Confession as a literary genre. Confession - as a new genre
The main part of analytical publications in the press is devoted to the study of the surrounding authors of reality. However, along with this, there is a discharge of publications, the subject of analysis of which is the inner world, the system of values, habits, installations of the speech itself.
This kind of publication can be called self-analytical. In the "undeveloped", the "rolled" form elements of the self-analysis can be found in a variety of publications - notes, correspondence, reviews, articles and others, where there is a personal "I" of a journalist. However, for the publications of these genres, self-analysis is not a goal. It is contained in the texts in the Texts, because it helps to clarify some thought, to make an expressive, figurative beginning to publish, show the tension of the situation in which the author of the future speech was. When the self-analysis develops from the utility factor in one of the main objectives of the publication, then there is a peculiar and very independent genre of confession.
What distinguishes the genre of confession from other genres, except that it is the subject of its internal world of the author of the publication? Since self-analysis is carried out by the author "Public, in front of the audience, the whole audience, then, obviously, it is worth some completely definite goal. It should be assumed that the author of confession is counting on a completely definite result for both the author itself and for the audience of the media, otherwise it would not be worth publishing the text. What can be this result? Obviously, firstly, the audience will get a more complete, more adequate performance (from the position of the author) about the author of confession, its values, installations, habits. Secondly, the opinion of the audience about the publication, the author itself can become a well-known author. It means that he can take a fresh look at himself, already from the position of the audience, and, perhaps, make some adjustments in your life. Thirdly, the idea of \u200b\u200bthe author of the publication, about his inner world, obtained when reading confession, can have an impact on a certain part of the audience (primarily the one for which the author of the speech is an authority).
It is logical to assume that the most likely for the author the purpose of the publication of confession (regardless of the degree of its awareness by the author himself) can be either the first one or the third result. That is, the author may argue like this: "Since my life, my experiences, my hopes, my personality is interesting to people, I confess to them. Let them see that there is a "me," as I myself understand. Let them judge me if they want, and I spoke my word. And besides, maybe someone my confession will still serve good service "-
Naturally, the content of confession, its sincerity, its actual authenticity is determined primarily by the professioned themselves, and if this professing someone else, then a journalist who preishes confession to press is no longer the right to make its editing to it (except maybe signs punctuation and refinement of the dates of the common events given in the text). The last person who may rule confession before going into the world should be the professionally Himself, taking full responsibility for his performance (and above all - before himself).
From the diversity of prosaic genres, it was the story (the genre that most in demand in the 1960s literature) turned out to be most located to confessionality, which can be explained by its typological signs, allowing to fully express the worldview of the Sixtiene. The story focuses on several, the most important episodes from the Hero's life, without claiming its full description, the moral conflicts occupy a special place. A distinct trend of the literature of the period of "thaw" in general was the transfer of the center of gravity from the event line to the character of the hero. To show the formation of a person or to reveal the character's soul, the authors elected several demonstration episodes, while trusting the narrative of the hero himself (the word of which could manifest itself in the form of an improper-direct speech) - confession in the work was herself as
Composition-speech reception, fully answering needs
The reader of the 1960s (the historical situation caused the desire not only to speak outself, but also to hear someone else's sincere word).
Confessing, occupying a special place in Russian literature of the 1960s, pronounced herself in the "youth", "travel" and "military" stories, which was reflected in the content and structure of the text, as well as in the organization by the author of reader perception. At the same time, inside each thematic stream, the content of the very concept of "confessionalness" varied.
Criticism Already in the 1960s, as a typological trait of "youth", the story noted the monological form of confession peculiar to many works. One way or another, but one of the indicators to attribute the work to the "youth" prose is indeed the mandatory sincerity of the intonation, the subjectivity of the narration, in some cases - the narrative of the first person, often in the form of a diary or confession. However, in our opinion, the genre peculiarity of the "youth" story, including the emergence of its confessional beginnings on its pages, should be primarily explained by the ideological plants related to this thematic combination of writers. "Young", more this applies to the leaders of the direction (V. Aksenov, A. Gladilina, A. Kuznetsov), stood on the positions of the confrontation of "Orthodox Sovietness" (V.P. Prince), the manifestation of which in the literature was a method of socialist realism. . Accordingly, in different levels of the organization of artistic text, controversial with
Official literature. At the level of content, the confrontation was expressed in the peculiarities of the conflict, the transfer of which in the soul of the hero reflected the dualisticity of the perception of reality by the authors. The external conflict unfolded in the plane of confronting representatives of different generations. At the structure of the structure, the polemical charge was mostly manifested in the language of works (the use of jargonisms) and the operation of irony in its various manifestations.
At the same time, in adjacent to the "youth" prose of the poses of A. Ravelchuk and N. Nikonov, the early works of V. Astafieva, the confessional began gave authors, without conducting disputes with the system of Soviet statehood, to go to existent problems: the works of these authors are confessional philosophical character.
A distinctive feature of the "lieutenant" prose (including the story) becomes "" "" confessional form ", reception" life with the eyes of the hero "" / 61, p. 84 /, which allows you to show the subjective world of a person, to reveal the process of self-knowledge and self-determination of the individual. However, in contrast to the "youth" story, in the story of the "military" process of self-consciousness and self-determination is associated with the process of self-cleaning - the purification of memory from pain and cargo of the past: confessionalness acquires a catharsic character, while mixing with the memoir and autobiographical principles. A distinctive feature of the "military" story conjugate with the confessional principle becomes bidirectionality of addressing (the presence of external and
Internal addressee), the association of two temporary
Plans, the hero phenomenon in two hypostatas - as a valid and as an interpreting subject.
On the difficulty and conventions of the genre of the "travel" essay (once again alleged, referring to I. Golden, that the definition of "essay" conditionally, since we have a full-fledged prose, which is a story with the genre), criticized already in the 1960s, noting the proximity of this type works of "lyrical" prose. Analyzing the ratio of the author and the hero in the "travel" prose, critics came to the conclusion about such an extent of their proximity, as applied to the hero of the books of V. Closh, and especially Yu Kazakov called the term "lyrical hero". The presence of this type of hero determines the special kind of the sincerity of the narrative, turning on the confession before himself. Thus, confession in the "travel" story is a frankness in front of them, necessary to "find yourself". At the same time, the lyrical start here is conjured with journalistic, since the books of Yu. Smeula, Yu. Kazakova, V. Close-in characteristic of the documentary accuracy of the outlined events. This factor, as well as the presence in the structure of works of such a reception of the artistic characteristic, as a portrait, make it possible to allocate in the "way" and memoir start. In the works of V. Closkin, D. Grannov and A. Bitova, it can be noted the essocid jet that manifests itself in a pull to philosophical reflections and the desire to reach universal categories of being.
If there is a difference in understanding the confession of the authors belonging to various thematic streams, the features of the genre structure associated with the appearance in the works of the confessional principle were in many ways similar.
First of all, the changes concerned the language sphere. And here the prose of the 60s largely repeats those processes that are characteristic of literature of the 20s: "Turning from abstractness to the living word" / 33, p. eighteen/. Interestingly, the reproaches of the authors of the sixties addressed almost the same as their predecessors. So, many "young", and especially V. Aksenov, repeatedly scolded for the use of jargon (which can be considered an unbreakable, living word), and some stories M. Zoshchenko, according to the testimony G.A. White, not taken to print only because they, using the street language, seemed an unsuccessful parody of Soviet reality (however, for the same quality later these stories will be assessed).
However, different thematic streams were looking for their way to revitalize the language, based on the ones of their ideological plants, although in general the language of many of the 1960s is characterized by a combination of different lexical layers. So, the "youth" story contributes to the pages of his works, the youth jargon of streets, "traveling" with love is listened to the conversations of the indigenous people of one or another land, the "military" mixes the military and dialectful "peaceful" vocabulary. But in each case, the effect of such a "lexical cocktail" is obtained different. "Youth" negotia
Due to Zhargon, make reality and hero more reliable, because no matter how much V. Aksenov, A. Gladilin and other "young" for the use of Zhargon on the pages of works, invented him still not they (although, of course, "youth" It was promoted by "legitimization" and expansion) - the jargon appeared, probably as a logical consequence of the country that occurred in the socio-political life of the country, which influenced the worldview of the authors, for which he became a kind of formation and controversy with official literature.
The "traveling" story sought not just to accurately show some kind of planet's point with its nature, culture, language. The authors of the "travel" works, in particular Yu. Cossacks, with love and interest are listened to someone else's stranger, but this is not idle interest. The word of another nationality opens otherwise the world, allowing you to go to existing problems. This is what happens in the "northern diary" Y. Kazakova, when the author comes into contact with the spiritual and cultural world of the Nenets, in whose language deer and tundra is "you" and "you". Considering that these words - pronouns exist in Russian, we can say that the nonsense of their significance will be subconsciously imposed on Russian, and as a result, the author understands that deer and tundra is something living, native to Nenets. This is what is near, with which you can communicate on "you", but at the same time it is a world that can not be respected - "you". You and you, deer and tundra - it is such a unity that simply can not break. In the "military", the same to lead the mixture of words belonging to various lexical formations (military and "peaceful" vocabulary) is intended to emphasize the tragedy
The essence of what is happening and at the same time, showing the true face of the war - ruined death, instill faith in the reader to the future. It is not by chance, apparently, E. I. Nosov called the story K. Vorobyev "killed near Moscow" "Optimistic tragedy" / 203, p. five/.
Another interesting process, conjugate with the actualization of confessional, was associated with the rehabilitation of the laughing principle in the literature. Actually, laughter manifested itself not only in this area. So, in No. 7 of the magazine "Star" for 1997 (this room is significant in that it is entirely dedicated to the sixties), an article L. Tornovich appeared "Laughter against totalitarian philosophy: Soviet philosophical folklore and amateur", in which the author (he was a graduate of philosophical Faculty of the University of Leningrad, and therefore knew the situation from the inside) testifies that philosophers, starting with the comedy criticism of the philosophical bosses, came to the publication of the newspaper, which was coming in one copy, but known to many. This newspaper "In those times, when" Maratsha was attaching "and sclerosis became a creative method, .. I formed a laughing philosophical public, which was able to laugh no worse than physicists (remember the popular collections of the 60s" Physics joke "and" physics continue to joke ") , and physicists themselves did not inferior in the "lyrics" "/ 135, p.229-230 /.
In the literature, the launch rate showed itself in the appearance of many texts of irony and self-irony on the pages of many texts, in different authors who performed different functions. So, "young", trying to get away from self-removal and at the same time be sincere, they were admitted by Ironia, which became "reliable
Defense, like eagerness - boys "(E.Evtushenko), and then from the" Savior "turned into a" killer "- more and more" young "repeated someone from the predecessors (especially favorite authors in this respect were M. Zoshchenko, and . Ilf and E. Petrov - again the appeal of the "sixties" to the prose of 20s) or even himself, while the most resources, as, for example, A. Gladlin, began to ironize the material and techniques that have already become "beaten". " The track "The story also does not refuse irony, which here is adjacent to lyrical passages (and sometimes, as it was in the" northern diary "Y. Kazakova, disappears at all) and performs a different role: helping the authors remain frank, the irony allows you to avoid pity , show yourself as if from the side, appreciate yourself for the previous time. The same amendment "for a while" gives irony and self-irony and in the "military" story. Thus, the reception seemed sometimes even deliberately "the" young ", Completely in "traveling" and " military "prose.
Confessiveness, resulting in changes in the language of works (Irony also manifests itself through the word), influenced the interaction of the hero and created his author. The hero of many of the ages of the period "thaw" autobiographic. "Young" Pozaiki could tell the hero pieces of their own biography, as V. Aksenov did in "colleagues", or even almost completely identify himself and his hero, as it turned out in the "continuation of the legend" A. Gladilin (the hero of this book, by the way, Call, like the author, Anatoly), or to spend it as if on behalf of the "witness" of events. But
At the same time, the depicted events turned out to be limited to the hero's vision, which led to the need to introduce a correction view of the author into the work. However, this system most often did not work, and as a result, it is possible to observe the absence of a distance between the author and his hero. The need for such a distance spoke at one time V. Kovsky, confirming his point of view by referring to the works of F.M. Dostoevsky, created in the form of confession, in particular to the novel "Teenager". The writer "did a teenager's notes by the confession, created not immediately, and a year later after the events depicted, so that the hero on the past itself could already" look down "" / 154, p. 289 /. And it is this ability that the heroes of the "youth" prose are deprived of both the authors themselves, so the accusations of infantilism (and heroes, and authors) are quite reasonable, which leads to a decrease in the artistic value of works created within the framework of this direction.
In the "military" and "travel" of the lead, the hero is also often autobiographical, but only to the extent that he expresses the copyright look at the events. This is how the necessary distance is achieved between the author and the hero, however, sometimes it is so minimal that it is possible to talk about a lyrical hero appearing in prosaic work (remember "Northern Diary" Y. Kazakova or Northern Tale A. Tkachenko). The presence of a distance contributes to such a technique, as an introduction to the narrative of the point of view of a matured hero, speaking in this case as an interpretive subject (the assessment may manifest themselves through the transaction in a different time plan,
And also through Irony) - a bright example of the story B. Okudzhava "Be healthy, Scholyar" and the story of Urals N. Nikonov.
Similarly, changes at the level of space-time organization of texts were similar. At first glance, many of the story of the Sixties retain the same chronotope of the road, which has emerged in the literature of the previous period, for example, in the "Production" Roman. But still there were changes. For the 1960s, freedom is the key concept, however, as I. Brodsky noted in 1965 in 1965, in the "Song of Freedom", it still "Fashion does not occur" / 135, S.Z / - what snapped In the first years, the "thaw", the state was sought immediately and stop (evidence of the campaign against the novel (and his author) "Dr. Zhivago" or a ban on "Life and Fate" V. Grossman). But still, according to Remark V.V. Skeinov, the 60s put forward to the fore "The topic of spiritual freedom of the hero" / 155, p.49 /. And it is precisely this sincere desire for freedom influenced the chronotop of works - the chronotope of the road in understanding M. Bakhtin was replaced by internal search for freedom (the road here can be considered as a human life path or how to find himself - "the road to himself").
"Young" writers seemed to be freedom to be gained when the hero breaks out of the world's surrounding world, often seeking to him by the embodiment of the meshness. And the search turned into a usual flight: the hero was driving somewhere, fled, tearing the established relationship. But freedom did not fit.
In the "military" of the story, the concept of freedom doubled: first, it was about release from the enemy, secondly, about cleansing the memory. Heroes are not needed
It was anywhere to run away - you will not run away from myself, it was necessary to return to the past once again to remember everything, it was practically mandatory for the "military" prose: the narration simultaneously unfolds in the past and present (which of them prevails depends from copyright).
The "traveling" story seemingly takes the relay from the "youth" (it will partly be explained by the fact that some authors of the "traveling" works began to still with the age of typically "youth"): her hero is also necessarily going somewhere. But this trip always turns along with the depths of your own soul, the result of which is the gain of the inner freedom, which does not force the hero to tear connections with the world, but, on the contrary, makes it possible to understand the dependence of the microcosm of his own soul from Macrocosm - the world of external (it is especially brightly manifested in " traveling "works of A. Bitova).
Thus, the "military", and especially the "traveling" story develop and deepen those techniques that were marked, but were not worked out by "young" prose. In this case, it may already be about the historical and literary patterns associated with the evolution of artistic thinking.
Such evolution is characteristic not only for prose (and, in particular, the genre of the story), but also - first of all! - for poetry (see Books Lyrics O. Berggolts, A. Tvardovsky, S. Kirsanova, M. Svellova, A. Mezhirov, A. Yashina, E. Evtushenko et al.) And even dramaturgy (what is evidence
In France, as in England, romanticism was not a single direction: at the very beginning of the XIX century, reactionary romance was made, declared a campaign against revolution and enlighteners; Somewhat later, in front of the July Revolution, representatives of progressive romanticism entered the literary struggle, which had embedded the reactionary art of the restoration era during these years.
Historical events in France these years were very turbulent and tense. The first French bourgeois revolution has just ended. The new socio-political system was mainly developed, but the violent resistance of the revolution is not yet broken.
The struggle of the advanced and conservative forces of the French society has found a bright reflection in the literary life of the country. In the first of the first years of the XIX century, a number of publicists, philosophers, writers, whose task came down to the overthrow of the ideas of revolution and enlightenment begins in France. These philosophers and writers consistently denied all the ideas of enlighteners. They considered a reason to be a source of all evil, offered to restore faith, religion, the church, rejected the ideas of violence and freedom of conscience, for which the enlighteners fought, demanded the restoration of a single Catholic Church with her head - dad. Finally, they rejected the principle of democracy, calling for the return of the feudal monarchy.
Shatubin (1768-1848). The philosophers and reaction publicists of French romanticism joined a number of writers. One of the most typical representatives of reactionary romanticism in France is F. R. Shutubin.
Before the French Revolution, Shatubin, a sibling of the informant of the noble family, arrived at the court of Louis XVI. Restricted by the promiscuity of the morals that reigned there, Shatubin expresses the idea of \u200b\u200bthe need to take measures that would improve the existing position of things. But the early revolutionary events of 1789 very quickly discard him far on the right flank. The revolution terrifies him, and he immediately becomes her enemy, emigrates from France and joins the Army of Prince Konde, who fought against the revolution. But this army was defeated, and at the end of the 90s, Shatubin enters London, where he writes his first work "Experience about revolutions." It reflected his pessimism, all his confusion before the executive events. "The experience of revolutions" puts the question of what a revolution is needed. This question is negatively answering this question; He argues that the revolution does not change anything in the world and does not improve the position of the person. The whole history of mankind is a history of disasters, says Shatubin, and the revolution only leads to the fact that some despots are replaced by others, even worse. The ideas of Rousseau maybe, and are good by themselves, but are not feasible, and if feasible, then only in the most distant future. Man remains only one thing: the personifia, anarchic freedom of personality.
Once in America, Shatubrands studies the life of American savages and is trying to write about them the work, named by them "Treats" (the name of the tribe of American savages), but from the "goose" there was nothing slim and finished; These were separate entries, passages, descriptions of travel, very messy, long (more than two thousand pages) and unsystematic; They did not go away. Later, Tutubdan treated separate parts of this work, creating the "spirit of Christianity" (1802) - a great job in five parts. The goal of it, as the name itself shows, reveal the essence of Christianity, to restore religion, shaped by the revolution.
The proof of the existence of God and the harm of atheism is very naiveless, inconclusive. A happy man, on the author's thoughtless, is not a good thing that his life ended on Earth, for he will wish that his happiness continued after death. Consequently, atheism is alien to him. Beautiful woman wants her beauty to be eternal. It means that it will not be a supporter of atheism, claiming that everything ends here on Earth.
This kind of reasoning make up the content of the first, theological part of the "Spirit of Christianity". The remaining four parts are devoted to the rehabilitation of Christianity from the standpoint of aesthetic. Shatubin tries to prove that Christianity is a source of poetry, the source of inspiration of poets and artists; It gave and gives material for art. The greatest artists of the world, such as the Renaissance, took stories and images from the Gospel and Bible. Such provisions are the chantubrica argument in defense of Christianity.
"Spirit of Christianity" has become an unusually popular work, a banner, near which everyone who called on back, who needed theoretical justification of the fight against the ideas of the revolution.
In the "Spirit of Christianity", Shatubrean included two artistic passages, two stories, of which one is a continuation of another: "Atala" and "Rene". The action is deployed in America among American savages. The heroes that are united by these two stories are the old man sacking chactas and young Frenchman Rene. Old blind chactas tells Rene about his youth. He, having been in Europe, returned to his homeland again, where he was captured; He threatened the execution; Saved his White Girl Atala, with which they fled together in the forest. Atala and Shactas fell in love with each other, but their happiness lasted for long; Atala finished the life of suicide: her mother gave once for her vow celibacy, Atala did not want to break it and chose to die.
In the second story, RENE acts as a narrator; He transfers the tragic history of love for him to his sister, the only person close to him. Sister, having loved brother unauthorized love, goes to the monastery. Rene leaves Europe. Like all romantic heroes, he prefers to live among uncivilized, wild tribes, because in civilized countries he sees only corruption, suffering, egoism.
In the face of Rene, performs a typical hero of reactionary romanticism with his pessimism and "world sorrow". Life seems meaningless to him. Rene Drama not only in the events of his personal life; It is deeper and wider. This is a drama of a person belonging to the old world for which the revolution closed all perspectives. The call of Shatubrian to go as far as possible from the world as far as possible and despicing his bustle in essence was very hypocritical and fake. In fact, the Hero of Shatubrian does not rush at all with the world, as it tries to show the author. Under the motives of "world grief" was hidden by his hatred for the revolution, the desire to return the past.
The Chartubriand hero is a person who is meant in life a special place that all his suffering and feelings have some special, the highest meaning. Hence the extreme spraying, the high polhood of the style of the taste. His tongue is extremely complicated, mannered, artificial. The Creativity of Shatubrass found a sharp criticism at Marx. This is what he wrote in one of the letters Engels (November 30, 1873): "... I read the book of St. Boeva \u200b\u200babout Shatubrine, the writer, who was always fighting for me. If this person became so famous in France, then only because in all respects it is the most classic embodiment of the French vanity, while vanity is not in a light, frivolous robe of the XVIII century, but disguised into romantic clothes and the most important expressions; Fakeing depth, Byzantine exaggeration, Koktatnitch feeling, Paint the game of paints, Excessive imagery, theatricality, spraying - in one word - false a mezanine, which has never happened in shape or in content. "
French romanticism arising from the homeland of the bourgeois revolution of the late XVIII century was, naturally, more clearly associated with the political struggle of the Epoch, than the romantic movement of other countries. The figures of French romanticism showed different political sympathies and adjoined either to the camp of the nobility of the nobility, or to the progressive ideas of their time, but they all did not take a new bourgeois society, sensitively felt his hostility of a full-fledged human personality and opposed him of his mindless mercantility. The ideal of beauty and freedom of the Spirit For which there was no place in reality.
French romanticism developed in the first thirty-year XIX century. The first stage of his coincided with the period of consulate and the first empire (approximately 1801 -1815); At this time, romantic aesthetics were only formed, the first writers of the new direction were performed: Shatubin, Germen de Stelle, Benjalamen Const.
The second stage began during the restoration period (1815-1830), when the Napoleonic Empire collapsed and in France, in the way of foreign interventory, the kings of the Bourbon dynasty were returned, relatives overthrown by the revolution of Louis XVI. During this period, the romantic school is finalized, the main aesthetic manifestos of romanticism appear and the romantic flowering of the romantic literature of all genres occurs: lyrics, historical novel, drama, are the largest romance writers, such as Lamartin, Nerval, Vinya, Hugo.
The third stage falls for the years of the July monarchy (1830-1848), when the dominance of the financial bourgeoisie was finally established, the first Republican uprisings and the first performances of workers in Lyon and Paris occur, the ideas of utopian socialism are applied. At this time, in front of romantics: Viktor Hugo, Georges Sand - new social issues come up, as well as in the same years, a new genre of the romantic, social novel arises in the same years, and along with romantic poetry.
Add a comment
Shatubin.
Section 15. Romanticism in France. - Shatubin.
French romanticism originated in the medium of aristocrats-emigrants, hostile to revolutionary ideas. This is a natural "first reaction to the French Revolution and the related enlightenment ...". The first romance poeticed the feudal past, expressing his rejection of the new kingdom of bourgeois prose, which was in front of them. But at the same time, they painfully felt the relentless course of history and understood the illusion of their daily dreams. Hence the pessimistic color of their creativity.
The largest figure of the first stage of French romanticism was the Viscount Francois-Rene de Chastroan (1768-1848), which Pushkin called "the first of modern French writers, a teacher of the entire writing generation."
Breton nobleman, who has been thrown by the revolutionary beard from a generic nest, Shatubin became an emigrant, visited America, fought in the ranks of the royalist troops against the French Republic, lived in London. Returning to their homeland, during the consulates and empires published a number of writings hostile to the ideas of the revolution and chanting a Catholic religion. During the restoration, he moved away from the literature and took up political activities; He was the initiator of the suppression in 1823 by the Spanish revolution.
In the formation of aesthetics of French romanticism played a certain role, Trestubriat of "Genius of Christianity" (1802), where he tried to prove that the Christian religion enriched art by discovering new drama - the struggle of the spirit and flesh. Shatubreman divides art to the Doharistian and Christian, implying that art is developing and changing along with the history of mankind.
The literary fame of the Shatubrian is based on two small ones "Atala" (1801) and Rene (a separate publication, 1805), which he initially thought as the head of prosaic epic on the life of the American Indians, but then used as illustrations to "Genius Christianity" ( To the section "On the asylight of passions").
Confessional novel.
Section 15. Romanticism in France. - confessional novel.
The appearance of a new literary genre is connected with the name of Shatubriac - the romantic confessional novel, which is a lyrical monologue - confession of the hero. In such a product, only the external world is conditionally depicted, all attention is focused on the disclosure of the inner life of the central character, complex and controversial, on its scrupulous self-analysis. The confessional novels were invested a lot of personal, the author merged into them with the hero, the contemporaries guess for the fictional plot elements of autobiography, and for characters - real people (even the term "novel with the key" originated).
But with all the confessional novels characteristic of the romanticism, the confessional novels contained broad generalization: they reflected the state of minds and hearts, generated by the epoch of social shocks, the state that romance was determined as "a disease of the century" and which was nothing more than individualism. Shatubreman first introduced a hero in the literature, struck by this ailment - dismissed from a great life of society, a lonely, uncountable, disappointed with disappointment and boredom, who wore with the whole world.
Section 15. Romanticism in France. - "Atala".
In the story of "Atala", this new hero appears in the indulgence of the Indian Chactas, who tells the missionary to Suel the proud story of his love for the beautiful daughter of the leader of the hostile tribe Indian atala, who saved him from death. Lovers wandering in tropical forests; In the end, Atala, the Christian, for whom the mother gave the vows of celibacy, deprives himself of life, because unable to oppose the carnal passion to the chactas.
Having gave the Heroes of the "Atalas" with the feelings of their contemporaries, Shatubin, as it were, hesitated with Rousseau: It turns out that there are no harmony among untouched nature, "a natural person" is also susceptible to sinful passions and should be sown in Christian religion. But this morality sounds in the story fake, because it contradicts the copyright of the heroes and to the apprage, with whom he draws the beauty of the earthly world.
At the first readers of "Atalas" made a huge impression of colorful, complete theatrical effects of the description of American forests and prairies, life of unknown peoples. Shatubrean introduced a completely new material into French literature - exotic, which will continue to take a significant place in the art of romanticism. I am struck by contemporaries and a flowery, a suitable syllable of Shatubrian, his artificial elevation, exaggerated imagery, which K. Marx responded sharply; Shatubrica did not resolutely, as politics and writer, Marx called his writings "false interchange."
Section 15. Romanticism in France. - Rene.
In the second story, Shatubrant, Rena, a disappointed hero appears without any makeup (he carries the name of the author); He also tells his story herself, sitting under the tree against the background of an exotic landscape, which was the blind chactas and a missionary Suell.
The younger son of the ancient noble family, who remained without funds after the death of the Father, the young man Rena rushed "into the stormy ocean of the world" and was convinced of the instability and the struck of human being. In a lonely sufferer, he passes through life, having lost all the taste, full of unclear gusts and unfinished desires, in secretly proud of his fatal accuracy, which elevates it over ordinary people.
In Rene, the idea is also carried out that a person is a victim of unmanaged passions. An example of this is an unnatural passion for the hero of his sister Amelie, which Rene considered the only one. Savesting from itself, Amelie takes a tonsure in the monastery, and Rene, opening her terrible secret, runs from a vicious society in the forest of America, looking for oblivion among the simple hearts of the Indians. But in vain: he brings with him all the contradictions of his soul and remains as suffering and lonely "savage among savages." In the final, Father Suell Surovo reproaches Rene in Gordin, Rarely: "Happiness can be found only on the ones of the fashionable ways," however, this time the author's admission of an exceptional person contradicts this imposed morality. The whole story is permeated with a sharp feeling of an irreversible movement of history; The past is not to return, "the story took one only step, and the face of the Earth has changed unrecognizable", and there is no place in the developing new world for Rene.
The huge success of Rena, who became the prototype of the whole of the Pleiads of the melancholic heroes of romanticism, affected by the "Age Disease", was based, of course, not on the noble sympathies of the author, but on the fact that Shatubin grabbed the mood hanging in the air and captured a new life phenomenon: Drama of Individualism, Burning a spiritually rich personality with a proprietary society. Under the charm, Tentorland was dozens of his younger contemporaries, up to the young Balzak. The young man Hugo recorded in the diary: "I want to be shuttless - or nothing!"
The central novel in the works of Chantubriand is the "Apology of Christianity". "Atala" and "Rene", according to the author's plan, were illustrations for "apology."
"Atala" is a novel about the "love of two lovers marching on deserted places and talking to each other." In the novel, new ways of expressiveness are used - the feelings of the heroes, the author transmits through the descriptions of nature is indifferent to the greatest, then formidable and deadly.
In parallel, in this novel, the author is half amelly with the theory of "natural man" Rousseau: Chartubrian heroes, Dikari North America, "In Nature", fierce and cruel and turn into peaceful spreads, only faced with Christian civilization.
In the "Rene, or the consequences of passions", for the first time in French literature, the image of the Hero-Stradental, French Verter. "The young man, full of passions sitting from the crater of a volcano and mourning mortals, the dwellings of which he barely distinguishes, ... This picture gives you an image of his character and his life; Just like during my life I had before my eyes the creation of an immense and together is not tangible, and next to him a gaping abyss ... "
The influence of Shatubrian on French literature is huge; It covers the content and form with equal strength, determining the further literary movement in the diverse manifestations. Romanticism is almost all his elements - from a disappointed hero to love for nature, from historical paintings to the brightness of the language - is rooted in it; Alfred de Vinyia and Victor Hugo prepared for them.
In Russia, the Creativity of Shatubrian was popular at the beginning of the XIX century, His highly appreciated K. N. Batyushkov and A. S. Pushkin.
The romantic art is characteristic of: aversion to bourgeois reality, a decisive refusal to the rationalistic principles of bourgeois education and classicism, distrust of the cult of reason, which was characteristic of enlighteners and writers of new classicism.
The moral and aesthetic pathos of romanticism is associated before all with the statement of the dignity of the human person, the intrinsicness of her spiritual and creative life. This found an expression in the images of heroes with a romantic art, which is characterized by an image of uncommon characters and strong passions, aspiration to limitless freedom. The revolution proclaimed the freedom of personality, but the same revolution gave rise to the spirit of compassion and egoism. These two sides of the person (Paphos of Freedom and Individualism) were very difficult to manifested themselves in the romantic concept of peace and man.
Romance denied the need and the possibility of objective reflection of reality. Therefore, they proclaimed the basis of the art. Subjective arbitrariness of creative imagination. Scenes for romantic works were elected exceptional events and an extraordinary environment in which heroes acted.
Burning in Germany, where the foundations were laid by the romantic worldview and romantic aesthetics, romanticism spread rapidly throughout Europe. He covered all spheres of spiritual culture: literature, music, theater, humanitarian sciences, plastic arts. In the first half of the 4th century. In Europe, there was a romantic philosophy: Johann Gottlieb Fichte (1762-1814), Friedrich Wilhelm Shelling (1775-1854), Arthur Schopenhauer (1788-1860) and Sieren Churkegore (1813-1855). But at the same time, romanticism was no longer a versatile style, which was classicism, and did not affect the architecture substantially, influencing the garden and park art, the architecture of small forms.
Romanticism in literature.
In France, the first third of the Xih century. Romanticism was a founded direction of literature. At an early stage, the development of the central figure - Francois René de Chastroan (1768-1848). He represented a conservative wing.
Western European culture of the Xih century. of this direction. Everything written by him is a controversy with the ideas of enlightenment and revolution. In the treatise, "the beauty of religion is glorified for Christianity" and the idea is justified that Catholicism should serve as the basis and content of art. Salvation of man, according to Shatubrian, only in appeal to religion. Shatubrean wrote pompous, flowery, falsely attense style.
religious-philosophical treatise L. N. Tolstoy, written in 1879-81. In Russia, the publication was banned by spiritual censorship. First printed in the magazine "General case" in Geneva in 1881-84, the last edition: confession; What is my faith? L., 1991.
In the "confession" with the deepest force showing a spiritual coup, experienced by the writer in the con. 70s - Nach. 80s. 19th century
The main topic of "confession" is spiritual search for the personality suffering from the meaninglessness of life, from the moral and religious lies of the priests of religion and art. Tolstoy does not find the meaning of life or scientific knowledge, nor in the teachings of Indian and Chinese wise men, nor in Christian dogmas. Only the life of millions of ordinary people engaged in difficulty as its supreme manifestation gives an answer to resolve issues about the opposite of life and death, about the differences between the truth and delusion, about the ideal of religious faith. The key to solving these problems Tolstoy finds in the concept of God, which has a universal value for it. Under God, he understands world harmony, the cause of being, the Creator of Life and Man, the World Spirit, a thinking mind. God is "that, without which it is impossible to live. Know God and live - the same thing. God is life "(Tolstoy D. N. Pol. Cons. Op., Vol. 23. M., 1957, p. 46). The meaning of the life of the person himself and the meaning of his faith in life is therefore quite logical to follow from the concept of God: "The task of a person in life is to save his soul; To save your soul, you need to live in God's ... "(ibid., p. 47). The idea of \u200b\u200bcleansing a man's soul through a religious faith becomes the main result of the moral and religious coup of Tolstoy.
Tolstoy distinguished the folk faith based on faith in life and legend, and the theological "scientist" faith, which he considered false. Tolstoy doubted the truth of Orthodoxy due to the intolerable attitude of the Orthodox Church to other churches and vera who admits spiritual violence against personality, and justifying direct violence - murders in the war in the name of faith. He puts doubt on the right of church theologians and preachers to broadcast the people of the moral and religious truths, criticizes the ritual side of religion, appeals solely to a reasonable justification of faith. "Confession" was subjected to strict criticism from not only Orthodox theologians, but also some literary figures. At the same time, it was met with great interest in the intelligentsia, since it continued to keep moral and religious searches, which was noted Russian culture throughout the 19th century.
Lit.: Gusev A. F. Count L. N. Tolstoy, his "confession" and multimonic faith. M., 1890; Mordovi.B. The path of climbing, t. 1. M., 1993; Pakin E. I. Philosophical quest Lion Tolstoy. M., 1993; Fausset H. A. tolstoy. The Inner Drama. N. Y, 1968; Braun M. Tolstoi. Eine Literarische Biographie. Gott., 1978.
Excellent definition
Incomplete definition ↓
CONFESSION
The central work of Augustine is blissful (dated 400). The name of the essay is completely adequate to its real content: a sinner, opening his own soul, in front of God and people in all his sins and takes the praise to the Lord for his mercy. In the first books "I." The author reproduces his biography (see Augustine blissful), sharing with people of children's feelings and putting all his sins and pedantically: the unlimited desire of the mother breast, an indiscriminate lifestyle, stubbornness, anger. Greek, for example, young Augustine teaches from under the stick. His native language is Latin. Only under the pressure of adults, he still learned the Greek language and even began to be considered one of the best disciples. In 371, the generous pheetzenate Romanian gives the boy a scholarship, and Augustine goes to learn to ritics in Carthage. This city was known while the focus of vice. The young man whirlpashes the calls of the flesh. From the very gentle age, he is tormented by unsatisfied feelings. "I arrived in Carthage: Circle of me with a shameful love. I have not loved, loved to love ...", and a little later: "Love and be loved I was sweet, if I could master the beloved." Augustine lived quite fun. The young man went to the theater, where he liked to watch the plays about love. But at all, he did not forget about his studies and studied seriously. Working in the library, Augustine discovers Cicero, reading his dialogue "Hortensia", not reached modern readers. This book turned out to be a kind of insight for him: "I studied books on eloquence, wanting for the purpose of reprehensible and frivolous, to the joy of human vanity to become an outstanding speaker. Following the established learning procedure, I reached the book of some kind of cicero, whose language is surprised by everything, And the heart is not so. The book is exhorted to contact philosophy and is called "Hydrangees." This book changed my state, changed my prayers and turned them to you, Lord, made other petitions and my desires. I suddenly overtakened all empty hopes; I wanted in my incredible heart confusion and began to get up to return to you. Not in order to hone my tongue (for this, apparently, I paid the mother-in-law at my nineteen years; my father died two years before ), not to push the tongue, I took up for this book: she taught me not to talk, and what to say. Love for wisdom is Greek called philosophose FIY; This love burned this essay in me. There are people who are misleading philosophy, which are embarrassed and wrapped their mistakes by this great, affectionate and honest name of Cicero; Almost all such philosophers, modern author and living before him are marked in this book and are exposed ... ". Reading made Augustine" Love, seek, to seek, master and tightly adhe away to one or another philosophical school, but to the wisdom itself, Whatever she was. "According to the author's remark, he already read the" categories "of Aristotle's categories and did not find them especially difficult. However, the young Augustine was disappointed with the Bible: this book" it seemed unworthy to even compare me The advantage of Cicero style. "Disappointed in the Bible, Augustine is trying to gain the truth in other exercises: having learned about the sect of Manicheev, he received a promise to find out the answers to all his questions. In particular, Augustine for the first time received a certain answer on the problem of Evil Evidence (see Manichee), It suffered all his life. In the manician appeal to the self-grade of Augustine, he saw that the means in which he needed to fulfill his life destination. Christian Monica, Mother Augustine, as shown in "I.", had serious species on his son. To turn it in faith True, the mother was looking for help of influential persons: a certain bishop, the charter explain Monica that Augustine is able to find the road in life, lost patience and told her: "Stay: how true that you live, so true and then that the son of such tears will not die. " In the book of the fourth "I." Augustine describes what intelligent deadlocks brought its some teachings - magic, astrology. The death of a close friend and departure from Carthagen was opened by the author "I." that the transient creatures cannot give us happiness. Only one Lord is unchanged. The soul can gain peace and happy life only in God. By this time, Augustine is already beginning to be disappointed in manikes. He discovered that this teaching denies personal freedom, as well as harshly distinguishes the perfect people, the custodians of holiness, and all others. Augustine could not accept this, he notes in "I.": "Since I read a lot of philosophical books and remembered their content well, I began to compare some of their provisions with endless manician bass. I seemed more likely words of those who have more likely There was enough understanding to explore the temporary world, although they did not find him the Lord. " Augustine was shocked by mathematical ignorance Mani, one of the authorities of the sect: "Mani spoke a lot on issues of scientific and was refuted by real connoisseurs. It is clear from here, how could be his understanding in the area, less affordable. He did not agree to a small assessment for himself and tried to convince people that the Holy Spirit, the comforter and the enrichment of your faithful, personally in the completeness of his authority inhabit. He was caught in false statements regarding the sky, stars, the movement of the Sun and the Moon, although it is not relevant to the science of faith, nevertheless the blasphemy of his attempts is enough here: speaking in his empty and crazy pride about what not only did not know But even distorted, he tried in every way to attribute these statements as if the divine face. "Having later went to Rome and not finding intellectual satisfaction and there, Augustine holds the way to Milan. In Milan, he meets the bishop of Ambros, the future holy. Augustine is delighted with his preaching And it decides to finally break with the maniken (the Book of Fifth "I."). Thanks to Ambrosy, Augustine takes Catholic ideas about faith. In philosophy, he is attracted at the beginning of the ideas of skepticism of the new Academy (see Neo-Platonism, Plotin). However, Augustine has already found a contradiction in this teaching. Appearing that the truth is not available to a person, Neoplatonians believed that it was only possible to study the possible and plausible. It could not Oh satisfy Augustine, which considered that the thinker must know wisdom. In the books of the seventh and eighth "I." Talking about the way of Augustine to God, the essence of which he first tries to determine from the philosophical point of view. Augustine does not yet consider him a clean spirit. Before him, the question of the origin of evil is worth it. Can I bribe God? Not only prayers, but also the desire of a mother to introduce the Son with people who can instruct him on the path of faith, give their results. And yet it is not easy. In the depths of the soul of Augustine there is a stormy internal struggle. (As the thinker noted, "... when I was released from under the unconditional submission to the Lord, as if I found my part and fate, I understood that I was I who wanted, I didn't want: that was It was I who wanted obsessed with this fearlessly and rejected it also undivided. And I began to fight myself, breaking myself ... ".) Augustine is constantly returning to the question of the relationship between the flesh and the Spirit. Augustine comes to the conclusion that God must assume an absolute being. All the existence, being the creation of God, is good. Evil is a departure from the Lord. By chance, Augustine draws attention to one place in the message of the Apostle Paul. This is the grace of the Lord, whom he lacked in order to make the last step in circulation. Augustine realized that "not in feasts and drunkenness, not in the bedrooms and not in a breakdown, not in quarrels and in envy: Enjoy the Lord Jesus Christ and the care of the flesh do not turn into lust." Augustine announces Mother, which is ready to appeal. In the book of the ninth "I." It is told about the spiritual path of the convert thinner and his baptism. At the end of this book, the death of his mother is told and a detailed description of her life is given. In the book of the tenth "I." Augustine analyzes memory properties. He considers the memory of a container or treasury, where countless images obtained by us from external feelings are hidden. According to the thoughts of Augustine, the memory contains not only images of things imprinted in the spirit (objects perceived by the senses, memories of themselves, composite and dissected images, etc.), but also the things that cannot be laid in images: Scientific knowledge and emotional
status. Self-consciousness exists due to the memory that connects the past with the present and allows you to foresee the future. Memory "turns currently" experience of the past and hope of the future. Its constant presence, which is confirmed by even forgetfulness, is a necessary condition for any human action. The specific function of memory is manifested in the acquisition of intellectual knowledge. In it, Augustine distinguishes the sensual element, for example, stored in memory images of sounds, and the object of knowledge as such, which is not perceived by feelings and, therefore, cannot come from the outside. The concepts are first kept in the heart and in the remote area of \u200b\u200bmemory, in the fragmented and disorderly state. With the help of reflection, the memory of them finds out, streamlines and they are disposed of. This is called knowledge. In the book eleventh "I." Augustine appeals to the problem of time. He reflects on the act of creation. If the voice said: "Yes, there will be the sky and earth!", Therefore, there was a body with this voice. If the body already existed, then where did it come from? Therefore, it is difficult to understand how the act of creation is compatible with the eternity of God. According to Augustine, "Here is my answer asking:" What did God do before the creation of the sky and the earth? "I will answer not as, they say, answered by someone, evading a joke from a persistent question:" Prepared the hell for those who are prettring about High ". One thing - to understand, Other - to ride. So I will not answer. I would be more willing to answer:" I don't know what I don't know. "Augustine claims that it is impossible to imagine the time that existed before the creation of the world, because God created They are together. What is the time? "If no one asks me about it, I know what time is: if I wanted to explain to the asking - no, I do not know. I insist, however, on the fact that I know firmly: if nothing passed, there would be no past time; If nothing had come, there would be no future time; If nothing had happened, there would be no present time. "By Augustine, memerable only present. The past and the future exist only in our view." There are three times: the present past, the present and present future. "These three types of time are nowhere Do not exist, except our soul. "The present passed is a memory; The present of this is his immediate contemplation; The present of the future is his expectation. "In time, Augustine was still a means of measuring the movement. At the end of the eleventh book, he reflects on the need to distinguish the time belonging to the subject (expressed in the memoil), and the time measured by the movement of the bodies (heavenly luminaries). Book twelve "I." It begins with reflections on the shapeless matter that existed out of time. The author seeks to adequately comprehend "Genesis" - the Book Book on the origin of man. He is trying to define his position for a long time towards the commentators of "Genesis." After a long reflection, Augustine comes to the conclusion that in the Holy Scripture, much is not available to us, but it contains truth, and therefore it is necessary to treat him with humility and reverence. Augustine notes: "And here people go and surprise are looking at high mountains and distant seas, on the rapid flows and the ocean and the heavenly shovel, but at this time they forget about themselves." At the end of the book by the thirteenth "I." Augustine, reflecting on the functions of the spiritual, betrays the grace of the Lord, creating, being alone and out of time. Comprehending the timeless significance "I.", Jaspers in the book "The Great Philosophers" noted: "The appeal is the prerequisite of Augustine thought. Only in this transformation, faith acquires certainness, not as those who came across the doctrine, but as God's gift. Whoever experienced this transformation , I will always find something outsuen in all strictly thought, on faith based. What does it mean? This is not the awakening that Cicero could provoke, not the blissful transformation in the spiritual world, which gives reading the dam, but a unique and emergency, in essence, different from everything: awareness of the immediate touch of God himself, as a result of which a person is transformed even in his physicity, in his existence, in order to its goals ... together with the image of thinking, the image of existence changes ... Such an appeal is not a philosophical breaking of breaking, which Then you need to realize the day after day ... This is a sudden breakthrough, biographically dated, to life, which suddenly finds a new foundation ... In this d Mortgage philosophical thought, from the one that autonomous, to the one that is syncretic with faith, we seem to see the same features of philosophizing. Nevertheless, every detail is refracted. From now on, the ancient ideas themselves are powerless, they become only a tool for thinking. As a result of the appeal, the assessment of philosophy has become irrevocated other. For young Augustine, rational thinking has a higher value. Dialectics - disciplines disciplines, it teaches the correct use of logic and ways to teach. She shows and highlights the existence, makes obvious what I want, she knows the known. Dialectics is one able to make a smart sage, and suddenly she gets a negative assessment. Inner light, it turns out, much higher. .. Augustine admits that his admiration of philosophy in the past was exaggerated. Bliss is not in it, but in passionate imposition to God, but bliss it belongs only to the future, there is one way the road to Him, and this path is Christ. The value of philosophy (as simple dialectics) is reduced. Biblical-theological thinking becomes essential. "As Augustine answered" I. "to the question: what do I love, loving God?:" ... I love a certain light, and some voice, a certain aroma, and some food, and some Hugs - when I love my God; This is the light, voice, aroma, food, embraces the inner man - where my soul shines light, which is not limited to space, where the voice sounds, which time does not make it silent, where the aroma does not disquire, which does not disquire ... me body and soul, ready to serve me; One is in the outside world, the other inside me. Whose of whom to ask me about God about God? .. Better, of course, what inside me. "According to the thoughtless of Augustine, subdued to the world outwardly, having mastered him, people" cannot argue. The world created answers questions only by reasoning ... He is in front of him and speaks to another; Rather, he says to everyone, but this voice of the outside world understands only those who, having heard him, compare him with the truth living in them. "" I knew himself know where he, "the conclusion of Augustine.
Excellent definition
Incomplete definition ↓
Confession in literature it The work in which the story is conducted from the first person, with the narrator (the author or his hero himself) admits the reader in the most intimate depths of his spiritual life, seeking to understand the "final truths" about himself, its generation. Some authors directly called their works: "Confession", defining this limit frankness - own: "Confession" of the bliss of Augustine, "Confession" (1766-69) J.Z. Russso, "De PROFIMDIS" (1905) O.Uildis, " The author's confession "(1847) N.V. Gogol," Confession "(1879-82) L.N. Tolstoy - or his hero-narrator, in poetry - lyrical hero:" Confession of the Son of the Century "(1836) A.Myuss, "Confession of a young girl" (1864) J.Sand, "Hussar Confession" (1832) D.V. Dvaevdov, "Confession" (1908) M. Gorky, "Confession of Hooligan" (1921) S.A. Jeshenina.
To the genre confession adjoins the diary, notes, autobiography, novel in letters that can belong both artistic and artistic and documentary prose - "Life" of the Avvakum Protopopa (1672-75), "Notes and the adventures of a noble person who has lost from light" (1728-31) .F.Prevo, Epistolar Roman Zh.Dee Steel "Dolphin" (1802), "Honor notes" (1848-50) F.R.D. Shatubrian, "Diary" (1956-58) Gonkur brothers, "Selected places from correspondence With friends "(1847)," Notes of Crazy "(1835) Gogol," Writer's Diary "(1873-81)," Notes from the Dead House "(1860-62)," Notes from the underground "(1864) F.M. Dostoevsky. Sometimes confession performs in a completely alien manifestation - as a satirical, parody genre - "a citizen of the world, or letters of the Chinese philosopher" (1762) O. Holdsmith.
Russian writers and literary confession
Russian writers of the 19th century contributed to the development of literary confession. In the repentant Intrivation, Gogol and Tolstoy are ready to abandon the most significant for the artist - creativity, seeing the contradiction of the highest religious laws of conscience. Gogol condemned satire as an ulcerative slander in the near, Tolstoy, in the "confession" of which V. Zenkovsky found "ethical maximalism, a certain self-crucifixion" (Zenkovsky V.V. History of Russian philosophy. Paris), drew attention to the discharge, oblique in relation to To the souls of the people and folk culture the essence of art. The most close to the genre of confession, as admitted, works by F.M.Dostoevsky. It was not by chance that they deserved the definition of "Romanov Confessions" (first in the assessment of DS Memergekovsky in the book "Lev Tolstoy and Dostoevsky", 1901-02, then M.M. Bakhtina - "Problems of Poetheevsky poetics", 1963). The confessionalness of Dostoevsky - in an inextricable connection with the observed bachtin polyphony: through it is carried out on it, in turn, affects. In the philosophical-lyrical prose of the 20th century (M. Prishvin "Faceliya", 1940; O. Buggolts "Day Stars", 1959) Confessions are expressed in the philosophical reflections on the events of the secret problems of creativity, about the role of the artist's personality.
With the desire to destroy not comparable to the act of creativity, the concept of the ideological norm, the dogma of the official ideas of the "stagnation" of the 20th century standing in the confessions of the last decades of the 20th century in the absence of a hero in the absence of repentance of repentance. Moreover, the "professing" is inherent in self-examination, in-depth weapons of low-lying sides of the human soul ("This is me - Edka", 1976, E. Limonova; "Mom, I love Zhulika!", 1989, N.Medveva).