Denisovich. It should be noted that Khrushchev supported the publication of this book and even publicly approved its nomination for the Lenin Prize. However, the A.I. Solzhenitsyn was not awarded, and Khrushchev himself did not return to this issue.

In the second half of the 1960s. the growth of the dissident movement begins in the country. It became widespread among the intelligentsia of large cities. The concept of "dissidence" included various manifestations. Cultural figures who tried to openly express their doubts became dangerous for the country's leadership; very often they were imprisoned or deported outside the USSR. In 1965, the writers A.D.Sinyavsky and Yu.M. Daniel were convicted for publishing their works in the West. In 1974, A.I.Solzhenitsyn was stripped of his Soviet citizenship and forcibly expelled from the USSR. The film director A.A.Tarkovsky, the director Yu.P. Lyubimov, the writer V.A.Nekrasov, the poet I.A.Brodsky, the cellist M.L. Rostropovich, and others found themselves abroad.

The ideology of neo-Stalinism was also opposed by the "village" prose of V. P. Astafiev and B. A. Mozhaev. A special place in the culture of those years was occupied by books and films by V.M. Shukshin.

Another specific feature of the culture of the 1960-1970s was the so-called. "Tape revolution". Recordings of songs, as well as satirical performances, played at home, were practically uncontrollable and became widespread. The recognized leaders were the bards V.S. Vysotsky, B. Sh. Okudzhava, A. A. Galich and others. Elements of a special, youth pop culture appear and are consolidated.

Since the mid-1970s. inflation began. The scarcity had a profound effect on the mass consciousness. At the same time, official propaganda waged an intensified struggle against "materialism".

In the 1970-1980s. Among the writers are F.A.Ikander, poets I.A. Brodsky, N.M. Korzhavin, A.A. Galich, directors A.A. Tarkovsky, Yu.P. Lyubimov, A.A. German, T. E. Abuladze, S.N. Parajanov, brothers Mikhalkov and others.

Great changes took place in literature and art. A significant event was the return to the Soviet people of the works of the authors of the "Russian Diaspora": philosophers N. A. Berdyaev and V. D. Soloviev, writers D. S. Merezhkovsky, M. A. Aldanov, I. A. Bunin and V. D. Nabokov , the poets NS Gumilyov and IA Brodsky and many others. Many works of the Nobel Prize laureate in literature A. Solzhenitsyn began to appear, first of all The Gulag Archipelago and the historical epic The Red Wheel. The so-called "informal" press began to appear.

In 1947, the Academy of Arts of the USSR was created, and already in the 1950s. in the field of fine arts, a rigid educational and production system was established. The future artist had to go through a number of mandatory stages:

1) art school;

2) school or institute.

He finished his studies with a large thematic painting and then became a member of the Union of Artists. The state was the main customer and purchaser of his works. The main style was the so-called socialist realism (socialist realism), or sots art.

In Soviet painting of the late 1950s - early 60s. the "severe style" was established. The source of inspiration for the masters of the "severe style" was the life of ordinary people, which they conveyed in a sublime poetic spirit. Generalized and laconic images in the paintings "Our everyday life" (1960) by PF Nikonov and "Rafters" (1961) by NA Andronov.

Some masters, in contrast to the themes imposed by socialist realism, turned to other genres:

1) a portrait;

2) landscape;

3) still life.

Nikita Khrushchev criticized abstract artists and formalists at his exhibitions. In particular, the sculptor E. Neizvestny, having no idea of \u200b\u200beither his works or the author himself. The meeting of E. N. Neizvestny and N. S. Khrushchev went down in history. The artist - the military commander of the Patriotic War - took off his shirt in front of the head of state, showed terrible scars from wounds on his back. Khrushchev was amazed and confused.

In the circles of the creative intelligentsia - writers, artists, cinematographers (later they were called "the sixties") - opposition to official art was formed.

Already at the end of the 1950s. formed a group of artists passionate about European and American surrealism. They fully declared themselves in the 2nd half of the 60s and 70s. XX century Each artist developed his own, easily recognizable set of image signs.

Vladimir Borisovich Yankilevsky(born in 1938) graduated from the art studio at the Moscow Polygraphic Institute. His works - "The Atmosphere of Kafka" (1969), a series of engravings "Mutations" (1970s) and others - are puzzles composed of various icons that evoke associations with tables, diagrams, graphs, etc. Later, Yankilevsky began to create three-dimensional objects.

Ilya Iosifovich Kabakov(born in 1933) chose a different visual "dictionary" for his works: pictures for children's books, stands, wall newspapers, posters. However, in the artist's compositions they lose their usual functions, and the viewer is invited to come up with another purpose for them.

Son of E. L. Kropivnitsky Lev Evgenievich Kropivnitsky(1922-1994) and V. I. Nemukhin(born in 1925) used the techniques of abstract expressionism in their work. In addition, Lev Kropivnitsky illustrated books. In the same years, a talented artist and friend of V.S.Vysotsky, M.M.Shemyakin, was expelled from the country.

Masters of different generations, until now only dreamed of freedom of expression, now enthusiastically indulge in experiments in the spirit of modern Western art movements. Soviet artists who worked outside the framework of official art gained fame in the West, since their works were acquired mainly by foreigners. Western critics have called these masters "nonconformists" (from the English. "Dissent"). At the 1962 exhibition in the Moscow Manege, Nikita Khrushchev subjected the "nonconformists" to harsh criticism.

After the exhibition, the "nonconformists" went underground: they staged displays of their works in private apartments, sometimes in clubs and cafes.

The next major performance of the "nonconformists" was an exhibition on a vacant lot in the Moscow region of Belyaevo (1974). The city authorities, in the presence of foreign journalists, dispersed it with the help of bulldozers (it went down in history under the name "Bulldozer Exhibition"). The event received international publicity, and two weeks later, with the permission of the authorities, a new outdoor exhibition took place in Izmailovo. Since then, at official exhibitions until the mid-1980s. a greater variety of themes, traditions, and manner of performance were allowed.

In the 1970s and 80s. among the "nonconformists", forms of avant-garde art such as actions and performances became more and more popular. Here the artist did not represent any work, but himself as the bearer of the idea.

In the 1980s and 90s. Russian art developed in parallel to Western art. Private galleries (M. A. Gelman, A. Salakhova, and others) arose, supporting "non-traditional" art forms.

Similar processes took place in architecture. So, in the 1950s. the party leadership condemned "decoration" and "unnecessary luxury." A course was taken for the mass construction of residential buildings. Asceticism and simplicity became the standards. The predominant position among architectural forms was taken by a parallelepiped, among building materials - concrete (the Kremlin Palace of Congresses, the Taganka Theater).

And in the 1970s and 80s. a variety of shapes, styles, materials became popular. Titanium and glass structures appeared, the historical style was especially fond of architects.

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Presentation on the topic: Russian literature 1950-80s

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Village prose DREEVE NSKAYA PRO ZA - significant, spiritually and aesthetically effective thematic direction in the literature 1960 - early. 1980s, comprehending the dramatic. the fate of the cross, rus. villages in the 20th century, marked by heightened attention to issues of tradition, Nar. morality, to the relationship between man and nature. Although individual works critically interpreting the collective farm experience began to appear already in the early 1950s (essays by Valentin Ovechkin, Alexander Yashin, Efim Dorosh), it was only by the mid-1960s that “village prose” reached such a level of artistry to take shape in a special direction ( Solzhenitsyn's story "Matryonin Dvor" was of great importance for this). Then the term itself arose. F. A. Abramov, V. I. Belov, V. G. Rasputin are considered the largest representatives, "patriarchs" of the trend. The writer and film director V.M. Shukshin became a bright and distinctive representative of the "village prose" of the younger generation.

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Fyodor Abramov The novel of the laureate of the State Prize Fyodor Abramov "Brothers and Sisters" covers about forty years of the life of our society. The writer has created a wonderful gallery of images of workers in the Soviet countryside. Talking about the life of the northern village of Pekashino, F. Abramov reveals the most important, most acute problems of the people's life in recent decades.

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Valentin Grigorievich Rasputin The plot basis of the works is made up of difficult trials that fell to the heroes, the problems of choosing a path, life and death, physical and spiritual. The writer often puts his characters in exceptional situations, usually limited to a certain period during which they must be resolved.

Slide No. 5

Slide Description:

Vasily Ivanovich Belov Vasily Ivanovich Belov (born 23.10.1932, village Timonikha, Vologda region), Russian Soviet writer. Member of the CPSU since 1956. Graduated from the Literary Institute. M. Gorky (1964). He worked on a collective farm, at the Ural plant. Published since 1956. Published a collection of poems "My Forest Village" (1961), a collection of stories "Hot Summer" (1963) and "River Izluki" (1964). B.'s prose is lyrical. Among the books about the modern village, his novels "Habitual Business" (1966) and "Carpentry Stories" (1968) stand out; in them the integral characters of ordinary people of the North were created, despite all the difficulties and hardships, they retained the "warmth of good" and "joy to the world" - the feelings that color their daily life and work.

Slide No. 6

Slide Description:

Vasily Makarovich Shukshin Vasily Makarovich Shukshin was born on July 25, 1929 in the village of Srostki, Altai Territory. In 1945-1947 he studied at the Biysk Automotive Technical School, then worked as a rigger and handyman at the factories of Kaluga and Vladimir, then served in the navy. In 1953-1954 Vasily Shukshin was a history teacher and director of a school for rural youth in his native village of Srostki. In 1960, Vasily Shukshin graduated from the directing department of VGIK, where he studied the art of cinematography in the workshop of Mikhail Romm. Two years later, Shukshin staged the drama "Your Son and Brother", which received the State Prize of the RSFSR.

Slide No. 7

Slide Description:

Roles in the films "Near the Lake" (director Chernykh), "Stove-benches" (Ivan Rastorguev) and "Kalina Krasnaya" (Yegor Prokudin) brought Shukshin world fame, and the films he shot put him among the most interesting directors 1960-1970- x years. It is worth noting that the famous director and writer staged almost all films according to his scripts, and the first stories he wrote were published in 1959. In 1974, Sergei Bondarchuk, director of the film They Fought for the Motherland, invited Vasily Shukshin to one of the main roles, the soldier Lopakhin. After this work, Shukshin was going to stage a picture about Razin based on his novel "I Came to Give You Free ...". During filming at Bondarchuk, in the village of Kletskaya, Volgograd Region, on October 2, 1974, Vasily Shukshin died, some of the circumstances of his death have not been fully clarified.

Slide No. 8

Slide Description:

Camp prose. LAGERNAYA PROSE ", literary works created by former prisoners of places of detention. Camp prose is a unique phenomenon not only in Russian, but also in world literature. It is generated by an intense spiritual desire to comprehend the results of the catastrophic events that have taken place in the country over the course of the twentieth century. Hence the moral and philosophical potential that is contained in the books of the former GULAG prisoners I. Solonevich, B. Shiryaev, O. Volkov, A. Solzhenitsyn, V. Shalamov, A. Zhigulin, L. Borodin and others, whose personal creative experience allowed them not only to capture the horror of the Gulag dungeons, but also to touch upon the "eternal" problems of human existence.

Slide No. 9

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Slide No. 10

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Yuri Osipovich Dombrovsky Russian Soviet writer. Born April 29 (May 12) 1909 in Moscow, in the family of a lawyer. In 1932 he graduated from the Higher Literary Courses, in the same year he was arrested and exiled to Alma-Ata. He worked as an archaeologist, art critic, journalist, was engaged in teaching activities. In 1936 he was arrested again, but released a few months later. The story of this arrest formed the basis of the novels Keeper of Antiquities (1964) and The Faculty of Unnecessary Things (1978). Dombrovsky kept in them the real names of his investigators, Myachin and Khripushin. In 1938 he published the novel Derzhavin, a year later he was again arrested and sent to the Kolyma camps, from where in 1943, sick, he returned to Alma-Ata. In the winter of 1943, in the hospital, he began writing the novel A Monkey Comes for His Skull (publ. 1959). In 1946 he began working on a cycle of novellas about Shakespeare, The Dark Lady (published 1969). In 1949 Dombrovsky was again arrested, spent six years in prison in the Far North and in Taishet. In 1956 he was rehabilitated for lack of corpus delicti and received permission to return to Moscow.

Slide No. 11

Slide Description:

Slide No. 12

Slide Description:

Urban prose. In the 1960-1970s, migration processes intensified in Russia. The urban population began to increase rapidly. The composition and interests of the readership changed accordingly. In those years, the role of literature in the public consciousness was much more active than it is now. Naturally, the habits, demeanor, way of thinking, and the psychology of urban aborigines in general attracted increased attention. On the other hand, the life of the new settlers, in particular the so-called limiters, provided writers with ample opportunities for artistic exploration of new areas of human existence. The heroes of the works are “… not workers and not peasants, not the elite. They are employees, workers in science, humanities, engineers, neighbors in houses and dachas, just acquaintances. "

Prepare a message about poets, expressive reading of poems

Objective: to generalize and concretize the knowledge of students about the development of the country during the so-called stagnation period; to form knowledge about how people lived during that period; systematization and quality control of knowledge in the studied section.

Execution form:message

Necessary equipment:educational literature, portraits, illustrations on the topic

Requirements:write a message in accordance with the requirements, prepare for an oral presentation

Control questions:

Literature review in the 1950s-1980s

Life and career of one of the poets.

Reading and analyzing poems

Main theoretical material:

Main theoretical material:

50s became for many poets "New" breath in their work after the prohibitions and repressions of the 30-40s. One of the brightest poets of the 50s. was N. Zabolotsky. By the indicated time, the poet had gone his tragic path: he was arrested, served a six-year sentence and was "silent" for a long time, despite the popularity of his the first book "Columns".

In the 50s. a number of changes occur in Zabolotsky's poetry: sincere openness, philosophicality, attention to the living human soul is sharpened. It was during this period that the most popular works of the poet were created: "In the Cinema", "Ugly Girl", "On the Beauty of Human Faces", "Portrait", etc. Zabolotsky's poems of this period are full of cultural and historical motives (the portrait of Struyskaya Rokotov from "The Portrait" ), reflections on the harmony of man and nature, on the feelings and problems of the individual. The author encourages you to admire the greatest creations:

Love painting, poets!
She alone is given
Souls of changeable omens
Transfer to canvas.

He ponders over eternal questions about true human beauty, coming to the conclusion that real beauty is spiritual, "a fire flickering in a vessel." In the poem "On the beauty of human faces" Zabolotsky reveals the paradoxical independence of the external beauty of a person from the internal beauty:

But I once knew a little hut,
She was ugly, not rich,
But from her window at me
The breath of a spring day flowed.
Truly, the world is great and wonderful!
There are faces that resemble jubilant songs.
From these, like the sun, shining notes
The song of heavenly heights is composed.

Poetry 60-80s thematically very diverse. The names of the "sixties" Yevtushenko, Rozhdestvensky, Voznesensky are still heard, but new "heroes" are coming. Poetry of the last decades of the 20th century has become more philosophical and less optimistic, and has also significantly expanded its thematic range.

During this period, the songwriters V. Vysotsky and B. Okudzhava continue to be popular. Distinctive features of the lyrics of V. Vysotsky steel socio-psychological orientation, protest against lack of freedom; Vysotsky's verses are chased and strict, but behind this form lies the poet's sincere reasoning about the reality surrounding him. The poet in his works is guided by humanistic values, which he cannot exchange for tinsel and glory:

I don't like arenas and arenas
They exchange a million for a ruble,
May there be big changes ahead
I will never love it.

B. Okudzhava's poems are famous for their philosophical understanding of everyday life. Okudzhava's works are dedicated to the highest values, eternal issues of being - life, death, love, fidelity. The main goal of the poet is, having told about nobility and dignity, to show human destiny as a service to Good. That is why even today one can hear “Song of the Arbat”, “Sentimental march”, “The last trolleybus”, “We will not stand the price” by Okudzhava.

From Kursk and Orel
The war brought us
To the very enemy gates -
Such, brother, things.
Someday we will remember this–
And he will not believe himself ...
And now we need one victory
One for all - we will not stand for the price

Information Support:

Main sources:

1.Zinin S.A. Sakharov V.I. Russian language and literature. Literature: textbook for grade 11: in 2 hours. - M .: Russian word, 2014. - 280 p. and 480s.

2.Kurdyumova T.F. et al. Russian language and literature. Literature (basic level). Grade 11: 2 hours / ed. T.F. Kurdyumova. - M., 2014

3. Mikhailov ON, Shaitanov I. O., Chalmaev V. A. et al. Russian language and literature. Literature (basic level). Grade 11: 2 hours / ed. V.P. Zhuravleva. - M., 2014.

Additional sources:

1. Belokurova S. P., Dorofeeva M. G., Ezhova I. V. et al. 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: a textbook for institutions of secondary professional 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). Grade 11: 2 hours - M., 2014.

Electronic resources:

Russian literature of the twentieth century, 20-90s. Access form: www.fplib.ru/id/russian/20vek/

Criteria for evaluation:

Message evaluation criteria

Knowledge of factual material, assimilation of general concepts, concepts, ideas;

The correctness of the formulation of the goal, the definition of the research tasks, the correspondence of the conclusions to the tasks to be solved, the set goal, the convincingness of the conclusions;

Comprehensive disclosure of the topic, the consistency and consistency of the presentation of the material, the correctness of the argumentation and the system of evidence, the nature and reliability of examples, illustrative material;

Use of literary sources;

Culture of written presentation of material;

The culture of design of work materials.

Verbal response

When evaluating the answer, one must be guided by the following criteria:

1) completeness and correctness of the answer;

2) the degree of awareness, understanding of the studied;

3) the language of the answer.

Assessment "5" placed if the student:

1) fully sets out the studied material, gives correct definitions of linguistic concepts;

2) reveals an understanding of the material, can substantiate their judgments, apply knowledge in practice, give the necessary examples not only from the textbook, but also independently compiled;

3) presents the material consistently and correctly from the point of view of the norms of the literary language.

Assessment "4" is posed if a student gives an answer that meets the same requirements as for grade "5", but makes 1-2 mistakes, which he himself corrects, and 1-2 shortcomings in the sequence and language design of the presentation.

Assessment "3" is put if the student discovers knowledge and understanding of the main provisions of the topic, but:

1) presents the material incompletely and makes inaccuracies in the definition of concepts or the formulation of rules;

2) does not know how to substantiate his judgments deeply and convincingly and give his examples;

3) presents the material inconsistently and makes mistakes in the language of the presentation.

Assessment "2" is posed 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 way.

Similar information.

Objectives:

Lesson type:

Lesson type:lecture with elements of analysis.

Methodical techniques:

Predicted result:

Equipment

During the classes

I. Organizational stage.

II. Motivation for learning activities. Goal setting.

1. Word of the teacher.

• What do you know about the period of the "thaw" in the history of Russia?

Literature has always been a reflection of life. Let's see 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 - the name of the poetic holiday, which became annual on this day throughout the country, poems were read, poets appeared on the impromptu scenes of squares and stadiums. The country lived on poetry. And poetry was in a hurry to prove that prosaic gray everyday life does not exist, that the everyday world is beautiful if you look at it with confidence and love it.

Poetic echoes swept across the country. Sincerity became the motto and appeal of that poetic moment. After the deaf Stalinist decades, poetry reflected the renewal of the 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 poetry of the older generation was devoted to the comprehension of 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 developed genres of civil, philosophical, meditative and love lyrics, various lyric-epic forms.

Frontline lyrics

TO "Eternal" themes were addressed in their work by poets of the front generationwho sought to express their own vision of war and man in war. One of the cross-cutting motifs of the poetry of the front-line soldiers was memory theme... For S. Gudzenko, B. Slutsky, S. Narovchatov, A. Mezhirov, Y. Drunina and others. The Great Patriotic War has always remained the main measure of honor and conscience.

I'm all sad about my overcoat

I see smoky dreams -

No, they failed me

Return from the War.

<...>

And where can I go?

A friend was killed in the war.

A silent heart

It began to beat in me.

(Yuri Drunina, "I am all sad about the greatcoat ...")

• Message. The work of Julia Drunina (1924-1991)

Yulia Vladimirovna Drunina was born in 1924, and in 1989 a two-volume book of works by Y. Drunina was published, in which her autobiography was published. Sixty-one pages — and nearly all of life — are destiny scorched by war. For Yu. Drunina, this war lasted all her life, became the measure of all human values.

Yulia Drunina belongs to a generation whose youth passed the test of maturity on the front-line roads of the Great Patriotic War. As a 17-year-old graduate of one of the Moscow schools, she, like many of her peers, voluntarily went to the front in 1941 as a soldier of a medical platoon.

In Yulia Drunina's poems, nostalgia for the romance of the civil war begins to sound louder and louder:

Eh, the hot days have sailed away,

Don't come back again.

I remember how red in the old dust

Young blood.

These words contain a child's thirst for achievement, which lived both in the young poet and in many of her peers. The fate of Yulia Drunina can be called both happy and tragic at the same time. Tragic - because her early years were crossed out by the war, happy - because she managed to survive and even become a famous poetess, whose poems truly "blow up time" and show us, a generation completely far from the events of the Great Patriotic War, the hardships of the war. Julia 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 to 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 the first prize for literary composition. And, finally, in the rank of the third sanitary inspector in 1943, she was sent to the Belorussian front. On the way to the station, the lines were spinning: "No, this is not merit, but luck - to become a girl a soldier in a war ...", which after a while turned into a poem:

No, this is not merit, but luck -

Become a girl a soldier in a war

If my life had turned out differently,

How ashamed I would have been on Victory Day! ...

Drunina saw how young guys who were not yet twenty years old died. In one of her poems, she cites statistics: "According to statistics, among the front-line soldiers born in 1922, 1923 and 1924, by the end of the war, three percent remained alive."

Fate kept the poet. In the battle trenches, she suffered a lung disease. As a result of physical exhaustion, Drunina ended up in the rear evacuation hospital of the Gorky region. There, for the first time in the entire war, she again wanted to write poetry ...

But difficulties did not stop her. Together with a division of the people's militia, which immediately dug trenches, Julia went to the front. Later, the poetess wrote: “About everything that can be called the romance of war, I have been writing all my life - in poetry. But prosaic details do not go 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 in the horror of war will sound in the later poems of the poetess, as if decades later she did not return from the "bloody fields". Drunina was not a nurse somewhere in the rear hospital, but on the front line, in the very hell. On the fragile girl's shoulders, many wounded soldiers were carried out from under the fire. She was in mortal danger, and dragging a wounded person on her was hard work:

A quarter of the company has already mowed ...

Spread out in the snow

The girl is crying from impotence

Gasps: "I can't!"

The heavy one was caught

There is no more strength to drag him ...

(To that tired nurse

Eighteen became equal years old).

The naturalness, "non-contrivance" of the poetess's poems is manifested in the clear connection of Drunina's works with real events and persons. This is the poem "Zinka" - perhaps the best in the work of Yulia Drunina, dedicated to Zinaida Samsonova - the front-line friend of the poetess, later - the Hero of the Soviet Union, the girl about whom there were legends.

“The fate of the poets of my generation can be called both tragic and happy. Tragic because in our adolescence, in our homes and in our not yet protected, such vulnerable souls, war has burst, bringing death, suffering, destruction. Happy because, having thrown us into the thick of the people's tragedy, the war made even our most intimate poems civil. Blessed is he who visited this world in its fateful moments. "

Drunina never went to editions, did not demand anything, but her poems have always been one of the most read and loved. In 1947, the first collection was published under the title "In a soldier's greatcoat". It includes poems written over the years of the front 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, and 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.

Julia Drunina did not change her poetry, therefore, perhaps, this is the tragedy of the poetess's fate. Yulia Drunina's poems are precise and laconic, lyrical and specific, they conquer me with their truth, originality, their sincerity and artistic beauty - they contain all of Julia Drunina, whom she was in life.

• Reading and analyzing poems.

Julia Drunina. In memory of fellow soldier-Hero of the Soviet Union Zina Samsonova.

We lay down by the broken spruce

We are waiting for it to start to brighten.

It's warmer under the greatcoat

On chilled, rotten ground.

You know, Yulka,

i am not against sadness

But today it doesn't count.

At home, in the apple wilderness,

Mom, my mom lives.

Do you have friends, darling,

i have only one.

Spring is boiling over the threshold.

It seems old: every bush

Waiting for a restless daughter ...

You know, Yulka, I am against sadness,

But today it doesn't count.

We barely got warm,

Suddenly - an order:

"Come forward!"

Again next to me in a damp overcoat

The light-haired soldier is walking.

It got bitter every day.

They walked without rallies and banners.

Surrounded by Orsha

Our battered battalion.

Zinka led us to the attack,

We made our way through black rye

On funnels and gullies,

Through mortal lines

We did not expect posthumous glory.

We wanted to live with glory.

... Why in bloody bandages

Is the light-haired soldier lying?

Her body with her overcoat

I covered, clenching my teeth,

Belarusian winds sang

About Ryazan wilderness gardens.

... You know, Zinka, I -

against sadness,

But today it doesn't count.

Somewhere, in the apple backwoods,

Mom, your mom lives.

I have friends, lover

She had you alone.

It smells like sourdough and smoke in the hut,

Spring is boiling over the threshold.

And the old lady in the colorful dress

I lit a candle near the icon.

... I don't know how to write to her,

So that she does not wait for you.

· Text analysis:

What feelings does the poem evoke? (A storm of feelings: compassion, regret, and indignation. It is rather difficult to describe them).

What kind of fighters does the author show in moments of calm? (Girls-girlfriends who are interested in chatting about everything in the world. These are not heroes at all, but ordinary people, yesterday's schoolgirls. Perhaps one could even say that there is a certain confessional motive).

What are the girls talking about? What are the details of the image of a small homeland? How do you think, with what feelings the heroine speaks about the house? (A small homeland lives in the soul of every soldier:

close people: mom, mother, friends, beloved;

native open spaces: apple backwoods, spring beyond the threshold, house, bushes;

the smells of home, warmth and comfort: dough, i.e. freshly baked bread, smoke, i.e. Russian stove. The feeling of something dear, infinitely close, all-embracing love and tenderness, on the one hand. And on the other - sadness, homesickness).

Part I of the poem can be further divided. How? (Lull - conversation between friends - everyday life. During the first part, even the rhythm changes several times: from melodious to chased)

What, from your point of view, determines the selection of epithets in Part I? (From the rhythm set by the author:

calm - broken spruce; rotten, chilled earth;

conversation of friends - apple backwoods, restless daughter;

military everyday life - a damp greatcoat, a light-haired soldier - what a terrible combination!)

The last stanza is a link between I and II parts.

What events are reflected in Part II? What feelings do they evoke? Support the answer with supporting words.

(Encirclement - attack - battle - Zinka's death. Encirclement - every day it became bitter - a feeling of nearness of death, something inevitable, terrible, "a battered battalion" - a feeling of hopelessness; "walked without rallies and banners" - without enthusiasm, with head; attack: "we wanted to live" - \u200b\u200bthe desire to survive; the death of Zinka: "bloody bandages", "her body", "covered, clenching her teeth" - pain from the loss of a loved one. War is always a tragedy).

What epithets help to realize the bitterness of what is happening? (Battered battalion, black rye, mortal lines, bloody bandages, posthumous glory. What terrible words!)

Find the most common sound in stanza II. What does this technique give?

([p] - imitation of the roar of the battle - the horror of what is happening)

Why is the "apple backwater" changing to "Ryazan wilderness gardens"? (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 in comparison with the first part, although the words are used almost the same? (If in Part I even sadness is light, in Part III it is akin to hopeless melancholy. There is a feeling of treachery and tragedy of life in wartime. The form also changes in comparison with Part I - a monologue addressed to the deceased girlfriend and herself).

What is the image of the mother? (A typical image of a mother praying for her child, asking for the intercession of higher powers. Perhaps, the image of the homeland leading to victory. The mention of a lighted candle is symbolic - a light of hope).

Prove with a test that war takes away the most precious things from people. (The heroine's emotional pain is emphasized by an understatement - the use of ellipsis; an exclamation-question 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 about?

How could the fate of your friends be if there were no war?

Pop lyrics

In the 1950s, a generation of poets, whose youth fell on the post-war period, also entered literature. The poems of E. Evtushenko, R. Rozhdestvensky, A. Voznesensky, popular during the years of the "thaw", were focused on the oratory tradition... Their work often wore journalistic character, in general, in their works, young poets, on the one hand, expressed own attitude to the topical 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 first.

<.„>

What a Northerner I am, fools!

Weak, of course, were my bones,

but on my face through the nodules

erupted menacingly Mayakovsky.

And, all golden from boldness,

breathing the wheat field of the field,

Yesenin's crazy head

ascended over my head.

(E. Evtushenko, "Estrada", 1966)

It was these poets that contemporaries called "Entertainers"... The years of the "thaw" were marked by a real poetic boom: poems were read, written down, and memorized. Poets collected sports, concert, theater halls in Moscow,

Leningrad and other cities of the country. "Entertainers"later

were called the "sixties".

· Message. Poetry by Robert Rozhdestvensky (1932-1994)

The voice of Robert Rozhdestvensky was heard immediately, as soon as the magazine
"October" published in 1955 his youthful poem "My Love". The young poet clearly and simply spoke about things close to many. The credulous, open intonation of this voice, natural democracy and civic fullness of the lyrical expression, when the personal invariably tried to merge with the destinies of the time, country, people, won over.

Rozhdestvensky chose the most difficult path for the poet - lyric journalism. In his poems, time openly declared itself as part of the historical. The blood ties of the present with the past and the future are not only felt here, dissolving in the very atmosphere of the work, they are named, emphasized, and emphasized. The lyrical hero completely merges with the personality of the author and at the same time constantly perceives himself as a part of a common whole, consciously striving to express the main spiritual needs, experience, impulse into the future of his peers, companions in fate. Sober knowledge, a sense of personal responsibility for everything bad and good that is happening in his native land, guides the poet. Mature faith fills him, faith in ordinary hardworking people living nearby, the true creators of history, to which the poet often turns on their behalf.

A characteristic feature of Rozhdestvensky's poetry is the constantly pulsating modernity, the lively relevance of the questions 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.

Love lyrics occupy an important place in the work of Robert Rozhdestvensky. His hero is whole here, as well as in other manifestations of his character. All Rozhdestvensky's poems about love are filled with anxious heart movement. The path to his beloved for a poet is always a difficult path; it is, in essence, the search for the meaning of life, the one and only happiness, the path to oneself.

He does not hide anything from readers, he is "his". The simple truths affirmed by his poetry - goodness, conscience, love, patriotism, fidelity to civic duty, come to readers in the shell of a direct word, an open sermon that really sends our consciousness back to the period of our own childhood, when we were all, in a sense, more free , simple-minded and noble.

Rozhdestvensky sees the world in a large, generalized way: psychological nuances, precise object 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 in the concept.

· Study. Analysis of Rozhdestvensky's poem "On Earth is ruthlessly small."

On Earth, ruthlessly small

there lived and there was a small man.

He had a small office.

And a very small portfolio.

He received a small salary ...

And one fine morning -

knocked on his window

a small, it seemed, war ...

They gave him a small machine gun.

They gave him small boots.

The helmet was issued small

and a small - in size - greatcoat.

... And when he fell - ugly, wrong,

twisting his mouth in an attacking cry,

then there was not enough marble on the whole earth,

to knock out a guy in full height!

The poem "On the Earth is Ruthlessly Small" by Robert Rozhdestvensky tells about the fate of a seemingly little man. Once upon a time there was a small, nondescript, grayish man. Everything was small for him: a small position in a small office, a small salary, a small portfolio and a small apartment, perhaps even not an apartment, but a room in a working hostel or in a communal apartment. And this person would have been very small and inconspicuous until the end of his life if the war had not knocked on the door of his house ...

The little man in the army was given everything that he used to have in pre-war life: everything familiar, dear, small ... He had a small machine gun, and his greatcoat was small, and a flask of water was small, small tarpaulin boots ... And the task is before It was as if a small one was put to him: to defend a section of the front 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 with a terrible grimace of pain and death ... then there was no there is so much marble in the whole world to put a monument to his grave as large as he deserves ...

The chanting of the feat of arms of a simple Russian soldier is the main and only theme of this courageous poem. This poem does not have a classical form. There are no exquisite beautiful metaphors in the spirit of Blok or Gumilyov. But behind its formal simplicity lies the rough and cruel truth of 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 lyricsnamed "Quiet". Poets of this direction united a community of moral and aesthetic values. If the poetry of the "sixties" was focused primarily on the traditions of Mayakovsky, then the "quiet lyrics" inherited the traditions of philosophical and landscape poetryF. Tyutchev, A. Fet, S. Yesenin.

The "quiet lyrics" include the work of the poets N. Tryapkin, A. Peredreev, N. Rubtsov, V. Sokolov, S. Kunyaev and others.

In the darkened rays of the horizon

I looked at the surroundings

Where the soul of Ferapont saw

Something of God in earthly beauty.

And one day arose from a dream

From this praying soul

Like grass, like water, like birch trees,

Wonderful wonder in the Russian wilderness!

And heavenly earthly Dionysius,

Appearing from neighboring lands,

Exalted this wondrous wonder

To hell, never before ...

The trees stood motionless,

And the daisies turned white in the haze,

And it seemed to me this village

Something the holiest on earth.

(N. Rubtsov, "Ferapontovo", 1970)

Kuznetsov, who entered literature in the 1960s, is also close to these poets. According to its pathos creativity of "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 works of the Dagestani poet R. Gamzatov.

Since the 1950s, the literary process has expanded with the genre author's song, which has become extremely popular over time. Song creativity of B. Okudzhava, A. Galich, N. Matveeva, V. Vysotsky, Y. Vizbor and others became one of the forms of overcoming formal-meaningful dogmatism, officialdom

official-patriotic poetry... The true peak in the development of the art song genre came in the 1960s-1970s. The attention of songwriters was 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, the victim I am of trust,

Trouble your parent!

I hear from behind the door:

"Bitten, come in!"

Came in: "My compliments."

I undressed slowly.

"Where is the bite site?"

I say Soul.

Here in the office the former

They tease my soul:

"Say bitten

Which one is you? "

I say: “Normal,

And the growth is not from a boorish one.

So pretty

I didn't think it was a snake. "

(Yu Vizbor, "Bitten", 1982)

· Message. Creativity of Bulat Okudzhava. (1924-1997)

The songs of Bulat Okudzhava appeared in the late 50s of the XX 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, consonant with the state of mind of his contemporaries.

Okudzhava's poetry is inextricably linked with music. His poems, it seems, were born with a melody: it lives inside the poem, belongs to him 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, his poems were known in almost every family, speaks about the true value of his work. What is the reason for such phenomenal popularity?

Okudzhava creates his own distinctive artistic world in his poems, asserts a certain moral position, and not only skillfully conveys everyday situations, interesting and funny human features. Throughout his creative career, Okudzhava has repeatedly turned 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 relatives.

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 it were, in opposition to such a significant poetic and musical phenomenon of the times of "developed socialism" as the ceremonially bravura glorification of Soviet Moscow. His poems about his city are deeply personal, quiet, domestic. 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 he devotes the warmest, tender words to him.

Okudzhava, one of the first, after long years of puritanical hypocrisy, once again sang love, sang a woman as a shrine, fell on his knees before her. Okudzhava opened people's eyes to themselves, his songs, poems inspired thoughts about eternal values, about the essence of life.

The world of Bulat Okudzhava's songs is unusually diverse, it is colorful and semi-fabulous. The poet has not lost his childlike view of the world around him, and at the same time he is a man, wise by experience, who went through the war. In his work, both are surprisingly combined and intertwined.

The poet in his poems often refers to our history. In it, he is primarily attracted to people, not historical facts. Most of his poems are dedicated to the first half of the nineteenth century.

It can be assumed that Okudzhava feels the connection between his time (the thaw of the 50-60s) and the radical time of the reign of Alexander I. He is attracted by the people of the nineteenth century, their high moral quest, painful quest for social thought. It seems that Okudzhava writes about himself, about his friends, putting them in the shoes of historical heroes.

Okudzhava's poetry carries a huge charge of kindness, it reminds us of mercy, love for our neighbor, for the Motherland, for our history, helps us believe in a better and brighter beginning. In his poems, we will always hear "hope, a small orchestra ...

· Reading and analyzing a poem.

MIDNIGHT TROLLEYBUS

When I can't overcome the trouble

when despair sets in

i get on the blue trolleybus on the move,

last,

at random.

Midnight trolley, mchi street,

spinning along the boulevards,

to pick up all the victims in the night

wreck,

crash.

Midnight trolley, open the door for me!

I know how on a chilly midnight

your passengers - your sailors -

come

for help.

I went away from trouble with them more than once,

i touched them with my shoulders.

How much, imagine, kindness

in silence,

in silence.

A midnight trolleybus sails through Moscow

Moscow is fading like a river

and the pain that pounded like a little bird in the temple,

• How, in your opinion, are the poetic, poetic and musical principles in this work related?
• Can the Midnight Trolleybus 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: "Midnight trolleybus" no longer rushes to the park, chased by a tired and angry driver, but - in the world of Okudzhava - Sails like a rescue ship under a flag with a red cross, "so that everyone pick up those who have suffered in the night a crash, a crash "... One must be a very whole and sincere person in order to be able to exist in such a world to the end, without ever breaking away. Because evil - after all, it is here, close by, and even closer, it licks the fragile walls of good Moscow from all sides, splashes over the edge and spreads in muddy waves ...

Universal reckless kindness - this is the pathos of Bulat Okudzhava. "

Lianozovo group

Since the 1960s, avant-garde experiments have resumed in Russian poetry. Experiments in the field of poetry have united various poetic groups, primarily such as Lianozovo group - one of the first informal creative associations of the second half of the 20th century, at the origins of which were the artists E.L. and L.E. Kropivnitsky, the poets G. Sapgir, I. Kholin, and others. Lianozovo group the poet and artist E.L. Kropyvnitsky, whose creative path began in the 1910s, stood. 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 included in Lianozovsky group, unitedstriving for the most complete self-expression and for the creation of new poetics.

And boring.

Write short poetry.

They have less nonsense

And you can read them soon.

(E. L. Kropivnitsky, "Council to Poets", 1965)

Features of the development of poetry in the 50-80s. Literary associations and trends in poetry of the 1950-1980s.

Objectives:

1) educational: the formation of the moral foundations of the worldview of students; creation of conditions for the involvement of students in active practical activity;

2) educational: acquaintance with literary associations and trends in poetry of the 1950-1980s; formation of an idea of \u200b\u200bthe peculiarities of the development of poetry in the 50-80s;

3) developing: development of skills in the analysis of a poetic work; development of mental and speech activity, the ability to analyze, compare, logically correctly express thoughts.

Lesson type: a lesson in improving knowledge, abilities, skills.

Lesson type:lecture with elements of analysis.

Methodical techniques:analysis of 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.