D. Arguments "Historical Memory" to the Composition of the EGE

In different cities, individual memory and memory collective manifests itself in different ways ... I have in my head, for example, an amazing news that has passed, maybe not on the first bands of newspapers and not in the first minutes of news programs. It is about the fact that in the Alexander Garden a few days ago a monument to Alexander I was put. Large monument to the king, and quite distant. By itself, this news maybe not very interesting, it is interesting here. Next to this place was another monument. There was a stele dedicated to revolutionary and utopians, the times of the victory of the October Revolution. Of course, she was a memory of the revolutionary heroes of the past, but in many respects it was facing the future, since it was put by the fact that he perceived, naturally, is purely projectively. This stele was imperceptibly removed under the pretext of recovery (they returned it in the form of Romanovsky obelisk) and near the standard king. Standard, because there was no competition, properly organized, and this monument, according to experts, can be perceived as some billet, already in advance existing.

Question: What kind of memory symbolizes not even this monument by itself, and the gesture of the replacement of one to another? I think that this kind of gestures, which are done constantly, in their own way problems are popular with our attitude to history, our awareness of themselves - I mean Russians or Muscovites - in historical time. This gesture of appeal to the past, and on the place where there was a monument to the future, it seems to me in many ways a significant one. It can be said differently: just it erases whatever memory. This is a replacement for some time, utopian time, a sign of this time to which we have no access today at all. For us, this is really an empty idol, the embodiment of some state ideology is something, to historical memory, in a strict sense, has nothing to do with. That is, there is a more general question about what keeps monuments and that they are erased in urban space.

Another interesting point is missing monuments, more precisely, the removed monuments and empty posts. There are such monuments - emptiness as a monument, Nonameman as a monument. Digger, simply speaking. This is also a genus of perpetuation - just what? Or even more the embodiment of some expectations than an attempt to send to the past. I think, in fact, multidirectional vectors intersect here, which are not necessarily directed only in the past and are not necessarily relevant to a specific image of the present. This is the intersection of vectors going both in the past and in a certain sense to the future, the projection of today's expectations in tomorrow.

Everyone should know about the place where he was born, lives. In a large country, every person has a small corner - a village, street, house where he was born. This is his little homeland. And from a variety of such small native corners and consists of our common great homeland.

We live in a small town, but do you know your city? How do we treat his cultural heritage?

In our city, many monuments, but people know little about their history, that not all monuments are known to residents of our city and even less they know about events, in honor of which these monuments are established. Why?Why are monuments install in cities?What is the meaning of the monument in our life?

People pass by, rush in cases. Just the townspeople do not notice the things that they seem to be ordinary, and they actually make in themselves a huge cultural and historical value. Our city is associated with many great events and interesting people. Many facilities that store the memory of these events and people. These include sculptural monuments, busts, pedestals, memorial boards and steles, perpetuating the heroic efforts and victims of soldiers on the fronts and rear workers during the past wars, and theirwe have a considerable amount.

People need to know and remember the history and heroes of their city to Learn to respect the ancestors and remember that in turn will need to be for their descendants. Everyone begins to learn responsibility - moral responsibility to the people of the past and at the same time before people of the future. "

All these objects may have a category of federal, regional or local historical and cultural significance.

Our monuments

A lot in our city of historic buildings that are landmark his.

The building of the Spassky Garrison Officer Assembly, built in 1906-1907.

Trading house Gervas and Savchenko

Z. denia Spasskaya Mixed Progmentation

http://www.timerime.com/en/timeline/3258748/+/

Output. In the course of work, we learned that our city has a large cultural heritage presented by architectural monuments. They give a special appearance and historical flavor the city.

Only learning about the city, architecture and society a little more, we will be able to form a competent society that is able to take responsibility for the urban space and joint efforts to retain our cultural heritage.

Not knowing the past or neglecting them, you can live life, and without becoming a real person who is responsible for the past and future of the Earth.

No matter how paradoxically sounds, but, it is meeting with the culture of the last, we can feel the breath of the future. That future when it is clear and undoubted value of art and humanity.

Why do you need monuments? Probably to understand and appreciate your country, her story, respect yourself for the fact that you are a particle of something big, important, appreciate and protect our common achievements.

Why do you need monuments? To bring up in citizens, especially in young people, the feeling of pride in their ancestors, for their power, willingness to protect it with weapons in their hands when the enemy attacks. Monuments should generate pride for ancestors ...

The Romans said that art is forever, and the life of short. Fortunately, this is not entirely so, because immortal art is created by people. And in our power to keep the immortality of mankind.

We must remember thattracts of cultural values \u200b\u200bare irreparable and irreversible.

In fact, why? It would seem to answer such a question easily. Since childhood, we were taught that literature and art helps to understand the meaning of life, make us smarter, more susceptible, spiritually richer. All this is true, of course. But it happens that even the right idea, becoming familiar, ceases to disturb and worry a person, turns into a dividing phrase. Therefore, before answering the question "For what?", And to answer it in an adult, seriously, it is necessary to think about a lot and to understand a lot.

On the banks of the River Nerl near the city of Vladimir there is a church of the Intercession. Very small, light, lonely on a wide green plain. It is one of those buildings that the country is proud and which is usually called "architectural monuments". In any, even the brief book on the history of Russian art, you will find a mention of it. Learn that this church was built on the orders of Prince Andrei Bogolyubsky in honor of the victory over the Volzhsky Bulgarians and in memory of the Knazhich Zaslav died in battle; that it was delivered to the merger of two rivers - Klyazma and Nerli, the "gate" of the Vladimir-Suzdal land; That on the facades of the building is a fancy and magnificent stone thread.

Nature: Ancient Dark Oaks, our look is sometimes no less than works of art. Pushkin was not tired of admiring the "free element" of the sea. But the beauty of nature is hardly depends on the person, it is always updated, a new cheerful pig rose is growing to replace the trees, the dew drops and dries, the sunsets go. We admire nature and try to take care of it as much.

However, a centenary oak, remembering the long time, not created by a person. It does not have the heat of his hands and the thrill of his thoughts, as in a statue, picture or a stone building. But the beauty of the Church of the Intercession is a man-made, all of this did people whose names for a long time forgotten, people probably very different, who knew grief, joy, longing and fun. Dozens of hands, strong, careful and skillful, folded, obeying the thoughts of the unknown builder, a white-eyed slim miracle. Between us - eight centuries. Wars and revolutions, ingenious discoveries of scientists, historical shocks, great changes in the fate of peoples.

But it is worth a small, fragile temple, a little bit of his bright reflection in calm water of the nerve, gentle shadows outlines the outlines of stone animals and birds over narrow windows - and disappears. As eight hundred years ago, an excitement is born in the human heart, the joy is that people worked for anything.

Only art is capable of such. You can finely know hundreds of dates and facts, understand the causes and consequences of events. But nothing can replace the living meeting with history. Of course, the stone tip of the arrows is also a reality, but there is no main thing in it - the representation of a person about good, evil, harmony and justice - about the spiritual world of man. And in art there is all this, and the time is not able to prevent him.

Art - memory of the heart of the people. Art not only does not lose its beauty, it keeps evidence of how our ancestors looked at the world. Birds and lions, a little angular human heads on the walls of the Church are those images that they lived in fairy tales, and then in the imagination of people.

No, the church of the cover on the nerve, like hundreds of other buildings, is not just a monument of architecture, but the thickening of the feelings and thoughts, the images and ideas relating to the past and the present. It is the words relative in the right sense that, because the white-named church, near Vladimir, absorbed the features of the culture of Russian, national, in all its uniqueness. People want to understand each other, seek to comprehend the main thing, the most essential in the spiritual life of each country.

One thing can be made to think about one thing - the only church, built a lot of centuries ago, she can stir up thousands of thoughts about which a person did not suspect before, can make each of us feel his undistributing connection with the history and culture of the Motherland. In the art of generation, each other is transmitted to each other the most valuable, intimate and holy - the heat of the soul, excitement, faith in the beautiful.

How can I not take care of the priceless heritage of the past! Moreover, among all types of arts, it is visual art and architecture are unique and unique. In fact, even if from a million copies of the "war and the world" one, then the novel will live, will print it again. The only score of the Beethoven symphony will rewrite and play, poems, poems and songs people remember by heart. And the paintings, palaces, cathedrals and statues, alas, mortal. They can be restored, and it is not always, but it is impossible to repeat them.

Partly, therefore, they cause reverent excitement, the feeling of uniqueness. Museum workers carefully peer in the instrument readings - if the air is not dry, the temperature has not dropped to the degree; The new foundations are summed up under ancient buildings, antique frescoes are thoughtfully cleared, statues are updated.

Reading the book, you are not dealing with the author's manuscript, and it is not so important what the ink is written by "Eugene Onegin." And before canvas, we remember - he concerned the brush Leonardo. And for painting or architecture, you do not need a translation, we always "read" the picture in the script. Moreover, the modern Italian Dante language may seem archaic and not always clear, for us he is just someone else's language, and we must enjoy the translation. But the smile "Madonna Benouua" touches us, and the compatriots of Leonardo, she is the road to a person of any nation. And yet Madonna, undoubtedly, Italian is the elusive ease of gesture, golden skin, cheerful simplicity. She is a contemporary of her creator, a woman of the Renaissance, with a clear look, as if trying to see the mysterious essence of things.

These amazing qualities make painting especially precious art. Peoples and epochs with her help speak each other friendly and simply, become closer than centuries and countries. But this does not mean that art is easy and easily opens its secrets. Often, Starina leaves the viewer indifferent, his look impassively slides on the stone faces of the Egyptian pharaohs, so equally fixed, almost dead. And, perhaps, someone flashes the idea that there are not so interesting Sherny dark sculptures that it is unlikely to be carried away by them.

Another thought may occur - yes, historical values \u200b\u200bare needed by science, but why do they need me? Respectful indifference is impoverished by a person, he will not understand, in the name of what people sometimes save works of art at costs of life.

No, do not pass calmly! Press into the granite faces of cruel, forgotten despots, let it not be confused by their external monotony.

Think about why such twins, as if sleeping with people, depicted the sculptors of the antiquity of their kings. After all, it is interesting - people probably not so much have changed outwardly since they made the sculptors to make the statues just such: indifferent flat eyes, poured by severe body, doomed to eternal immobility.

As a surprisingly combination of completely specific, unique features of the face, the cut of the eyes, the drawing of the lips with the ability, with the lack of any expression, feelings, excitement. Press in these portraits, Polytenda books. And even small grains of knowledge will throw a new light on the boring stone sculptures first. It turns out that the cult of the dead forced the ancient Egyptians to see in the statues not just images of a person, but the abode of his spiritual essence, his vitality, the fact that in ancient Egypt called "ka" and that according to their ideas continued to live after the physical death of people.

And if you imagine that these sculptures have already existed when even ancient Greece was still in the future, that they were not one thousand years old, and their eyes saw the hair, spills the Nile at the foot of the newly new pyramids, chariot Pharaohs, Napoleon's chariot. .. Then you will not ask yourself that interesting in these granite figures.

Statues, even the most ancient, not always stored in museums. They "live" in the city streets and squares, and then their fates are closely and forever wooled with the fate of the city, with the events that took place in their pedestals.

Recall the monument to Peter I in Leningrad, the famous "copper rider" created by the sculptor Falcon. Did the glory of this monument, one of the best monuments of the world, only in artistic advantages? For all of us, the "giant on the horse's horse" source of complex and exciting associations, thoughts, memories. This is the image of a distant past, when our homeland "Muddy with the genius of Peter", and a magnificent monument to the political figure, which "Raised" Russia. This monument became the personification of the old St. Petersburg built up with low houses that had not yet had granite embankments, which did not have a full of its greatness. Only one bridge, temporary, pontoon, joined the banks of the Neva, just opposite the "copper rider". And the monument was stood in the very center of the city, the most lively place, where the Admiralty side connected with Vasilyevsky Island. A crowd flowed past him, a carriage sweated, the in the evenings, the pale light of the lanterns barely illuminated the Terrible Lick of the King "It's terrible in the neighboring Mol ...". The sculpture became one whole with Pushkin's poem and with her - a symbol of the city. The flood shall with the poet, the Grozny Gul of December 1825 and much more than the famous history of St. Petersburg, took place here - in the thunder - stone, pedestal statue. And the famous white nights, when foggy transparent clouds slowly stretch along the light sky, as if obeying the gesture of the powerful hand of Peter, Is it possible, thinking about them, do not remember the "copper rider", about which many generations have been transparent so many poetic and unforgettable hours!

Art accumulates the feelings of hundreds of generations, becomes the extensive and source of human experiences. In a small hall, that in the first floor of the Paris Louvre, where the reverent silence reigns from the statue of Venus Milos, which involuntarily think about how many people gave happiness contemplation of the perfect beauty of this dark marble.

In addition, art, whether it is a statue, a cathedral or picture, this is a window into an unfamiliar world, separated from us hundreds of years, through which you can see not only the visible appearance of the era, but also its essence. How people felt their time.

But you can look deeper: in the care of the dressing of Dutch painters, in their sensitivity to the delights of the material world, to the charm and the beauty of "inconspicuous" things - the love of established everyday life. And this is not a small philistine love, but deeply meaningful, high feeling, and poetic and philosophical. The Dutch was not easy for life, they had to dismantle the land by the sea, and the Spanish conquerors are freedom. And because the sunny square on the willage parquet, the velvety skin of the apple, the thin chacon of the silver gland in their paintings become witnesses and expressivers of this love.

Take a look at the pictures of Jan Wang Eyka, the first great master of the Netherlands Renaissance, on how he writes things, microscopic details of being. In each movement, the brushes - naive and wise admiration of the fact that the artist depicts; It shows things in their original and surprisingly attractive essence, we feel the fragrant elasticity of fruits, slippery coolness of dry rustling silk, the litigation of the bronze chandel.

So in art, the spiritual history of mankind passes before us, the history of the opening of the world, its meaning, not yet fully disabled beauty. After all, each generation reflects it anew and in its own way.

On our planet, there are many things that do not have utilitarian values \u200b\u200bthat are not able to feed nor warm people or cure from illness, it is works of art.

People, as they can protect them from merciless time. And not only because the "useless" works are millions. The point is not in this.

People understand: cultural monuments - the general heritage of generations, which allows us to feel the history of the planet as your personal and expensive.

Art of the past - the youth of civilization, the youth of culture. Not knowing it or neglecting it, you can live life, and without becoming a real person who is conscious of the responsibility for the past and the future of the Earth. Therefore, it does not surprise us that they spend strength, time and means to restore ancient buildings that paintings, like people treat, make them injections and shine on an x-ray.

Museum, the old church, destroyed the picture - for us it is the past. Is the past just?

Many years will pass. New cities will be built; Modern jet aircraft will become ridiculous and slow, and the train on the train will seem as amazing as us - a trip to the postal carriage.

But the church of the Intercession to Nerley will remain the same as eight centuries ago. And. And statue of Venus Miloso. All this has already been owned by the future. Grandchildren of our grandchildren. That's about it and you can not forget. The fact that the monuments of the culture of distant epoch are an eternal torch that transfers different generations to each other. And it depends on us so that the flames in it do not knear for a minute.

No matter how paradoxically sounds, but, it is meeting with the culture of the last, we can feel the breath of the future. That future when it is clear and undoubted value of art and humanity. The Romans said that art is forever, and the life of short. Fortunately, this is not entirely so, because immortal art is created by people. And in our power to keep the immortality of mankind.

Arguments for writing in Russian.
Historical memory: Past, present, future.
The problem of memory, history, culture, monuments, customs and traditions, the role of culture, moral choice, etc.

Why do you need to protect the story? The role of memory. J. Orwell "1984"

In the novel of George Orwell "1984" people are deprived of history. The homeland of the main character - Oceania. This is a huge country leading continuous wars. Under the influence of cruel propaganda, people hate and strive to lean the former allies, announcing the best friends of yesterday's enemies. The population is suppressed by the regime, it is unable to think independently and subordinate to the slogans of the party, managing residents for personal purposes. Such enslavement of consciousness is possible only with the full destruction of the memory of people, the absence of their own look at the history of the country.
The story of one life, like the history of a whole state, is an endless series of dark and bright events. We need to carry out valuable lessons from them. The memory of the life of the ancestors should remove us from repeating their mistakes, to serve us an eternal reminder of everything good and bad. Without memory about the past there is no future.

What should I remember the past? Why do you need to know the story? Argument from the book D.S. Likhacheva "Letters of good and beautiful."

The memory and knowledge of the past fill the world, make it interesting, significant, lightweight. If you do not see the world around you around the world, it is empty for you. You are bored, you dreary, and you are ultimately alone. Let the houses, by which we go, let the city and the villages, in which we live, even if we are working on which we work, or ships, on which we swim, will be alive for us, that is, having a past! Life is not a simularity of existence. We will know the story - the story of everything is surrounded in a large and small scale. This is the fourth, very important dimension of the world. But we not only need to know the story of everything that surrounds us, but also to keep this story, this immeasurable depth of others.

Why should a person need to store customs? Argument from the book D.S. Likhacheva "Letters of good and beautiful"

Please note: children and young people especially love customs, traditional festivals. For they master the world, master it in tradition, in history. We will actively protect everything that makes our life meaningful, rich and inspired.

The problem of moral choice. The argument from the play M.A. Bulgakov "Turbine Days".

The heroes of the work should make a decisive choice, the political circumstances of time make them do it. The main conflict of the Bulgakov play can be indicated as a conflict of man and history. The heroes of intellectuals during the development of action each in their own way to enter a direct dialogue with history. So, Alexey Turbin, understanding the doom of white movement, the betrayal of "Staff Orava", chooses death. Nikolka, spiritually close to his brother, it warms up that a combat officer, commander, a person of honor Alexei Turbin preferage the death of dishonor. Reporting about his tragic death, Nikolka pronounces mournful: "Killed commander ...". - No matter how in complete agreement with the responsibility of the moment. The elder brother carried out his civil choice.
The remaining live this choice is to be. Mumylayevsky with bitterness and the doomes states intermediate and therefore the hopeless position of the intelligentsia in a catastrophic reality: "In front of the Red Guards, like a wall, at the front of speculators and any ribs with hetman, and I in the middle?" He is close to the recognition of the Bolsheviks, "because behind the Bolsheviks of the peasants of a cloud ...". Studially convinced about the need to continue the struggle in the ranks of the White Guard, rushes to the Don to Denikin. Elena leaves Talbert, a man whom she cannot respect, according to her own recognition, and will try to build a new life with Shervinsky.

Why should it be preserved monuments of history and culture? Argument from the book D.S. Likhacheva "Letters of good and beautiful."

Each country is an art ensemble.
Moscow and Leningrad are not just not like each other - they contrast each other and, therefore, interact. It is not by chance that they are connected by rail so straight that, having drove the night of the night without turns and only with one stop and getting to the station in Moscow or Leningrad, you see almost the same station building that you spent in the evening; The facades of the Moscow railway station in Leningrad and Leningradsky in Moscow are the same. But the same stations emphasizes the sharp nursing of cities, nobility is not simple, but complementing each other. Even art objects in museums are not just stored, but make up some cultural ensembles associated with the history of cities and the country as a whole.
And look in other cities. In Novgorod worth seeing icons. This is the third largest and value center of the Old Russian painting.
In Kostroma, Gorky and Yaroslavl, the Russian painting of the XVIII and XIX centuries should be viewed (these are the centers of the Russian noble culture), and in Yaroslavl, the Volzhskaya XVII century, which is also presented here as anywhere.
But if you take the whole of our country, you will be surprised by the diversity and originality of cities and culture stored in them: in museums and private collections, and just on the streets, because almost every old house is a jewel. Some houses and whole cities of the road of their wooden carvings (Tomsk, Vologda), others - an amazing layout, embankments of boulevards (Kostroma, Yaroslavl), third - stone mansions, fourth - intricate churches.
Save the variety of our cities and villages, to keep in them historical memory, their total national historical peculiarity is one of the most important tasks of our urban planners. The whole country is a grand cultural ensemble. It should be saved in his striking wealth. It raises not only the historical memory in his city and in his village - brings up his country in her whole. Now people live not only in their "paragraph", but in the whole country and not their own century only, but by all centuries of their history.

What role do the monuments of history and culture play in a person's life? Why should it be preserved monuments of history and culture? Argument from the book D.S. Likhacheva "Letters of good and beautiful"

Historical memories are especially bright in parks and gardens - associations of man and nature.
Parks are valuable not only by the fact that they have, but also in that they were. The temporary perspective that opens in them is no less important than the perspective of visual. "Memories in the royal village" - so called Pushkin the best of his earliest poems.
The attitude to the past can be two births: how to some spectacle, theater, presentation, scenery and as a document. The first attitude seeks to reproduce the past, revive his visual image. The second tends to keep the past at least in its partial residues. For the first in Gardening Art, it is important to recreate an external, visual image of the park or garden as you saw in one or another moment of his life. For the second, it is important to feel the testimony of time, documentality is important. The first says: so he looked; The second testifies: this is the same, he was, maybe not so, but it is truly that these are those linden, those gardening buildings, the most sculptures. Two-three old dumpy linden among hundreds of young people will testify: this is the same alley - here they are, old-timers. And about young trees do not need to take care: they grow quickly and soon the alley will acquire the former look.
But in two respects there is another significant difference to the past. The first will require: only one era - the era of creating a park, or his heyday, or any significant. The second will say: let all the epochs live, one way or another significant, the entire life of the park is valuable, the memories of various epochs and about various poets that chase these places are valuable - and from restoration will require not recovery, but to save. The first attitude towards parks and gardens opened Alexander Benoit in Russia with his Estetian cult time Empress Elizabeth Petrovna and her Ekaterini Park in the royal village. Akhmatova was poeticly elevenized with him, for which Pushkin was important in the royal, and not Elizabeth: "3 Then he lay his triangum and disheveled that guys."
The perception of art monument only then fully, when it mentally recreates, creates with the Creator, is fulfilled by historical associations.

The first attitude towards the past creates, in general, teaching aids, training layouts: see and know! The second attitude to the past requires the truth, analytical ability: it is necessary to separate age from the object, it is necessary to imagine how it was, it is necessary to some extent to investigate. This second attitude requires greater intellectual discipline, great knowledge from the very viewer: see and imagine. And this intellectual attitude towards the monuments of the past sooner or later arises again and again. It is impossible to kill a true past and replace it with theatrical, even if theatrical reconstructions destroyed all the documents, but the place remains: here, in this place, on this basis, in this geographical point, it was, it was, it happened.
Theatricality penetrates in the restoration of architectural monuments. The authenticity is lost among the presumably restored. Restorers trust random testimony if these evidence allow you to restore this monument to architecture as it could be particularly interesting. So restored in Novgorod by the Evvyievskaya chapel: it turned out a little xmick on the pillar. Something completely alien to the ancient Novgorod.
How many monuments were destroyed by restorers in the XIX century due to the introduction of elements of the aesthetics of the new time. Restorers sought symmetries where she was alien to the spirit of style - Romanesque or Gothic, - tried to replace the living line geometrically properly, calculated mathematically, and the Cologne Cathedral, and Notre Dame in Paris, and the Abbey of Saint-Denis . Dried, the whole cities in Germany were conserved - especially during the period of the idealization of the German past.
The attitude to the past forms its own national appearance. For each person is a carrier of the past and a national carrier. Man is part of society and part of his history.

What is a memory? What is the role of memory in a person's life, what is the value of memory? Argument from the book D.S. Likhacheva "Letters of good and beautiful"

Memory is one of the most important properties of being, of any existence: the material, spiritual, human ...
Separate plants have a memory, a stone on which traces of its origin, glass, water, etc.
Birds have the most difficult forms of generation memory, allowing new generations of birds to make flights in the right direction to the right place. In explaining these flights, it is not enough to study only "navigation techniques and methods", which are used by birds. The most important memory that makes them seek to seek winter and summer - always the same.
And what to talk about the "genetic memory" - the memory laid in centuries, memory moving from one generation of living beings to the following.
At the same time, the memory is not mechanical at all. This is the most important creative process: it is the process that is also creative. It is remembered what is needed; A good experience is accumulated by memory, a tradition is formed, household skills, family skills, labor skills, public institutions are created ...
Memory confronts the time destroying.
Memory - overcoming time, overcoming death.

Why is a person important to keep the memory of the past? Argument from the book D.S. Likhacheva "Letters of good and beautiful"

The greatest moral meaning of memory is to overcome the time, overcoming death. "Flearmate" is primarily a person ungrateful, irresponsible, and therefore, and unable to good, disinterested deeds.
Irresponsibility is born in the absence of consciousness that nothing passes without a trace. A person who makes an unkind act thinks that this act will not be preserved in his memory of his personal and in memory of others. He himself, obviously, is not used to preserving the memory of the past, feeling a sense of gratitude to the ancestors, to their work, their concerns and therefore thinks that everything will be forgotten about him.
Conscience is basically a memory to which the moral assessment of the perfect is joined. But if the perfect is not saved in memory, then there can be no evaluation. No memory no conscience.
That is why it is so important to be brought up in a moral climate of memory: the memory of the family, the memory of the people, the cultural memory. Family photos are one of the most important "visual benefits" of the moral education of children, and adults. Respect for the work of our ancestors, to their labor traditions, to their labor instruments, to their customs, to their songs and entertainment. All this is expensive to us. Yes, and just respect for the graves of the ancestors.
Remember from Pushkin:
Two feelings are wildly close to us -
The heart acquires food -
Love for native ashes,
Love for the deputy coffins.
Life-giving shrine!
The land was dead without them.
Our consciousness can not immediately get rid of the idea that the earth would be dead without love for the father's coffins, without love for his native ashes. Too often, we remain indifferent or even almost hostile to disappearing cemeteries and ashes - two sources of our not too wise darkness and superficially heavy moods. Just as a person's personal memory forms his conscience, his conscientious attitude to his personal ancestors and relatives - relatives and friends, old friends, that is, the most faithful, with whom general memories are associated, - so the historical memory of the people forms the moral climate in which Lives people. Maybe it would be possible to think if morality could not build on something else: to completely ignore the past with it, sometimes, errors and heavy memories and to be aspirated in the future, to build this future on the "reasonable grounds" to forget About the past with its dark and bright parties.
This is not only no need, but also impossible. The memory of the past is primarily "light" (Pushkin, expression), poetic. She raises aesthetically.

How are the concepts of culture and memory connected? What is memory and culture? Argument from the book D.S. Likhacheva "Letters of good and beautiful"

Human culture as a whole not only possesses memory, but this is a memory of the benefit. The culture of mankind is the active memory of humanity, the actively introduced into modernity.
In history, each cultural ascent was in one way or another associated with the appeal to the past. How many times is humanity, for example, appealed to antiquity? At least four, epochemical appeals were four: with Carlo Great, with the dynasty of Paleologists in Byzantium, in the Renaissance era and again at the end of the XVIII - early XIX century. And how many "small" conversion of culture to antiquity - in the same middle ages. Each appeal to the past was "revolutionary", that is, it enriched modernity, and every appeal understood this past, took from the past to her move forward. This is what I am talking about the appeal to antiquity, and what gave for every people appeal to his own national past? If it was not dictated by nationalism, the narrow desire to burn out from other peoples and their cultural experience, it was fruitful, for it enriched, diversified, expanded the culture of the people, his aesthetic susceptibility. After all, each appeal to the old in the new conditions was always new.
He knew several appeals to ancient Russia and the postpeople's Russia. There were different directions in this appeal. The opening of Russian architecture and icons at the beginning of the 20th century was mainly devoid of narrow nationalism and very fruitful for new art.
I would like to demonstrate the aesthetic and moral role of memory on the example of Pushkin's poetry.
Pushkin's memory in poetry plays a huge role. The poetic role of memories can be traced from children's, youthful poems of Pushkin, of which the most important "memories in the royal village", but in the future the role of memories is very large not only in the lyrics of Pushkin, but even in the poem "Eugene".
When Pushkin needs to make a lyrical principle, it often resorts to memories. As you know, Pushkin was not in St. Petersburg in the flood of 1824, but still in the "copper rider" flood painted with the memories:
"There was a terrible time, about her freshly memory ..."
Pushkin also stains their historical works of Pushkin. Remember: His ancestor Pushkin acts in Boris Godunov, in Arape Peter the Great "- also ancestor, Hannibal.
Memory - the basis of conscience and morality, the memory is the basis of culture, "savings" of culture, memory is one of the foundations of poetry - aesthetic understanding of cultural values. Store memory, take care of memory - this is our moral debt to themselves and before the descendants. Memory is our wealth.

What is the role of culture in human life? What are the consequences of the disappearance of monuments for a person? What role do the monuments of history and culture play in a person's life? Why should it be preserved monuments of history and culture? Argument from the book D.S. Likhacheva "Letters of good and beautiful"

We care about our health and the health of others, follow the right nutrition, so that the air and water remain clean, unpolluted.
Science, which is engaged in the protection and restoration of the surrounding nature, is called ecology. But ecology should not be closed only by the tasks of maintaining the biological environment surrounding us. A person lives not only in a natural environment, but also in the medium created by the culture of His ancestors and themselves. Preservation of the cultural environment The task is no less important than maintaining the surrounding nature. If nature is necessary for a person for his biological life, the cultural environment is no less necessary for his spiritual, moral life, for his "spiritual settling", for his attachment to his native places, following the covenants of the ancestors, for its moral self-discipline and sociality. Meanwhile, the question of moral ecology is not only not studied, but not supplied. Separate types of culture and remnants of the cultural past, the restoration of monuments and their conservation are being studied, but the moral importance and the impact on the person of the entire cultural medium in its whole, its affecting force is studied.
But the fact of the educational impact on the person of the surrounding cultural environment is not subject to any doubt.
A person is brought up in his surrounding cultural environment unnoticed for himself. His story is raised, the past. The past opens the window into the world, and not only the window, but also the doors, even the gate is a triumphal gate. To live there, where the poets and prose women lived, living there, where the great critics and philosophers lived, to absorb their impressions every day, which one way or another was reflected in the great works of Russian literature, to visit the museums, it means to gradually enrich spiritually.
Streets, squares, channels, individual houses, parks are reminded, reminded, remind ... unobtrusively and implantfully enter the impressions of the past to the spiritual world of man, and a person with an open soul is in the past. He learns respect for the ancestors and remembers that in turn it will be necessary for his descendants. Past and the future become their own for a person. He begins to learn responsibility - moral responsibility to the people of the past and at the same time before the people of the future, which the past will be equally important than us, and maybe with the overall rise of culture and multiplication of spiritual requests, even more important. Caring for the past is at the same time concern for the future ...
Love your family, your childhood impressions, your home, your own school, your village, your city, your country, your culture and language, the whole globe is necessary, absolutely necessary for moral somewar of a person.
If a person does not like to at least occasionally look at the old photos of his parents, does not appreciate the memory of them, left in the garden, which they cultivated, in the things that they belonged to them means he does not like them. If a person does not like old houses, old streets, even be bad, it means that he has no love for his city. If a person is indifferent to monuments of the history of his country, it means that it is indifferent to his country.
Prior to the known limits of loss in nature are restored. Very otherwise with cultural monuments. Their loss of non-core, for cultural monuments are always individual, are always associated with a certain era in the past, with certain masters. Each monument is destroyed forever, distorted forever, wounds forever. And he is completely defenseless, he will not restore himself.
Any newly rebounded monument of the antiquity will be deprived of documental. It will only be "visibility.
"The stock" of cultural monuments, the "stock" of the cultural environment is extremely limited in the world, and it is depleted with all progressive speed. Even the restorers themselves, sometimes working according to their own, insufficiently proven theories or modern advances on beauty, are becoming more destroyed by the monuments of the past than their guardians. Destroy monuments and urban planners, especially if they do not have clear and complete historical knowledge.
On earth it becomes closely for cultural monuments.
Urban planners, as no one, are needed by knowledge in the field of cultural ecology. Therefore, local history should develop, it should spread and taught to solve local environmental problems based on it. Regional science brings up love for his native land and gives those knowledge, without which it is impossible to preserve cultural monuments in the field.
We should not take full responsibility for negligence to the past on others or just hope that the preservation of the culture of the past is engaged in special state and public organizations and "this is their business", not our. We ourselves must be intelligent, cultivans, pupil, understand the beauty and be kind - it is good and grateful to our ancestors who created for us and our descendants all the beauty that is not someone else, namely, we do not know how to identify, accept in Your moral world, keep and actively protect.
Each person is obliged to know, among which beauty and what kind of moral values \u200b\u200bhe lives. It should not be self-confident and brazen in the rejection of the culture of the past without parsing and "court". Everyone is obliged to take careful participation in the preservation of culture.
Responsible for all of us and not someone else, and in our power it is not to be indifferent to our past. It is ours, in our common ownership.

Why is it important to keep historical memory? What are the consequences of the disappearance of monuments for a person? The problem of changing the historical appearance of the old city. Argument from the book D.S. Likhacheva "Letters of good and beautiful."

In September 1978, I was on the Borodino field together with the wonderful restorer Nikolai Ivanovich Ivanov. Did you pay attention to what devotees do people occur among the restorers and museum workers? They cherish things, and things pay them for this. Things, monuments give their keepers love for themselves, affection, noble dedication to culture, and then taste and understanding of art, understanding the past, heartfelt attraction to people who created them. This love for people, whether the monuments never remains unanswered. Therefore, people find each other, and the Earth well-groomed by people finds those who love her people and responds to them the same.
Fifteen years Nikolai Ivanovich did not go on vacation: he cannot relax outside the Borodino field. He lives a few days of the Borodino battle and days preceded by the battle. The Borodin field has a tremendous educational value.
I hate the war, I suffered a Leningrad blockade, the Nazi shelling of civilians from warm shelters, in positions on dandegophy altitudes, I was an eyewitness of the heroism, with which the Soviet people defended their homeland, with which incomprehensible resistance resisted the enemy. Maybe therefore, the Borodino battle, always striking me with his moral strength, has gained a new meaning for me. Russian soldiers beat eight fierce attacks at the battery of Raevsky, who followed one after another with unheard of perseverance.
At the end of the soldiers of both armies fought in full darkness, to the touch. The moral strength of the Russians was determined by the need to protect Moscow. And with Nikolai Ivanovich, I exposed my heads in front of the monuments to the heroes, erected on the Borodino field grateful descendants ...
In his youth, I arrived for the first time in Moscow and inadvertently recruited on the Church of Cover Assumption (1696-1699). It should not be imagined by the preserved photographs and drawings, it had to be seen surrounded by low everyday buildings. But people came and demolished the church. Now there is a wasteland at this place ...
Who are these people who destroy the living past, - the past, which is and our real, for the culture does not die? Sometimes this is the architects themselves - from those who really want to put their "creation" on a winning place and too lazy to think about the other. Sometimes these are completely random people, and we are already to blame for this. We must think about this not happening. The cultural monuments belong to the people, and not only our generation alone. We are responsible for them to our descendants. We will have great demand and in a hundred, and after two hundred years.
Historic cities inhabit not only those who live in them now. They are inhabited by the great people of the past, the memory of which cannot die. In the canals of Leningrad, Pushkin and Dostoevsky reflected with the characters of his "White Nights".
The historical atmosphere of our cities cannot be fixed by any photos, reproductions and layouts. This atmosphere can be revealed, emphasize with reconstructions, but it can be easily destroyed - destroy nothing. She is unbelievable. It is necessary to store our past: it has the most effective educational value. It brings up a sense of responsibility to the homeland.
That's what Petrozavodsky architect V. P. Orfinsky told me, the author of many books on the folk architecture of Karelia. On May 25, 1971, a unique chance of the beginning of the XVII century in the village of Pelkula was burned in the Medvezhegorsky district in the village of Pelkula - a monument of state-owned architecture. And no one even figured out the circumstances of the case.
In 1975, another monument of state-owned architecture burned down - the Ascension Church in the village of Typinitsa, Medvezhihorsky district, is one of the most interesting tents of the Russian North. The reason is zipper, but the true root cause is irresponsibility and negligence: the high-altitude tents of the Ascension Church and the bell tower signed with it did not have elementary lightning protection.
Church of the XVIII century Christmas church fell in the village of Bestuzhev, the Alliance district, the Arkhangelsk region is the most valuable monument of tent architecture, the last element of the ensemble, very precisely supplied in the Usti River. The reason is the complete neglect.
But a small fact in Belarus. In the village of Dostoevo, from where Dostoevsky's ancestors came from, there was a small church of the XVIII century. Local authorities to get rid of responsibility, afraid that the monument will be registered guarded, ordered to demolish the church by bulldozers. Only measurements and photos remained from it. It happened in 1976.
There would be a lot of such facts. What to do, so that they do not repeat? First of all, they should not be forgotten about them, pretend that they were not. Not enough and prohibitions, instructions and boards with an indication "is protected by the state". It is necessary that the facts of a hooligan or irresponsible attitude towards cultural heritage pretend to the courts and the guilty are strictly punished. But this is not enough. It is absolutely necessary in high school to study regional studies, engage in circles on the history and nature of their edge. It is youth organizations who must first take the patronage on the history of their edge. And finally, the most important thing is in the programs for teaching history in high school, it is necessary to provide lessons on local history.
Love for his homeland is not something abstract; This is and love for your city, to its locality, to the monuments of her culture, pride of their history. That is why the teaching of history in school should be concrete - on monuments of history, culture, revolutionary past its locality.
It is impossible to call for patriotism only, it needs to carefully educate - to educate love for native places, to educate spiritual settlement. And for all this it is necessary to develop the science of cultural ecology. Not only the natural environment, but also the cultural environment, the environment of monuments of culture and its impact on a person must be undergoing thorough scientific study.
There will be no roots in the native locality, in the native country - there will be many people like a steppe plant rolling-field.

Why do you need to know the story? The relationship of the past, present and future. Ray Bradbury "And thundered"

Past, present and future are interrelated. Each act perfect by us is reflected in the future. So, R. Bradbury in the story "" offers the reader to imagine what could happen if a person had a time machine. In his fiction, there is such a car. Lovers of acute sensations offer safaris in time. The main character of Ekhels is started in the adventure, but it is warned that nothing can be changed, you can only kill those animals that should die from diseases or for some other reason (all this is specified by the organizers before). Once in the era of dinosaurs, Ekls frightens so much that runs out of the limits of the resolved area. His return to the present shows how important every detail is: a marked butterfly was on his sole. Once at the present, he found that the whole world has changed: colors, the composition of the atmosphere, man and even the rules of spelling became others. Instead of the liberal president, the dictator was in power.
Thus, Bradbury raises the following thought: the past and future are interrelated. We are responsible for each deed that was committed.
Peering in the past is necessary in order to know your future. Everything that happened ever, influenced the world in which we live. If you can take a parallel between the past and the present, you can come to this future, which you want.

What is the price of error in history? Ray Bradbury "And thundered"

Sometimes the price of an error can cost the life of all mankind. So, in the story "" It is shown that one minor error can lead to a catastrophe. The main hero of the story of Ekhels comes on a butterfly while traveling to the past, he changes the whole course of history with his oversight. This story shows how thoroughly you need to think before doing something. He was warned about the danger, but the adventure thirst was stronger than common sense. He could not correctly appreciate his abilities and opportunities. This led to a catastrophe.

In all of our country, due to its heroic past, monuments of the Military Starny are scattered. Enough to call a triumphal arch on the area of \u200b\u200bvictory and equestrian monument M.I. Kutuzov at the Museum Panorama "Borodino Battle", Monument - Chapel Grenadiers - Heroes of Plevnes As a reminder of one of the Russian-Turkish wars of the beginning of the century. And about the Great Patriotic War and nothing to say. In any settlement, it is possible to detect stone evidence of that fierce pores. Take at least Volgograd, one of those cities that were most affected in the Second World War. The gratitude of the country for the resistance of Stalingrad was embodied in the Mother Mother Mother and Sculpture Ensemble "Mamaev Kurgan" known to the whole world, who have since become a symbol of the city.

Be that as it may, it fits something grave and fatal from any monument. Moreover, this applies not only to military monuments, obelisks and tombstones, but also to sculptures established for the perpetuating of good matters of cultural and political figures. Monuments, with rare exceptions, are established in memory of the dead people. And it does not matter when a person went into eternity: a week, month, 10 years old or 200 years ago, - All the same, his stone or bronze sculpture breathes the past.

No one says that it is necessary to betray the feats of the ancestors and carry all the monuments to the ground. In no case: this is our story, our culture. It is about simply to give universal and timeless cultural values.

In Volgograd, for example, the first steps are made to this. In 2005, in the shortest possible time, 3 new monuments were installed at once: the bronze sculpture of the guardian angel, a monument in love and a monument to "Doctor Tsaritsyn - Stalingrad - Volgograd". From all other monuments and sculptures of the city of the hero, they are distinguished by inconspicable, aspiring to the future and to spiritual values. In particular, the sculpture of the guardian angel is designed to guard the citizens from the trouble.

On the pedestal, the words "Holy Angela, the moth of God about us." And the sculpture itself is bronze Angel With revealed wings standing on the granite hemisphere. Heavyweight and a good face is drawn to the Volga, the hands are folded in a majestic prayer for all citizens.

But, like any cultural phenomenon, they also found supporters, and opponents. Some saw in the angel similarity with the demon, more loyal critics simply emphasized the alien to the monument to Russian consciousness due to the fact that the sculptural image of the angel is not peculiar to Orthodoxy.

In the foundation of the statue, a capsule was laid with inner desires and the dreams of Volgograd. After the construction of the monument was born a sign that if you make a desire and touch the wing of angel, it would certainly come true. So this or not, the story is so silent. And the inhabitants of the city are still nice. After all, it is widely known how quickly any cultural points turn the myths and legends and how nice people believe in them. Even finished skeptics work to shine in Moscow the nose of a dog and a blow of a gun on the area of \u200b\u200bthe revolution in the Metropolitan, and in the Hero City, stretching for many tens of kilometers along the Volga contrary to the annular laws of the formation of cities, now rub the wings angel.

Monument "Doctor Tsaritsyn - Stalingrad - Volgograd" is established before the central entrance to the Volgograd State Medical University. The opening of the sculpture was timed to the celebration of the 70th anniversary of the University. The monument itself is erected in honor of all medical workers who selflessly fight their patients who are confidentially. The sculptural composition is a pair of hands cut down in a granite and connected in the form of a heart, from which it makes itself on the background of the cardiogram of the "sprout of life". The author of this composition, like the sculpture of the Guardian Angel Volgograd, is the Honored Architect of Russia Sergey Shcherbakov.

Hurrying in their affairs, the inhabitants of the city, and the case, with bewilderment, look at this "creation" of human hands. In this abstract sculpture, some depressing its excessive intricateness. Like, if it were not for the inscription on granite, to guess who was dedicated to this monument, it would be impossible. But there is an inscription, the location of the monument speaks for itself, the granite stove, crossed hands and the cardiogram symbolize the vital organ - the heart, and therefore, the life itself.

Even less enthusiastic reviews of citizens belong to the monument in love, the author of which is no longer Russian architect, but the Florentine sculptor Silvio Beluchchi. However, the preferences of the Volgograd residents are not at all a sense of patriotism, but aesthetic views. The monument in love, or the fountain of love, is two bronze nude figures of men and women, for some reason turned back to each other (people speak even easier - see photo). There is nothing vulgar in this sculpture, but something still does not have enough. Lovers, who, at all times, love to appoint a date in the "iconic" places, this dubious place immediately listed the "Must Date" list, but romantics of their meetings are unlikely to add. However, the tastes do not argue.

These are new monuments of the new time ... and that before the conversations concerning the relationship of the rapid "planting" of monuments with the change of the leadership of the city, as well as the dubious aesthetic advantages of the above "Troika", so let them speculate and remain. Despite all the seeming and real deficiencies attributed to the harsh critics and ordinary citizens of new Volgograd monuments, the idea of \u200b\u200bextinguity on the pedestal of the universal and spiritual cannot be predicted by condemnation.