Problems of literature in the modern world. Topics of lectures, basic concepts of the course

Based on theoretical and practical material related to the specifics of the modern literary process, the basic concepts and terms of the literature of postmodernism are revealed. An analysis of the artworks of the best writers of Russian literature of the 20th century (V.Pelievin, V. Piezzah, V.Sorokin, V. Makanin, etc.).

The manual is complemented by the thermal dictionary, topics of reports for students' speeches on special seminary, as well as a list of recommended for studying artistic and critical literature.

Designed for philology students engaged in special-purpose "current issues of modern Russian literature: postmodernism."

Introduction

Art, in jungle, "Intuitively comprehends changes in the collective unconscious." Today, it became obviously inevitable such a tectonic shift, which causes a change paradigm, which means that sets of values, types of consciousness, ideological strategy and installations.

In the 20th century there is a complication of art, its special form arises, which begins to think of himself as a second reality, "competes with reality" (L.Aragon).

The purpose of literature becomes not copying life, but modeling the world in their image and similarity, the creation of a fundamentally new literature model.

The basic principle of such literature is the destruction of life vessels, erosion, destruction of species and genre borders, syncretism of methods, breaking the cause-effect relationships, violation of logic - "Nothing is no reason, no law reigns" (F. Nietzsche).

The aesthetic system of new art is based on the active use of forms of artistic convention, hyperbolization, transformation of metaphors, the system of allegories, the game of contrasts, the forms of absurd, grotesque, fiction, complication of the philosophical-shaped row. The mechanisms of the game are actively involved, and the game element is manifested at all levels: a game with meaning, plot, ideas, categories.

Literature functions change: informative, communicative, educational, moral and ethical, aesthetic. Traditionally, art was intended to expand the ideas about the world and man, to have a positive effect on human nature, contribute to the change in peace and personality for the better, ennoble the soul, develop aesthetic feeling.

The art of the new time loses these abilities of knowledge and changes in life, it becomes a special playing way to exist the artist.

"In the new prose - after Hiroshima, after self-service in the Auschwitz and the serpentine road on Kolyma, the sequeary slide in Solovki - all didactic rejected. Art is deprived of the right to sermon. No one can learn anyone, has no right to learn. " The meaning of this statement of Shalamov is clear enough: if the highest spiritual experience of world literature and great Russian literature did not stop the process of disagreement of people, the victims of man and did not overcome the instinct of mutuation, did not stop the blood river - why do you need literature, art? Therefore, the appearance of the artists of the word, intentionally refusing to be an "instrument" of spiritual support of mankind. Credo of the modern artist: "Live not as it should, but as you wish, if it should not happen" (T. Tolstaya).

The world again is experiencing the situation of the Great Inquisitor: the truth is not needed, the logic of common sense is needed. "Literature as a myth, as a way to understand the life of life, disappears, the human existence itself is meaningless, since all the surrounding it is absurd, boredom."

You can consider modern literature in two plans: on the one hand, perceive as a sharp departure to the side, an attempt to distort or brake processes that are natural, organic to develop literature, in this case, the rejection of realistic tradition can be assessed as a complete destruction of literature, deadlock, end that many postmodernists are stated by their creative practice. In this sense, many estimate postmodernism as a decadence of the 20th century, as a medium for intelligent provocations and social sell, as a kind of textual Satanism.

On the other hand, this artistic system needs to be understood in terms of a wide historical perspective, as a return to cultural values \u200b\u200bat the level of testing the tradition, introducing various forms, adapting to new conditions of reality, testing the tradition of strength, on a break, on a break, research within the text of its individual artistic freedom.

Then they become clear the installation of postmodernism, which does not deny anything and does not claim, but only, expressing doubt that in general it is possible to create something fundamentally new, makes connotation of meaning. The postmodernism of this orientation does not simply plays meaning, which often leads to an axiological explosion, but, according to L.N. Darlyalova, "tragically surviving the classics."

"The new Russian literature has been laminated in everything without exception: in love, children, churches, culture, beauty, nobility, motherhood, folk wisdom," but this doubt, eating a living body of literature, is tragic, and not erynic, cynical.

In modern science, postmodern search is sometimes estimated as aesthetic counter-revolution, as a transitional phenomenon, growth disease, crisis, like art for art, rebellion for the rebellion, game for the game. There is an opinion that psychologism and social relevance have always been present in the general line of Russian literature, which deliberately and declaratively refuses postmodernism, thereby commending the fact of its existence. Sometimes modern criticism refuses to look into the depths of the phenomenon and does not make it difficult to explain the essence of their claims attempted. In this case, the conversation about postmodernism is purely emotional-valued. For example, reviews about the Roman A. Korolev "Eron": "Scandalous, beyond the fractions of Roman's decency" (N.Ageev), "Screying vulgarity, monstrous ones-free product", "Dusnunkusiya", "Despicable Maschaw Prose" (s.chuprinin) ; "To the richness of socialism in the stage of reducing the falcillass rose. It turned out a soap opera. Milong Scarlet Roses, crossed with Milong Black Zeb.

There is a notion: "Criticism by default." If the phenomenon does not deserve the conversation, why is there any air to shake, moreover, this kind of criticism is a form of attraction of attention, perhaps a really faulty work in its aesthetic advantages.

The modern literary process is so complex and ambiguously estimated that there is a need for typological understanding, identifying leading trends, basic patterns that define both the status and prospects for the development of domestic literature.

Postmodernism as one of the most notable facts of the literary process of the late XX century covers various spheres of art, is characterized by distribution in many directions, genre-thematic blocks, typological communities, determines the evolution of many writers and the traditional realistic direction.

It was necessary to determine the place of postmodernism in modern domestic literature, in his connection with the previous literary tradition, for which it is primarily necessary to identify its essential nature, the degree of aesthetic value and innovation, to designate the typological framework, degrading this phenomenon from other facts of Russian literature of the modern period.

Postmodernism as an artistic system

§1 typological signs of postmodern literature

If we summarize the signs of postmodern art paradigm, properties, quality, characteristics identified in the process of studying this phenomenon as foreign (IHB Hassan, Jean Bodrieryar, Jacques Derrida, housing Deliece) and domestic researchers (M. Epstein, N. Leiderman, M. Lipovetsky, M. Zolotonosov, S. Chuprinin, V. Kuritsyn, A.Yakimovich, etc.), it turns out that postmodernism has certain typological characteristics that can be "diluted" at different levels:

1. At the level of content.

Uncertainty, a cult of ambiguities, mistakes, passes, hints, the situation of "maze of meanings", "flickering meanings."

2. At the level of axiology.

Decanonization, struggle with traditional value centers (sacred in culture man, ethnos, logos, author priority), blur or destruction of oppositions of good-evil, love-hatred, laughter-horror, beautiful-ugly, life-death. In this regard, postmodernism to some extent represents the philosophical "chimera", an antiysystem, a kind of upgraded maniken, if they operate with concepts and definitions, for example, L.N.Gumilyov.

3. At the level of the composition.

Fragmentality and principle of arbitrary installation, combination of incompatible, the use of things is not intended, disproportion, violation of proportions, disharmoniousness, arbitrary registration of amorphosis, triumph of principle: destruction and establishing new connections in chaos.

4. At the level of the genre.

a) as a result of the destruction of traditional genres, the creation of forms of "intermediate literature" - according to L. Ginzburg (literature, theory, philosophy, history, cultural studies, art historical studies are equal in the framework of one genre-species modification); genome syncretism.

b) the mixture of high and low genres, which manifests itself, on the one hand, in the fiction of literature, in the waste, declared refusal of assesses, seriousness, virtue to the side of the exhibition, adventure, on the other - in genre.

c) Polytextuality, the saturation of the text of the text with unwext alluses, reminiscences, the presence of a wide cultural context.

5. At human level, personality, hero, character and author.

The idea of \u200b\u200ba person from the point of view of pessimism, Primat tragic above the perfect. Celebration of the irrational principle, immanent consciousness, apocalyptic worldview, worldview.

6. At the level of aesthetics.

Underlined anti-nesthetics, shock, shock, challenge, brutality, cruelty, thrust for pathology, antinormativity, protest against the classical forms of beautiful, traditional ideas about harmony and proportionality;

7. At the level of artistic principles and receptions.

a) Inversion (the principle of turning, "iridescent").

b) the irony, approving the plurality of peace and man.

c) a sign character, the refusal of Mimesis and the visual start, the destruction of the sign system as the designation of the chaos celebration in reality;

d) superficial character, lack of psychological and symbolic depths.

e) game as a way of existence in reality and art, form of interaction of literature and reality, the possibility of concealing genuine thoughts and feelings, destruction of pathos.

Of course, all these characteristics are not unconditional and exceptional, characterizing the literature of this direction. Moreover, they may be present in the work of modern writers in different extent and extent, sometimes at the level only, but it is no doubt that such trends are in Russian literature of the last third of the 20th century more and more voluminous nature.

§ 2 The problem of a person in the literature of postmodernism

In the postguman era, the consciousness of a person permeates the feeling of disasters, the end of the world, the apocalypse, the fact that sociopsychologists are called Millenirism. The story begins to be perceived as a fatal process, humanity blindly obeys fate, monitors the fatal inevitability of the end.

The human personality, formerly in traditional ontlogic coordinates, the measure of all things, the category of self-concrete and self-sufficient, detects its inferiority.

There was an opinion that the concept of personality in postmodernists is not. The person is most likely perceived as antielo, antihero and a kind of personalified evil.

Indeed, postmodernism rethought the possibilities and borders of human individuality. With this vision of reality, when the subject of understanding becomes alone instability, chaos, fragmentation, the absurdity of the simulations, when the world is moving away from the macromir of the universe to the microman of quarks, the very existence of a complete person is problematic.

In the postmodern interpretation, a person turns, on the one hand, in the "negative space" (Rosalind Kraus), the "random mechanism" (Michel schesion), "fragmentary man" (J. Derrida), "man in a minus coordinate system", etc. . Rolan Bart, for example, I generally developed the postulate of the death of the subject.

Such a rethinking of the role, human capabilities, "man's places on the coordinates of the Universe," L. M. Leonov was expressed at one time, led to the philosophy of anthropological pessimism.

It is necessary to distinguish anthropological pessimism, permeating the literature of the end of the century - the end of the millennium, explained by many socio-historical and moral causes, and mansomeness. Anthropological pessimism is due to the realization that a person is imperfect, but the understanding of this already gives rise to a certain hope for the possibility of overcoming contradictions in the nature of the human person.

Maybe one of the first main properties of the human person in the 20th century, the century of the socio-historical catastrophe and the humanistic crisis of world civilization, identified Robert Muzil in the "man without properties." In such a hero, all the polar categories were brought to extremes, binaryness was destroyed, everything was reduced to the phenomena of the mediative series, and in the end - spiritual annihilation and moral collapse.

This type of man peculiarly characterizes A. Yakimovich: "This is a creature that can enjoy cannibalism and write a" critical mind criticism ", this is a distinct, indescribable person, ingenious cannibal, virtuous livestock, the most beautiful of freaks."

Western European art of recent decades widely explores the phenomenon of such a "all possible person", as in the literature: Umberto Eco ("Rose Name", "Foucot Pendulum"), Milos Kunder ("Unbearable lightness of being"), Patrick Zyuskind ("Perfumer") and t . and in the adjacent arts, for example, in cinema: L. Bunuel ("This vague object of desires", "Day Beauty", "modest charm of the bourgeoisie"), Michelangelo Antonioni ("Zabryski Point"), J. P . Greenway ("Drawrod's contract"), R. V. Fassbinder (Berlin - Alexanderplatz), F. Coppola ("Apocalypse Today"), etc.

Alogiism and non-motivation of actions, unpredictability of behavior, the irrationality of the perception of the world, the inability to put the limit to their desires, needs, whims and immanent fear of the future, the instinct of destruction of everything and all in conjunction with the suicidal complex determine the stereotype of thinking and behavior of the heroes, which at the external level of their existence They have a culture, subtlety, charm, grace, are in the status of demigods, and in their inner "I" (often in imagination) make terrible deeds. A wild splash of negative, all the destroying energy is not explained. Ceremonies insane antilogy.

The tragedy of the decay of the substance and the spirit is declared as a largest tragic age finale.

The inconsistency of the human person, noticed by F. Dostoevsky ("Angel with the Devil struggles, and the Battle's place is a man's heart," "Waiting, Wharya, I would prove it"), in the literature of our time, it is not just to extreme, but to the logical The end, followed by the absurd of human existence at all.

The source of this type of personality can be detected in the concept of man F. Nietzsche:

"Man is something that should overcome";

"You made a way from a worm to a person, but much in you from the worm";

"Man is a dirty stream. It is necessary to be the sea to take it into yourself and not become unclean";

"The greatness of man is that he is a bridge, and not a goal, love in it is worthily just that he transitions and destruction";

"Man is always on the edge of the abyss";

"When you look back in the abyss for a long time, the gap begins to peer in you."

In such a philosophical justification of the person, not only the foresight of F. Nietzsche time, when "the big dragons people" are people ", but also the approval of the infertility of the contradictory nature of human nature, the intervention in which any perspective is deprived of. Such an understanding can not be reduced to the disbelief in the human mind, activity, strength and value of the individual, rather, this is a refusal of absolute truth.

Irrationalism in the approach to person is primarily associated with the problem of reason.

"From the mind of trouble much more than good. The mind destroys more than it creates whether it is capable of confusing, rather than clarify any problem, creates more evil than good. "

Postmodernism brings to the logical end of the installation of modernism, denying their essence. Modernism was based on the disbelief into the mind, the misunderstanding of his weakness, the disbelief in the fact that with the help of a mind, which is highly imperfect, you can reasonably understand the world, organize chaos. "The meaning of modernism is to oppose the rationalism of materialism of the originality of the subjectivistic interpretations of being. The purpose of modernism is the search for lost completeness and integrity in emotional memory (prunte), universal archetypes (Joyce), in poetry. "

Postmodernism Unlike the art of previous epochs postulates disbelief at that form of mental activity, which can be described as a superflum.

Scientific discoveries of the 20th century, refuting classical physics, naturally give rise to horror in the consciousness of a person, the fear before using a superproof person interferes in God's fishery, as a result, destroyed itself and all surrounding: the splitting of the atom, the opening of quarks, the creation of genetic engineering, supercomputers, The cloning method, which makes it possible to create a complete copy of the living being, the impact of the brain of the embryo cells in order to superdecessate tissues, etc. Apotheraposis of the madness - opening (as long as theoretical) Japanese scientists of antimatter. The technology of creating antimatter is already "worked out" at heavy duty computers, it's a few - to keep it in a "material body". The result of the triumphant reason can be annihilation, a kind of universal suicide.

The bitter conclusion, with whom we come to the end of the 20th century: accumulating an incredible number of perfectly useless, and often dangerous knowledge, people did not better and did not find the perfect way of spiritual and moral rebirth.

As O. Vanttein writes, "the person's specificity of the postmodernism era is determined by the fact that it exists after the decentning event was made and such familiar mythologies, like God, nature, soul, essence, are no longer working.

In return for a mysterious and warm center, transcendentally meaning, organizing the life and thoughts of the Adepts, a person of this type prefers to issue a certain empty space within himself, a kind of security zone, providing the opportunity to see himself from the side, or, if you use bakhtin terminology, the position of the dollarness. And this pure cold sector of the mirror serves as protection against the claims of substantivism in any forms, whether it is an appeal to religious consciousness, or political burning, bias judgment for any occasion. "

This "withdrawal" can turn into extremes, that is, death, as, for example, in the play of V. Fokina by the story of F. Dostoevsky "Boboc", where the express graves appear in front of the spectators on the stage, in which the dead continue to quarrel in , swear with each other, squander, blasphemy. The situation "behind the line" does not change anything. There are no parallel worlds. There is the unity of the abnormal state of the human soul. Even death as the highest form of privacy does not change anything.

The overseas space of the human personality, the "situation of non-drugs", the security zone of human consciousness, etc. In modern postmodernism, various ways of expression are found:, alienation, pathological conditions of consciousness, care to parallel worlds, agarofobia, narcissism of the egoistic, individualistic personality. And the result is the feeling of the absurdity of each individual existence, the desire to absolute, to a certain world soul, to the void with which it is merged or in which they dissolve, losing their individuality, living beings.

Images of death and emptiness varies in different ways in the works of leading writers of this direction: "Before and during" V. Sharov, Chapaev and Vniffs, V. Pelevin, "Time-Night" L. Petrushevskaya, "Valpurgiyeva Night, or Commander Steps »Ven. Erofeev, "Scary Court" V. Erofeev, etc.

§ 3 Criteria for artistic value.

Innovative character of postmodern art type

Open in relation to the art of the New Time remains the question of the criteria of value, artistic importance, aesthetic regulation. Former traditional coordinates, opposition:

a) aesthetic: the beautiful-ugly, ideal, non-obvious ideal, expressive-inexpressive; b) gnoseological: understandable, incomprehensible, - Hold, one-dimensional, relevant-irrelevant, reasonable-unreasonable; c) moral and ethical: moral-immoral, good-bad, normal-abnormal, sacralized-destructive; d) emotional-evaluated: interesting-uninteresting, I like it, I do not like, I do not perceive, etc. - have lost their meaning. Value represents only innovation. Only innovative character can be the basis for withdrawal - a work of art took place or did not take place. Diverse forms of contemporary art, such as installation, Hephening, Perfomance, etc. are carried out precisely on this principle.

"Avangard has always claimed a universal alteration of the consciousness of people, being paradoxical, he does not produce ready-made formulas and does not give certain knowledge, its task in another: provoke a search, intellectual complicity, to create a new experience, prepare a person's consciousness to the most incredible stressful situations and world cataclysms. "

Postmodernism fundamentally rejects the formulation of the problem of quality in relation to the artistic work, and in terms of traditional operating, these concepts are submitted by the phenomenon of non-different-quality, outside the coordinate grid of traditional criteria; For him, there are no tough priorities in matters of faith, philosophical and aesthetic preferences.

B. Grois In the head of the "Strategy of Innovation" of his book "Utopia and Exchange" gives theoretical substantiation of the existing situation of the extreme-grade of modern art. The meaning of the research of the researcher comes down to the following.

Each culture is organized hierarchical: structured cultural memory and the medium constitute two levels in this structure. The stranded environment is extremely heterogeneous, it consists of things that are not recognized by cultural institutions ensuring storage of cultural memory. But it is a stranded medium that consists of the entire non-permanent, invisible, uninteresting, industrial, transient, is a reservoir for potentially new forms and values.

What is the difference, for example, between "Madonna" Rafael and urinal in the composition "Fountain" exhibited by M. Dushan in the Paris Museum. We are talking only about different visual forms. There is no criteria for which we could distinguish them by the degree of value. There is no possibility to justify the differences between reasonable and unreasonable, good and bad, beautiful and ugly. Nietzsche, Freud, structuralists have shown that any statement or even an amusemental set of signs can be considered as equal to traditional wisdom in certain relationships. The postmodern strategy argues that all hierarchically organized oppositions can be overcome by hidden identity of all things or deconstruct them in an endless game of private differentiations.

Therefore, the opposition of valuable-sensitive is generally removed, and the creation, creation, the work of art can be reduced to a simple process of movement. Innovation is the movement of things relative to the border separating the valorized and stored culture from fluid and stray reality. And in this regard, postmodernism can be interpreted as a sign of complete freedom of the artist include in the artistic context, and thereby Valorize anything. The work of art ceases to be something significant and qualitatively different from any other thing, all the traditional criteria for "making beauty", expressiveness are canceled.

Each thing can be moved to the context of art, at least purely mentally, and not in reality. Only Dysuchanovsky "Fontana" is enough to demonstrate the elimination of the value hierarchies and label or end art, or the end of the stranded - depending on the taste. Structuralism, psychoanalysis, Wittgenstein's Language Theory, one way or another operating the categories of the subconscious, managed to convince that neutral, purely stray things do not exist, all things are meaningful, at least these values \u200b\u200band were hidden from a superficial look.

Thus, the new in art occurs when the artist exchanges the tradition of art for insistency, the traditional fine picture on the Black Square Malevich.

In confirmation of its concept of art as a profane B. Grois leads an episode from Plato's dialogues:

"A relative to such things, Socrates that could seem like funny, such as, for example, hair, dirt, litter, and every other not worthy of rubbish, you also wonder: it is necessary or not for each of them to know the separately existing idea other than that What are our hands touched?

Not at all, "Socrates replied," I believe only that such things are just as we see them. It would be too strange to assume the existence of some idea for them ... Whenever I come to this, I hurriedly appeal to escape, fearing to stop in the bottomless jam.

You're still young, Socrates, "said Parmenid," and the philosophy did not make you all over with you, as, in my opinion, will post over time, when none of these things seem to be insignificant. "

The Russian prose of the late XX century in artistic quest is returned "on the circles of its own"; None of the things that came to the sphere of attention does not seem insignificant, and the art of postmodernism itself is self-sufficiently in its aesthetic advantages and is innovative, search, experimental character, has its own system of values; claims to replace axiological landmarks.

§ 4 Classification: typological community and directions in modern literature

The complexity of the understanding of Russian literature of the late XX century is primarily due to the fact that the existing artistic phenomena, established in creative practices facts and concepts do not have on the theoretical and methodological levels of an accurate formal definition.

For example, one of the directions in the literature of the post-Soviet period, having a common nature, simultaneously referred to as "Chernoha", naturalism, physiological prose (A. Genis), "Daggerrotypnaya" literature, "household" realism "," Shoking-prose with installation on brutality "(M. Zolotonosov), metaphysical sentimentalism (N. Ivanova), tape recorder (M. Stroyev), eschatological, apocalyptic prose (E. Toddez), etc. None of these designations makes it possible to fully To determine the nature of creativity of such different writers, similar to only in their globalism, but not by the method and creative manner, like S. Kalin, Golovin, N. Sadur, E. Sadur, Yu. Kisina, N. Kolyada, veins. Erofeev, F. Gorenstein, M. Kuraev, etc. The overall beginning is manifested only in the fact that for external life-making, naturalistic analysis of reality, attention to human physiology, with exaggeration of interpersonal relations, using the reception of the distortion of reality, hyperbolization of the vices of the world, etc. D. Fights the overall beginning, manifested often in a vain attempt by the artist to penetrate the secret of human existence, which is measured by higher categories of spirit, not matter.

As a consequence of theoretical non-authenticity in modern literary science, a mass of parallel names occurs to designate artistic phenomena of postmodern orientation:

1. At the level of place definition in the track chain: postlituration, metalometer, postman-garde, transistaangard, marginal culture, alternative art;

2. At the level of assessment of the role played by art in the life of society, a person, from the point of view of social significance, psychologicalness: countercultitution, underground, brutal literature, literature of the Epatage, literature in the minus coordinate system, shoking prose;

3. At the level of determining the innovation of the content: the literature of the new wave, "other" literature;

4. At the level of determining the innovation of the method, genre, artistic form and techniques, formalistic experiment and aesthetic search: neoavangard, neomanism, non-monoocratic, inadenerism, neonaturalism, neorealism, art in the style of pseudo-zen (without detention).

A number of researchers in an attempt to determine the direction of modern search and experiencing a shortage of terms, use parallel and even competing terms (sometimes on the manner of Oxyumorone): Roman Lothar - "Modern after Postmodern", Edward Fry - "New Modern", "Promotern", and so on .

O. Vanttein in his work refers to the types of postmodernism, allocated as a working hypothesis in the scientific group, headed by H. Burtens and D. Fekkem.

1. The first type is based on the tradition of avant-garde, and the political democracy of the avant-garde and the direct orientation on the "crude reality" is opposed in postmodernism of this type of high-tender, elitar, politically conservative modernism.

2. The second type is associated with the Deconstructivist philosophy of J. Derrida. Literary works of this level are distinguished by multi-layered construction, intertextual saturation, a wide cultural context intentionally fragmentary.

3. The third type is distinguished conditionally, since it comes to commercial modifications of any species of poetics, erasing the faces between high and mass culture.

4. The fourth type affects more sociological and psychological aspects, rather than literary. This is the total atmosphere of the era, the mood of the end of the century, the reaction to the sample conformism of Western civilization.

As we can see, when identifying various types inside one artistic system, various bases are found: in one case, opposition, alternativeness in relation to the official ideology and traditional forms of art, in another case, is the orientation for a general eschatological mood, in the third case, the basis for typology is purely Formal signs, etc.

Attempts by researchers to make the principles of limiting the diversity of the system have not yet been crowned with success. Postmodernism as an artistic structure is not fully classified, not typical. In the language of cybernetics it looks like this: "A complex system with variational regulation has a steadily high output only when the diversity of the control system is not lower than the diversity of the managed object." In the case of postmodernism and attempts to classify it, we observe a reverse pattern: the object itself turns out to be a variety of management system.

Hence the scatter in determining the components of this structure, even if these components have general, similar properties and signs.

A. Genis and P. Wail in the literature of this type and directions allocate only "Chernukhu" and "Avangard"; Ivor Severin - conceptual, gentledency and non-canonically-tendentic literature; M. Zolotonosov - "Shoking-prose with installation on brutality" and the literature of aesthetic and formalistic experiment (which, according to the classification of A. Genis and P. Wail, corresponds to Chernukha and Avangard); N. Ivanova allocates "Historical Naturalism"; V. Erofeev - Social and Historical Naturalism (V. Astafyev, F. Gorenstein, L. Petrushevskaya), opportunistic literature (Y. Mamleev, Sasha Sokolov, S. Dovlatov), \u200b\u200bDirection of literary cynics (E. Limonov), a group of "Yurberry Writers "(Veins. Erofeev, Vyach. Piezuh, E. Popov), stylizers (A. Sinyavsky, V. Sorokin), Women's prose (T. Tolstaya), Gay culture (Evg. Kharitonov).

Taking as the basis of the existing and to some extent already marked by the researchers, directions, branches, flows, but given the combination of similar features at the level of the method, the globility, genre, style, artistic signs and techniques, we will try to give the following classification.

1. Conceptual literature. At the heart - the plurality and arbitrariness of the interpretation of the object (reality, man, the facts of history, etc.), the transformation of archetype, visual hazardiness, figurative transliteration, destruction of the literary stamp, borrowing at the level of hints, alluzius, reminiscence, a quotation mosaic. Any object can be represented as an art object in conceptualism, all that can be intellectually interpreted. In other words, conceptualism is an intellectual interpretation of objects that may include in the sphere of their reflections, whether text, physical element of reality, any communication. The formal representation of such an object that is called the concept, does not matter much.

Visigs D. Markhat All Russia. Phenomenon of verse after his death. Collection of prevails for a variety of things.

Sorokin V. ROD. Norm. Session of the Zomba. Month in Dakhau. Open season. Thirtieth love Marina and others.

Rubinstein L. Mom Soap Frame.

Kibirov T. Sortira. When Lenin was small.

2. Bestland prose. At the heart - decanonization, desacralization, destruction of traditional value centers, the amorphy of the genre system, the active use of absurd receptions.

Sokolov Sasha. School for fools. Between the dog and the wolf. Palisandria. Anxiety doll. On the innermost scrubbles.

Kudryakov E. Rye dark wanders.

Popov E. Climbing. Patriot soul. Khrenovo Temper Clavier.

Aleshkovsky Yu. Centensky modest handkerchief. Nikolai Nikolaevich. Death in Moscow. Ru-ru. Disguise.

3. Neonaturalism. In the artistic principle - the orientation on the "raw reality", identifying natural natural processes with the laws of history, special attention to the crisis states of the human psyche that breaks under the influence of cruel circumstances. As a result of anatomically detailed study, the "low" reality is the helplessness of the author, only fixing the diverse forms of unpredictable and irreplaceable in their capabilities of evil.

Golovin is someone else's side.

Kalin S. Sumbered Cemetery. Stroybat.

Petrushevskaya L. Time - Night. Your circle. Isolated boxing. New Robinsons. Raw leg, or meeting friends.

Kuraev M. Night Watch. Blockade.

4. Philosophical fiction. It is built on the continuation of the traditions of anti-wasteopia in the world literature (E. Zamyatin, J. Orwell, O. Huxley, etc.). Bars the features of parables, fiction, myth. A special role is played by the form of artistic convention, techniques of grotesque and parodies.

Pelevin V. Warrock problems in the middle lane. Sixpal and reclusive. The ninth dream of Vera Pavlovna. OMON RA. Chapaev and emptiness. Crystal world.

Beard of A. Fime Eliot.

5. Erotic prose. As an image of an image, the intimate sphere of human life, a study of hidden, dark sides of the nature of the personality.

Modern erotica does not approve the ideal of bodily beauty, but rather means the tragedy of her loss, distortion, deformation of erotic feeling.

Narbikova V. Near Ecolo. Equilibrium of daylights of day and night stars. And travel belt. Visibility for us.

Korolya A. Eron. Burn lens.

6. "Brutal" literature. It relies on its quest for declared anti-wetehetism, the destruction of the norm is beautiful-ugly, the poetry of evil, the aestheticization of terrible, replete.

Erofeev V. Russian Beauty. Scary court. Life with an idiot. Beship. The smell of feces from mouth. White castrated cat with beautiful eyes.

Limona E. This is me - EDICH! Executioner. Young scoundrel. THE NIGHT SUPER.

Yarkvich I. Childhood (as I crawled), adolescence (as I almost raped me), youth (as I was engaged in masturbation). Like me and how me. Solecin, or voice from the underground.

Kisina Yu. Flying of doves over a phobia dirt.

Kolyada N. Slogatka. Indisimally our sea. Murlen Murlo.

7. ESKATOLOGICAL (apocalyptic) literature. A look at the person and the world from the point of view and anthropological pessimism, a tragic ministry, the foreskin of the end, a dead end, in which human civilization was.

Gorenstein F. Psalm. Redemption. Last summer on the Volga. With a wallet.

Kondratov A. Hello, hell!

Sadur N. South. Girl at night. Witch tears.

Erofeev veins. Moscow-Petushki. Valpurgiyeva Night, or Commander Steps.

8. Marginal ("Intermediate Literature").

Galkovsky D. Infinite deadlock.

Sinyavsky A. Walking with Pushkin.

Sharov V. Reheatition. Before and during.

Kharitonov M. Line of fate, or a chest of Milashevich.

Erskin F. Ross and Ya.

Ilyanien. And Finn.

9. Ironic prose. The irony becomes a way to destroy the stamp at the level of ideology, morality, philosophy, the form of protection of a person from inhuman life.

Piezuh V. New Moscow philosophy. Enchanted country. Night voyages with Johann Wolfgang Goethe.

Weller M. Legends of Nevsky Prospect.

Polyakov Y. Kozotok in milk.

Kabakov A. Boulevard Roman. Last Hero.

Governor I. Jerusalem Garica.

Vishnevsky V. Singleness.

Dovlatov S. Reserve. Compromise. Foreign. Solo on Underwood.

The proposed classification is disheveled as any system that has diverse and frequent signs of signs, but, nevertheless, it seems, it makes it possible to some extent to some extent to type the phenomenon that does not fit the theory in the "procrusteo bed".

The problem of the attitude of art to reality in the postmodern paradigm.

Flight from reality in the literature of postmodernism

Questions about the relationship of art and reality, subject research and cognitive opportunities of post-modelism literature remain open.

Traditionally, the subject of study, understanding in art was reality, reality, social environment, nature, the world of the human soul, in other words - Macrocosm and microcosm, peace and human personality. Before traditional art forms, the problem of truth, authenticity, authenticity always stood.

Art formulated and pursued certain goals, depending on the method, the method, such as artistic generalization: a) to know the world, reproduce it in adequate forms; b) convert, improve, streamline an amorphous structure, harmonize chaos; c) give a guide to action, raise on a positive example; d) upgrade, to make an innovation; e) improve man, affecting the beauty of art on his soul and heart.

Postmodern aesthetics such tasks in front of them do not put. For example, Vyach. Piezuh in "reasoning about writers" so expresses its attitude to the problem of authenticity in art: "Artistic prose is not a way of admiring or indignant reproduction of reality, this means of reproducing reality in a transformed-concentrated form, which is akin to the preparation of cereal from the ax, and the so-called The reality of a deep writer always relates to reality as a paradise with a sanatorium, a pathologist with a butcher, or, on the contrary, consumer steam with the initial accumulation of capital. "

What is a porridge from the ax? In other words, it's all from nothing. Otherwise, this thought is expressed by the hero of V. Pelevin in the novel "Chapaev and Empty": "But there is still a desire for us in us // Trains go to it, // and the butterfly consciousness rushes // from nowhere else."

Foreign researchers of postmodern aesthetics (Carmen Vidal, Omar Calabreps, housing Derez, Jean Bodrieryar, etc.) The period of the existence of a modern person is called the era of ghostly chat, theatrical ghosts, the non-authenticity of life, the epoch, where the truth, authenticity, the reality no longer exists, and, for example The scientific research "Semiotic garbage problem" becomes a sign of the devaluation of cultural values. The desire for infinity, meaningless freedom, aesthetics of disappearance, social desertion, deideologicalization - features that characterize the consciousness of a modern man who became the desert.

Carmen Vidal for the time characteristic of postmodernism resorts to the metaphysical concept of "folds", "bending", curvature of space as a symbolic designation of the material or spiritual state of the world. D. Merlo-Ponti ("Phenomenology of Perception") resort to the same concept ("Folding: Leibniz and Barochko"), M. Heidegger ("Fundamental problems of phenomenology"), J. Derrida (Essay of Mallarm).

The meaning of the research of researchers is that the matter is moving in itself not by the curve, and follows the tangential, forming an endless porous and abundant emptiness texture without any space, where there is always a "cavity inside the cavity", the world arranged like bee hive with irregular passages in which the process of deployment is no longer simply means compression, reduction of expansion, but rather, developmental degradation.

The fold, according to K. Vidal, is always located between two other folds in the place where the tangent occurs with the curve - it does not relate to any coordinate: there is no top and bottom, right and left, but always "between", "always "," That and the other. "

The researcher considers a fold with a symbol of the modern era, the obligatory principle of universal cultural and political disorganization of the world, where the emptiness reigns, in which nothing is solved, where only rhizomes, paradoxes that destroy common sense, there is no definition of the clear borders of peace and human personality, the truth is that no object, the subject, the project does not have an absolute character. No truth in anything. There is only an intermediateness, infinity and uncertainty.

What is the contemporary person, comprehending his fortune in reality, and a modern writer, trying to clarify these ideas about the world with various forms of creativity? "The world has become infinite for us: we cannot reject the fact that it contains an infinite multitude of interpretations. Once again, we are covered by the great horror, "P. Nietzsche wrote, transmitting a sense of a person in touching with the fact that it was not amenable to unambiguous interpretation, putting the problem of knowledge of the entire complicating world and determining the impossibility of implementing this intention.

The indefinite, indescribable person, the "man without properties" (as defines the human personality of R. Muzil), in hesitating, if the world, who eludes the knowledge and understanding of the world, is uncertain, often false-visible, mystified, apparent state, where causal relationships are torn , there are no logic and chronology, where the relationship between essence and visibility is broken or in general, instead of entities are among the visibility (simulats, "copies of copies"), where the famous thesis Ch. Okkama "Do not multiply without needing the number of entities" - this is the reality that Trying to reproduce the literature of postmodernism in adequate forms.

The writers of this area of \u200b\u200btheir artistic practice demonstrate the main principle: art is always conditionally, the vitality of the imagination, any artistic system is limited in its capabilities to fully reflect reality.

A. Genis leads to confirmation of his thoughts of the word V. Nabokov: "Reality is an infinite string of steps, levels of understanding and, therefore, it is unattainable. Therefore, we live, surrounded by more or less mysterious objects "(" transparent things ").

An attempt to convey this feeling of a modern person was difficult to understand, although it was taken by the researchers of creativity of the same V. Nabokov, which in different ways interpreted his thesis: "Art is a delightful deception." This is the only thing that in such a concept of the attitude of art with reality is capable of literature. For what, for example, and reproaches V. Nabokov O. Mikhailov: "Nabokov arrogantly rejected reality, saw in verbal art mainly brilliant and useless mind and imagination game."

In the understanding of the problem of the relationship of art and reality, which is found in the work of V. Nabokov, it is possible, maybe the fundamental principle of postmodern aesthetics: "Why am I writing? To enjoy ... I am not afraid of any goals, I do not inspire any moral lessons. I just love to compose the riddles and accompany their elegant solutions. " Negative estimates of this feature of his creativity, declared, for example, in "transparent things" - a certificate of misunderstanding of its main desire to convey the ministry of the person of the XX century, it is difficult to perceive strange, ghostly, non-rational analysis of the sphere of being.

The current state of literature confirms this: the pathos of the infinite search for truth gave way to the poetics of similarity, writing, apparent, "copies of copies", simulacres.

The works of representatives of the new literature of the late XX century illustrate this thesis. The reality in them is represented in the form of fuamatic and simulating constructions, structures, artificial structures, non-existent worlds. In this row there are a special place: V. Pelevine "The problem of the pillar in the middle lane", "Crystal World", "Chapaev and Emptiness", "Ninth Son of Faith Pavlovna", "Sixpal and Reasance"; F. Erskina "Ross and I"; B. Kudryakova "Rye Dark Wanders"; V. Shatrov "before and during" and others.

For example, the reality in the text F. Eriskina appears a set of uncertainties, where at one point of space and time is localized and the mythological times, historical eras, geographic constants, heterogeneous characters are localized.

On the style of the level, archaisms and modern jargon, designations of parts and household items, which do not coexist in time, nor in space, nor in the consciousness perceiving this text of the reader: for example, "Orange Jaguar" (car) - "Topot hoofs" . The principle of an anachronic image of some reality makes it difficult to attempt to adequately perceive the plot, which is only imitation, where questions: where? when? Who? what for? why? - So remain unanswered. Reality is presented in the form of undifferentiated chaos: "The graph leaned out and saw the fog, gray water and a swollen bridge grille: it broke out orange jaguar, obviously without coping with control - now it was pulled out three syneblisters in wet caps, which helped the alloy quarter. Dmitry Sergeevich leaned back on the pillows, closed his eyes and began to think under the trap hoofs, as if he behaved in his place the mysterious criminal, who cleaned the apartment and safe of his friend, the English messenger of Mr. Dagardelli, and then severely killed a young maid, who, who guessed Count Sivers On the upset face of the envoy, he was in an intimate connection with him. "

Sineblouses, English Messengers, Quarterly, Count Sivers and other characters will no longer appear in the text. The word "fog" at the beginning of this passage is not better explaining the meaning of this enumeration of the characters. The experimental text that creates the appearance of the plot, the illusion of intrigues, is organized in such a way that in the perception of the reader there is a complete idea of \u200b\u200bthe authenticity of what is happening, although in fact the reality is constructed, which, for example, J. Bodrieryar called the Simulacra system, the "phantom world of self-pederic signs." The writer does not even put the challenges to intellectually provoke, to mystify the reader with some far-reaching goal, simply created the text artificially stylized for the classical prose of certain genres, the attribute level of which contradicts the internal meaning, but claims originality, replaces the material world.

B. Kudryakov is even more consistent in this tendency. His text "Frequent dark wanders" generally becomes denial of any attempt to somehow differentiate reality: its texture, substance, objects, color, smell, dynamics. For example, epithets with the opposite value are combined, which does not make it possible to understand what is being discussed, but it contributes to the reproduction of the "escorting" reality, such a state of life in which all Zybko, Shalko, vague:

"But the island is a few more zherlitsa. According to Urvina Rock, on the metastasis of the roads, by the days of the crash, on the chains of broken emotions, in the heat in the void you reached this lake. Prior to this dark, light, clean, dirty, long and short, small, deep, full-growing and anhydrous lake (italics. - - L.N.). You knew that there would be a meeting here: with whom it is unknown, but you guessed. In one zherez, there was COM, on the other - a pike with three eyes and a silver earring on Zhebla - Miracles began. In melanchie, the Dumus appeared a lotosolic singer. Somewhere fell fragments of laughter, fraction of the ship. Pieces consciousness pop up. You leaned to see the bottom. She moved there. "

I. Severin called this work "Variation in the Word" about life after death. Indeed, text is replete with various descriptions of death, leaving life, decomposition, destruction, reality deformation. The annihilation process is designated at a lexico-stylistic level, since the uncertainty in the designation of the subject, the material world indicates the erosion of the boundaries between the existence-nebyness, the death-death, reality-unreality. Not named - it means that there is no. The destruction of the word in its material nature leads to the disappearance of reality, not fixed in consciousness and not captured in the text. "The hero, being behind a semi-permeable screen of the conching life, cannot think to think at the moment when he crossed the border invisible for him and for us, his thoughts overwhelmed, and when he tried to reanimate the silence of memory, the only thing he did not refuse to serve as a guide in The abandoned world is the flow of words - the poetic stylization of the "work of consciousness".

The stories of V. Pelevin from the Collection "Blue Lantern", the first of five books of the writer, nominated in 1997 on a bucker premium, also reproduce simulacated validity, but in the artistic world of the Pelevin, certain patterns are found, there are its own logic, there are specific tasks.

In the story "The problem of the pillar in the middle band" Hero Sasha Lanin on some infernal inner call enters the village of Konkovo \u200b\u200bto the collection of wolves-isolation, to a phantom world, in which there is a hierarchy of values, which does not match the realistic coordinate system.

The world characters wear certain masks: Wolf Lena - a student, the leader of the flocks - Colonel of the tank troops Lebedenko and so on.

The story is built on the contrast of the senses of the hero, which detects the falsity of its external existence. Fantastic embodiment in the wolf, the admission to the pack of selected gives him a feeling of authenticity, freedom from the conventionality of odious, vulgar real existence.

The world perceived by others (wolf) by the senses - when the hearing, vision, smell, etc. became aggravated - - revealed in genuine beauty, for the present energous essence. Mystical action on the Forest Polyana found for the hero the inner side of reality, in his entire sense, determined his dream, longing in truth.

The visible life was near, false, wretched, sulfur, deprived of poetry, riddles, secrets. When the starry court occurs in the final of the story over the traitor, the apostate, the worst thing that could happen and happening, this is what the culprit in the form of punishment "bold people." Return to the human appearance, to real existence it turns out to be tragic, as it is a return to unnecessary being.

In the story, the "Sixpal and Reasance" conflict is also due to the attempted personality from the wretched existence of the incubator, where life itself is doomed to the camp. The reality of the incubator with the wall of the world, shop number 1, 10 eclipses, a decisive stage, a great court and deities, is unclear, inevitable associations with the "cattle courtyard" of J. Orwell, "We" E. Zamyatina, Roman O. Huxley "On the wonderful new world " But these parallels are indirect. The general is a feeling of horror before incomprehensible, terrible, to which reasonable creatures endowed with consciousness, intelligence, feelings are doomed.

Two chicken freaks: the recluse, with a philosophical warehouse of the mind, and a sixpath, with deviations in physical development, broke out into the "subspace" from their world, rose to the reality in an attempt to gain the true meaning of life. The world, which was perceived as the only real, in which mysterious, important, sacralized actions produced by deities in white coats, where the sun was shone, was only a dirty gray barley of poultry farms with smeared paint windows and artificial lighting. "Where to? "South," the wing waved in the direction of a huge sparkling circle, only in color resembling what they were once called the luminais. " The victim escapes from the "web" of false visibility, gaining the same ghostly freedom, but this glitivity of the future happiness in the free flight is the only necessary heroes.

In the story "The Life and Adventures of Sarah No. XII", the real world also appears in the most unsolved and vulgar expression: vegetable bed, barrels with a cabbage, head, with a thick stomach, pulled by a dirty apron, semi-man working. This vegetable bar is owned by sheds No. 13 and 14, which Sarai number XII despises, feeling an order of magnitude higher, since he keeps bicycles in his mysterious twilight, whose returns from the walk, he expects a faithful dog. The feeling of its feature, significance, chosenness, exclusivity gives the life of Saraj №SII with the highest meaning. And when the owner of the bicycle sold the Shed vegetable Base and the workers rolled into it a barrel, swelling, fat, with corpses of the cucumbers, shed fainted, lost consciousness, fell into frustration, because there was a tragic clash between authentic and imaginary, dream and reality, the highest The meaning of life and coarse reality.

And in one beautiful-dramatic moment, the severity of external existence, false being, the barn closed the electric wire, set up himself, destroying his false shell, broke out to freedom. In the smoking flame, as dire in heaven, blinked silhouettes of bicycles with silver bells as a sign of achieving full harmony of life and dreams.

Almost all the creativity of V. Pelevin, the genre of works of which is difficult to determine (myth, fairy tale, fantastic, anti-nightopia, philosophical prose, etc.) is built on an inside out of contrasting, which is approved by the truth of the conditional and the falsity of the real one. Fantasy V. Pelevin turns out to be a cushion of a rapid world, in which instead of reality, the alone.

The novel "Chapaev and Emptiness" logically continues the development of the idea of \u200b\u200bdestroying visible reality, in it the author exagges and hyperbolizes traditional techniques for his work, since the effect of the novel is generally occurring in absolute void.

The commander of the division Chapaev, the poet-decadent Peter emptiness, Chekund plywood, just Maria, the hollow bust of Aristotle, the Black Baron - all the "characters" of the novel exist in the world that has the property of "nifferent to where". The concept of inner Mongolia, which arises around the one who sees the void, becomes an expression not just alienation, loneliness, internal self-insulation, but wears a global ontological character.

"We are nowhere else because there is no such place about which it would be possible to say that we are in it. That's why we're anywhere, "says Peter's emptiness Chapaev.

An interesting evolution in this regard and the creativity of artists, directly not included in the system purely postmodern addictions.

A. Voznesensky in the poem "Folding Mirror", thought in the categories of the postmodernal analysis of reality, beats the Flauber image of creativity as a mirror with which the writer goes on a big road, absorbs the volume, reflects everything in it: the top, and the bottom, and transparent heavens , and puddles on a dirt road:

Lyrical mirror In you, Nadezhda Zebrovat, The freak you - Korvcalkal Child - sunsucer Beauty you - Serdenty, WHERE LOOKING AL RASHIT. They spoiled, the mirror, Trampled, beat, springs, Gogol Mirror, Do not smack you. What do you make, the mirror? Tea, teapot - ul. Herzen? Maldse - Eyes Aliensna, Cinema - brigal. Unbreakable mirror What is your telex, the mirror? And the mirror will break - It will break the life.

In the concept of A. Voznesensky, creativity is a mirror, which, reflecting the subject, at the same time "turns" him ", creates an external semblance of a living (you want to touch your twin, but you feel only the cold glass).

There is a problem of falsehood, illusion, mirages of consciousness, deception, which is entering visible things.

The reality is simulating, the dream is divided into reality, the truth is glitched and unattainable. Literature as a form of reflection and comprehension of life is not able to convey the essence, it is engaged only by appear. It gives the picture of the world in which everyone sees only what he wants to see: the filmmaker - Bizhit, beauty - al Rashita, etc.

On the other hand, the mirror does not distort anything, but, showing the deformities and imperfections of the world and man, only discovers the existential meaning of things, builds its relationship with reality on the "effect of Dorian Graya" (internal deformity, wound, evil is hidden under an externally beautiful shell). Distortion, curvativity of the image only restore the broken order of things, harmony of genuine correspondences, destroying the border between the sign and is meant.

The folding mirror becomes an expression of the most aesthetic principle of postmodernism - to decompose, destroy the integer on the components and through this destruction to restore the lost essence. Not a mirror curve, and the reality itself exists in the minus coordinate system.

Moreover, each of the subjects that perceive the reality (freak, beauty, child, a filmmaker, etc.), turns out to be the carrier of the truth within himself, projects his feelings and presentations to the world, acts as an idealistic converter of truth.

The functions of such a metaphorical mirror are diverse: "Kourcalce", "Sunsycel", "Serntyell" - and dependes not from the object, but from the desire to transform it in his image, likeness, desire, therefore, "but will break the mirror, then life will disarm." Not the reality is true, eternal and infinite, but fragile, difficult to catch, whimping, subjective form of its reflection. Postmodernism in this sense is the sign of the literal life of literature, which does not recognize the analogy with life.

The multiplicity of meanings and ways to interpret the images and ideas of the poem allows us to talk about the impact on the work of A. Voznesensky in its last works of deconstationist philosophy, the presence of postmodern sentiments in his artistic world.

Pafos denial of reality in the literature of this direction is sometimes implemented in the motive of travel, travel (most often in the imagination of the hero), swimming, deprived of temporary and spatial coordinates and goal.

In this regard, it is interesting to compare two works where this motive is present in one form or another, no matter how the unexpected parallel seems to be: "The history of the world in 10½ chapters" of the modern English writer J. Barnes and our compatriot, playwright N. Kolyada.

The entire text of D. Barnes is based on the creation of a certain antisucer with a broken plot, where the whole world history is represented in the leaps of the epoch, mosaic of landscapes, chaotic flashes of characters, rethinking the classic stories of world history and literature: Book of Job, Ion in whale whale, medieval scholasty disputes ( Brilliantly stylized by the writer) on how many angels are placed on the edge of the needles, tragicomic episodes of modernity, etc. Structurally, the text is a genre kaleidoscope (from the fragments, the imitating genre of the similarity is going on, which includes Teressia, deunerizing mythology, aesthetic treatise, philosophical essistics, Report in the form of letters and telegrams, western, pseudo-historical fighter, etc.). The integrity of peace and culture is completely destroyed. Unity is created according to the laws of clutch only by the motive of the navigation. "And the ship sails" ... Noah the ark flooded in the void, because, except for "all the creatures in a pair" on his board, there were five tree beetles, on behalf of whom the narrative is being conducted. A grandiose picture of the world is created, at the base of which the crack was originally formed, which threw up and soon collapses. The external existence of the world is meaningless, so it is slow and correct since the beginning of its base is coming from the inside. The world is finite already at its very beginning.

"Not objoraly our Sea" N. Kolyadov in the form of parables and tragifars carries the same idea. The metaphorical sinking ship-house (peculiar novers Ark) becomes a symbol of ontological disadvantage.

Soviet communal, flooded with uncleanness, torn Mike instead of sail, heroes, as if programmed to create dirtiffs, nasty, evil, is the subject image of reality, designed in the artistic world of N. Kolyada.

The problem of the incompatibility of people who found themselves within not only this kind of noeva ark, and the whole earthly space.

The writer immerses his heroes in the element of undifferentiated chaos, checking their human wealth of low reality. Exploring the human soul in the situation of disagreement-unity, alienation-consent, an understanding of hostility, units-reconciliation, the writer leaves the heroes to prefer good evil for heroes, but this choice remains problematic and transferred beyond the Fabuli.

Ontologic deadlock is found, people find themselves in a trap of their low-lying existence, but they should find the output. Dreams, dreams, fantasies, illusions and cruel eyesight, the brutality of real. The blasphemy is adjacent to faith, prayer with curses - human life lost guiding guidelines, transformed into the image of the "deceased soul", wandering in the voids of being. Noahwood Ark, overproeded, overloaded not only by the inhabitants of the world, but also with all sorts of vices, the name of which evil the world is sailing to nowhere, without a steering and sink, without a goal and meaning. A similar eschatological motive combines many works of literature of postmodernism.

Wandering, swimming, travel, flight, travel, etc. - All lexems that carry the importance of movement, turn out to be signs of statics, stop, limbs of the world, doomed at the very beginning of their history.

The problem of the attitude of art to reality is directly related to the verbal-shaped method of its playback.

The researchers never challenged the semiotic nature of the art of modernism, avant-garde. Postmodernism, as well as avant-garde, is to a certain extent, it turns out to be a sign system for dedicated. Depending on the perception: "Hat or a boating, swallowing the rabbit", if you remember A. de Saint-Exupery, the art of postmodernism and finds its admirers.

Signals, signs, supporting words, "meaning of nonsense" - This is based on the work of many modern writers, and these signals, signs, symbols, as a rule, are false.

In this aspect, the art of postmodernism is characterized by replacing informing manners concentrated-shaped, encoded.

The most interesting writer working in line with such aesthetics is Vladimir Sorokin.

A. Genis sees in the style of V. Sorokin elements of the absurd. Wild phrases like "Dairy Vido - Sislo Twittheless", which ends the story of "Kiss", according to the researcher, serve as a sign of poetics inexplicable. They cannot be decrypted, but you can use. Sorokin is engaged in inhuman-like art. To understand why he needed mysterious "species", you can attract an analogy from mathematics. It has a concept that does not make sense, for example, an imaginary number is the root of minus units. Mathematics, using the fact that there can be no, the fact that they can not even imagine, come to quite intelligible and practical results.

It is necessary to remember that it was on this "broke", for example, the hero of the Zamyatinsky novel "We" D-503, which believes that you can integrate everything, "from Shakespeare to Captream." On things, the knowledge of which is unattainable, and the interpretations are many, the poetics of the absurd, which has become an integrated element of the aesthetics of postmodernism.

When in 1915, "Black Square" K. Malevich was hanged as icon, in the Red Corner of the Hall, Estet A. Benua remarked: "Undoubtedly, this is the icon that the Lord Futurists put instead of the Madonna icon." Malevich himself in the manifesto 1922 wrote: "Reality cannot be presented, nor know. Through the blissful peace and contemplation it will be possible to go to God, through the education, intuition. "

For the art of the new time, it is also characterized by zero textility of objects, "a sum of the meaning" (T. Adorno).

An indicative feature of creativity V. Sorokin was the image of the world as a system ("chaosphers") of the encountered signs.

For example, a certain "sizewly" (expression of A. Genis) is recreated in the story (expression of A. Genis), first given the protocolous sketches, weathered in the stylistry of the official event, on which the negligent worker, drunkard and the Walk of Vitka Piskunov, and then there is a sharp The transition to the action resembling the festival of cannibals, the laws of absurd are beginning to act. This transition does not have a clear boundary, is not explained by any reasons, motifs, logic. There is a shift in reality, "tectonic movement", a spill in the space-temporal state of the world, which is accompanied by an explosion of a sign system, followed by annihilation of meaning.

As A. Genis writes, in one of the fragments of the novel "Norma", written under classics, resurrecting Chekhov's life, Turgenev love and Buninskaya nostalgia, the text was to perform the role of genuine life, to be a natural, initial, normal state of affairs, deposit from which and led to a monstrous "norm" (eating excrement in someone above the approved plan). But Sorokin is a skillful maneuver destroys them as created illusion. Suddenly, without any motivation in this exactly stylized under classics, the text is breaking through a rough marry replica. She pours how the balloon, the false value of this as if the true universe. So consistently to the pedantry and ingeniously to disgust, the Sorokin exposes falsely denoted, demonstrating the metaphysical emptiness remaining on the site of the unpacked sign. This void in the novel corresponds to either the line of an infinitely repeated letter "A" or Abrakadabra, or just clean pages.

So in the "meeting of the Zombom" destroyed dialogue, up to this, abundant by industrial vocabulary and idiotic stationery, flows into the experiencing sense of the verbal flow: "Broobono", "that and persecution", "OTA-OTA-TA", "sampled", "killy "," Pulling "," Warves Chervie, drink. " Words, freaks with chopped flexions are no longer identified as full signs, but the meaning is still guessed by the remaining parts. Next, the piece of burned wires and contacts begin to refrigerate the fuel from the broken mechanism, and here a full-fledged word begins to turn into a verbal garbage, there is something entirely not subject to any laws of logic and meaning: "Nozzles, pipes, broken pipes, GOST 652/58 on unrecorded, - I was killed by Urgan, along with everyone clinging the body of the cleaner to the table. "Four hundred and twenty millimeters length, a diameter of forty-two millimeters, the wall thickness of three millimeters, the chamfer 3x5 ... is punctured ... so that samples - muttered the cleaner."

Similar style reception S. Zimodets, analyzing the story V. Sorokina "Month in Dakhau", written in the form of a writer's diary, conducting his vacation in the concentration camp, defines as an "automatic letter" transmitting an internal disintegration of the individual.

The hero is consistently moved from one topitate to another, and the "automatic letter" records its terrifying suffering.

"Camera I. Immediately cute when in a chair, as it were, dental and ticks and you are my charm with a stack and below, I tied a tile of a lot of light and first beat with a whistle to bruises and I cry and then pincers and nail on the mother."

Body agony in permanently multiplying torture procedures reaches the boundaries of anthropological capabilities, and this process is emphasized by consistent destruction of the syntax first, then grammar and morphology of the letter:

"Camera 15. Trupto and Protrubo Needl Egregate Hristo Christom Bogomiyaso Trupotchitis Throughout Clast Clasp Calz of this forecast truspeck Sleely Truspex Slender for example Klzz Klzz."

The construction energy in the sign of signs of the tricted body can no longer rely on the existential or ontological situation. Sema crashes on this, Morphema on the morphus, and we are dealing with complete semiotic incets.

The process of destruction of the iconic system is directly proportional to the process of decaying life in the artistic world of the writer.

Thus, V. Sorokin may be most consistently implemented the thesis that "the art of the word destroys reality." The reality reproduced in his books through a verbally decorated schizophrenic nonsense, an automatic letter, is dead in its very essence. Another form of speech, another way to reproduce it is impossible.

Thus, the writers of the postmodern destination declare and illustrate their creativity the principle of denial of reality in the form of a peculiar spiritual escapherm, flights from life, refusal of false visibility. Forms of such a spiritual escapherm may be different:

Death, or the borderline state of life after death:

Kudryakov. Rye dark wanders.

D. Prichig. Phenomenon of verse after his death.

Mystical-fantastic condition and feeling of the hero:

V. Pelevin. The problem of the pillar in the middle lane.

A. Beard. Fun - Eliot.

Virtual reality in the world of computer game:

B. Pelevin. Prince from Gosla.

"Shiporality":

V. Sorokin. Month in Dakhau. Session of the Zomba. Norm.

Destroyed life vessels of plots and situations, curvature of space and time:

F. Erskin. Russia.

Situation of a crazy house, "salvation" in madness from even more insane world:

V. Pelevin. Chapaev and emptiness.

V. Sharov. Before and during.

Y. Aleshkovsky. Modest blue handkerchief.

A variety of forms of violent and voluntary isolation of a person:

L. Petrushevskaya. Isolated boxing. A dark room. Time - Night.

"Vision" of a patient imagination:

Y. Kisina. Flying doves over a phobia dirt.

Spiritual "Brinding":

N. Sadur. South.

E. Sadur. From the shade to the light of the flight.

Veins. Erofeev. Moscow-Petushki.

Sailing around the sea of \u200b\u200blife without a goal and meaning:

N. Kolyada. Indisimally our sea.

Refusal to knowledge, fear of life, horror before unrecognizable and inexplicable lead to the denial of the reality itself, which is perceived only by visibility, and not the essence, "copy of the copy". In the artistic practice of postmodernism, thesis of M. Heidegger is consistently realized: "The art of the word destroys reality."

Postmodernism as "energy culture".

The problem of traditions

One of the well-known theorists of conceptualism B. Grois writes that the concept of postmodernism allows multiplicity of interpretations, but its essence is in principle doubt about the possibility of creating historically new, in contrast, for example, from modernism in various manifestations and modifications aimed at overcoming the old , on and innovation. The essence of postmodern art is that it corrects the settings that have discovered their inconsistency.

Therefore, it is important to understand the nature of the literature of this artistic orientation, the question is not only about the form of relations to life (copying, imitation, recreation, denial, re-creation, etc.), but also ways of attitudes towards already existing culture, literary experience, classical tradition .

Researchers have repeatedly noted that one of the decisive features of Russian literature of the late XX century is a support for cultural texts, the creation of a secondary art model, testing for strength, to break the classical aesthetic forms. And in this regard, postmodernism is not so much the system as the process of comprehension, return to the fact that already "worked" by world artistic practice.

Vyach. Kuritsyn was one of the first to entertain the concept of "energy culture": "Realism - the youth of a woman, realism - maturity, decadence - the last surge of an aging woman's emotion, postmodernism - wise old age. Not just a culture, but energy culture, because new artistic thinking deals with the second reality, pulling out the energy of the spirit out of it. "

There is an opinion that the postmodernists with their work end of the literature, determined its postlitural and metalliteurious pathos.

But this "end of the literature" is peculiar: "Whatever silent verbost, it testifies: the literature ended, exhausted, ended. She did everything that she could, and her time, having embarrassed, shitting her legs, go from the scene. The solemnity of this melancholic painting spoils the fact that with the literature it was already forgiven - from antiquity to this day criticism, criticized her grave. Belinsky began his career with an unknown exclamation: "So, we have no literature." And wrote 13 volumes of critics about the missing subject ... such a long experience of literary eschatology, such a funeral that protracted on the centuries cannot but disturb. Will we confuse the death of our culture model with a terrible court? "

The metaphor of the modern state of art becomes the image of the Babylonian tower, which collapsed at the time of its greatest height.

In principal for artistic thinking of the writers of the postmodern focus, the feeling of itself inside someone else's artistic consciousness, worldview, text, intonation. The relaimal nature of modern thinking is explained by the state of the so-called "pure sheet" in the literature filled from two sides. It remains the opportunity to write only between the lines, finding its niches, cells, lacuna, emptiness in the artistic texture. It is not random the "dizzying joy of recognition" (O. Mandelles), which the reader is experiencing, getting acquainted with postmodern texts. A historical anecdote about the Florentine poet, who robbed the essay of the poet Dante and, filling it with his verses, read his creation to the palace jeta. The jester with every stolen verse removed the cap and bowed. To the question of the unlucky writer, what he does, the jester replied that it was put on an old acquaintance.

The talent of the writer of postmodern world goods is manifested with a special condition in someone else's text, introducing into someone else's artistic consciousness, thinking. But "abduction" it has a special nature and other purposes than the banal borrowing.

O. Vanttein Similar phenomena denotes the term "assignment", which becomes a game maneuver in a decentning situation, when the coordinates "their alien" are shifted, "decking" in the field of intellectual property: "Exit to the general intertextual space, the destruction of historical coordinates implies total assignment traditions. The synchronization of the cultural tradition generates such a way of self-expression of art as an apropriation. "

Regarding many authors of modern literature, you can talk about double aproit. Even the definition of style, author's manner, directions in art, as "APROPRI-ART", or "Ceperstamo" appeared. For example, the authors of Almanach "Okuman" call "rewriting" the ideal form of creativity (D. Papadin).

In the texts of modern authors, the principle is triumphant: "All someone else is all yours." A talented interpreter, treating someone else's text, becomes co-author, building his work from ready-made bricks, he imites the author who also treated with its material - life.

Vl. Sorokin unfolds this feature into a whole concept: "I first realized what I do, although I did the same thing before. In my first things there were many literary arts, nevertheless, then I used some literary cliches, not Soviet, and post-Nabokovsky. Bulgakov, as it were, brought for me a formula: everything can be in culture. The material may be "True", and Shevtsov, and Joyce, and Nabokov. Any statement on paper is already a thing, it can be manipulated as you like. For me it was like opening atomic energy. "

In other words, borrowing is not a manifestation of the "energy nature" of culture of this type and not the end of the literature, since literature - as a second reality, an existing art model - the same object for interpretation, as well as the "live" reality, reality; In this second reality, there is no concept of "own alien". The author, giving a "ticket to life" to his work, is no longer his owner, therefore it is possible to appropriate someone else's work, creation, since it is not a draw of the property, but only a form, model, "other reality". As there is no monopoly on the historical truth, there is no monopoly and artistic.

In this regard, an example with the famous masterpiece Leonardo da Vinci "Joconda", whose reproduction in 1919, in 1919, the French artist Marseille Dushan, who worked in the technique of "" (Ready-Made), was corrected by painting the Musta Lisa and Espanyol.

The audience took it as a mockery, mockery, mockery, accusing the artist in masochism and regarding this act as a creative infertility, the author's powerlessness, the expression of its insolvency, the manifestation of the complex of insignificance, the prisstation that swung on the genius.

Nevertheless, "Mona Lisa with a mustache" M. Duuchana is an independent, original artwork. Dushan did not put the task of the Masterbie. He did not make up his artistic action, but only questioned and made new meanings, additional shades, adjustments, destroying the usual standards, norms, submission:

1) I tried to solve a riddle of the story, which I was still I. Bunin considered an equal secret of the iron mask, and to some extent anticipated subsequent hypotheses (or speculation), put forward by American scientists who scanned the picture and found an inverted left to the right male portrait, more precisely, self-portrait Ya Vinci himself;

2) restored the equilibrium in time, the harmony in the concepts of beautiful-ugly, approved the historical and aesthetic relativity of the concept of "beauty": the faceless Jocona with a snake smile on the lips does not correspond to the ideal ideal at the 20th century. M. Dushan his creative gesture marked the character of the beautiful, ideal, which is contradictory, unattainable and generally ambivalent. Beauty is not a standard, but search for truth;

3) Finally, M. Dushan "spoiled" not a masterpiece of the artist of the Renaissance (he did not splash with acid like a maniac in the "Hermitage" on "I give" Rembrandt), but only a reproduction, a postcard, "copy of copies", produced "double APPRATION ", the purpose of which is not the destruction of aesthetic ideal, whatever additional meanings will be revealed as a result of this action, and" liberated "the consciousness of a person, destroying the" cliché ", what was converted in millions of copies, became the attribute like swollen from Knee's knee On the ball at Satan.

If this artistic gesture caused the question of "Why?", It means that the act of creativity occurred, and the result of art was also a phenomenon, because there is a concept - an object that caused questions that became the subject of multiple interpretations.

IHB Hassan ("Oral Demanding") initially considers postmodernism as a kind of painful virus, developing within the literature of the previous period, for example, modernism, bringing to the ultimate state the development of a linguistic game trends through experimental introduction into the text of heterogeneous quotes and alluzi. In this regard, postmodernism became a peculiar "experimental polygon, which encountered elements of various aesthetics" (V. sinning).

According to many researchers, centrality, "textual patchiness", mosaic and collage in the structure of the works of modern literature acquired the nature of the epidemic. The complex forms of "hidden" and "re-edited" quotes, the inclusion of individual lines to their own poems, replacing the context, the use of intonational and rhythmic models of other authors become not just an artistic welcome, but the principle in the creative practice of modern authors (A. Yeremenko, D. Prigov, I. Zhdanov, V. Vishnevsky, T. Kibirov).

At first glance, an uncomplicated and not requiring special versification art, the alternate connection of the strategies of the trained poems Pushkin and Lermontov is included by F. Ersk in the structure of its text "Ross and I" not only for the purpose of playing maneuver, and for evidence, including the priority of the form on the content . The poetic size, melody, intonation in this case are self-sufficient nature, do not depend on the content they design:

Tell me, uncle, because there is no wonder When not a joke, Moscow, spalling by fire, And it was better not to invent.

Widely uses this technique V. Vishnevsky, "Liho" connecting its own and someone else's text, original images and ground stamps, destroying the unexpected combination of a steady idea of \u200b\u200bone or another fact, phenomenon, subject:

On the hills of Georgia lies, but not with me. Where bitter wrote "at the bottom", I am sure of tomorrow. The goal justifies detergents. We also did not read the shit. Lovely my! End of quotes ... Men! Persistently mastered women! What are you going to settle forever?

Such phrase-service can be qualified as "sublimation of depressed aspirations", as a manifestation of a peculiar complex of inferiority. If you follow the well-known statement S. T. Korjezha that poetry is the best words standing in the best places, then, of course, V. Vishnevsky is hopelessly spoiled by Pushkin's bright string, justified over the saints. At first glance, V. Vishnevsky builds his alone on the effect of surprise and only, but nevertheless there is a new literature fact from a similar combination of incompatible, compounds of multi-level aesthetic structures, such a change of context exacerbates the poetic statement or gives it a new meaning, Travesty, parody, ironically reduced, comic, but in no way towards Pushkin. Pushkin poem to a similar new result of creativity of the modern poet has nothing to do. Pushkin is Pushkin, and Vishnevsky is Vishnevsky. And from the place they will not come off. These are the signs of a cultural department, but they are not even at different levels, but in different niches.

Vsevolod Nekrasov enjoys the same reception, solving its original artistic task:

I remember a wonderful moment Neva Plotter Love you Peter Creation Who wrote a poem I wrote a poem.

"The poet lives in a non-Evklid space, and there he really wrote any poem."

This series of "borrowings" can continue indefinitely, but it should be perceived not as literary fun, entertainment or shocking, but as a phenomenon of a principal level, which can be understood, only answering questions: what is the purpose of such "exercises" with someone's text, at what levels Postmodernists work with a literary tradition, what are the ways and techniques for using secondary literary material. All this ultimately will make it possible to clarify the typological picture of postmodernism, classify not only similar phenomena, but also contrasting directions, opposition in relation to each other.

Restore the attention of I. Severin on the principles of the organization of poetics by postmodernists, who resemble the construction of the house from the debris of the deceased ship. A storm took place, the ship crashed, he was taken ashore. Without tools, without craft skills, that is, without consciously denied literary experience, the author, like a new Robinzon, begins to pursue a monstrous building from the fact that at hand. The door becomes a window, a championator of a galley toilet bowl, ship flag with a head towel. The researcher determines the main signs of postmodernism: the destruction of someone else's text, construction of someone else's material, the use of things is not intended.

It is easiest to explain the destructive attitude to someone else's fact that the authors are not able to create their own due to the lack of elementary skills, literary experience, taste, culture. The understanding and recognition of this does not explain the nature of postmodernism, since with all reproaches in the secondaryness, epigionism, imitation, irony-reduced subtext, parody-etching attitude towards the classical tradition in their work is laid an aesthetic potential, which is due not only to the unexpected effect of the combination of incompatible.

D. Prich, forming the consciousness of his hero in an accurate conceptual accordance with the poetics of graphoman, organizes text in such a way that through a set of banalities, beaten stamps, fragments of the destroyed genre shines his own meaning: admiration for life, longing about the unrealized human and history harmony, past and present , Attempt to restore the lost generation genetic memory:

The tail of the ear, the grain of the eye, Wesnowled the oral cavity Life is raised by Rosa Shiraza, Stunning in the morning. ....................................... In our veins, not a lot Not at all blood, it looks like Like a thing of pterodactyl birds, In our veins ancient grown.

Segivskaya Makhorot turns out to be a plasma substance that takes bizarre outlines: both the beast, beauty, and tyrant, and monster, bad thoughts and beauty, evil and good:

Tender-singing, dense-hooking, Lambogy meat Here it is, the meaning life is real, The name of God - Makht All Russia.

Both the essence, and the phenomenon, and the idea, and faith, and the memory of the ancestors, the instinct of the genus, the object and the subject, historical and social constants - everything is in this image, which has a multiple reference. Traditional images and stamps are destroyed. Thinking the poet paradoxically and aphoristically, in the artistic consciousness of the author reigns its laws, its own logic. Antiatest with antisheal is created.

According to L. Losev, postmodernists (avant-gardeists) are those who do not know how to write interesting. Understanding that there are no manifestoes and theorists of the reader who is bored, you will not make believe that he is interested, they resort to tricks. Those who are simpler postpone their essays by exhibitionism and other violations of prohibitions imposed by civilization. Those who are pretentious and inserted, stretch their own prose on the frame of an ancient myth or turn the babul into the puzzle. The calculation here is that the reader will pass the recognition of a familiar myth in unfamiliar clothes, solving the puzzle.

If we assume that the function of the literature comes down to a fictional task, then this can be agreed to understand that literature - something higher than entertainment and rest from the works of righteous, and the perception of art requires great work, including intellectual, then postmodernist Experiments with a frame of myth, traditional plot, literary images are justified at least what is once again forced to think.

V. Pelevin In the story of the "Prince of State" creates a parody of computer games, where he analyzes the destructive impact on the human consciousness of clickening techniques, programming, intellectual zombie.

The achievement of the highest level in the game is identical to the highest level of its spiritual exercise, which a person can rise in search of truth, in the realization of his dreams. In a relative plan in the story, the theme of a labyrinth with all mythological attributes (Minotaur, Teze, Ariadne) arises. Milk echoes are materialized in the images of bizarre heroes inhabiting the computer world: dragons, guards, monsters, beauties. Mythological meaning and in the problem itself: incredible efforts should spend a person to achieve its goal, but it turns out to be false, illusory. The task of computer search was solved: the princess was liberated, but the hero did not reach the truth in his spiritual flight - the princess turned out to be chucks with a pumpkin head. The usual categories: the target-means, dream of reality, the illusion-reality, the feat of the prenity in the insignificance, etc. are not applicable to the situation that is designed using mythological motives and images. The initial meaning is destroyed by one phrase: "It's just when a person spends so much time and effort on the road and finally comes, he can no longer see everything as it really. Although it is also not for sure. There is really no things. " The meaning eludes, as the goal itself turned out to be an aberration of vision. The transformation of traditional literary motives allowed the writer to solve the original artistic tasks in the stories of Ukryb, the "nine sleep of Vera Pavlovna", "The problem of the pilot in the middle lane", "Weapon of Retribution" and others.

"Speech to the tradition" (expression O. Vanttein), forced repetition of the famous, self-expression through the destruction of another (alien) - aspects of the intertertainment, which is characterized by postmodernism as aesthetic system. Intertextuality U V. Pelevin manifests itself through a special, unusual saturation of the text by alluzia, references, hints, "infinite transcoding of values \u200b\u200bon an open semiotic chain". The semantic field of characters, images changes, corrected, the symbolic semantics of the transmofological situation, the conflict, the plot "turns" inside out, is "is irrigated".

In the story "The Ninth Song of Vera Pavlovna" at an unconscious level, maybe, in addition to the author's will in the perception of the reader, quite certain associations arise, the effect of recognition of well-known phenomena and facts is created. Reality, historical process, the human being is depicted in such a monstrously distorted form, which can only be assumed to guess about the reasons that led peace and man to a similar result. What was the reason if the consequence is so terrible? Vera Pavlovna, an intelligent cleaner in a male public toilet, which turned first into a cooperative toilet with flowers and fountains, then into a cooperative store, on the shelves of which French toilet water in elegant vials brought to quite understandable associations about its true content, possesses internal vision that allows it to detect the true essence of things; Girlfriend Manyasha's heroine, an old woman with a gray pigtail on the back of her head, reminds the expression "Petersburg Dostoevsky". The author notes that the girlfriends were often exchanged by Chersoks Blavat and Ramacharaki, went to the "illusion" on Fassbinder. All the details, signs of life, the characteristics of the psychological state of the characters are caused by the reader's consciousness of the memories of well-known both in the literary, and in historical, and in socio-political plans. But the idea itself, pathos, laid down, for example, in the novel N. G. Chernyshevsky "What to do", the motive of dreams about exemption from the basement, about real and fantastic dirt, about the bright future, which eventually turns out the existence in a cooperative toilet, unfold in The concepts of V. Pelevina are highly high, reproving the perfect. The "real and fantastic" dirt of Chernyshevsky Pelevin turns into the dirt of the apocalyptic, in the ninth tree of silent uncleanness, which breaks through the thin shell of civilization and sweeps everything in its path. The story carries an anti-astope meaning: "Dreamed of a beautiful divine world from bright aluminum structures, and found themselves on the garbage" (Y. Nagibin). V. Pelevin does not put the tasks to investigate the causes of the catastrophe, it shows only a deplorable result. What happened in the history of the country, in the fate of the people, a concrete human being in the interval between the fourth bed of the faith of Pavlovna Rosal and nine-bed, modern faith of Pavlovna, guess it is not difficult.

Reception of artistic "curvature of space and time" is used by the author at all levels, the purpose of this admission is to show how life sacrificed under the influence of false installations and slogans to the level of caricature. (In the cooperative toilet, natural departments were made to the music of "Mass" and "Requiem" Verdi and "Flight Walquer" Wagner and "Valkyrie, with great bewilderment, closed tiled walls and cement floor").

Nevertheless, the writer does not exaggerate anything, does not exaggerate and does not distort, he only returns the words and the concepts of their initial meaning, reveals in phenomena with a true essence, relieves the shittomatic gloss not only from the classic literary work, but also his "ninth shaft" sheeps the husks of ideas , appeals, spells, slogans on universal happiness, which for our tragic history turned the ruffle of many dictators, and then the tragic story was degenerated into the farce.

Such an active learning of the previous literary experience is justified, naturally, if it does not turn into just a game with meanings, is not the nature of pure imitation, stylization.

For example, A. Ilyanin in the text "and Finn" also actively uses someone else's word, but it does not always carry it a special or new semantic load, makes it possible to broad interpretation.

The genre is clearly or hidden focused on the Rosanovsky "notes on the sole" from the "fallen leaves": "It is written on a stump in a picturesque place, where the river, cottages, pines". The reflection object is extremely blurred, uncertain - history, literature, language, culture, philosophy, "and something and foggy distance."

The text itself is a two-level narrative - mythology and modernity. The names of De Garda, Van Gogh, Pushkin, Rosanov, Spinoza, Pruts, Ualda, Gumilyev, Kuzmina, etc. suggest a support for the cultural and intellectual potential that perceives text. The hero - all-hours, fully lost individual features, freely ferry in flight of his thoughts, moves freely in time and space without borders. The image of the "Elephant Bone Tower", in which, according to the expression of the classic, "closer to the sky, there are no damners," transformed into the train car: "My car is my writing tower." Full language mixing should emphasize this integrity: sorry (eng.), Stysi (Ial.), WO BIST DU MientOibhen (it.), Amplificator (IS.).

And everything accompanies Latin et Cetera.

But these cultural values, signs focused on the intellectual work of the reader, exist in themselves, are not magnetized by "meanings." The ideas about the limb of life, matter, movement, forms of the existence of culture, human civilization are reduced to the idea of \u200b\u200bthe need for communication through the word as a primary source life - "While your body does not lie with a cut-down belly on the table in the transactory." The fact that "first was the word", has long been said. The idea of \u200b\u200bthe writer in this case is more than its implementation.

Noteworthy in this regard and Roman A. Kondratieva "Hello, hell!". The text of the novel is also focused on "recognition" by a reader of familiar images, characters, situations, texts.

The famous paradoxical phrase of Sartra "hell is others" rethinks and artically transformed by the author at the global philosophical-historical level.

"After all, Hell was alone, comprehensive, he covered the whole planet, all deeds and hopes, the whole human genus. For hell is a man. "

The description of hell in the city of Kotlograd, in the roting hearts of its inhabitants, in the phantasmagoric paintings, inscribed in a concrete-realistic canvas, which is extremely brutal in nature, is intended to cause the effect of Catharsis, form an careless mankind in sin.

The plot of the "Divine Comedy" of Dante is translated: Nine Circles of the World-Hell holds the reader himself - identifying himself with a new Lucifer.

Excerpts of texts from F. M. Dostoevsky, thought of A. Platonov, philosophical views of N. Fedorov, combined with Henry Millerian episodes at the level of brutal prayers to the Lord, who in the author "is in the pants" form an excess, oversaturated structure in which "Went" actually author's thoughts.

Syncing type: "The terrible court is not far off, but it is not terrible compared to the hell, which is a naive reader calls a normal life." Is enough banal.

"The banners of hell were approaching" - so Pafosno the novel ends, who claims new "revelations of John the Bogoslov".

The current state of the literary process is characterized by a certain cooling of interest in postmodern, avant-garde experiments. As a result of this cooling or indeed denial, numerous parodies arise ("exposing twins") in verses and prose to the texts of postmodernists. Such a mockery above the postmodern culture, aesthetics, for example, for example, Roman-epigram Yu. Polyakova "Kozynok in milk".

All in it, starting with the key phrase, externally monstrous, and in essence meaningless: "Do not be a goat in the milk of his own mother" - to the plot, conflict, heroes, in the most deliberately retrospective-reministent structure of the text, saturated with the postmodern paradigm signs, is subordinate to one Goals: Prove that the king is naked.

One of the heroes of the novel - the writer Churmeniyev - created a novel "Woman in a chair", where the lady, "crucial in the gynecological chair, is trying to find God." This idea arose at Churmeniyev when he imagined Nastasya Philippovna in a gynecological chair. In the most of this collision lies in the address of the underlined anti-sourceism of postmodern culture. The writer thus parods the tendency of vulgar candidation of the classics.

In the fundamental aesthetic theoresis of the Literature Theorist's Literature of the Gomosexual Lubin-Lyubchenko: "What the text is such and the context" - the vision of the image, from the point of view of Yu. Polyakova, the poststructuralist and deconstruction method.

The item is also a modern conceptual ("contextual", according to the writer) poetry, poetic exercises in the style of V. Vishnevsky: "As the prophetic Oleg) is selected // to the Bisyanian Khazarka on the brown overnight."

The lunge towards the conceptualists and metaphorists like L. Rubinstein, D. Prigova, A. Eremenko et al. Wears a very sharp character: "Promotable, I began to issue different epigrams and other rhymed nonsense, which any writers are inducmed in their uncomplicated everyday life, and only Separate passings give them for masterpieces of contextual poetry. "

Finally, the delegative pathos Roman Y. Polyakova itself is directed against the fundamental thought of writers of the postmodern era about the end of the literature: "Sign of pure sheet - a sign of the end of the literature ... Even the most innocent sign, drawn on paper, forever closes the way to the information field of the Universe forever The entire plot of the novel is twisted around the extraordinary, brilliant creation of a young author, which ultimately turns out to be only a pile of clean sheets in a paper daddy with neat laces.

All this reverous pathos aimed at identifying multimetting, artificiality, the secondaryness of postmodern culture could be understood and accept if the writer himself did not embroider the pattern of his novel on the canvas of traditional literature.

In the novel, the references to M. Bulgakov are permanent: it is mentioned about the skill of M. Bulgakov, a brilliantly portrayed the clinical picture of a hangover syndrome, a satirical picture in the Central Committee in the Allusive Plan corresponds to the corresponding incident in the House of Griboedov, which turns out to be a necessary writer for the conclusion about the crisis state of post-Soviet literature.

Catching Dostoevsky becomes an episode with violation in the fireplace of the folder, in which instead of the manuscript of a pack of clean sheets; Collision itself: Nastasya Filippovna - Rogozhin - Ganechka Ivolgin - Prince Myshkin, which is transformed at an ironically reduced level, is a comic character. In the role of inflated and passionate Nastasya, Philippovna is the fantastic woman of Anca, the daughter of a literary general, a wrinkled person who has become a barrier product, a kind of transit pennant ("This Nastasija Phillippovna ... really").

The playback in the new decorations of the classic tragedy emphasizes the motive of lightingness, erzatsa, imitation, the highness of the high, as well as the "Napoleon Cognac", made on Krakow Himzavod, in the concept of Y. Polyakova turns out to be a kind of postmodern metaphor.

As already written above, the concept of postmodernism is sufficiently conditionally. There is still no accurate theoretical definition, the designation of its distribution, since there are no borders in contemporary art, it is characterized by universal transgression. Postmodern thinking is distinguished by some formal signs, it can express itself at the level of not only worldview, systems of views, aesthetic principles, ethical coordinates, but also at the level of unconscious sensations, sentiment. In this regard, the evolution of creativity V. Makanin is indicative, in no way attributed to the clear, "clean" postmodernists, whose work has always been, mainly realistic, although the artistic conventionality was played, symbols, signs, metaphors, was present Special "Makanan mood."

The story "Caucasian Packed", which inscribed in the overall picture of the writer's creativity, it takes a special place, becomes the phenomenon of an unusual series and in its content, and according to a method for solving problems in the Makananian "Probud" system.

The story was written in June-September 1994. This is important for understanding and a real historical situation, and in an artistic context: the large-scale actions of the federal troops in Chechnya have not yet been conducted (they began in November-December), but the future tragedy is already predugaded, and is preference.

The name of the story resembles the same names A. S. Pushkin and L. N. Tolstoy. In Pushkin's poem, there are all attributes of the romantic genre: a mysterious landscape, a non-name hero, fatal circumstances, Love with a tragic outcome, etc. The genre definition of "the Caucasian prisoner" L. N. Tolstoy causes another intonation of Narabiv: "He served on The Caucasus officer is one barin. His name was hill. " In the story, household details of the captivity are important: "On it, two Tatar stinks are sitting", pads, pit, instead of food "impenetrable dough, which only feed dogs." The meaning of the work in opposition of characters: strong and weak.

In the Makaninsky story, both of these beginnings were united: a romantic collision with a fatal outcome is implemented by means of "fierce realism". Such genre mixing is characteristic of postmodern orientation writers.

The name of the story becomes a kind of hoax, waiting for the title of the fabul type is not justified (there is no hint of a remake, similar to the film "Caucasian Captive"). The name of the story indicates provoking the nature of the appeal of the modern writer to the tradition of Russian classics, so all the imposed associations turn out to be false, the plot develops on the antishem of the Pushkin poem, Lermontov's poems of the Caucasian cycle ("MTSIRY"), the story of L. N. Tolstoy, because non-standard And unexpected, unpredictable turns of the plot.

The very concept of "cooked" turns out to be multi-valued, extrapolates on phenomena and private, and common series. In a narrow sense, this is a young man, captured by federal troops in order to exchange "prisoners in prisoners", and Russian soldiers Rubakhin, who was captured by his feeling. In a broad sense, Chechens, who have become hostages of the political scam of the next "Little Napoleon", and the Russian people, which turned out to be a kind of victim of geopolitical interests and the ideas of territorial integrity. The captivity in the metaphorical plan is determined by the writer as blindness of the mind, the undeveloped consciousness, sleeping shower, unplawless heart, the captivity of human delusions and prejudices becomes the cause of the war.

The meaning of the story manifests itself in the collision of opposition principles (binary oppositions): peace-war, Russia-Caucasus, Plain-Mountain, the beauty of the nature of the disgrace of death, unity-disagreement, love-hatred, etc.

The plot is built in accordance with the Tolstsky principle of contrast. The story begins with the literary phrase (from Dostoevsky) that "Beauty will save the world", which is highlighted by Petitis, and naturalistically detailed description of the death of Efreitor Boyarkov: "The militants shot sleeping. Face without a single scratch. And the ants crawled. In the first minute, Rubakhin and Vovka began to drop ants. When turned over, in the back of Boyarkov, the hole was drowned. They shot focus, but the bullets did not have time to disperse and hit the bunny: I wrapped the ribs, the bullets were out of all of his nutroh - on Earth (in the ground) lay Kroshevo ribs, on them the liver, kidneys, circles of the blood, all in a large pool. Boyarkov lay inverted, with a huge hole in the back. And his subsidiary, along with bullets, lay in the ground. " An extremely naturalistic description that leads to reflections on the transactor table in an anatomical theater, underlined anti-sourceism, explicit reluctance to be considered or at least sparing the feelings of the reader indicate a violation of equilibrium in the ratio of aesthetic categories, the absence of the norm, the intentional destruction of beauty, the feasibility of artistic forms.

The redundancy of the word "beauty" in the text becomes the designation of the futility of effort to keep harmony: "They felt beauty among the mountains too well. She frightened, "" The beauty of the site struck "," the beauty is constant in his attempt to save. She dies in his memory. She will remind. "

In the text of the story, "translucent traces" from Russian classics are constant.

As often, Tolstoy, in the story of V. Makanin there is no direct description of hostilities, the war is given indirectly ("ugly consequences of war").

The war is depicted in a historical and hardened plan. The goals of her foggy and false ("sluggish option"). Operation on disarmament of militants ("More from Ermolovsky times it was called undercover") causes a fat "hunt for man" in memory.

Soldiers are industrially in the rural store, Vovka-shooter is looking for non-slipping merchants, Colonel Gurov is traded with a field commander, which locked its food trucks in the gorge, and exchanges them on trunks and grenades; No matter however, it is mentioned about the soldiers who raped a woman. Conditional and degradation in the image of the war emphasize its senselessness, which lasts endlessly horror. The world in a state of war will plunge into chaos, where all the usual representations are crumbling.

The game principle used by the writer strengthens the dramatic of the collision. The war in the image of V. Makanina is perceived as "non-united", non-real, toy, like entertainment of people or the first test of forces. Those insurpose is the abyss of misunderstandings, alienation and hatred between the participants of the drama. Tragic isolation is predetermined at the beginning of the story.

Vovar-arrows in his sight sees all the Chechens, who have strengthened on the opposite slope, keeps them on the fly and having fun in the fact that the mirror will break the mirror in the hands of a militant, cutting a beard, will break the Chinese thermos, and then the forest will be announced by other people and incomprehensible gangs : Illyal Kill. Sniper soldier sees all buttons on the uniforms of the mountaineers, is already shot to live targets. The order was not yet given to shoot - but in the crosshair, his sniper rifle was traced, there are already enemies, the opposition is indicated: mutual hatred has accumulated so much that it remains only to bring the match.

The concept of the world is relative, the world is already charged by the war. The reason for it is not in the conflict of wildness and civilization, ignorance and culture, but in a collision of people with different mentality, carriers of faith, traditions, culture, each of which is self-sufficient (cf. Episode with Haji Muratt at the ball at Count Vorontsova ("Haji Murat »L. N. Tolstoy).

At the end of the story there is a new meaning of the very name. Why a tweed, not a prisoner? Prisoner - devoid of will, prisoner, prisoner, slave, which implies an alternative: exemption from captivity. In the concept of "cooked" at V. Makanina, this alternative is absent. The plated is not just an uncertain over time, but the constant state of the hero. The exit from the Makaninsky "captivity" can only be death.

Hero of the story Rubakhin forever remains captive in the mountains, the beauty of which he perceives instinctively, on the deep genetic level, while at the external level of consciousness as a native of the steppes hates them: "And what is so special here! Mountains? ... he said out loud with the bite not on someone, but on himself. What is interesting in the stal of the soldier barracks - and what interesting in the mountains themselves? - he thought with annoyance. He wanted to add: they say, that year! And instead, he said: "Already the eyelids ..." as if he said, the words jumped out of the shadows, and the surprised soldier did this quiet, the thought in the depths of consciousness.

Black suede gorge. Poor dirty houses hill, blinded like bird nests. But still mountains! There and here you are crowded yellow from the sun of the top. The mountains. The mountains. The mountains. Which year beats him the heart of their magty, dumb solemnity - but what, actually, the beauty of them wanted to tell him? Why octicated? "

Makanina has always been interested in human relations, deep, often elusive, sometimes mystical, not expressed financially, really fine bonds, existing between people (Sat's stories "Standby": "Klyucharev and Alimushkin", "Antiller", etc.).

The transition from the beauty of nature to the beauty of a person is performed through the explosion of sensuality, which is found in a strange, non-standard, incomprehensible at the external level of consciousness of the perception of the beauty of the beauty of the prisoner-militant (a certain modern MCYRO version). This beauty struck Rubahin in the heart: "Long to the shoulders dark hair. Thin features. Soft skin. Folding lips. Karie's eyes were forced to stay on them - a big spinner and a little doctor ", the" amazing beauty of a still look "," to feel his beauty it was as natural as to breathe air. "

A certain clarity in this non-standard situation contributes to the replica of Soldier Kholdzhaev: "Two-three-five people are taking such. Such like a girl love. " - Rubakhin chuckled. He suddenly guessed that he was disturbed in the captive militant - the young man was very beautiful. "

Beauty, in the concept of V. Makanin, can be the power that is capable of transforming the world, destroy all obstacles: national, socio-political, racial-biological, cultural, ethical, religious; Only she is able to unite people, stop the war against everyone, save the world from horror mutuation.

The feeling that Rubakhin is experiencing to the young man (what is now indicated as a non-standard sexual orientation) is not qualified by a writer as a "homosexual call of the flesh". The contact between the heroes is indicated very subtle, organically, as hope for an understanding that is deprived of the human community at all levels, the elimination of the main evil, as L. Tolstoy wrote, disagreement of people. Caring Rubahin at the prisoner young men are touching and gentle: he gave him his woolen socks (as before that, she broke the butt of the machine, when he could not get into the running out of the runaway); "The tea brewed in a glass, threw sugar, prevented a spoon" (and this is an enemy, barely cooled from the warmth of a vehicle fighting).

In the designation of the psychological state of the hero, who himself does not understand what happens to him: "The current of the militant and invoking heat", "Sensuality current", "Heat charge and unexpected tenderness", "worried", "confused by the emerging relationship", etc. ; Lexik itself: Current, charge, sensuality - denote such relations, connections, contacts that are not subject to rational analysis, it is something coming from the depths of the human consciousness due to its inner nature, something that does not depend on the will of a person, from his mind, Intellect, social orientations, national affiliation, views, beliefs and all that is determined by external factors. The person turns out to be alone with his instincts, it acts as a biological being with a whimsical, complex, contradictory nature. The concepts of sin, ethical standards, hostel standards - all this is destroyed before the inland call and instinctive need to carry out its tenderness, the need to love.

But this is a moment of understanding (read - love) is destroyed, it is destroyed when the Rubakhin strangled the prisoner, who his crude could give their location during a combat operation: "... N-us," something wanted to say a twenty young man, but did not have time. The body rushed him, the legs were strained, but under his feet no longer supported. Rubakhin tear him off from the ground, kept in his arms, did not touch the legs of any sensitive bushes, no stones that would have rolled out with noise. That hand that hugged, Rubakhin blocked the throat. Surprised: Beauty did not have time to save. Several convulsions - and only. " Instead of love hugs - the arms of death. And as the result of the destruction of this harmony - the subsequent national and human catastrophe is overlooking the story.

What remains in the soul of a Russian man who spiked with beauty, a secret, mystery of the Caucasus, someone else's life, customs, traditions, all that is the culture of the nation in general, and a concrete mystery of someone else's soul? Surprise, annoyance, abnormality, irritation, niceness in thoughts, embarrassment, misunderstanding of what happened. As an evil child breaks a beautiful toy, and the shirt kills, destroys the beauty that cannot belong to him, can not be understood by the undevelopment of his consciousness, soul.

The Makaninsky story "Caucasian tweeted", thus becomes the phenomenon of the literature of transitional time, in it the crisis state of the world and the human soul is designated, the exit from the crisis is ideally, but in reality, it is impossible.

Thus, the literature of postmodern sound, relying on the existing literary tradition, the creative experience of writers of the preceding stages of the development of culture, nevertheless creates self-sufficient artistic reality.

Conclusion

M. Lipovetsky, emphasizing the globality of the claims of Russian postmodernism to ideologically-artistic domination, writes that postmodernism does not claim the role of another current in the pluralistic landscape, and insists on its dominance in all culture.

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Applications

Attachment 1

Dictionary Terminos

Axiology - Science of values, value system.

Anthropology - a person's philosophy, emitting the sphere of human being actually, actually the nature of man, human individuality.

Appropriation - borrowing, assignment; Operation, inverse reproduction process (reproduction).

Ambivalence - ambiguity, double-rate.

Authenticity - authenticity, truth, accuracy.

Brikolazh - reception, allowing to bypass the contradiction, philological "dying".

Valorization is the aesthetization of the stranded, spiritualization, empowering the high meaning of low, coarse, vulgar.

Diffusion - mixing.

Deconstruction - criticism of the metaphysical way of thinking. The term is offered J. Derrida as a translation of "Destruktion" M. Hydegger. Combines a negative and destructive "de" with emphasising continuity, the continuity of "con". The basis of the method is the principle of extracting associations caused by the object, the support on the mechanism of the unconscious.

Discourse - the concept extended by structuralists to analyze the social conditionality of speech statement; The combination by the implementation of which the speaker uses the language code. Often used as a synonym for speech. By definition of M. Fouco, "Socially determined organization of speech and action system".

Intertextuality - characteristic defining textual heterogeneity, polyphonic text structure (M. Bakhtin); Literally means the inclusion of one text in another, "Weaving texts and codes, transformation of other texts" (Yu. Kristev). The main signs of intertextuality are blurring of borders, the absence of completeness, closedness, internal heterogeneity, multiplicity of text.

Intention - intention, goal.

Immoralism - immorality.

Insayt - insight, inspiration, breakthrough.

The implicit - hidden, having a direct or portable nomination.

Constitution - Formation.

Corolor - correlated, correlated.

Marginal - excluded from the general range, not corresponding to the adopted standards and values, having signed out of the system.

Metaphysics - the philosophical doctrine of common, distracted from the specific existence of things and people principles, forms and qualities; Characteristics of the structures of being and thinking outside of their development, self-duration, intercourse; Generalized picture of the world order.

Narrative - story, narration.

The obscent vocabulary is an abnormative, taboo, located outside the norms of the literary language.

Ontology is the doctrine of being, the principles of its structure, laws and forms.

Professional - wicked, vulgar, low, rough.

Relativism - relativity, unsound.

Redi-Made (Ready-Made) - direction in art that focuses on the use of "ready-made things", in accordance with the aesthetics of which any subject "is ready to use" in the field of art.

Reflection - self-analysis, self-control.

Subculture is a replacement culture, erzatz, imitation located below for its aesthetic level characteristics in the value system.

Slim - simplified.

SUGGESTIVE --oriented, aimed at suggestion capable of inspiring.

Simulacruum (Simulacre, Simulacre) - likeness, "copy of copies", reflection reflection, assimilation, claiming the designation of the original, true, genuine; Visibility that does not have the essence.

Transgression - transition, violation.

Escapism - care from problems, flight, privacy, alienation.

ESChatology is the doctrine of the limb of the world.

Appendix 2.

Threads of reports for speaking on special seminary

1. Compromise as a principle of attitude to reality in the work of S. Dovyttov.

2. Laughter as a genre-forming and shape element in prose S.ovytova.

3. Anti-submarine hero in the stories of S. Dovyttov.

4. Tolstovsky traditions in the story of V. Makanin "Caucasian Packed".

5. Traditions of the Russian classics in the novel V. Wornovich "Life and the extraordinary adventures of the soldier Ivan Chonkin".

6. Connection of the classical and postmodern tradition in the novel V. Pishing "New Moscow Philosophy".

7. Literary reminiscence in the stories of V. Piezuha "Chamber No. 7", "Central-Ermolaevskaya War", "State Child", etc.

8. History and modernity in the novel V. Piezuha "Enchanted Country".

9. The nature of the conflict in prose A. Beardy ("The front portrait of Malevich's brush", "Mom and pair milk", "functional elite").

10. ESChatological character of prose F. Gorenstein ("Atonement", "Last summer on the Volga", etc.).

11. Profannaya and ideal in the stories of V. Yerofeyev ("Life with an idiot", "White castrated cat with the eyes of beauty" and others).

12. The features of postmodernism in the text of Yu. Kisina "Flying of doves above the dirt of phobia."

13. Genre transgression in the work of M. Kurayeva ("Mountain Mirror: Criminal Suite in 23 parts, with introduction and ghost theorem").

14. "Subcultural" beginning in the novel by A. Queen "Eron".

15. Motive "Unty" as protection against reality in prose of postmodernism (N. Sadur, V. Sharov, E. Sadur, Yu. Aleshkovsky, etc.).

16. "Witches of tears" N. Sadur in line with postmodern aesthetics.

17. Genre "Anti-Woom" in Prose E. Limonova ("This is me - Edka!", "Teen Svenko", "Young Scounding", "Palach").

18. "His" and "Alien" in the texts of V. Sorokina ("Queen", "Session of the Zombom", "Month in Dakhau", "Thirty Love Marina" and others).

19. The role of an artistic convention, fiction in the work of V. Pelevin (Sat stories "Blue Lantern").

20. "Simulacated reality" in Prose V. Pelevin ("Crystal World", "Chapaev and emptiness", etc.).

21. Forms of the Appropriation in Poetry D. Prigova ("The phenomenon of the verse after his death", "Markhat All Russia").

22. Centralization as the main principle of creativity T. Kibirova, V. Nekrasova, A. Eremenko, V. Vishnevsky, etc.

23. Artistic peculiarity of the prose Y. Mamleev ("Notebook of an individualist", "not those relationship", "Hoistelnik", "Gauguen Exchange", etc.).

24. Transformation of the genre of the literary parody in the literature of postmodernism (M. Weller, A. Kabakov, Y. Polyakov, V. Sorokin, etc.)

25. Epazka and Escapada in Trilogy I. Yarkvich "Childhood", "Defense", "Youth".

26. The problem of styling in the literature of postmodernism (A. Sinyavsky, V. Sorokin, V. Piezuh).

27. Ironic beginning in prose and poetry postmodernism (V. Piezu, E. Popov, L. Rubinstein, etc.).

28. Valeryanarbikova and the tradition of erotic literature ("visibility of us", "equilibrium of daylight and night stars", "near ecolo").

29. The genre variety of creativity L. Petrushevskaya.

30. "Linguistic fairy tales" L. Petrushevskaya. Problems of tradition and innovation.

Links

See: Genis A. Babylonian Tower. M.: Independent newspaper, 1997. P. 97.

Galkovsky D. Infinite deadlock // New World. 1992. No. 11. P. 261.

Erofeev V. Russian flowers evil. M.: Horseshova, 1997. P. 13.

Marchenko A. "... called Vulgarus" // New World. 1995. No. 4.

See: Gumilev L. N. Ethnogenesis and the Biosphere of the Earth. M., 1990.

Yakimovich A. Madness of the mind, or Pension Madame Gayar // Forers. Lit. 1992. №4.

Nietzsche F. so spoke Zarathustra. M.: Interbuch, 1990. P. 211-212, 137.

Cryton M. Strain Andromeda. M.: MP "All for you", 1992. P. 173.

Lit. ENT. vocabulary. M.: OV. Encyclopedia, 1987. P. 225.

Vanttein O. Meet: Homo Deconstructivus: Poster's Philosophical Games // Apocrypha, 1996. No. 1. P. 12-29.

Turchin V.S. in the labyrinth of the avant-garde. M.: Publishing House of Moscow State University, 1992. P. 3.

See: Grois B. Utopia and exchange. M.: Sign, 1993. P. 143, 159-162. 12

Cyt. By: Grois B. Utopia and exchange. M.: Sign, 1993. P. 161.

See: Vanztein O. Meet: Homo Deconstruktivus. Philosophical postmodernism games // APCRIP. - M.: Labyrinth, 1996. No. 2. P. 12-29.

Cyt. By: Guzeev V.V. System bases of educational technology. M.: Knowledge, 1995. P. 19.

Piezuh V. Cycles. M.: Culture, 1991. P. 256.

Pelevin V. Chapaev and emptiness. M.: Vagribus, 1996.

See: Ilyin I. Postmodernism. Poststructuralism. Deconstructivism. M., 1997. p.19.

See there. P.24.

Nietzsche F. on the other side of good and evil // Vopr. Form 1989. No. 5.

Genis A. from a dead end // Spark. 1990. № 50. P. 18.

Mikhailov O. King without the kingdom. Preface // Nabokov V.V. Evim. M.: Hood. Lit., 1988. P. 3-14.

Erskin F. Ross and I // West. New. Lit. 1991. No. 1. P. 25. 22

Kudryakov B. Frequency of Dark Wanders // West. New. Lit. 1991. No. 1. P. 109.

Severin I. New literature 70-80-kH. // West. New. Lit. 1991. No. 1. C.279.

Pelevin V. Blue Lantern. M.: Text, 1992.

Pelevin V. Blue Lantern. M.: Text, 1992. P. 96.

Pelevin V. Chapaev and emptiness. M.: Vagribus, 1997.

Cyt. By: Biryukov S. ZEVGMA: Russian poetry from mannerism to postmodernism. M.: Science, 1994. P. 108.

Barnes J. World History in 10 ½ chapters // Forers Lit. 1994. №1.

See: Genis A. From a dead end // Spark. 1990. № 5. P. 18.

Turchin A. in the maze of avant-garde. M., 1993. P. 203.

See: Genis A, Babylonian Tower. M.: Independent newspaper, 1997. P. 105.

Sorokin V. Session of the Zombom // Russian flowers evil. M.: Horseshoe, 1997. p.377-378.

Zimsovets S. Silence Gerasima. M.: Gnosis, 1996. P. 112-113.

See: Grois B. Utopia and exchange. M.: Sign, 1993. P. 226.

Kuritsyn Vyach. On the threshold of energy culture // Lit. gas. 1990. №44. P. 4.

Genis A. from a dead end // Spark. 1990. No. 52. P. 16.

See: Severin I. New literature 70-80-kH. // West. New. Lit. 1991. №1. P. 224.

See: Camp. Historic. Anecdotes. Spb. 1869. P. 155.

Vanttein O. Homo Deconstructivus: Philosophical Games of Postmodernism // Apocrif. 1996. No. 2. P. 23.

See: Genis A. Babylonian Tower. M.: Independent newspaper, 1997. P. 51-52.

Sorokin V. Norm. M., 1994.

See: Biryukov S. ZEVGMA: Russian poetry from mannerism to postmodernism. M.: Science, 1994. P. 183.

Erskin F. Ross and I // West. New. Lit. 1991. No. 1.

Kolridge S. T. Definition of Poetry // Film. Tr. M.: Art, 1987. P. 221.

Biryukov S. Zewgma. Russian poetry from mannerism to postmodernism. M.: Science, 1994. P. 183.

Severin I. New literature 70-80-kH. // West. New. Lit. 1991. №1. P.222.

Podigov D. A. Makhrow All Russia // West. New. Lit. 1991. No. 1. P. 96.

See: Losov L. Preface // Dovlatov S. Satr. So: at 3 t. M., SPb.: Limbus-Press, 1995. P. 366.

Pelevin V. Blue Lantern. M.: Text, 1991. P. 102.

Pelevin V. Blue Lantern. M.: Text, 1991. P. 140.

Ilyanien A. and Finn // Mitin magazine. 1996.

Kondratyev A. Hello, hell! // New Lit. Review. 1996. №18.

See: Polekov Y. Kozotok in milk // Change. 1995. №11-12.

Polyakov Y. Kozotok in milk // Change. 1995. No. 11. P. 111.

Ibid. P. 98.

Polyakov Y. Kozotok in milk // Change. 1995. No. 11. P. 75.

Ibid. P. 60-61.

Makanin V. Caucasian Packed // New World. 1995. No. 4.

Makanin V. Caucasian Packed // New World. 1995. № 4. S. 11.

Makanin V. Caucasian Packed // New World. 1995. № 4. S. 19.

Ibid. P. 15.

Ibid. P. 16.

Makanin V. Caucasian Packed // New World. 1995. № 4. P. 17.

Lipovetsky M. The specifics of Russian postmodernism // Banner. 1995. №8. P. 193.

EGE in Russian. Task C1.

The problem of responsibility, national and human, was one of the central in the literature in the middle of the 20th century. For example, A.Ttvardovsky in the poem "By the right of memory" calls for the rethinking of the sad experience of totalitarianism. The same topic is revealed in the poem A.A.Akhmatova "Requiem". The sentence of the state system based on injustice and lies, is carried out by A.I. Solzhenitsyn in the story "One Day of Ivan Denisovich"

The problem of careful attitude towards cultural heritage has always remained in the center of general attention. In a difficult post-revolutionary period, when the change of political system was accompanied by the overtaking of previous values, the Russian intellectuals did everything possible to save cultural relics. For example, Academician D.S. Likhachev prevented that Nevsky Prospectus was built up with typical high-rise buildings. At the funds of Russian cinematographers were restored by the estate of Kuskovo and Abramtsevo. Caring for monuments of antiquity is distinguished by Tulyakov: the appearance of the historic city center, church, the Kremlin remains.

Conquerors of antiquity burned books and destroyed monuments to deprive the people of historical memory.

"Disrespect for the ancestors is the first sign of immorality" (A.S. Pushkin). A person who does not remember the kinship of his who lost memory Chingiz Aitmatov called the mancourt ( "Brown half-wings"). Mancourt - a man forcibly devoid of memory. This is a slave that has no past. He does not know who he comes from where he does not know his name, does not remember childhood, father and mother - in one word, does not realize himself with a human being. Such misunderstanding is dangerous for society - a writer warns.

Most recently, on the eve of the great holiday of victory on the streets of our city, young people were interviewed, whether they knew about the beginning and end of the Great Patriotic War, about who we fought, who was this gi ... Answers were depressing: the younger generation does not know Dates of the beginning of the war, names of the commander, many have not heard of the Stalingrad battle, about the Kursk arc ...

The problem of oblivion of the past is very serious. A person who does not respect history that does not honor his ancestors is the same mancourt. So I want to remind these young people a piercing cry from the legend of Ch. Aytmatov: "Remember, whose are you? What is your name?"

"A person needs not three Arsshina of the Earth, not a manor, but the whole globe. All nature, where on the square he could show all the properties of free spirit, "wrote A.P. Chekhov. Life without purpose There is a meaningless existence. But goals are different, such as, for example, in the story "Gooseberry". Her Hero - Nikolai Ivanovich Chimsza-Himalayan - dreams of buying his estate and plant a gooseberry there. This goal absorbs it entirely. As a result, he reaches it, but at the same time almost loses the human appearance ("spread, flickering ... - Togo and looked, sculpts in the blanket"). False goal, looping on material, narrow, limited man urgent. He needs a constant movement, development, excitement, improvement ...

I. Bunin in the story "Mr. from San Francisco" showed the fate of a man who served as false values. The wealth was his God, and he worshiped this God. But when the American millionaire died, it turned out that genuine happiness passed by man: he died, and without learning what life was.

The image of Oblomov (I.A.Goncharov) is an image of a person who wanted a lot to achieve in life. He wanted to change his life, wanted to rebuild the life of the estate, wanted to grow children ... But he had no strength, so that these desires would bring to life, so his dreams remained with dreams.

M. Gorky in the play "At the bottom" showed the drama of "former people", which have lost their strength to fight for themselves. They hope for something good, understand that it is necessary to live better, but nothing is done in order to change your fate. It is not by chance that the play of the play begins at the night and ends there.

N. Gogol, the intettator of human vices, persistently looking for a living human soul. The portrait of Plushina, who became a "band on the body of mankind," he passionately calls the reader who comes out in adulthood, to take with him all "human movements", not lose them on a life road.

Life is a movement on an endless road. One travels on it "with a treasury need," asking questions: why did I live, for what purpose did I born? ("Hero of our time"). Others are frightened by this road, run to their wide sofa, for "life touches everywhere, gets" ("Oblomov"). But there are those who, mistaken, doubting, suffering, rise to the tops of the truth, gaining their spiritual "I". One of them - Pierre Duhov - Hero of Roman Epopea L.N. Tolstoy "War and Peace".

At the beginning of his way, Pierre Dalo from the truth: admires Napoleon, is involved in the Golden Youth company, participates in the hooligan tricks on a par with Doolohov and Kuragin, too easily leaving a rough bowel caused by which his huge state becomes. At one stupidity, another: marriage to Helen, duel with Doolokh ... and as a result - a complete loss of the meaning of life. "What is bad? What well? What should I love and hate what? Why live and what am I? " - These questions are scrolled in the head that is scrolled, until there is a sober understanding of life. On the way to Him and the experience of Freemasonry, and monitoring simple soldiers in the Borodino battle, and the meeting in captivity with the popular philosopher Plato Karataev. Only the world moves with love and a person lives - Pierre Duhov comes to this thought, gaining his spiritual "I".

In one of the books dedicated to the Great Patriotic War, the former blockade recalls that he dying a teenager, during a terrible hunger saved the life of a residential neighbor who brought the jar of stew sent by his son from the front. "I'm old, and you are young, you still live yes live," said this man. He soon died, and the boy saved by him for his whole life retained a grateful memory about him.

The tragedy occurred in the Krasnodar Territory. In a home for the elderly, where sick old men lived, a fire began. Among the 62 burned alive and the 53-year-old nurse Lydia Pacinseva, who was on duty on the night. When the fire broke out, she took old people under his arms, brought to the windows and helped them escape. That's just not saved - did not have time.

M. Sholokhov has a wonderful story "The Fate of Man". It tells about the tragic fate of the soldier who lost all the relatives during the war. Once he met the Sirota boy and decided to turn his father. This act suggests that love and desire to do good give a person to life for life, forces in order to confront fate.

"Satisfied with people" who are accustomed to comfort, people with minority interests are the same heroes Chekhov, "People in case". This is the Doctor of Elders in "Ionche", and teacher Belikov in "Man in a case". Recall how the chubby, red "Dmitry Elders Jonle, and Kucher's Panteleimon," Also Puffy and Red ", shouts:" Prerava Hold! " "Prerava keep" - this is the desepace from the troubles and human problems. There should be no interference on their prosperous life of life. And in Belikovsky "No matter what happened" we see only indifferent attitude towards other people's problems. The spiritual cloister of these heroes is obvious. And no, they are not intellectuals, but simply - the mothers, the inhabitants who have impaired "owners of life".

Front service - the expression is almost legendary; There is no doubt that there is no more strong and dedicated friendship between people. Literary examples are many. In the story of Gogol "Taras Bulba", one of the heroes exclaims: "There is no ultrasound lighter companionship!". But most often this topic was revealed in the literature about the Great Patriotic War. In the story of B. Vasilyeva "And the dawns here are quiet ..." and the Genitian girls, and the captain of Vaskov live according to the laws of mutual support, responsibility for each other. In the novel K. Simonov "Live and dead" Captain Sintsov makes a wounded comrade from the battlefield.

1. The problem of scientific progress.

In the story of M. Bulgakov, Dr. Preobrazhensky turns the PSA into man. Scientists drive thirst for knowledge, the desire to change nature. But sometimes the progress turns on terrible consequences: a bite creature with a "dog heart" is not yet a person, because there is no soul in it, there is no love, honor, nobility.

In print, it was reported that the immortality elixir will appear very soon. Death will be defeated finally. But many people have this news did not cause joy, on the contrary, anxiety intensified. What will be wrapped for a person this immortality?

rustic life.

In Russian literature, the theme of the village and the theme of the Motherland was often united. Rural life has always been perceived as the most serene, natural. One of the first, this idea was expressed by Pushkin, who called the village with his office. ON THE. Nekrasov in the poem and poems paid the attention of the reader not only on the poverty of the peasant rally, but also on how friendly peasant families, as hospitable Russian women. There is a lot about the originality of the farmers, the epopea of \u200b\u200bSholokhov "Quiet Don". In the story of Rasputin "Farewell to Mattera" an ancient village is endowed with historical memory, the loss of which is equivalent to death for residents.

The theme of labor was repeatedly developed in Russian classical and modern literature. As an example, it is sufficient to recall the novel I.A. Thrycharov "Oblomov". The hero of this work Andrei Stolz sees the meaning of life not as a result of labor, but in the process itself. This example is visible in the story of Solzhenitsyn "Matrenin Yvor". His heroine does not perceive forced labor, as a punishment, a punishment - it refers to work as an integral part of existence.

In the sketch of Chekhov "My" She "lists all the terrible consequences of the influence of laziness on people.

1. The problem of the future of Russia.

Many poets and writers affected the topic of the future of Russia. For example, Nikolai Vasilyevich Gogol in the lyrical retreat of the poem "Dead Souls" compares Russia with a "brisk-rongged top". "Rus, where are you going?" - he asks. But the author does not have an answer to the question. The poet Eduard Asadov in the poem "Russia began not from the sword" writes: "It gets up dawn, light and hot. And it will be so mature indestructible. Russia began not with a sword, and therefore she is invincible! ". He is sure that Russia is waiting for a great future, and nothing can prevent her.

Scientists, psychologists have long argued that music can have a different impact on the nervous system, on a human tone. It is generally recognized that the works of the Bach increase and develop intelligence. Music Beethoven awakens compassion, cleans the thoughts and senses of man from negative. Schumanim helps to understand the soul of the child.

The seventh symphony of Dmitry Shostakovich has a subtitle "Leningrad". But the name "legendary" is suitable. The fact is that when the fascists were besieged to Leningrad, the 7th Symphony of Dmitry Shostakovich had a huge impact on the inhabitants of the city, which, as eyewitnesses testify, gave people new forces to fight the enemy.

1. The problem of anticulture.

This problem is relevant today. Now on television is the dominance of "soap operas", which significantly reduce the level of our culture. As another example, you can recall the literature. Well the topic of "discoughurization" is disclosed in the novel "Master and Margarita". Massolite employees write bad works and have dinner in restaurants and have cottages. They are enthusiastic and their literature worship.

1. .

In Moscow, the gang was worn for a long time, which was distinguished by special cruelty. When the criminals grabbed, they admitted that their behavior, on their attitude to the world, was a great influence with the American film "Inborn killers", which they looked almost every day. Hughs of the heroes of this picture they sought to copy and in real life.

Many modern athletes when they were children watched TV and wanted to be like athletes of their time. Through television broadcasts, they met sports and his heroes. Of course, there are also rates when a person acquired the dependence on the TV, and it had to be treated in special clinics.

I believe that the use of foreign words in their native language is justified only if there is no equivalent. With the clogging of Russian language borrowings, many of our writers fought. M.Gorka pointed out: "It makes it difficult for our reader in the Russian phrase of foreign words. It makes no sense to write a concentration when we have our good word - condensed. "

Admiral A.S. Shishkov, who took some time the post of Minister of Enlightenment, offered to replace the word fountain invented by him clumsy synonym - water vessels. Exercising in the wordness, he invented the replacement of the borrowed words: he offered to speak instead of the alley - the prosidation, billiards - scarocate, cue replaced with a pike, and the library called the book. To replace the words of Kalosha, who did not like him, he came up with another - mocomantage. Such care about the purity of the tongue can not cause anything other than laughter and irritation of contemporaries.

A particularly strong sensation produces a novel "Floch". On the example of the wolf family, the author showed the destruction of wildlife from human economic activity. And how terrible it becomes when you see that when compared with a person, predators look more humane and "human" than the "crown of creation." So for the sake of which good in the future, a person brings his children on the falla?

Vladimir Vladimirovich Nabokov. "Lake, cloud, tower ..." The main character - Vasily Ivanovich is a modest employee who won a pleasant trip to nature.

1. The topic of war in the literature.

In 1941-1942, the defense of Sevastopol will repeat. But it will be another great Patriotic War - 1941-1945. In this war with fascism, the Soviet people will make an extraordinary feat that we will always remember about. M. Sholokhov, K. Simonov, B. Vasilyev and many other writers dedicated their works by the events of the Great Patriotic War. This difficult time is also characteristic of the fact that in the ranks of the Red Army, women fought with men. And even the fact that they are representatives of the weak floor, did not stop them. They fought with fear inside themselves and committed such heroic actions, which seemed to be completely unusual for women. It is about such women that we learn from the pages of the story B. Vasilyev "and the dawns here are quiet ...". Five girls and their combat commander F. Baskov turn out to be on Siniukhina ridge with sixteen fascists who are sent to the railway, absolutely confident in the fact that no one knows about their operation. In a difficult position, our fighters were: it is impossible to retreat, but to stay, so the Germans of them as seeds are serving. But there is no way out! Behind the homeland! And these girls are committing a fearless feat. At the cost of their life, they stop the enemy and do not allow him to carry out his terrible plans. And what carefree was the life of these girls before the war?! They studied, worked, rejoiced lives. And suddenly! Airplanes, tanks, guns, shots, screams, moans ... But they did not break and gave for victory the most expensive thing they had, - life. They gave life to their homeland.

The topic of war in Russian literature was and remains relevant. Writers are trying to convey to readers the whole truth, whatever it is.

From the pages of their works, we learn that the war is not only the joy of victories and bitterness of defeats, and the war is the harsh weekdays filled with blood, pain, violence. The memory of these days will live in our memory forever. Maybe that day will come when the moans and crying mothers, salts and shots subsided on Earth, when our land will meet the day without war!

The fracture in the Great Patriotic War occurred during the Stalingrad battle, when "Russian soldier was ready to rush the bone from the skeleton and to go to the fascist" (A. Platonov). The cohesion of the people in the "Google Godina", its durability, courage, daily heroism - this is the true cause of victory. In the novel Y.Bondareva "Hot Snow"the most tragic moments of the war are reflected when the crowns of Manstein's tanks are rushing to the grouping surrounded in Stalingrad. Young artilleryrs, yesterday's boys, inhuman efforts restrain the onslaught of fascists. The sky was bloody-smoked, the snow melted from the bullets, the earth burned under his feet, but the Russian soldier surrendered - did not let the tanks. For this feat, General Bessonov, despite all the conventions, without premium papers, hands orders and medals to the remaining soldiers. "What can I can ..." he says bitterly, applying to another soldier. General could, and power? Why does the state remember about the people only in the tragic moments of history?

The carrier of the folk morality in the war is, for example, Valega, the ordinar of Lieutenant Kergentsheva from a story. He is barely familiar with the diploma, confuses the multiplication table, will not really explain what socialism is, but for their homeland, for his comrades, for the boring Hibark in Altai, for Stalin, who has never seen, will fight to the last cartridge. And the cartridges are shown - fists, teeth. Sitting in the trench, he will scold older than the Germans. And it comes to the case - it will show this Germans where the crayfish is winter.

The expression "popular character" most of all corresponds to Valeg. I went to war with a volunteer, I quickly admitted to the military, because the peaceful peasant life was not honey. In the breaks between the battles, not a minute sits without a case. He can cut, shave, repair boots, breed a fire under a torrential rain, dying socks. Can catch fish, collect berries, mushrooms. And everything is silently, quiet. A simple peasant guy who is just eighteen years old. Kergents are confident that such a soldier like Valega will never betray, will not leave the battlefield of the wounded and the enemy will be merciless.

The heroic weekdays of the War - the metaphor of the Oxymoron, which connected the intact. War ceases to seem something out of a series of outgoing. Get used to death. Only sometimes it will strike with his suddenness. There is such an episode from: the killed fighter lies on the back, spreading his hands, and to the lip of his priest even smoked cigarette. A minute ago there were still life, thoughts, desires, now - death. And see this Hero of the novel is simply unbearable ...

But and in the war, the soldiers do not live "bullet uniform": in a short watch, they sing writing, write letters and even read. As for the heroes "In the trenches of Stalingrad", Karnukhov read on Jack London, Kotiv also loves Martin Idun, someone draws someone to write poems. Volga foams from shells and bombs, and people on the shore do not change their spiritual addictions. Perhaps therefore the Nazis and failed to crush them, discard the Volga, to drain the souls and minds.

1. The topic of the motherland in the literature.

Lermontov in the poem "Motherland" says that he loves his native land, but can not explain what and why.

In a friendly message "To Chaaadaev", a fantasy appeal to the poet to dedicate the "souls of beautiful gusts".

The modern writer V.Resputin claimed: "Today, it is about ecology today, it means that it is not about changing life, but about its salvation." Unfortunately, the state of our ecology is very catastrophic. This manifests itself in the depletion of flora and fauna. The author further suggests that "there is a gradual addiction to the danger," that is, a person does not notice how serious the situation is. Recall the problem associated with the Aral Sea. The bottom of the arala was unfortunate so much that the shores from the seaports went to dozens of kilometers. The climate changed very dramatically, animal extinction occurred. All these troubles greatly influenced the lives of people living in the territory of the Aral Sea. Over the past two decades, the Aral Sea lost half of the volume and more than a third of the square. The rebeling bottom of the huge area turned into a desert, which became known as Aralkum. In addition, millions of tons of poisonous salts are contained in Aral. This problem can not not worry people. In the eighties, expeditions were organized, the decisive tasks and causes of the death of Aral. Doctors, scientists, writers reflected and investigated the materials of these expeditions.

V.Resputin in the article "In the Fate of Nature - our fate" reflects on the relationship between a person with the environment. "Today it is not necessary to guess," whose moan is heard over the Great Russian River. "The Volga itself is moaning, exposed along and across the damned hydraulic plants," writes the author. Looking at the Volga, especially you understand the price of our civilianization, that is, those benefits that man created for themselves. It seems that everything could be defeated, even the future of mankind.

The problem of the relationship between a person with the environment is also raised by a modern writer Ch. Atmatov in the work of "Floch". He showed how a man with his own hands destroys the colorful world of nature.

The novel begins with the description of the life of the wolf flock, which calmly lives before the appearance of man. He literally demolides and destroys it on his path without thinking about the surrounding nature. The reason for such cruelty was just difficulty with a plan of measdachi. People mocked the saiga: "Fear has achieved such dimensions that the Wolf Akbar, Floxes from the shots, it seemed that the whole world of the fire, and the Sun itself was daring and looking for salvation ..." Children Akbary die in this tragedy, but on this grief does not end. Further, the author writes that people arranged a fire in which five more wipe Akbara die. People for the sake of their goals could "stroke the globe, like a pumpkin," without suspecting that nature will also revenge them sooner or later. A lonely wolf stretches towards people, wants to transfer their maternal love on a human child. It turned the tragedy, but this time for people. A man in a rustling of fear and hatred for the incomprehensible behavior of the Wolf shoots her, but falls in his own son.

This example speaks about the barbaric attitude of people to nature, to all that surrounds us. I would like to have more caring and kind people in our life.

Academician D. Lihachev wrote: "Humanity spends billions not only in order not to suffocate, not to perish, but to keep the nature around us." Of course, everyone is well known for the healing force of nature. I think that a person must become her owner, and her defender, and her smart converter. Loved a leopard river, birching grove, a restless bird ... We will not harm them, but we will try to protect them.

In this century, a person actively invades the natural processes of the Earth shells: millions of tons of minerals are produced, destroys thousands of hectares of the forest, pollutes the water of the seas and rivers, ejects poisonous substances into the atmosphere. One of the most important environmental problems of the century was the pollution of water. A sharp deterioration in the quality of water rivers and lakes cannot affect the health of people, especially in areas with a dense population. The environmental consequences of accidents at nuclear power plants are sad. Echo Chernobyl rolled throughout the European part of Russia, and will still be a long time to reflect the health of people.

Thus, a person as a result of economic activity causes great damage to nature, and with this and his health. How then does a person build his relationship with nature? Each person in its activities should carefully applies to the whole living on earth, not to braid himself from nature, do not strive to rise above it, and remember that he is part of it.

1. Man and state.

Zamyatin "We" People - Number. Have only 2 free hours.

The problem of the artist and power

The problem of the artist and power in Russian literature is perhaps one of the most painful. Special tragedy is noted in the history of the literature of the twentieth century. A. Akhmatova, M.TSvetaeva, O. Madelshtam, M. Bulgakov, B. Pasternak, M.Zoshchenko, A. Solzhenitsyn (the list can be continued) - each of them felt the "care" of the state, and everyone reflected it in his work. One Zhdanov decided on August 14, 1946, the writer's biography of A.Akhmatova and M.zoshchechenko could be settled. B. Pasternak created the Roman "Dr. Zhivago" during the abnormal pressure of the government to the writer, during the fight against cosmopolitanism. The injury of the writer resumed with a special force after the Nobel Prize for the Novel. The Writers' Union excluded Pasternak from his ranks, submitting it to his inner emigrant, a person who disperts the decent title of the Soviet writer. And this is for the fact that the poet told the people of the truth about the tragic fate of the Russian intellectual, the doctor, the poet Yuri Zhivago.

Creativity is the only way to immortality the Creator. "For the authorities, no conscience or thoughts, no neck bend for the livrey - this will have become decisive in choosing the creative path of true artists.

Emigration problem

Does not leave the feeling of bitterness when people leave their homeland. Some are sent forny, others are leaving themselves because of some circumstances, but none of them forgets his fatherland, the house where the land was born. There are, for example, I.A. Bunin story "Kosters", written in 1921. This story would seem to be an insignificant event: Ryazan Kosov's came in the birch forest, they kit and sing. But it was at this insignificant moment that the Bunin managed to see the immense and distant, with all Russia connected. A small space of the narration is filled with radiant light, wonderful sounds and drum smells, and it turned out not a story, but a bright lake, some Svetlorian, which reflects all Russia. No wonder while reading the "kosstov" Bunin in Paris on a literary evening (there was two hundred people), according to the memories of the wife of the writer, many cried. It was a crying for Russia lost, a nostalgic feeling in his homeland. Bunin lived in emigration most of his life, but wrote only about Russia.

Emigrant of the third wave S.Odladov, leaving from the USSR, grabbed with him the only suitcase, "old, plywood, covered with matter, linked with a linen rope," he traveled with him in the pioneer camp. There were no treasures in it: a double-breasted suit was lying on top, under it - a population shirt, then in turn - winter hat, Finnish strong socks, shofor gloves and an officer belt. These things have become the basis for short stories-memories of the Motherland. They do not have material value, they are signs priceless, in their own way absurd, but the only life. Eight things - eight stories, and each - a kind of report on past Soviet life. Life that will remain forever with the emigrant Dovlatov.

The problem of intelligentsia

According to Academician D.S. Likhacheva, "The basic principle of intelligence is intellectual freedom, freedom as a moral category." Included intelligent person only from his conscience. The title of intellectual in Russian literature is deservedly carry heroes and. Neither Zhivago nor Zybin made a compromise with their own conscience. They do not accept violence in any manifestation, whether it is a civil war or Stalinist repression. There is another type of Russian intellectual, which betrays this high rank. One of them - the hero of the story Y.Triconova "Exchange"Dmitriev. He is hard to hurt his mother, the wife proposes to exchange two rooms on a separate apartment, although the relationship between daughter-in-law and mother-in-law was not the best. Dmitriev initially indignant, criticizes his wife for confusion, boss, but then agrees with her, believing that she is right. The apartment is becoming more and more things, food, expensive heads: the density of life is growing, things replace spiritual life. In this regard, the other work is remembered - "Suitcase" S. Podlatova. Most likely, the "suitcase" with a rag, exported by a journalist S.Dadovov in America, caused Dmitriev and his wife only a feeling of squeamishness. At the same time, for the Hero of Dovlatov, things do not have material value, they are a reminder of the past youth, friends, creative searches.

1. The problem of fathers and children.

The problem of the difficult relationship between parents and children was reflected in the literature. They wrote about this and L.N. Tolstoy, and I.S.Turgenhev, and A.S. Pushkin. I want to appeal to the play by A. Vampilova "Senior Son", where the author shows the attitude of children to his father. Both the Son, and the daughter frankly consider their father a loser, an eccentric, indifferently relate to his experiences and feelings. Father all silently demolides, finds excuses to all ungrateful aids of children, asks them only about one thing: not to leave him alone. The main hero of the play sees how someone else's family is destroyed, and sincerely trying to help the kinderical person. His intervention helps to survive a difficult period in the relationship of children to a near person.

1. Problem quarrel. Enough people.

Pushkin in the story "Dubrovsky" casual abandoned word led to the hostility and many troubles for the former neighbors. Shakespeare in Romeo and Juliet, the female family ended with the death of the main characters.

"The word about the regiment of Igor" Svyatoslav utters the "Golden Word", condemning Igor and Vsevolod, who violated the feudal obedience, which led to the new attack of Polovtsy to Russian lands.

In the novel Vasilyeva "Do not shoot in the white swans" Yegor Polushkin's modest notice does not die from the hands of poachers. Nature's defense has become a vocation and meaning of life.

In the Casual Polyana, many works are made only with one goal - to make this place one of the most beautiful and cozy.

1. Parental love.

In the poem in the prose of Turgenev "Sparrow" we see the heroic deed of birds. Trying to protect the offspring, the sparrow rushed into battle against the dog.

Also in the Romana of Turgenev "Fathers and Children" Parents of Bazarov most in life want to be with her son.

In the play of Chekhov "Cherry Garden" Lyubov Andreevna lost estate, because all his life it was frivolously related to money and work.

The fire in Perm occurred due to the rampant actions of the Fireworks, the irresponsibility of the Directorate, the negligence of the fire safety challenges. And the result is the death of many people.

In the essay "Ants" A.Mrua tells about how a young woman bought an anthill. But she forgot to feed his inhabitants, although they needed only one drop of honey per month.

There are people who do not particularly require anything from their lives and spend it (life) is useless and boring. One of these people Ilya Ilyich Oblomov.

In the novel, Pushkin "Evgeny Onegin" the main character has everything for life. Wealth, education, position in society and the ability to realize any of your dreams. But he misses. Nothing hurts him, nothing pleases. He does not know how to appreciate the simple things: friendship, sincerity, love. I think that's why he is unhappy.

In the essay of Volkova "On simple things" a similar problem rises: for happiness, a person needs not so much.

1. Riches of the Russian language.

If you do not use the riches of the Russian language, you can become similar to Elchukin Schukin from the work of "twelve chairs" I. Ilf and E.Petrov. She did thirty words.

In the comedy of Fonvizin "Nepali" Mitrofanushka did not know the Russian language at all.

1. Unprinciple.

In the sketch of Chekhov "left" talks about a woman who has completely changed its principles for one minute.

She tells her husband that he would leave him if he had at least one kind of ditch. Then the husband explained in detail to his wife, why their family lives so richly. The heroine of the text "left ... to another room. For her, it is beautiful and richly more important than a deception of a husband, although she says quite the opposite.

In the story of Chekhov "Chameleon" of the police officer, Columelova, is also no clear position. He wants to punish the owner of the dog, who bit the finger of Hryukina. After the craczymes find out that the possible owner of the dog is General Zhigalov, his whole decisiveness disappears.

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1. The problem of historical memory (responsibility for the bitter and terrible consequences of the past)

The problem of responsibility, national and human, was one of the central in the literature in the middle of the 20th century. For example, A.Ttvardovsky in the poem "By the right of memory" calls for the rethinking of the sad experience of totalitarianism. The same topic is revealed in the poem A.A.Akhmatova "Requiem". The sentence of the state system based on injustice and lies, is carried out by A.I. Solzhenitsyn in the story "One Day of Ivan Denisovich"

1. The problem of preserving monuments of antiquity and careful attitude towards them.

The problem of careful attitude towards cultural heritage has always remained in the center of general attention. In a difficult post-revolutionary period, when the change of political system was accompanied by the overtaking of previous values, the Russian intellectuals did everything possible to save cultural relics. For example, Academician D.S. Likhachev prevented that Nevsky Prospectus was built up with typical high-rise buildings. At the funds of Russian cinematographers were restored by the estate of Kuskovo and Abramtsevo. Caring for monuments of antiquity is distinguished by Tulyakov: the appearance of the historic city center, church, the Kremlin remains.

Conquerors of antiquity burned books and destroyed monuments to deprive the people of historical memory.

1. The problem of relation to the past, the loss of memory, roots.

"Disrespect for the ancestors is the first sign of immorality" (A.S. Pushkin). A person who does not remember the kinship of his who lost memoryChingiz Aitmatov called the mancourt ("Brown half-wings"). Mancourt - a man forcibly devoid of memory. This is a slave that has no past. He does not know who he comes from where he does not know his name, does not remember childhood, father and mother - in one word, does not realize himself with a human being. Such misunderstanding is dangerous for society - a writer warns.

Most recently, on the eve of the great holiday of victory on the streets of our city, young people were interviewed, whether they knew about the beginning and end of the Great Patriotic War, about who we fought, who was this gi ... Answers were depressing: the younger generation does not know Dates of the beginning of the war, names of the commander, many have not heard of the Stalingrad battle, about the Kursk arc ...

The problem of oblivion of the past is very serious. A person who does not respect history that does not honor his ancestors is the same mancourt. So I want to remind these young people a piercing cry from the legend of Ch. Aytmatov: "Remember, whose are you? What is your name?"

1. The problem of false goal in life.

"A person needs not three Arsshina of the Earth, not a manor, but the whole globe. All nature, where on the square he could show all the properties of free spirit, "wrote A.P. Chekhov . Life without purpose There is a meaningless existence. But goals are different, such as, for example, in the story"Gooseberry" . Her Hero - Nikolai Ivanovich Chimsza-Himalayan - dreams of buying his estate and plant a gooseberry there. This goal absorbs it entirely. As a result, he reaches it, but at the same time almost loses the human appearance ("spread, flickering ... - Togo and looked, sculpts in the blanket"). False goal, looping on material, narrow, limited man urgent. He needs a constant movement, development, excitement, improvement ...

I. Bunin in the story "Mr. from San Francisco" showed the fate of a man who served as false values. The wealth was his God, and he worshiped this God. But when the American millionaire died, it turned out that genuine happiness passed by man: he died, and without learning what life was.

1. The meaning of human life. Search for a life path.

The image of Oblomov (I.A.Goncharov) is an image of a person who wanted a lot to achieve in life. He wanted to change his life, wanted to rebuild the life of the estate, wanted to grow children ... But he had no strength, so that these desires would bring to life, so his dreams remained with dreams.

M. Gorky in the play "At the bottom" showed the drama of "former people", which have lost their strength to fight for themselves. They hope for something good, understand that it is necessary to live better, but nothing is done in order to change your fate. It is not by chance that the play of the play begins at the night and ends there.

N. Gogol, the intettator of human vices, persistently looking for a living human soul. The portrait of Plushina, who became a "band on the body of mankind," he passionately calls the reader who comes out in adulthood, to take with him all "human movements", not lose them on a life road.

Life is a movement on an endless road. One travels on it "with a treasury need," asking questions: why did I live, for what purpose did I born? ("Hero of our time"). Others are frightened by this road, run to their wide sofa, for "life touches everywhere, gets" ("Oblomov"). But there are those who, mistaken, doubting, suffering, rise to the tops of the truth, gaining their spiritual "I". One of them - Pierre Duhov - Hero of Roman EpopeaL.N. Tolstoy "War and Peace".

At the beginning of his way, Pierre Dalo from the truth: admires Napoleon, is involved in the Golden Youth company, participates in the hooligan tricks on a par with Doolohov and Kuragin, too easily leaving a rough bowel caused by which his huge state becomes. At one stupidity, another: marriage to Helen, duel with Doolokh ... and as a result - a complete loss of the meaning of life. "What is bad? What well? What should I love and hate what? Why live and what am I? " - These questions are scrolled in the head that is scrolled, until there is a sober understanding of life. On the way to Him and the experience of Freemasonry, and monitoring simple soldiers in the Borodino battle, and the meeting in captivity with the popular philosopher Plato Karataev. Only the world moves with love and a person lives - Pierre Duhov comes to this thought, gaining his spiritual "I".

1. Self-sacrifice. Love for neighbor. Compassion and mercy. Suitable.

In one of the books dedicated to the Great Patriotic War, the former blockade recalls that he dying a teenager, during a terrible hunger saved the life of a residential neighbor who brought the jar of stew sent by his son from the front. "I'm old, and you are young, you still live yes live," said this man. He soon died, and the boy saved by him for his whole life retained a grateful memory about him.

The tragedy occurred in the Krasnodar Territory. In a home for the elderly, where sick old men lived, a fire began.Among the 62 burned alive and the 53-year-old nurse Lydia Pacinseva, who was on duty on the night. When the fire broke out, she took old people under his arms, brought to the windows and helped them escape. That's just not saved - did not have time.

M. Sholokhov has a wonderful story "The Fate of Man". It tells about the tragic fate of the soldier who lost all the relatives during the war. Once he met the Sirota boy and decided to turn his father. This act suggests that love and desire to do good give a person to life for life, forces in order to confront fate.

1. The problem is indifference. Surround and soulless attitude towards man.

"Satisfied with people" who are accustomed to comfort, people with minority interests are the same heroesChekhov , "People in case". This is the Doctor of Elders in"Ionche" , and teacher Belikov in "Man in a case". Recall how the chubby, red "Dmitry Elders Jonle, and Kucher's Panteleimon," Also Puffy and Red ", shouts:" Prerava Hold! " "Prerava keep" - this is the desepace from the troubles and human problems. There should be no interference on their prosperous life of life. And in Belikovsky "No matter what happened" we see only indifferent attitude towards other people's problems. The spiritual cloister of these heroes is obvious. And no, they are not intellectuals, but simply - the mothers, the inhabitants who have impaired "owners of life".

1. The problem of friendship, comrade debt.

Front service - the expression is almost legendary; There is no doubt that there is no more strong and dedicated friendship between people. Literary examples are many. In the story of Gogol "Taras Bulba", one of the heroes exclaims: "There is no ultrasound lighter companionship!". But most often this topic was revealed in the literature about the Great Patriotic War. In the story of B. Vasilyeva "And the dawns here are quiet ..." and the Genitian girls, and the captain of Vaskov live according to the laws of mutual support, responsibility for each other. In the novel K. Simonov "Live and dead" Captain Sintsov makes a wounded comrade from the battlefield.

1. The problem of scientific progress.

In the story of M. Bulgakov, Dr. Preobrazhensky turns the PSA into man. Scientists drive thirst for knowledge, the desire to change nature. But sometimes the progress turns on terrible consequences: a bite creature with a "dog heart" is not yet a person, because there is no soul in it, there is no love, honor, nobility.

In print, it was reported that the immortality elixir will appear very soon. Death will be defeated finally. But many people have this news did not cause joy, on the contrary, anxiety intensified. What will be wrapped for a person this immortality?

1. The problem of the patriarchal rustic lifestyle. The problem of charms, beauty moral and healthy

rustic life.

In Russian literature, the theme of the village and the theme of the Motherland was often united. Rural life has always been perceived as the most serene, natural. One of the first, this idea was expressed by Pushkin, who called the village with his office. ON THE. Nekrasov in the poem and poems paid the attention of the reader not only on the poverty of the peasant rally, but also on how friendly peasant families, as hospitable Russian women. There is a lot about the originality of the farmers, the epopea of \u200b\u200bSholokhov "Quiet Don". In the story of Rasputin "Farewell to Mattera" an ancient village is endowed with historical memory, the loss of which is equivalent to death for residents.

1. Labor problem. Delight of meaningful activities.

The theme of labor was repeatedly developed in Russian classical and modern literature. As an example, it is sufficient to recall the novel I.A. Thrycharov "Oblomov". The hero of this work Andrei Stolz sees the meaning of life not as a result of labor, but in the process itself. This example is visible in the story of Solzhenitsyn "Matrenin Yvor". His heroine does not perceive forced labor, as a punishment, a punishment - it refers to work as an integral part of existence.

1. The problem of the influence of laziness per person.

In the sketch of Chekhov "My" She "lists all the terrible consequences of the influence of laziness on people.

1. The problem of the future of Russia.

Many poets and writers affected the topic of the future of Russia. For example, Nikolai Vasilyevich Gogol in the lyrical retreat of the poem "Dead Souls" compares Russia with a "brisk-rongged top". "Rus, where are you going?" - he asks. But the author does not have an answer to the question. The poet Eduard Asadov in the poem "Russia began not from the sword" writes: "It gets up dawn, light and hot. And it will be so mature indestructible. Russia began not with a sword, and therefore she is invincible! ". He is sure that Russia is waiting for a great future, and nothing can prevent her.

1. Problem of the effect of art per person.

Scientists, psychologists have long argued that music can have a different impact on the nervous system, on a human tone. It is generally recognized that the works of the Bach increase and develop intelligence. Music Beethoven awakens compassion, cleans the thoughts and senses of man from negative. Schumanim helps to understand the soul of the child.

The seventh symphony of Dmitry Shostakovich has a subtitle "Leningrad". But the name "legendary" is suitable. The fact is that when the fascists were besieged to Leningrad, the 7th Symphony of Dmitry Shostakovich had a huge impact on the inhabitants of the city, which, as eyewitnesses testify, gave people new forces to fight the enemy.

1. The problem of anticulture.

This problem is relevant today. Now on television is the dominance of "soap operas", which significantly reduce the level of our culture. As another example, you can recall the literature. Well the topic of "discoughurization" is disclosed in the novel "Master and Margarita". Massolite employees write bad works and have dinner in restaurants and have cottages. They are enthusiastic and their literature worship.

1. The problem of modern television.

In Moscow, the gang was worn for a long time, which was distinguished by special cruelty. When the criminals grabbed, they admitted that their behavior, on their attitude to the world, was a great influence with the American film "Inborn killers", which they looked almost every day. Hughs of the heroes of this picture they sought to copy and in real life.

Many modern athletes when they were children watched TV and wanted to be like athletes of their time. Through television broadcasts, they met sports and his heroes. Of course, there are also rates when a person acquired the dependence on the TV, and it had to be treated in special clinics.

1. The problem of clogging Russian.

I believe that the use of foreign words in their native language is justified only if there is no equivalent. With the clogging of Russian language borrowings, many of our writers fought. M.Gorka pointed out: "It makes it difficult for our reader in the Russian phrase of foreign words. It makes no sense to write a concentration when we have our good word - condensed. "

Admiral A.S. Shishkov, who took some time the post of Minister of Enlightenment, offered to replace the word fountain invented by him clumsy synonym - water vessels. Exercising in the wordness, he invented the replacement of the borrowed words: he offered to speak instead of the alley - the prosidation, billiards - scarocate, cue replaced with a pike, and the library called the book. To replace the words of Kalosha, who did not like him, he came up with another - mocomantage. Such care about the purity of the tongue can not cause anything other than laughter and irritation of contemporaries.

1. The problem of destroying natural wealth.

If you began to write in the press about thieving humanity in the last ten to fifteen years, then Ch. Aitmatov in the 70s in his story "after a fairy tale" ("White Steamer") spoke about this problem. He showed the degradation, the hopelessness of the way, if a person ruins nature. She takes revement, confusion. The writer continues the same topic and in the next its works: "And the longest century lasts the day" ("Brons of the Film"), "Floa", "Tavro Kassandra".
A particularly strong sensation produces a novel "Floch". On the example of the wolf family, the author showed the destruction of wildlife from human economic activity. And how terrible it becomes when you see that when compared with a person, predators look more humane and "human" than the "crown of creation." So for the sake of which good in the future, a person brings his children on the falla?

1. Imposing his opinion to others.

Vladimir Vladimirovich Nabokov. "Lake, cloud, tower ..." The main character - Vasily Ivanovich is a modest employee who won a pleasant trip to nature.

1. The topic of war in the literature.

Very often, congratulating your friends or relatives, we wish them a peaceful sky above their heads. We do not want their families to undergo heavy war testing. War! These five letters carry the sea of \u200b\u200bblood, tears, suffering, and most importantly, the death of the expensive to our heart of people. There are always on our planet war. Always the hearts of people overwhelmed the pain of loss. From everywhere where the war is being heard, the moans of mothers, crying children and deafening explosions that tear our souls and hearts. To our big fortune, we know about the war only from feature films and literary works.
A lot of tests of war fell to our country. At the beginning of the XIX century, Russia shocked the Patriotic War of 1812. The patriotic spirit of the Russian people showed L. N. Tolstoy in his novel-epic "War and Peace". The guerrilla war, Borodino battle - all this and much more appears in front of us. We are witnessing the terrible weekdays. Tolstoy tells about the fact that for many war became the most ordinary thing. They (for example, Tushin) make heroic exploits on the battlefields, but they do not notice it. For them, war is the work that they must accomplish in good faith. But the war can become commonplace not only on the battlefields. A whole city can get used to the thought of war and continue to live, setting up with her. This city in 1855 was Sevastopol. About the difficult months of defense of Sevastopol narrates L. N. Tolstoy in his "Sevastopol stories". There are especially reliably on occurring events, since Tolstoy is their eyewitness. And after he saw and heard in the city, full blood and pain, he set a certain goal - to tell his reader only the truth - and nothing but the truth. The bombing of the city did not stop. New and new fortifications were required. Sailors, soldiers worked under the snow, rain, half-starved, dirty, but they still worked. And here everyone just amazes the courage of their spirit, the power of will, huge patriotism. Together with them in this city lived their wives, mothers, children. They were so bored with the situation in the city, which no longer paid attention to either shots or in the explosions. Very often they brought dinners to their husbands directly to the bastions, and one shell could often destroy the whole family. Tolstoy shows us that the worst in the war happens in the hospital: "You will see doctors there with hands bloody by elbows ... busy near the bed, on which, with open eyes and speaking, as in delusions, meaningless, sometimes simple and touching words , wounded under the influence of chloroform. " War for Tolstoy is dirt, pain, violence, whatever goal is: "... You will see the war not in the right, beautiful and brilliant strictly, with music and drumboats, with fluttering banners and glossy generals, and you will see the war in Its expression - in the blood, in suffering, in death ... "The heroic defense of Sevastopol in 1854-1855 shows again to everyone, as a strong Russian people love their homeland and how boldly becomes on its protection. I do not regret the strength, applying any means, he (Russian people) does not give the enemy to capture his native land.
In 1941-1942, the defense of Sevastopol will repeat. But it will be another great Patriotic War - 1941-1945. In this war with fascism, the Soviet people will make an extraordinary feat that we will always remember about. M. Sholokhov, K. Simonov, B. Vasilyev and many other writers dedicated their works by the events of the Great Patriotic War. This difficult time is also characteristic of the fact that in the ranks of the Red Army, women fought with men. And even the fact that they are representatives of the weak floor, did not stop them. They fought with fear inside themselves and committed such heroic actions, which seemed to be completely unusual for women. It is about such women that we learn from the pages of the story B. Vasilyev "and the dawns here are quiet ...". Five girls and their combat commander F. Baskov turn out to be on Siniukhina ridge with sixteen fascists who are sent to the railway, absolutely confident in the fact that no one knows about their operation. In a difficult position, our fighters were: it is impossible to retreat, but to stay, so the Germans of them as seeds are serving. But there is no way out! Behind the homeland! And these girls are committing a fearless feat. At the cost of their life, they stop the enemy and do not allow him to carry out his terrible plans. And what carefree was the life of these girls before the war?! They studied, worked, rejoiced lives. And suddenly! Airplanes, tanks, guns, shots, screams, moans ... But they did not break and gave for victory the most expensive thing they had, - life. They gave life to their homeland.

But on Earth there is a civil war on which a person can give life and not learning what. 1918. Russia. Brother kills his brother, father - Son, son - Father. Everything is mixed in the heat of the malice, everything depreciates: love, relatives, human life. M. Tsvetaeva writes: Brothers, here it is a bet of extreme! The third year already abel with Caine beats ...
People become a weapon in the hands of power. Crashing two camps, friends become enemies, native - forever strangers. I. Babel, A. Fadeev and many others narrate about this weight.
I. Babel served in the ranks of the first equestrian army of Budenny. There he led his diary, who later turned into the famous work of "Konarmy". In the stories of "Konarmy" speaks of a person who was in the fire of the Civil War. The main character of Liuzov tells us about the individual episodes of the campaign of the first equestrian army of Budenny, which was famous for his victories. But on the pages of the stories we do not feel the victorious spirit. We see the cruelty of the Red Army, their composure and indifference. They can kill the old Jew without the slightest oscillation, but that is more terrible, they can finish their wounded comrade, without a second not thinking. But what is all this? The answer to this question is not given by I. Babel. He leaves his reader the right to reflect.
The topic of war in Russian literature was and remains relevant. Writers are trying to convey to readers the whole truth, whatever it is.

From the pages of their works, we learn that the war is not only the joy of victories and bitterness of defeats, and the war is the harsh weekdays filled with blood, pain, violence. The memory of these days will live in our memory forever. Maybe that day will come when the moans and crying mothers, salts and shots subsided on Earth, when our land will meet the day without war!

The fracture in the Great Patriotic War occurred during the Stalingrad battle, when "Russian soldier was ready to rush the bone from the skeleton and to go to the fascist" (A. Platonov). The cohesion of the people in the "Google Godina", its durability, courage, daily heroism - this is the true cause of victory. In the novelY.Bondareva "Hot Snow"the most tragic moments of the war are reflected when the crowns of Manstein's tanks are rushing to the grouping surrounded in Stalingrad. Young artilleryrs, yesterday's boys, inhuman efforts restrain the onslaught of fascists. The sky was bloody-smoked, the snow melted from the bullets, the earth burned under his feet, but the Russian soldier surrendered - did not let the tanks. For this feat, General Bessonov, despite all the conventions, without premium papers, hands orders and medals to the remaining soldiers. "What can I can ..." he says bitterly, applying to another soldier. General could, and power? Why does the state remember about the people only in the tragic moments of history?

The problem of moral power of a simple soldier

The carrier of the folk morality in the war is, for example, Valela, the ordinar of Lieutenant Kergentsheva from the story V.Nekrasova "In the trenches of Stalingrad". He is barely familiar with the diploma, confuses the multiplication table, will not really explain what socialism is, but for their homeland, for his comrades, for the boring Hibark in Altai, for Stalin, who has never seen, will fight to the last cartridge. And the cartridges are shown - fists, teeth. Sitting in the trench, he will scold older than the Germans. And it comes to the case - it will show this Germans where the crayfish is winter.

The expression "popular character" most of all corresponds to Valeg. I went to war with a volunteer, I quickly admitted to the military, because the peaceful peasant life was not honey. In the breaks between the battles, not a minute sits without a case. He can cut, shave, repair boots, breed a fire under a torrential rain, dying socks. Can catch fish, collect berries, mushrooms. And everything is silently, quiet. A simple peasant guy who is just eighteen years old. Kergents are confident that such a soldier like Valega will never betray, will not leave the battlefield of the wounded and the enemy will be merciless.

The problem of the heroic daily war

The heroic weekdays of the War - the metaphor of the Oxymoron, which connected the intact. War ceases to seem something out of a series of outgoing. Get used to death. Only sometimes it will strike with his suddenness. There is such an episodeV.Nekrasova ("In the trenches of Stalingrad"): The killed fighter lies on the back, spreading his hands, and his adhesive sticks to the lip of the cigarette. A minute ago there were still life, thoughts, desires, now - death. And see this Hero of the novel is simply unbearable ...

But and in the war, the soldiers do not live "bullet uniform": in a short watch, they sing writing, write letters and even read. As for the heroes "In the trenches of Stalingrad", Karnukhov read on Jack London, Kotiv also loves Martin Idun, someone draws someone to write poems. Volga foams from shells and bombs, and people on the shore do not change their spiritual addictions. Perhaps therefore the Nazis and failed to crush them, discard the Volga, to drain the souls and minds.

1. The topic of the motherland in the literature.

Lermontov in the poem "Motherland" says that he loves his native land, but can not explain what and why.

It is impossible not to start with such the greatest monument of the ancient Russian literature as "the word about the regiment of Igor". To the Earth of the Russian as a whole, all thoughts are addressed to the Russian people, all the senses of the author "Words ...". He speaks of the extensive spaces of his homeland, about her rivers, mountains, steppes, cities, villages. But the land is Russian for the author "Word ..." is not only Russian nature and Russian cities. This is primarily the Russian people. Talking about the campaign of Igor, the author does not forget about the people of Russian. Igor took a campaign to the Polovtsy "For Earth Russian." His warriors are "Rusichi", Russian Sons. Turning the border of Russia, they say goodbye to their homeland, with Russian Earth, and the author exclaims: "About Russian land! You are so for the hill. "
In a friendly message "To Chaaadaev", a fantasy appeal to the poet to dedicate the "souls of beautiful gusts".

1. The theme of nature and man in Russian literature.

The modern writer V.Resputin claimed: "Today, it is about ecology today, it means that it is not about changing life, but about its salvation." Unfortunately, the state of our ecology is very catastrophic. This manifests itself in the depletion of flora and fauna. The author further suggests that "there is a gradual addiction to the danger," that is, a person does not notice how serious the situation is. Recall the problem associated with the Aral Sea. The bottom of the arala was unfortunate so much that the shores from the seaports went to dozens of kilometers. The climate changed very dramatically, animal extinction occurred. All these troubles greatly influenced the lives of people living in the territory of the Aral Sea. Over the past two decades, the Aral Sea lost half of the volume and more than a third of the square. The rebeling bottom of the huge area turned into a desert, which became known as Aralkum. In addition, millions of tons of poisonous salts are contained in Aral. This problem can not not worry people. In the eighties, expeditions were organized, the decisive tasks and causes of the death of Aral. Doctors, scientists, writers reflected and investigated the materials of these expeditions.

V.Resputin in the article "In the Fate of Nature - our fate" reflects on the relationship between a person with the environment. "Today it is not necessary to guess," whose moan is heard over the Great Russian River. "The Volga itself is moaning, exposed along and across the damned hydraulic plants," writes the author. Looking at the Volga, especially you understand the price of our civilianization, that is, those benefits that man created for themselves. It seems that everything could be defeated, even the future of mankind.

The problem of the relationship between a person with the environment is also raised by a modern writer Ch. Atmatov in the work of "Floch". He showed how a man with his own hands destroys the colorful world of nature.

The novel begins with the description of the life of the wolf flock, which calmly lives before the appearance of man. He literally demolides and destroys it on his path without thinking about the surrounding nature. The reason for such cruelty was just difficulty with a plan of measdachi. People mocked the saiga: "Fear has achieved such dimensions that the Wolf Akbar, Floxes from the shots, it seemed that the whole world of the fire, and the Sun itself was daring and looking for salvation ..." Children Akbary die in this tragedy, but on this grief does not end. Further, the author writes that people arranged a fire in which five more wipe Akbara die. People for the sake of their goals could "stroke the globe, like a pumpkin," without suspecting that nature will also revenge them sooner or later. A lonely wolf stretches towards people, wants to transfer their maternal love on a human child. It turned the tragedy, but this time for people. A man in a rustling of fear and hatred for the incomprehensible behavior of the Wolf shoots her, but falls in his own son.

This example speaks about the barbaric attitude of people to nature, to all that surrounds us. I would like to have more caring and kind people in our life.

Academician D. Lihachev wrote: "Humanity spends billions not only in order not to suffocate, not to perish, but to keep the nature around us." Of course, everyone is well known for the healing force of nature. I think that a person must become her owner, and her defender, and her smart converter. Loved a leopard river, birching grove, a restless bird ... We will not harm them, but we will try to protect them.

In this century, a person actively invades the natural processes of the Earth shells: millions of tons of minerals are produced, destroys thousands of hectares of the forest, pollutes the water of the seas and rivers, ejects poisonous substances into the atmosphere. One of the most important environmental problems of the century was the pollution of water. A sharp deterioration in the quality of water rivers and lakes cannot affect the health of people, especially in areas with a dense population. The environmental consequences of accidents at nuclear power plants are sad. Echo Chernobyl rolled throughout the European part of Russia, and will still be a long time to reflect the health of people.

Thus, a person as a result of economic activity causes great damage to nature, and with this and his health. How then does a person build his relationship with nature? Each person in its activities should carefully applies to the whole living on earth, not to braid himself from nature, do not strive to rise above it, and remember that he is part of it.

1. Man and state.

Zamyatin "We" People - Number. Have only 2 free hours.

The problem of the artist and power

The problem of the artist and power in Russian literature is perhaps one of the most painful. Special tragedy is noted in the history of the literature of the twentieth century. A. Akhmatova, M.TSvetaeva, O. Madelshtam, M. Bulgakov, B. Pasternak, M.Zoshchenko, A. Solzhenitsyn (the list can be continued) - each of them felt the "care" of the state, and everyone reflected it in his work. One Zhdanov decided on August 14, 1946, the writer's biography of A.Akhmatova and M.zoshchechenko could be settled. B. Pasternak created the Roman "Dr. Zhivago" during the abnormal pressure of the government to the writer, during the fight against cosmopolitanism. The injury of the writer resumed with a special force after the Nobel Prize for the Novel. The Writers' Union excluded Pasternak from his ranks, submitting it to his inner emigrant, a person who disperts the decent title of the Soviet writer. And this is for the fact that the poet told the people of the truth about the tragic fate of the Russian intellectual, the doctor, the poet Yuri Zhivago.

Creativity is the only way to immortality the Creator. "For the authorities, for the livery, it is not for any conscience nor thoughts, no neck" is a testamentA.S. Pushkin ("from Pindimony")it became determining in the choice of the creative path of true artists.

Emigration problem

Does not leave the feeling of bitterness when people leave their homeland. Some are sent forny, others are leaving themselves because of some circumstances, but none of them forgets his fatherland, the house where the land was born. There are, for example,I.A. Bunina Story "Kosks" , written in 1921. This story would seem to be an insignificant event: Ryazan Kosov's came in the birch forest, they kit and sing. But it was at this insignificant moment that the Bunin managed to see the immense and distant, with all Russia connected. A small space of the narration is filled with radiant light, wonderful sounds and drum smells, and it turned out not a story, but a bright lake, some Svetlorian, which reflects all Russia. No wonder while reading the "kosstov" Bunin in Paris on a literary evening (there was two hundred people), according to the memories of the wife of the writer, many cried. It was a crying for Russia lost, a nostalgic feeling in his homeland. Bunin lived in emigration most of his life, but wrote only about Russia.

Emigrant of the third waveS.Odladov , leaving from the USSR, grabbed with him the only suitcase, "old, plywood, covered with matter, linked with a linen rope," he traveled with him in the pioneer camp. There were no treasures in it: a double-breasted suit was lying on top, under it - a population shirt, then in turn - winter hat, Finnish strong socks, shofor gloves and an officer belt. These things have become the basis for short stories-memories of the Motherland. They do not have material value, they are signs priceless, in their own way absurd, but the only life. Eight things - eight stories, and each - a kind of report on past Soviet life. Life that will remain forever with the emigrant Dovlatov.

The problem of intelligentsia

According to Academician D.S. Likhacheva, "The basic principle of intelligence is intellectual freedom, freedom as a moral category." Included intelligent person only from his conscience. The title of intellectual in Russian literature is deservedly carrying heroes B. PASTNAKA ("Dr. Zhivago") and Y.Dombrovsky ("Faculty of Unnecessary Things"). Neither Zhivago nor Zybin made a compromise with their own conscience. They do not accept violence in any manifestation, whether it is a civil war or Stalinist repression. There is another type of Russian intellectual, which betrays this high rank. One of them - the hero of the storyY.Triconova "Exchange"Dmitriev. He is hard to hurt his mother, the wife proposes to exchange two rooms on a separate apartment, although the relationship between daughter-in-law and mother-in-law was not the best. Dmitriev initially indignant, criticizes his wife for confusion, boss, but then agrees with her, believing that she is right. The apartment is becoming more and more things, food, expensive heads: the density of life is growing, things replace spiritual life. In this regard, the other work is remembered -"Suitcase" S. Podlatova. Most likely, the "suitcase" with a rag, exported by a journalist S.Dadovov in America, caused Dmitriev and his wife only a feeling of squeamishness. At the same time, for the Hero of Dovlatov, things do not have material value, they are a reminder of the past youth, friends, creative searches.

1. The problem of fathers and children.

The problem of the difficult relationship between parents and children was reflected in the literature. They wrote about this and L.N. Tolstoy, and I.S.Turgenhev, and A.S. Pushkin. I want to appeal to the play by A. Vampilova "Senior Son", where the author shows the attitude of children to his father. Both the Son, and the daughter frankly consider their father a loser, an eccentric, indifferently relate to his experiences and feelings. Father all silently demolides, finds excuses to all ungrateful aids of children, asks them only about one thing: not to leave him alone. The main hero of the play sees how someone else's family is destroyed, and sincerely trying to help the kinderical person. His intervention helps to survive a difficult period in the relationship of children to a near person.

1. Problem quarrel. Enough people.

Pushkin in the story "Dubrovsky" casual abandoned word led to the hostility and many troubles for the former neighbors. Shakespeare in Romeo and Juliet, the female family ended with the death of the main characters.

"The word about the regiment of Igor" Svyatoslav utters the "Golden Word", condemning Igor and Vsevolod, who violated the feudal obedience, which led to the new attack of Polovtsy to Russian lands.

1. Caring for the beauty of the native land.

In the novel Vasilyeva "Do not shoot in the white swans" Yegor Polushkin's modest notice does not die from the hands of poachers. Nature's defense has become a vocation and meaning of life.

In the Casual Polyana, many works are made only with one goal - to make this place one of the most beautiful and cozy.

1. Parental love.

In the poem in the prose of Turgenev "Sparrow" we see the heroic deed of birds. Trying to protect the offspring, the sparrow rushed into battle against the dog.

Also in the Romana of Turgenev "Fathers and Children" Parents of Bazarov most in life want to be with her son.

1. A responsibility. Rash acts.

In the play of Chekhov "Cherry Garden" Lyubov Andreevna lost estate, because all his life it was frivolously related to money and work.

The fire in Perm occurred due to the rampant actions of the Fireworks, the irresponsibility of the Directorate, the negligence of the fire safety challenges. And the result is the death of many people.

In the essay "Ants" A.Mrua tells about how a young woman bought an anthill. But she forgot to feed his inhabitants, although they needed only one drop of honey per month.

1. About simple things. Theme of happiness.

There are people who do not particularly require anything from their lives and spend it (life) is useless and boring. One of these people Ilya Ilyich Oblomov.

In the novel, Pushkin "Evgeny Onegin" the main character has everything for life. Wealth, education, position in society and the ability to realize any of your dreams. But he misses. Nothing hurts him, nothing pleases. He does not know how to appreciate the simple things: friendship, sincerity, love. I think that's why he is unhappy.

In the essay of Volkova "On simple things" a similar problem rises: for happiness, a person needs not so much.

1. Riches of the Russian language.

If you do not use the riches of the Russian language, you can become similar to Elchukin Schukin from the work of "twelve chairs" I. Ilf and E.Petrov. She did thirty words.

In the comedy of Fonvizin "Nepali" Mitrofanushka did not know the Russian language at all.

1. Unprinciple.

In the sketch of Chekhov "left" talks about a woman who has completely changed its principles for one minute.

She tells her husband that he would leave him if he had at least one kind of ditch. Then the husband explained in detail to his wife, why their family lives so richly. The heroine of the text "left ... to another room. For her, it is beautiful and richly more important than a deception of a husband, although she says quite the opposite.

In the story of Chekhov "Chameleon" of the police officer, Columelova, is also no clear position. He wants to punish the owner of the dog, who bit the finger of Hryukina. After the craczymes find out that the possible owner of the dog is General Zhigalov, his whole decisiveness disappears.

Ministry of Education and Science of the Russian Federation

State educational institution

higher professional education

"Vladimir State University

named after Alexander Grigorievich and Nikolai Grigorievich Council

Department of Journalism

methodical instructions

to practical lessons at the rate

Actual problems of modern literature

for students specialty 030601

"Journalism"

Compilers

N.V. Chernyavskaya

EAT. Gutdeva

Vladimir 2011.

Reviewer

candidate of Philological Sciences, Senior Lecturer

russian Chairs as a foreign

Ivanovo State Textile Academy

A.V. Dallakyan

Printed by the Editorial Council

Vladimir State University

Methodical Guidelines for practical training in the course "Actual problems of modern literature" for students of the specialty 030601 "Journalism" / Vladim. State un-t; COST: N.V. Chernyavskaya, E.M. Guedelian. - Vladimir: Publishing House Vladim. State University, 2011. - 76 p.

Contain the rationale for the goals and objectives of the course, the subject of lectures, plans of practical exercises, guidelines for analyzing the material for each individual lesson, theoretical and terminological apparatus, a universal scheme for analyzing the text, options for study activities: topics of reports, creative works; As well as questions for the exam for the course and lists of recommended artistic and scientific literature. It can be used both in the process of academic work to test knowledge and for self-preparation and self-control of students.

Designed for students of the specialty 030601 "Journalism" during the study of the course "Actual problems of modern literature".

Bibliographed: 14 Named.

Introduction

The training course "Actual problems of modern literature" is intended to complete the acquaintance of students with the specifics of domestic fiction. He is aimed at familiarizing students with the main trends in the literary process of the last half of the century, leading authors and the most significant works of the second half of the XX - early XXI centuries. The course is also designed to systematize students' knowledge about the history of the domestic literary process as a whole; strengthen them in an interested and value attitude towards domestic literature - both classical and modern; develop the ability to perceive the literary works of various aesthetic systems; Improve the skills of detailed analysis of texts.

According to the curriculum of the Faculty of Philosophical and Social Sciences VLSU, the course is read in the 5th educational semester, consists of lecture and practical training (in volume: lecture classes - 50 hours, practical classes - 52 hours), assumes the performance of rating and intermediate control work and end passing the exam.

The course involves research:

· The leading trends of the modern literary process (at the same time, the main focus is on the following aspects: issues and artistic results of works, prevailing and peripheral methods of modern fiction, specificity and components of individual author's styles);

· The reasons for the trends and directions of the dynamics of the literary and artistic process and the literary and critical process of the second half of the XX-early XXI century, the directions of the creative evolution of writers;

· The worldview, cultural and socio-political prerequisites of the internal periodization and registration of genre-thematic groups of works of domestic literature of the second half of the XX-early XXI century;

· Creative individuals of writers; Specific texts of domestic literature The second half of the XX-early XXI century as implementing significant trends of the modern literary process and as self-concrete works.

The noted areas of study suggest an appeal to an extensive actual material - both the actual literary and general cultural nature. This circumstance determines, firstly, the qualities of the course as its continuity (Work on the study of the "APMS" course is built with a significant support for the knowledge gained by students during the study of the course "History of Foreign Literature" and especially the "History of Patriotic Literature", - it occupies the Faculty of Faculty of Philosophical and Social Sciences VLSU with 1- go to the 4th training semester and covers the period from the beginning of the formation of ancient Russian literature until the middle of the twentieth century) and inclusion in interdisciplinary bonds (One of the conditions for the successful work of students on the tasks on the sections of the course is their awareness in such sectors of humanitarian knowledge as history, philosophy, cultural studies, etc.).

It is known that the concept of "modern literature" is quite moving; Depending on the context, the term may mean the literature of the last decade (and in this case it is synonymized by the designation of the "newest literature"), or the world's literature after the Second World War.

Traditional for domestic literary studies is an approach, in which the dedication of significant periods within the literary process is carried out not so much in an exclusively chronological basis, as given a number of specific criteria. The main one is, apparently, the so-called. "Personality Concept" underlying all the works of each specific literary era - i.e. "The system of ideas about a person, his essence, his attitude towards himself, to another person, to society, the state, nature, to the metaphysical phenomena (being and death, to God and Eternity); It is the concept of personality refracting in itself all mediated factors (social, political, ideological) and directly affects the creative process: the image of the hero, the nature of the conflict, for the poetics. Indicators such as the demand of certain genres, creative methods, the specificity of the internal and external relations of the literary period are also taken into account. In the concept internal connections The degree of focus of the era on the preceding literary tradition, the subject and options for interpretation of borrowing, the ratio of borrowed and innovative elements in the works. In the concept external connections She is the conditionality of the literary period with public factors (the events of politics, economics, etc.), modern cultural factors (ideas of philosophy, the appearance of politics, morality, the state of science and religion), other types of art, folk culture, life, etc.

Obviously, following the specified approach - especially taking into account the tasks and principles of high school training - is more preferable when building a training course, since It contributes to the formation of a holistic, systematic understanding of the literary process, provides more opportunities for the implementation of the research potential of students.

In this case, determine the amount of the course "AMSL" seems logical on the basis of a broader understanding of the chronological framework of the concept of "modern literature": from the period of the Second World War and the events adjacent to it (as the moments that identify the nature of modern ideas about the person, the features of the interaction of national literature and etc.) up to date.

The noted idea of \u200b\u200bthe chronological framework of the period is reflected, in particular, in the study of N.L. Leiderman and M.N. Lipovetsky "Modern Russian literature: in 3-kN." (M., 2001) - the most authoritative study manual at the moment; This course "APMS" and methodical instructions to it are focused on this textbook.

In this regard, the structure of the "Apsl" course looks like this:

1. Literature of the middle of the XX century; literature "thawing" pore; literature "post-thermal" period;

2. The newest literature as an integral part of the literary process 2nd half of the XX - the beginning of the XXI century, the appearance of which is largely determined by the processes that occurred in the literature of previous decades.

The structure of the course is determined by the method of work on it: a combination of a systemic approach (mainly with respect to the sections of the first part: in a certain sense, they can be considered as relatively completed stages of the literary process of modernity) and the problematic approach (mainly in relation to the section dedicated to the literary process of the latter decades, - not only not completed, but also not completed by definition a phenomenon).

As a result of studying the course "Actual problems of modern literature" and on the basis of an analysis of the read works, students should:

· Know the periodization of domestic literature The second half of the XX-early XXI century, the ideological and artistic specifics of each periods, cultural and socio-political prerequisites of the periodization of domestic fiction of the second half of the XX-early XXI century;

· Know the genre-thematic directions of domestic literature The second half of the XX-early XXI century, the dynamics and artistic results of the development of the main topics;

· Know the main artistic methods of domestic literature for the second half of the XX-early XXI century: their origin, artistic tasks, meaningful and style features, reasons for relevance in modern literature, cases and appointment of interaction between themselves;

· To be able to analyze the specific texts of the national literature of the second half of the XX-early XXI century in terms of their belonging to literary and artistic directions and as self-concrete work;

· Know the main stages of the creative way of the leading authors of the national literature of the second half of the XX-early XXI century, the directions of their creative evolution;

· Be able to determine and explain the cases of mutual influence of foreign and domestic literature, literatures of various aesthetic systems.

These guidelines are designed to help students organize independent work on the study of the course; It contains the rationale for the goals and objectives of the course, the subject of lectures, plans of practical exercises, guidelines for analyzing the material for each individual lesson, theoretical terminological apparatus, options for learning tasks: reports, creative work; as well as lists of recommended artistic and scientific literature.

Work program program

			Hatch distribution (aud.)
	Section and Topics	Section name (Topics)			Practical lessons	RGR, counter. r., house. back and etc.	Extracurricular
		The literature of the military and post-war decades.
		Cultural atmosphere and literature 40-50x.
		Cultural atmosphere "thaw".
		Lyrics of the period "thaw".
		Dramaticria "Thaw"
		Press the "thaw" period.
		Cultural atmosphere 70-90x. The main trends in the development of domestic literature "post-photodetel" period and literature 3rd emigration waves
		Lyrics 70-90x.: Basic style and thematic community of poets.
		Dramaticria 70-90x.
		Prose 70-90s.
		The newest Russian literature .
		Cultural status of fiction in the modern world. The main genre-thematic and style trends of the newest literature.
		Traditional tradition and avant-garde experiment in modern lyrics.
		Literary and critical and artistic controversy due to the modern play
		The main genres of the newest prose, their art installations and results.
		TOTAL

Main types of work

Lectures The course "Actual problems of modern literature" is aimed at focusing the student in the material of modern domestic literature, to systematize ideas about the trends and patterns of the literary process of modernity, to explain the meaningful and artistic specifics of literary phenomena, trace the mutual influence between them. The lecture is based on a combination of theoretical material and selective analysis of artistic texts illustrating theoretical provisions. It is recommended to summarize the lecture "theses". A prerequisite for understanding the lecture part of the course and effective independent work on the tasks on the sections of the course is a detailed knowledge of students of texts of literary works, as well as the ability of students to carry out a comprehensive analysis of the literary work and the willingness to operate the results of the analysis: comment on the features of the artistic structure of the work, the specifics of its plot lines and Systems of images, contents and semantic load of text episodes, etc.

Practical lessons We are supported on the plans proposed in the relevant section of methodical instructions.

The predominant form of work in a practical lesson is a discussion of one or more aspects of artistic text.

Any statement about the analyzed work should be argued, supported by quotes from text, cultural parallels; Acquaintance with special research literature.

Practical occupation suggests collective discussion artistic works. If only one student is ready to answer the questions proposed for work, work can be considered failed. A full-fledged practical occupation "involves" all participants and is character critical discussion .

Practical classes can be devoted to a detailed consideration of some one artistic text (as a sample of the genre-thematic group - the most significant / substantive in a substantial, composite-artistic relationship / in demand in modern cultural space), or consideration groups of works (From the point of view of the generality of their artistic concepts, structure and stylistics of the text, etc.).

In all cases, a practical work plan includes issues aimed at identifying individual - most important in connection with the topic of meaningful, composite, style, and so on. - Aspects of the work. Wherein independent work of student on preparing for a practical lesson (as well as to all other forms of knowledge control) implies comprehensive study The analyzed text and is carried out with a support for the following points:

· Direct reader's impression of artistic text;

· Preliminary information on the vital position, the nature of the creative interests, the individual writer's manner of the author of the artistic text;

· Results of a comprehensive analysis of artistic text;

· Information obtained during the acquaintance with a lecture course;

· Information obtained during the acquaintance with educational and scientific literature.

The main tasks of practical exercises include: to teach students to competently analyze the already existing texts of fiction, consider them as an expression of certain trends in the literary process of modernity and at the same time as self-concrete cultural phenomena, as well as to promote the development of criteria for evaluating new works of modern fiction.

Additional types of work

The audit forms of assessing the results of independent work of students and measure their knowledge also include:

Report, Dedicated to the history of creating a literary work, a certain aspect of the literary work, the activities of the author / literary association, whose influence on the literary process of modernity is impossible to ignore. Preparation of the report necessarily implies not only an independent analysis of the work, but also appeal to the scientific literature, the analysis of critical literature; The speech of the speaker should not last more than 10 minutes.

Interview (Oral control method for learning) / lecture (The method of written control of learning outcomes) is usually reduced to the answer to the question regarding the content of a literary work. The purpose of the survey is to establish how detailed and meaningful character has the acquaintance of students with a literary work.

Paperwork (Home or audited) is aimed at a detailed study of the artistic text or its part and can be a comprehensive or aspect. The work is drawn up as a literary-critical article, essay.

Comprehensive analysis

literary work

recommended along with reading artistic literature as a leading form of independent work of students; It is the basis for working in practical exercises, preparation of reports, abstracts and written works of all kinds.

Comprehensive analysis of the artistic text is aimed at comprehending the author's plan: on commenting directly perceived layers of text and identifying its implicit (hidden) meanings, on the establishment of internal connections, the connection between its components, on the formation of a special attitude to the studied artistic work - as to "Unified , dynamically developing and at the same time internally completed world. "

Complex (philological) Analysis of the artistic text is carried out taking into account the direct reader's perception and relies on the methods of literary, linguistic and linguistic analysis - which allows to overcome the subjectivity and impressionistic of the initial conclusions and observations on the text.

· Literary analysis implies the identification of genre nature and the problems of the text, its image systems and the nature of the composition of the work;

· Linguistic and linguity library analysis Considers the language elements that form the text, as well as the phenomenon of connecting language elements into a single artistic image, i.e. It is studying that "as a figurative system is expressed in the artistic speech system of the work."

Work on the implementation of a complex (philological) analysis implies "shuttle" (L.Yu. Maximov) nature of the study: constant transitions from the content to form and back, constant fixation of multidirectional ties between various aspects of the content and various aspects of the form. For this reason, the proposed analysis plan is solely a schematic, preliminary character and implies a multiple appeal to each work point.

Major Points of Complex Analysis

literary work :

Genre affiliation of text ("Like a certain canon of the work that determines the expectations of the reader and the features of the form of the text").

Image object ("Theme of the work" in a narrow understanding of the term, circle of phenomena and events forming the life base of the work).

The subject of art comprehension ("Theme of the work" in a broad understanding of the term, "All that has become a subject of copyright, understanding and evaluation").

When working with this item, it should be remembered that the themes of genuinely artistic works of multi-faceted, as a rule, is not exhausted by some one position.

V.E. Khalizhev calls the following possible aspects of topics in this regard:

1. so-called eternal themes - Moments, explicitly or dramatically present in the works of all countries, epochs, aesthetic systems. The circle of eternal topics include:

Ontological universals - ideas about certain universal and natural principles, properties and states of being, universe (chaos and space, movement and immobility, life and death, etc.);

Anthropological universals - ideas about the fundamental properties and states of man and human world, namely:

About the spiritual principles of human being (pride and humility, a tendency to creasing or destruction, alienation and involvement, etc.);

About the spiritual and body aspirations of a person (love attraction, thirst for power, traction for material benefits, etc.);

About the features of consciousness and the unconscious, determined in the people of their gender (masculinity and femininity);

On age-related periods of human life (childhood phenomenon, old age and under.);

On the historically sustainable forms of people's existence (work and leisure, weekdays and holidays, peaceful life and periods of social shocks, life in the house and in a foreign land, etc.)

2. Themes defined specifics of the specifically historical moment (i.e. the specificity of various mentalities and cultural traditions, the features of the household population, the phenomena of historical time and modernity).

3. Themes determined by the phenomenon the presence of the author In the text (to this aspect the subjects include: recreation by the author of his own personality and fate in the text of the artistic work, understanding them their own presence in the world, of the particular historical reality and relations with them).

Determine the ratio of possible aspects of the subject in the analyzed text (which are the most important for the author, how much attention is paid?), Comment on the alignment of semantic accents in the work.

Direction of art comprehension (Problems: What questions do the author puts in connection with the themes interested in it?).

The specificity of the conflict of the work : What are the components of the artistic world are in confrontation? "External" / "internal"; A single / multiple character has a conflict if its quality is changing as the plot develop? How does the conflict (in plot clashes / confrontation of characters, life positions / outdoor: in composite contrast, stylistic antithesis)? What is the structure of the plot of works in its correlation with conflict (tie, culmination of the junction)? What is the nature of the resolution of the conflict and the type of expected reader reaction to the junction?

M.N. Epstein notes in this regard the following options:

- "Reconciliation and whether the collapse of the opposing forces that makes the reader be elevated above their one-sidedness (the omission of catharsis);

The victory of one of the forces that makes believe in its rightness and viability ("tendentious" or "bias" interchange);

The impossibility of reconciliation or victory, leaving forces in mutual extraction and the conflict with the conflict beyond the work - to life that the question of the possible outcome of the conflict before the reader itself (problem junction).

What is the author's attitude to different sides of the conflict and the nature of its permission? How does the conflict define the aesthetic content of the work, its pathos (tragic, comic, heroic, satirical, idyllic)?

Important : When working with this artwork analysis item, pay special attention to generic belonging text (The term "conflict" is unconditionally applied to the epic and dramatic births of literature, the lyrical works can in some cases are characterized by a weakened or even absent conflict), as well as his attribution to the cultural and historical era, aesthetic system (Works united for these features have the well-known similarity of conflicts, ways to resolve them and copyright in this regard).

Plot works:

The source of the plot of the artwork (traditional / with a support for autobiographical or other events / individual author's fiction); Plot type (concentric / chronic / multi-cable). The plot as the main area of \u200b\u200bthe implementation of characters characters Works: plot and fabul works, their ratio, structural parts of the plot (tie, climax, junction) and fabul (prologue, framing the plot, peripetia, epilogue); Internal membership of Faba as a reflection of the dynamics of life circumstances / inner life of the hero. Plot as the main form of expression conflict ; Intracier (local and transient, solvable) conflicts and stable (intractable) conflict states.

Important : When working with this analysis item, pay special attention to the generic affiliation of the work: lyrics The role of the plot can be weakened.

Text temporary and spatial organization:

Important : This item do not assume Analysis of the character of the depicted era (its main components, the effects of it on human life, social groups, etc.), as well as the semantic load of parts of the objective environment (as a beginnings characterizing characters, epoch, etc.). It is devoted to analyzing receptions allowing the author to design the art world of the work as to a greater or lesser extent life-like, accessible to the perception of the reader, - i.e. Possessing temporary and spatial characteristics.

Artistic space works : The number of spatial spheres, the expressive of each of them (from whose point of view is the one or another spatial sphere?), In the case of the coexistence of several spatial spatial areas within one product - the type of their interaction (insulated / not isolated they are from each other, who among characters And how does contact between them?) and the nature of their relationship in the work (rapprochement, opposition, etc.). Elements that create an image of space (or several spaces), the character of the connection of the elements among themselves (mosaic / holistic picture of the world; open / closed space; expanding / tapering in relation to the character), the degree of life-like / conventions of the artistic space;

Artistic time work : "Calendar" text time; His one-dimensional / multidimensionality;

(The one-dimensionalness of time is a phenomenon at which the time of the events depicted and the time of telling about them, the perceptions of them are equal or close to each other, it takes place, for example, in some lyrical poems, structural parts of dramatic works; more common case - multidimensional artistic time: period which is described in the work is not equal to the time of telling, perception).

In the case of multidimensionality of the art time: options, time displacements ( reducing the depicted time : Informative "Pass", allocating major plans of central events to the detriment of the creation of a full picture, etc.; stretch of the depicted time : description of simultaneous events, mapping of events, raising artistic imagery as an event image); Linear (consistent) / nonlinear image of an image of events, the membership of the artistic text for periods and the nature of the relationship between them (causal, linear, associative), the rate of time in each of the periods.

Fashionable work:

1. Work character system: Central characters and the characters of the second plan; Individual character and collective characters. Characters in the artistic world of works (the meaning load of images of literary heroes, their point of view on reality, themselves and other characters; varieties of artistic functions of literary characters: Double characters, characters-antagonists, resonant characters, anti-heroes, carrier characters aspects of author's worldview etc.). The characters of the literary work as self-concrete images: their inner world and value orientation, methods of its expression: forms of behavior, speech, portrait characteristic; Psychologist of the image of the characters.

2. Images of an outdated person of reality: Nature, life, historical, political, social, cultural reality, etc.: Artistic details, as well as the characters of the central and second plan (their statements, actions, characters) that determine the specifics of these images. Objective and impassive or subjective-emotional, consistent or selective character of the image of these areas. An episodic or permanent nature of the presence of images is an extravolored person of reality in the work. Art load images in the work. The silent nature of the images in the work: the question, reflections and the experience of the author in their connection.

3. Compound single art images in images fate, peace, being (Education of the art model of the world), the nature of the artistic concept of the work:

What are the beginning of the generation?

What is his appearance? (Chaotic or orderly existence? Available or not available to objective reconnaissance? Possesses or does not find meaning, goal? Has aesthetic or anti-sytic appearance?)

What place among them is the human world?

What kind of relationship is a man with the Mirozdan? (Is the person in Genesis or is rooted from him? Is the laws of existence, exercise of existence are intelligible or are it for him incomprehensible? What is the nature of a person's stay in the world: Active-transforming / contemplative / empty-passive; whether it changes during the work? )

Structure of narration - as the number and nature of the organization of narrative "points of view" in the image of events and objectivity.

Under the "points of view" means carrier / carriers of art consciousness and speech, whose monologues form the text of the work. Such carriers of consciousness can be narrator storyteller (acts as one of the characters of the art world: an eyewitness, a member of events, a carrier of memories), narrator commentator (acts as the beginning, external in relation to the artistic world, takes, as a rule, the position of "all-in-law", offers the reader its interpretation of events), as well as literary characters.

Important : When working with this item, pay special attention to the generic affiliation of the work. The epic and drama of literature suggests the distance between the author's consciousness and the "points of view" of the narrator, narrator, character votes; While the lyrics and related form of literature are such as lyric prose, are based on a larger convergence of these principles.

Features of the organization of each of the narrative "points of view": the type of narration (from the first person / from a third party), the nature of the vision and reproduction of the world by the carrier of each of the points of view: reliable / unreliable, detailed-specific / generalized-speculative; limited to the space-time frame / free of these restrictions; External to the narrator, character / approximate to its inner world, is a personally significant for him.

The character of the address of the addressee of the text: to what parties of the reader addresses text? Is it calculated on a man of which spiritual warehouse? Are there any direct contact with the reader, what are they in the text of the work?

Philological system of text - Language elements that form each of the narrative "points of view":

Lexical organization of the text: What is the ratio of neutral and emotionally painted words in the text? Is it used in the text of the word limited in the use of lexical groups (historians, archaisms, dialectic vocabulary, zagonny vocabulary, spaticral vocabulary, words marked with accessories to a specific functional style)? Does the text of the lexical combination of words are respected in the text?

Phonetic testing of the test: the presence / absence of alliterations and associations, repetitions and connections of sound rows.

The grammatical organization of the text: what parts of speech prevail and why? What forms are the words of the prevailing speech parts? What is the preferential use of verbs time forms? What is the relationship with them are communions and verbalies? What is the role of adjectives and impossible when specified by noun and verbs of the subject of speech, its actions, state?

Syntactic organization of the text: What is the ratio of complex and simple proposals in the text? Simplications / Dirtypnames they are in structure? What types of suggestions (for the purpose of the statement, on emotional color) are used in the text? Availability / absence of unions and their role in the text? Do repetitions or skipping words, offers?

The use of trails, rhetorical figures, stylistic figures.

Use the method of a stylistic experiment to determine the specifics of the style of narrative "points of view": artificially replace, offer your own version of words / phrase / speech turnover / grammatical design, etc. To prove the feasibility of selection by the author of the linguistic means, to determine their semantic load in the embodiment of the artistic intent.

System of verbal images of work - as a totality of aesthetic units that form each of the narrative "points of view."

This item involves identifying key images and analysis of their existence in the work: the links of each image with other elements of the text, "deployment" ("increments") of the meaning of each of the images and their mutual correlation.

The origin of images - with what artistic reception, images arise: artistic names of names (trails) / special emotional, meaningful load of the artistic part, the author's installation on its special status in the work.

The nature of the images - what they are motivated in the text: depicted by the reality / literary tradition / consciousness of the narrative of a narrative "point of view."

Are the verbal images with the plot of the work relate (preceded it / perform a prospective function, i.e. appeal to lowered narration links)?

What is the ratio of verbal images with the world depicted, which of its aspects they detect: a visually perceived side / the inner essence of its phenomena, events / exposure of all components of the world to subjective perception?

A single character has verbal text images or they are correlated with each other; How does their correlation (significant reversal reversals) appear?

Composition of the work - "As mutual correlation and the location of units of the artistic and speech means of the work."

External composition of the work - His membership on the structural parts: the main text (as part of which is isolated - depending on the type of literature - chapters, paragraphs, stuffs, acts, actions, phenomena, etc.) and the framework of the work (the cumulative designation of the components surrounding the main text: The name / pseudonym author, title and subtitle, epigraphs, initiation, preface, afterword, notes, table of contents, date and place of creating a work). Semantic load and interconnected elements of the external composition of the work or their meaningful absence.

Inner composition of the work - Organization of text as a string of techniques, guiding the perception of the literary work and detecting the specifics of the copyright. Art load of the main composite receptions:

Reversals (in different language levels: phonetic, semantic, syntactic, composite, etc.), comparison and opposition in the structure of the work.

Motives (as repeated literally or approximately "details, figurative turns, intonations that occur as a method of characteristics of the character, provisions, experiences").

- "Distribution and correlation of detailed images and generalized (summing) descriptions" (subject matter of the circumstances of the external and events of the human internal life) in the structure of the work.

Structure of the narrative: the procedure for "points of view" in the image of events and objectivity.

The amount, the order and correlation with each other and with the plot of the work of the extra-wing elements (inserted novels, lyrical deviations, etc.).

The leading principle of connection of significant parts of the text: causal (dictated by the logic of depicted circumstances) / Mounted.

Methods of expressing author's position in the work: Key (repeated) text units, combining them into motives, dominants (thematic, emotional) text, character title text, semantics of own names in the work, remarks in dramatic works, verbal motives and features of lyrical intonation in poetic works.

Intertextual communication works (references to different kind of literary sources, declared in the analyzed text).

The elements of the artistic text establishing intertextual connections:

Title sending to another work /

Epigraphs /

Indicated and unknown quotes included in the text, reminiscence (as mentioning works of literature, their authors, characters, motifs, etc. out of direct quoting) and allyusia (as mentioning extractive, most often historical, socio-political facts out of direct quoting) as a variety of literary intercthelness /

So-called "Point quotes" - the names of literary heroes or mythological characters included in the text /

Scene or stylted paroding of someone else's text /

Retelling of someone else's text included in the work under consideration /

The genre of the work is if he sends to the facts of previous literature.

Type of literary citations: conscious reference to the literary source / unconscious reproduction of a literary template / random coincidence.

The nature of the literary citations: self-sufficiently gaming / dialogic (in this case the author purposefully creates a kind of "roll ring" between its own and other text, emphasizing certain emotional and semantic aspects of each of them).

Artistic results: The work as an embodiment of aesthetic values, a work as an embodiment of the author's ideas about the world and a person in it, a work as an embodiment of the author's emotional attitude towards peace and man in it.

Topics of lectures, basic concepts of the course

Section 1 .The literature of the Military and Post-Russian Decade .

Topic 1.1. Cultural atmosphere and literature40-50s.

The historical and cultural situation of the 40-50s. Xx in. Socialism as the official method of fiction in the middle of the twentieth century. New in the subject, pathos, character of the main hero of the military pore literature (front-line lyric song, historical novel, military lyrics of poets of the silver century). Military story as a leading genre of literature 40-50s: Realities of war and the spirit of war through the eyes of a private ("simple") person ("In the trenches of Stalingrad" V.P. Nekrasova, "Star" E. Kazakevich, "That we Lord! "K. Vorobyova). Literature "On the table" of 40-50s.: The struggle of the personality with the totalitarian system and the severity of this struggle in the play E. Schwartz "Dragon", Paphos overcoming the personality of violence and fear in the Roman M. Zoshchenko "before sunrise".

Section 2. .Literature 60s. (Thaw periods).

Topic 2.1 Cultural atmosphere "Thaw":

Report by N.S. Khrushchev on the cult of personality (XX Congress Congress, 1956) and the program of building communism (XXII Congress of the CPSU, 1961) as the beginning of the "thaw" period.

New in the worldview Soviet man: creative conversion of the world as a goal of society; Belief in humans and his active humanism, human right to individuality as the worldview discoveries of "thawing" pores.

New in the public life of the country : Self-helping Soviet Society as nation , theaters, poetic evenings, etc. As forms of spiritual community of people.

New in literature 60s:

· "Returned literature" and its influence on the work of the Writers-Sixties;

· Thematic discoveries ("returns") of the literature "thaw" (critical understanding of reality in journalism, the emergence of "camp literature", the return of the category "Inner world of man" into fiction);

· Genre discoveries ("returns") of references "thaw", new literary community of the 60s. ("Lyrical tendency" and lyrical genres in drama and prose of the 60s.; Grotesque and fiction in the literature, psychological prose, "Roman of Fate" in the literature 60s, classical and avant-garde lyrics).

Ethical issues and lyrical worldview as two artistic literature centers "thaws."

End of "thaw" (1968, "Prague Spring"): social and political and cultural and artistic facts.

Topic 2.2 Lyrics of the "Thaw" period:

Sincerity and lyricity as distinctive features of the worldview and literature "thaw"; The poetic "boom" of the 60s as the embodiment of these traits.

The poetic experience of the era of the Silver Century (Creativity A. Akhmatova, B. Pasternak) and "Psychological Naturalism" B. Slutsky as two principles that form the aesthetics of the poetic speech of the 60s. The manifold of thematic-style communities and creative individualities in the lyrics "thaw":

· Poets of the generation of the Silver Age (A. Akhmatova, B. Pasternak, N. Zabolotsky): Summing up the life of life in the lyrics of the final period of creativity; Laconicity and sense density of verse.

· Poets - "Students of the Silver Century" (A. Tarkovsky, D. Samoilov, S. Lipkin, M. Petrovy): Lyrical hero as involved to the experience of mankind, cultural and historical memory, as the main subject of poetic reflection; Pointness and detail of poetic speech.

· "Loud Lyrics" (E. Evtushenko, R. Christmas, A. Voznesensky): poetic collections as a "poetic abstract of the epoch" and a confessional-lyrical aspect of poetry.

· Group of "Leningrad poets" (E. Rain, A. Kushner, I. Brodsky): Traditions of acmeist poetry and their rethinking in the work of the poets of "Magic Chora".

· Poetic avant-garde of the 60s. (O. Grigoriev, V. Uflynd, Sapgir, Sun. Nekrasov, I. Kholin, Ya. Satunovsky): artistic task, audience and author's intonation of the poetic avant-garde; Themes and specificity of the poetic language of avant-garde.

Topic 2.3 Dramaturgy "Thaw":

Theater as one of the leading forms of cultural community of people in the era of the 60s. The leading theaters of "thaw" and their directors: Tovstonogov, O. Efremov, A. Efros, M. Tumanishvili.

General Review of Dramaturgia of the 60s: Leading Topics, Genres:

· The specificity of theatrical performances on the works of Russian classical literature (A.S. Griboedov, F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov): Hero as an embodiment of non-spaful sincerity and decency; Performance on the novel F.M. Dostoevsky "Idiot" in BDT (dir. G.A. Tovstonogov), I. Smoktunovsky in the role of Prince Myshkin.

· Return to theatrical repertoire of drama 1920s. (Stretching "Run" and "Turbine Days" M. Bulgakov, Pieces E. Schwartz, N. Erdman).

· Theater of the 60s as a sphere of intercultural communication: Tours of European theaters in the Soviet Union, domestic productions of the European and American drama.

· Attention to sincerity and lyricity as moments that determine the appearance of the theater culture of the "thaw" period; The poetic performance and melodrama as part of the theater repertoire of the 60s.

Socio-psychological drama as a leading genre in the work of playwrights of the 60s.; the spiritual path of man, the choice between various valuables as the central themes of thawing drama; optimistic and maximalism of thawing worldview; Images of the main characters in the thaws of A. Arbuzova, V. Rosova, A. Volodin; Traditional and innovative in the way of expressing the author's position.

Topic 2.4 Prose "Thaw":

A variety of genre-thematic groups of works.

Publicistics "thaw" as the beginning of the cultural stage; installation on the documentary and research nature of the text; The topicality and analytics of the content of the works of V. Ovechkin, V. Tenndryakov.

Ethical maximalism and lyricity as two emotionally semantic poles "thaw" literature; The ethical position of the main character in N. Arzhaka's titles "Says Moscow", "Atonement"; Traditional and innovative in the way of expressing the author's position.

The lyricity, path and meaning of its manifestation in prosaic works. Artistic tasks of lyrical prose, its stylistic features. The character of the main character of lyrical prose, means of expressing the author's position in the lyrical diaries of K. Powest, O. Berggolts, V. Solowhina, etc.

Military prose 60s. Documentation of the "thawing" pore. Small artistic prose: a man tragedy in war as the central theme of the stories and the associates of military topics; Images of the main characters: the originality of characters, the tradition of V. Nekrasov ("In the trenches of Stalingrad") in the image of a human person in conditions of military time; tragedy and lyrical beginning in a small prose of war; The phenomenon of "lieutenant prose" in the assessment of literary critics and readers.

Epopes on World War II (V. Grossman, K. Simonov): artistic tasks of works. Principles of the image of the era of the 40s: Equality of large-scale and historical and daily domestic reservoirs, a high degree of conditionality of all the programs depicted with single reasons - a political and ideological nature. Features of the plot, composition of works. The principles of understanding the patterns of world and domestic history on the pages of epic.

"Camp theme" in thawing literature. The world of the political camp in the stories V. Shalamov, the documentary and artisticness of "Kolyma stories", a combination of the principles of lyrical and epic images of life as the main artistic principle of V. Shalamov; Characters and narrative prose cycle "Kolyma stories", ethical and philosophical position of the narrator. Receptions of images of the camp world in the works of A. Solzhenitsyn. The meaning and reasons for the tragedy of the personality in the world of the totalitarian state in the works of V. Shalamov and A. Solzhenitsyn

Section 3. . Literature 70-90x. (Soviet and Perestroika).

Topic 3.1 Cultural atmosphere 70-90x. The main trends in the development of domestic literature of the post-film period and literature 3rd emigration waves .

The historical situation of the last third of the twentieth century; Internal periodization of the era: Soviet (up to 1985), perestroika (1985-1991) and post-Soviet periods.

Specificity africa and public life Soviet and recreation periods:

· The phenomenon of "stagnation" in the political, public, official cultural life of the Soviet period; The concepts of "rapporteur", "Two-minded" in relation to epoch 1968-1985

Disidentism phenomenon in domestic public life: courts over writers (I. Brodsky, A. Sinyavsky, Yu. Daniel) as the beginning of the dissident; Forms of dissection (periodic printing, publication "Chronicle of current events", "Metropol", etc., public speeches, "Letters of protest", philosophical controversy about the possible historical paths of the nation in the dissident environment). Public and cultural significance of dissident.

The phenomenon of Tamizdata and "Samizdat" in the domestic culture of 1968 - 1985.

Education 3rd waves of emigration and its literary space.

· Prerequisites, character and consequences of ideas perestroika period . Moods of hopes and confusion as leading mental pore states. Increasing interest in public life and the relevance of journalism as indicators of perestroika mossell.

General in african, public life and literary process Soviet and recreation periods:

· Continuing the process of "return of literature" (domestic authors of the 1920-30s, thawing and post-photodal time), active acquaintance with foreign literature. At the end of the recreational period: the union of the 3-"branches" of Russian literature (official Soviet, emigrant and literature "in the table") into a single domestic literary process, the inclusion of Russian literature in the world literary process.

· Increasing the number of thematic and genre groups of works Brief description of the literature of 70-90x. by genre-thematic sign.

· Increasing interest in unrealistic aesthetics of fiction; At the end of the recreation period - the exit from the underground of the unrealistic types of aesthetic consciousness and the equal coexistence of them along with a realistic tendency in the literary process of 70-90s; the impossibility of identifying the leading literary method in the literary process of 70-90x yg; distribution of works that combine the elements of the realistic and modernist poet (phenomenon of polystyption); A brief overview of the literature of 70-90x. From the point of view of the creative methods presented in it.

· Weakening the role of fiction as a leading form of public and cultural life of the modern world.

The post-Soviet period of the last third of the twentieth century. (since 1992) as the time of the newest literature; Determining the nature of the literary processes of 1970-90x. For the appearance of the latest literature.

Topic 3.2. Lyrics 70. –90s. The main stylistic and themed community of poets.

Development and rethinking themes and artistic and style searches for "thawing" lyrics in the poetry of the Soviet and post-Soviet period. Thematic-style community of poetry 70-90s. and the permeability of their borders; The variety of creative individualities in lyrics of the post-thermal period:

· Front-generation poets and poets "Silver Students" (B. Slutsky, A. Tarkovsky, D. Samoilov, S. Lipkin, M. Petrovy, L. Martynov ...): Further individualization of creative letters, subjectivity and scale of lyrical generalizations .

· Poets "Loud Lyrics" in the post-game years (E. Evtushenko, A. Voznesensky, R. Christmas ...): Weakening the publicistic sound of poetic speech, searching for a new image of the image, a new status of poetry.

· "Quiet Lyrics" (N. Rubtsov, A. Zhigulin ...): Lyrical meditation about traditions and modern appearance of the Russian village as a way to comprehend the lyrical hero of the laws of the Mirozdanya.

· Bardened poetry: the significance of the individual manner of execution to determine the phenomenon of the Bardovsky (author) song; confessional character lyrics; transparency of the poetic language; Lyrical, socio-critical and romantic began as the main emotional-semantic moments of the Bardian lyrics.

· Rock poetry: synthesis of musical and literary traditions in the phenomenon of rock culture, a protest category as a fundamental for rock poetry; The situation of mixing the genres of rock songs and a bard song in modern cultural space.

· Spiritual lyrics (Z. Mirkin, S. Averintsev, Y. Kublanovsky): Poetry as an infinite comprehension of the phenomenon of Divine Being.

Artistic features of polystalistic prose. Specific characteristics of the character system, the main character in the system of characters; the nature of the plot and compositions of works; High degree of semantic and emotional load of the philological organization of the narration.

Section 4. .The newest Russian literature.

Topic 4.1. Cultural status of fiction in the modern world. The main genre-thematic and style trends of the newest literature.

The main socio-political and cultural events of post-safe time. Dramatic and tensions of public and political life and worldview in general. Phenomena of demand and unclaimed forms of art (fiction, in particular) in the modern world. Mature and low demand for social life forms. Discussions about the spiritual and social status of modern culture.

The processes occurring in the field of fiction: continued trends formed in the period of 70-90x., And new In the appearance and forms of literature:

· Creative orientation of authors for artistic principles of various cultural eras, aesthetic systems, literature areas: mythofoliclorism, naturalistic image, baroque literature, sentimentalism, documentaryism, meamauar literature, etc.

· The phenomenon of the synthesis of various poet in the framework of one artistic work.

· Creative orientation on literary genres of various cultural eras, aesthetic systems, literature spheres.

· The phenomenon of the synthesis of various genre structures within one artistic work; Hypothesis on the emergence of new genre forms of fiction

· The phenomenon of the equal coexistence of many creative methods in the modern literary process.

· Tendency to create multiple works (in all genres of fiction).

· Increasing popularity and - in some cases - artistic level of mass literature; The hypothesis about the erosion of the boundaries between the mass and "serious" literature.

· Changes in the forms of existence of fiction.

· Tendency to synthesis of fiction and other types of art.

Incompleteness of the literary process of modernity; The relativity of classifications of literary phenomena, versions of the literary process.

Topic 4.2 Classical tradition and avant-garde experiment in modern lyrics:

The reasons for the significance of the literary tradition (stylist and thematic) for the lyrical kind of literature, the form of appeal to tradition, the options for dialogue with it in modern lyrics. Options and promising of updating the domestic poetic tradition in modern lyrics.

Topic 4.3. Literary and critical and artistic controversy in connection with the modern play.

Modern play in the modern theater: the degree of demand for theatrical team, the viewer. The main directions (genres, themes, styles) of modern dramaturgy, its artistic installations, prevailing forms of influence on the viewer. Forbidden and anti-sytic as new categories of dramatic aesthetics. Forms of convention and their appointment in the modern theater.

Topic 4.4. The main genres of the newest prose, their art installation and results:

Philosophical and topical political anti -taopias in modern literature: the reasons for the demand of the genre, the subject and techniques for creating the anti-astope model of the world.

Psychological story, a story in modern literature: path of creating an image of a person, traditional and new in her eyes on a man, pathos of his image. The cyclization of small prose in modern literature. Hypothesis about "female prose" as a specific phenomenon of fiction.

Roman, epic story in modern literature, aspects of their subjects:

· Man in his relationship with another person (Prose L. Petrushevskaya, T. Tolstoy stories, E. Dolgiayat, V. Tokareva ...);

· Man in his relationship with himself (Prose L. Ulitskaya, T. Tolstoy stories ...);

· Man in his relationship with reality and the irreal spheres of being (novels V. Pelevin, E. Ger "Gift of the Words. Tales by phone");

· Man in his relationship with a stream of time, history (novels V. Zaloyuhuh, DM. Lipskerova, V. Piezuha);

· Man in his relationship with the spiritual principles of human being (Vladimov "General and his army" ...);

· Man in his relationship with culture, word, man and his reflection in culture, Word (O. Strizhak "Boy", N. Galkina "Saint Peter Archipelago", T. Fat "Okkerville River" ...).

Difficulty of the genre-thematic classification of artistic prose phenomena in modern literature; The significance of the author's presence, author's intonation in modern prosaic works.

Tutorials

Scientific Critical Literature

1. Biryukov, S.E. Russian poetry from mannerism to postmodernism: Handbook for students / S.E. Biryukov. - M.: Science, 1994. - 258С. - ISBN 5-02-009209-6.

2. Bogdanova, O.V. Modern literary process: (to the question of postmodernism in Russian literature 70-90s. XX century): Materials to the course "History of Russian literature XX in." / O.V. Bogdanova. - SPb.: S.-Petersburg. State Roman. Philol. University, 2001. - 250 s. - ISBN 5-8465-0046-3.

3. Waile P, Genis A. Collected Works: at 2 t. Volume 1: ("Native speech", "Soviet Baroque". "60th. The world of the Soviet man") / P. Wail, A. Genis. - Ekaterinburg: Y-Factoria, 2003. - 960 p. - ISBN 5-94799-293-0.

4. Golden, I.P. Collapse of abstractions [Sat Art.] / I.P. Golden. - M.: Contempor, 1989. - 205 p. - ISBN 5-270-01067-4-35.

5. Krementsov L.P., Alekseeva L.F., Malygin N.M. Russian literature of the twentieth century: studies. Manual for studies Higher. Ped. studies. Vehicles: 2 t. Tom 2: 1940-1990s / L.P. Krementsov, L.F. Alekseeva, N.M. Malygin et al. - M.: Publishing Center "Academy", 2002. - 464 p. - ISBN 5-7695-0730-6.

6. Leiderman, N.L., Lipovetsky, M.N. Modern Russian literature. In 3 KN: Tutorial / N.L. Leiderman, M.N. Lipovetsky. - M.: Aiditaryant Urals, 2001. - ISBN 5-8360-0199-5.

7. Mann, Yu.V., Zaitsev V.A., Stukalova O.V., Olesina E.P. World Art. XX century. Literature (+ CD) / Yu.V, Mann, V.A. Zaitsev, O.V. Stukalova., E.P. Olesin. - SPb.: Peter, 2008. - 464 p. - ISBN 978-5-91180-935-5.

8. Nefagina, G.L. Russian prose of the late XX century: studies. Manual for students, graduate students, Philology teachers / G.L. Nafagin. - M.: Flint: Science, 2003. - 320 p. - ISBN 5-89349-452-0.

9. Rodnyanskaya I.B. Movement of literature. In 2 tons / I.B. Rodnyanskaya. - M.: Sign: Languages \u200b\u200bof Slavic cultures, 2006. - ISBN 5-9551-0147-0.

10. Rubinstein, L.S. Cases from Language / L.S. Rubinstein. - St. Petersburg: Publishing House Ivan Limbach, 1998. - 78 p. - ISBN 5-89059-015-4.

11. Rudnev, V.P. Dictionary of Culture of the XX century. Key concepts and texts / V.P. Rudnev. - M.: Agraf, 1997. - 381 p. - ISBN 5-7784-0034-9.

12. Russian Writers of the twentieth century: Biographical dictionary / ch. ed. and Sost. P.A. Nikolayev. - M.: Large Russian Encyclopedia; Randevu-AM, 2000. - 808 p. - ISBN-5-85270-289-7.

13. Skopanova, I.S. Russian postmodern literature: studies. Manual for students Philol. Fact Universities / I.S. Skopanova. - M.: Flint: Science, 2000. - 607 p. - ISBN 978-5-89349-180-7.

14. Chernyak M.A. Modern Russian literature: Tutorial / M.A. Chernyak. - M.: Forum: Saga, 2008. - 352 p. - ISBN 978-5-901609-31-6.

Topics of practical training

Section 1. LITERATURE 40-50Х GG :

Practical lesson number 1 : Realities of War and Spirit of War in the Tale of the 40-50s: "In the trenches of Stalingrad" V.P. Nekrasov :

1. War with the eyes of a private ("simple") person; Yuri Kerzhentev as a carrier of a narrative "point of view", the features of his vision of military events: a small scale of the image, the abundance of household parts, partial dismissal of the narrator from the interests and pathos of the military world (compare the stylistics of the descriptions of military and pre-war life in the image, memories of the main character - text passages For selection of students).

2. Traditions L.N. Tolstoy in the image of war: the epic and concreteness of the narrative (comparing the battle episodes of the novel "War and Peace" L.N. Tolstoy and the story V.P. Nekrasov - excerpts of the text on the selection of students).

3. The phenomenon of the "hidden heat of folk patriotism" in the image of the writer is its character, features of manifestation in speech, behavior of central and secondary characters.

4. War as a situation of insight for man 40-50s., Spiritual losses and acquisitions of participants in the war (the main character and the characters of the second plan).

1. Vinogradov I. . On the edge of the earth // New World. 1968. No. 3.

2. Tvardovsky A. . V. Nekrasov: In the trenches of Stalingrad // Questions of literature. 1988. No. 10.

3. Esaulov I. . Satanic stars and sacred war // New World. 1994. No. 4.

4. Lazarev L. . Personal and non-residents: polemical notes // Banner. 1994. No. 10.

Practical lesson number 2 : Military Poland Publicistics , Military Tale in Literature 40 –50s: K. Vorobyov "These are we, Lord", E. Kazakevich "Star" .

1. Reports of students on correspondent work (during the Second World War) writers V.S. Grossman, MA Sholokhova, K.S. Simonova etc.; "Military Period" of Creativity of writers A. Platonova, L. Leonova, V. Grossman, V.Vasilevskaya et al.;

2. K. Vorobyov "These are we, Lord": the concreteness and physiology of the image of the war;

3. E. Kazakevich "Star" as the beginning of lyrical prose about the war.

:

1. Golden I. . Family rate with memory. M., 1983.

2. Zhuravlev S. . Standing word: Military prose K. Vorobyva // Lit. Study. 1984. No. 4.

4. Bocharov A. . Emmanuel Kazakevich: Sketch of creativity. M., 1965.

Section 2. .: Literature "Thaw" (60s):

Practical lesson number 3 : Publicistic and lyrical beginning in the work of poets "Loud Lyrics" (in early lyrics. E. A. Yevtushenko: Sat. "Tenderness, etc.)

1. The phenomenon of "loud lyrics" in the culture of the 60s: the conditions for the emergence and functioning of the "loud lyrics", its literary tradition and elements of innovation, the artistic task of the works of loud lyrics, the specificity of their poetic language.

2. The creative way of E. Evtushenko: the main stages, their genre-thematic specifics.

3. Publicistic start in the early lyrics E.Evtushenko (according to the poems of Babij Yar, "Stalin's heirs", "Tanks go through Prague"): the topical of the works, their literary and public resonance, the nature of the civil position of the author, the artistic techniques of its expression.

4. Lyrical works in the early work of E. Evtushenko: the subject of artistic interest and the specificity of the artistic generalization in the lyrical works of the poet: "one-time case from private life" as an example of common mental states, people's moods; receptions of poetic generalization; The combination of confession and philosophy in the lyrical intonation of Evtushenko.

Scientific and critical literature:

1. Sidorov E. . E Evtushenko: Personality and creativity. M., 1987.

2. Artemov B. ., Proshepa V. Man who did not win: a critical-biographical essay of life and creativity E. Evtushenko. Abakan, 1996.

Practical lesson number 4 : The originality of the lyrics of the poets of the "magic choir" (on the material of the early lyrics E.B. Raina) .

1. "Leningrad" circle of poets (I. Brodsky, E. Rain, D. Basyshev, A. Niman ...): Features of creative manners and creative fate of poets; Significance for their self-consciousness lyrics of aqmeism (as the synthesis of traditionalness and non-standard of poetic thinking).

2. Early Lyrics E. Raina: Elegyity of his worldview; Sympathy to man, culture, peace, awareness of their fragility as the main topics of his creativity. The main features of poetic equipment E. Raina: Subject and detail of the poetic image, setting on the creation of representable possessing plasticity / cinematographic of poetic images. Associativity of verse in the lyrics of the poets of the "Magic Chora". The main directions of Associativity Lyrics E. Raina (culture, life, historical past of St. Petersburg - so-called. Petersburg Myth; "Hidden Dialogue" with a poet, literary text; reference to works of plastic arts). Associativity art burden in the works of E. Raina.

3. Target audience, type of expected reader reaction for the creativity of the "magic choir" poets; Following the traditions of the Russian poetry of the "Silver Century" and the directions of its modernization in the lyrics of the "Magic Choir" poets.

Scientific and critical literature:

1. Beck T. . Inseparable complicity assembly // youth. 1985. No. 11.

2. Skulskaya E. . [REC on Sat. Pychov E. Raina] // Neva. 1991. No. 4.

3. Brodsky I. . Tragic Egypt // Banner. 1991. № 7.

4. "On the trekking of traditions": E. Bershin's conversation with E. Rhine // Lit.gaz. 1994. No. 34.

Practical lesson number 5 : Art installation and principles of re-creation of the world in the works of the poetic avant-garde (according to lyrics of the Sun. Nekrasov 60s.).

1. The ideological, cultural, public prerequisites of the "second birth" of the domestic avant-garde.

2. Domestic poetic avant-garde: View of the world's vision, type of expected reader reaction. Creative path, the fate of the creative heritage of avant-garde poets.

3. Thematic and stylistic directions of the domestic poetic avant-garde. Ways to create a poetic image in the works of the poetic avant-garde.

4. Socium, "Mass", his range of interests and a worldview in the image of Sun. Nekrasov.

5. "Eternal themes" of poetry (man, nature, peace-cutting) in the interpretation of the Sun. Nekrasov.

Scientific and critical literature:

1. Kulakov B. . About the benefits of practice for theory // Lit.gaz. 1990. № 32.

2. Bible IN . National Russian idea? - Russian speech!: The experience of cultural assumption // October. 1993. No. 2.

3. Eisenberg M.N. . A look at the free artist. M., 1997.

Practical lesson number 6 :The phenomenon of lyricity (attention and detailed image of the human internal life) in the literature "thaw"; (On the example of the analysis of the story of Yu.M. Nagin "Peak Good luck").

1. Creative way Yu.M. Nagin; Genres, themes, artistic pathos of his creativity.

2. "Pickness Picks": artistic techniques aimed at the lyrics and tare of the image of the inner world of a person (the ratio of "external and" internal "stories; a subjective and objective point of view in the narration; the nature of the relationship of the regulations of the plot to be among themselves; Assocative-shaped Thinking Hero as the main subject of the image; detail, imagery and emotional-meaning tank of artistic style).

3. The final of the story: the nature of the final world viewing of the main character; Realization of romanticity and maximal meaning of thaws in the final episodes of the work.

Scientific and critical literature:

1. Bogatko I.A. . Y.Nagibin: Literary portrait. M., 1980.

2. Sahars B. . Melody of prose // Sakharov V. Updating world. M., 1980.

3. Golden I. . Climbing word // Lit. Review. 1988. No. 6.

Practical lesson number 7-8 : "Dr. Zhivago" B.L. Pasternaka as "Roman of Fate"; Multi-themes of the subject, the problems of the work, lyrical and intellectual beginning in the text B.L. Pasternak.

1. Roman "Dr. Zhivago" in the creative biography of B. Pasternak and in the history of domestic culture.

2. "Roman of Fate" (I.B. Rodnyanskaya) as a novel of personal experience and awareness of real events and circumstances. The demand of the stated topics in the literature "thaw" (reveal and comment on similar motives in Lyrics A. Akhmatova, A. Tarkovsky, D. Samoilova). The reasons for the demand of the stated topics in the literature "thaw".

3. Man and history / man and his everyday life (life) / Man and Genesis: Viewing perspectors per person in domestic culture.

Roman "Dr. Zhivago" as a reflection on the embodiments of domestic culture. The priority of the aid "Man and his everyday life" in the creative world of the writer.

History and life In the novel: the degree of details of the image of these started. Chronological framework of the novel; historical events, in it mentioned; Principles of their image. Human daily: Writer's attention to the moments of the ordinary human existence; Details and emotionality of their image.

Life as a way to know being In the novel. Comment on the possibility of establishing links between life and being; Give examples of "transition" of the hero of the novel from contemplating everyday life to think about being.

4. The ability of Yuri Zhivago to the conjugation of life and being as a condition for its central position in the novel. Art load of the image and the semantic aspects of the novel in this regard:

Yuri Zhivago as a thinking hero ; Roman as an expression of observations and generalizations B. Pasternak; variety of subjects of observations and generalizations; Parallelism of images of Yuri Zhivago and Nikolai Vedenyapina.

Yuri Zhivago as a hero, acutely sensitive to the surrounding and surrounding (Personality, time, nation). The ratio of images of Yuri Zhivago and Christ (in understanding B. Pasternak - the incarnation of morality, ethical, the gift of personal participation in life). Christian symbols and symbols of figurative, plot coincidences, cross-cutting motives and images in the novel.

Yuri Zhivago as a hero, endowed with a gift from the feeling of beauty and the gift of the word. Roman as an illustration of the poetic gifting and artistic sensitivity of the main character. Parallelism of images of Yuri Zhivago and Lara. The opposition of images of Yuri Zhivago and Strelnikov.

Scientific and critical literature:

1. Sinyavsky A. D. . Poetry Pasternak // Pasternak B.L. Poem and poems. M., l. 1965.

3. Alphonons B. . Poetry Boris Pasternak. L., 1990.

Practical lesson number 9-10: "Life and fate" V. Grossman as "Roman of Fate", Epic-Tolstovsky, lyrical, intellectual principle in the structure of the novel; Multi-scattering the subject of the work, the problems of "man at the time of the experience of the phenomenon of inner freedom", "Experience of internal freedom in individual fate and the fate of the nation" as the central for the novel .

1. Roman "Life and Fate" in the creative biography of V. Grossman and in the history of domestic culture.

2. "Roman of Fate" (I.B. Rodnyanskaya) as a novel of personal experience and awareness of real events and circumstances. The characterity of the stated topics for "thawing" literature. The similarity and difference between the artistic structures of Romanov V. Grossman and B. Pasternak.

3. The significance of the Tolsto Tradition (Roman "War and Peace") for the artistic concept of Roman V. Grossman. Identify the moments of the compositional, scene, style orientation of Grossman's novel on the work of L.N. Tolstoy (based on the analysis of episodes for the choice of students). Explain the causes of orientation, establish similarities and difference in the problems of novels.

4. Second World War in Art Analysis V. Grossman: War as an inevitable confrontation of 2 identical totalitarian systems:

· Give the definition of a totalitarian state. Find in the text of the novel "parallel" situations, scenes, images illustrating the similarities of the domestic and German totalitarianism (eg, the phenomenon of the genocide of individual national minorities, the phenomenon of distrust of the morality and the goodwill of a separate person from the state system);

· Comment on the publicistic partitions of the novel dedicated to the allocated (see above) episodes: how does V. Grossman explain the need for marked phenomena to implement a totalitarian state? How fully is his explanation? What role does the reader take in explanation?

· Comment on the causes of the inevitability of the military confrontation of two totalitarian systems; Analyze in this regard the dialogue between Lissa and Mostovsky (II-15); How is this topic maintained in the future of the novel?

5. Exodus of World War II in the artistic analysis of V. Grossman: the victory of humanity over totalitarianism:

· Traditions of L. Tolstoy and V. Nekrasov ("In the trenches of Stalingrad") in the image of the war in Grossman: the unpaid love for the native country and the "hidden heat of folk patriotism" on the pages of "life and fate" (select and comment on the episodes of the novel dedicated to named moods).

· "Private kindness of a separate person" (V. Grossman) on the pages of the novel. Friendship, mercy, love, unrest, self-sacrifice as a form of its manifestation (reveal the plot and journalistic episodes of the novel dedicated to these motives, comment on the reason for their numerous in the novel).

· Comment on the preaching of Iconnikov (II-16) and the heads of the novel, associated with the defenses of the house 6/1, as episodes in which all forms of human good are combined.

6. Awareness of itself as a free personality: the basic condition and the main result of the Second World War in the artistic analysis of V. Grossman:

· Comment on the phenomenon of human internal freedom: how is the personality experiencing this state of mind? Under what conditions is it possible? What is valuable for person?

· Under what conditions are the central heroes of the novel (STRUM, Evgenia Nikolaevna, Novikov, Crimea, Darena, Abarchuk, Mostovskaya, the defenders of the house 6/1) are experiencing a moment of internal freedom? Why, from the point of view of V. Grossman, it is the situation of war that helps people survive this state?

· Analyze each of the main plot lines of the novel on the following plan:

How does the inferiority of the internal non-free person affect?

What events prepare the personality to the privacy of the moment of inner freedom? External or internal events play a decisive role?

What's new in relation to yourself, to the world appears in the world of freight?

Which of the heroes remains to live with the feeling of inner freedom, who refuses him and why?

What commitment imposes an awareness of yourself as a free person?

Scientific-critical literature :

1. Osotsky V.D., Kulish V.M. Epos of the War of People. M., 1989.

2. Oranges G.V. Political testament Vasily Grossman // Bulletin of the Russian Academy of Sciences. 1993, Vol. 63. No. 10.

3. Lipkin S. . Life and fate of Vasily Grossman., Berzer A. . Parting. M., 1990.

Section 3.: "Literature 70. –90s. " :

Practical lesson number 11: The phenomenon of the Bardov song in the culture of the "post-photodal" pore, its subjects and stylistics (according to the poetic works of V. Vysotsky, B. Okudzhava, A. Galich).

1. Bard song in mass culture 60-nach. 70s: Topic, Paphos of the first works of the Bardov song (Y. Vizbor, A. Yakusheva, A. Dolsky ...).

2. Changes in the public status of the Bardov song in the middle of the 70s: Individual song-poetic creativity as a way of understanding the nature of domestic statehood, as a form of hidden confrontation of a person with a generally accepted (state) world.

3. The image of a generally accepted life, a mass person in the work of V. Vysotsky ("Old House", "TV dialogue", "Lecture on the international situation ...", "Letter to the editorial office ...", "Wastes", etc.).

4. The nature of the lyrical hero of the song-poetic creativity V. Vysotsky: What directions of his nature do not fit into the generally accepted? What forms acquires the confrontation of the lyrical character and standardized life?

Hypertrophied national self-assumption of the lyrical hero of poetry V. Vysotsky, the tension and the inner polarity of his "I" as the main subject of opposition to the official life official.

5. The image of the totalitarian state in Poetry B. Okudzhava ("Well, Generalissimus is beautiful", "My memory of my brother, guivi", "killed my father"). Character of the lyrical hero of the song-poetic creativity B. Okudzhava; The reasons for the confrontation of the lyrical character and the big world; The spiritual life of a "little man" as the main way to confront the official life.

6. Open rejection of Soviet statehood in the song-poetic creativity A. Galich: from satire to intonations of sadness and hopelessness.

Scientific and critical literature:

1. Vladimir Semenovich Vysotsky: What? Where? When?: Bibliogr. Directory / Author-Cost. A.S. Epstein. Kharkov, 1992.

2. Kulagin A.V. . Poetry V.S. Vysotsky: Creative Evolution. M,. 1997.

3. Kanchukov E. . Approach to Vysotsky. M., 1997.

4. Svirky G.

5. Seedadin S.B. . Bulat Okudzhava. M., 1999.

6. Seedadin S.

7. Jolkovsky A. "Paradise, disguised as a courtyard": Notes on the poetic world B. Okudzhava // Zholkovsky A., Scheglov Y. The author of the author and the structure of the text. Stenafly, 1986.

8. Kamensky Z.A. . A.A. Galich. M., 1995.

Practical lesson number 12: Classic and avant-garde poetic techniques lyrics of the poets of "Magic Chora"; The meaning of synthesis. Man, process and result of his contact with the world, culture and with himself in the artistic analysis of poets (according to the works of I. Brodsky / A. Kushner / D. Samoilova 70-90s.) .

1. Leningrad Circle of poets (I. Brodsky, E. Rain, D. Basyshev, A. Niman): Features of creative manners and creative fate of poets; Significance for their self-consciousness lyrics of aqmeism (as the synthesis of traditionalness and non-standard of poetic thinking).

2. Style and composite features of lyrics I. Brodsky (a combination of vocabulary of various style reservoirs, various emotional painting; intellectuality, associativity, poetic images; the complexity of the rhythmic, stubbic organization of verse). Their meaning load in the work of the poet.

3. Leading topics and lyrical sentiment of poetry I. Brodsky.

An idea of \u200b\u200bthe fragility of man, culture, peace; Unrequited questioning about the appointment of physical existence as the initial motifs of creativity I. Brodsky. Images of death, emptiness, loss as end-to-end in the poet lyrics. The community of the worldview I. Brodsky with the mood of the poets of the "Magic Choir" (to identify common motives, mood in lyrics I. Brodsky and E. Raina).

Stoicism of the lyrical hero I. Brodsky: the contemplation and acceptance of the limb and implicit meaningfulness of being, intonation of sorrow and calm as key for the lyrical character I. Brodsky. Creativity as a way to streamline being and bringing appropriateness in the artistic concept of I. Brodsky.

The state of excessive official ("empire") in the perception of the poet as an attempt by artificial abolition of creativity, dynamics, refusal of life; The intonation of skepticism and irony of the lyrical hero.

Scientific-critical literature :

1. Volkov S.M. . Dialogues with Joseph Brodsky. M., 1998.

2. Etkind E. . Take a note above, the idea above ... // part of the speech 1980. No. 1.

3. Strijevskaya N.I. . Perspectives: About the poetry of Joseph Brodsky. M., 1997.

Practical lesson number 13: Art installation and principles of re-creation of the world in the works of the poetic avant-garde (based on the analysis of works on the selection of students) .

colloquium - sequences of reports fully prepared by students and devoted to the analysis of 1 poem (period 70-90x.) Of any of the following authors:

V. Kazakov, V. Sosna, Igi, Ya. Satunovsky, I. Kholin, E. Kropyvnitsky, A. Kondratyev, S. Kulé, L. Losev, V. Uflynd, O. Sedakova, E. Schwartz, I. Kabakov, D. Prigi, L. Rubinstein, M. Eisenberg, L. Gubanov, V. Aleinikov.

Each report includes the following items:

4. Principles of understanding and re-create peace in the work of the chosen author, the type of expected reader reaction.

Scientific and critical literature:

1. Bessonova M.

2. Genis A.

3. Ivanova N.

4. Ladiderman N. . The trajectories of the experimentening era // Questions of literature. 2002. №4.

Practical lesson №14: Psychological drama of the 70-90s.: Problems, funds and artistic goal of the thread of stage action, artistic results of the psychological drama of the 70-90s. (On the example of the play "Duck hunt A. Vampilova) .

1. The creative path of A. Vampilova, the place of the play "Duck hunting" in his work; Stage Story Piece; "Duck hunting" in the perception of viewers, readers, literary and theatrical critics.

2. "Duck hunt" A. Vampilova as a play - Experiment: Can hero come to freedom from social environment? Will the hero come to freedom from individual sides of his own nature? - How the central questions of the work.

The characters of the second plan as "negative twins" "Zilova.

3. The main character of the play as a romantic and as a person identical to his surrounding.

The composition of the play as an illustration of the gradual transition of the hero from the level of romanticity to the level of the environment.

4. The plurality of the finals of the play and the ambiguity of the final action of the play.

Scientific and critical literature:

1. Rose B. . Memory of Alexander Vampilova // Theater. 1972. № 10.

2. Rasputin B. . The truths of Alexander Vampilova // Siberia. 1977. No. 4.

3. Streltsova E. . Capture of duck hunt: [Vampilov. Creativity and fate]. Irkutsk, 1998.

Practical lesson №15: Genre of anti-nightopia in the literature of the post-thermal period (on the example of the fairy tale "Rabbits and Blow" F. Iskander).

1. Creative path F. Iskander. The place of the philosophical fairy tale "Rabbits and Blinds" in his work. The significance of the genre form of the work.

2. "Rabbits and Breaks" as satire on the worldview, life, the state-official language of the post-photodal era (parody of the facts of Soviet culture 70-80x. In the text).

3. "Rabbits and Breaks" as political anti-astope (reasoning about the mechanism of the implementation of the totalitarian state and the psychology of its people in the text).

4. "Rabbits and fluffs" as a philosophical and psychological antiutopia (the thought of F. Iskander on the paradoxical commitment of people to existence in the conditions of totalitarianism).

Scientific and critical literature:

1. Seedatin Art . Praise common sense, or fifteen years later // Youth. 1978. No. 2.

2. Seedatin Art . Last Chechnets // New World. 1989. No. 9.

3. Ivanova N. . Laughter against fear, or Fazil Iskander. M., 1990.

Practical lesson №16: The phenomenon of "urban prose": the features of its problems, stylistics. Ethical and psychological issues in the works of the "city prose": the subject of reflections of the author and the hero, the features of the artistic image of these reflections (based on the analysis of the Test "Preliminary Results" of Yu Trifonov).

1. The creative way of Yu. Trifonova. The cycle of "urban stories" in his work: the specifics of the problems, the causes of appeal to the topic of the inner "I" of the contemporary.

2. The similarity in the subject and composition of the story of Yu Trifonov "Preliminary results" and play by A. Vampilova "Duck hunting". Causes of similarity.

3. Hero of "Preliminary Outcomes" as a reflective character. The process of arguments of the hero as the beginning organizing the text; Personality and emotionality of narration. The reasons for the choice of Yu. Trifonov reflective hero as a source of a narrative point of view. Subjective and objective principle in the text.

4. Final Tale: Plotted and impressionistic in it. The sense load of the combination of narrative manners on the last pages of the story. Features of the ethical position of the main character.

Scientific and critical literature:

1. White G. . Unique once // lit. Review. 1983. number 5.

2. Ivanova N. . Prose Yu Trephonova. M., 1984.

3. Spit A. . Yuri Trifonov: Chronicle of life and creativity. 1925-82. Ekaterinburg, 1997.

Practical lesson number 17. : B.Okuzhava novels in a number of works of historical prose; Artistic tasks of the writer's appeal to the past of the country. Man and power, man and state in the artistic analysis of B.Okuzhava: the causes of confrontations, the consequences for a person (on the example of the novel "Travel of amateurs").

1. The place of historical novels in the work of B. Okudzhava. Historic Roman-Parabola: Problems, Taking Categories of Pictures of Historic Past with Contemporary.

2. Soviet post-thermal era and time of the 40s. XIX century: moments of the similarities of the public atmosphere, politics, relationships of the individual and the state

Amiran amilaxar as a narrator, specificity and causes of its narrative intonation, the meaningful load of unacceptments and hints in his speech.

3. The history of Matlev, as an illustration of a fundamental misconception of the interests of the person and the state, as evidence of the impossibility for a person not to enter into a conflict with generally accepted.

Causes of these phenomena in artistic analysis B. Okudzhava.

Matlev's love stories to Anete Friederix, Alexandrine Zhiltsova: Options and consequences of the invasion of the state in the personal life and personality of man.

4. Plot Matlev and Lavania Ladimirovskaya: confidence and heroism as a way of being of a person in the conditions of the priority of generally accepted. The tragity and elevation of such a path.

Scientific and critical literature:

1. Svirky G. . On the frontmark place: the literature of moral resistance. 1946-1986. M., 1998.

2. Seedadin S.B. . Bulat Okudzhava. M., 1999.

3. Seedadin S. . I choose freedom. M., 1990.

Practical lesson number 18. : Roman Yu. Dombrovsky "Faculty of Unnecessary Things" in a number of works of historical prose; Artistic tasks of the writer's appeal to the past of the country. Man and power, man and state in the artistic analysis of the writer: the causes of confrontations, the consequences for a person.

1. The causes and nature of the appeal of Yu. Dombrovsky to the historical ("camp") topics. The story "Keeper of antiquities" and the novel "Faculty of unnecessary things" as a dilogy, the autobiographical nature of the dilogy. The reasons for changing the genre, narrative point of view inside the dilogy.

2. The Soviet Union as a country of political and legal outstanding in the art analysis of Yu. Dombrovsky.

Figures of investigators, terrible and paradoxical in their appearance. Mechanics of the lawsuit in the novel.

The subject of reflections of Zybina in this regard (is there any legalized framework of reprisals? Is it possible to talk about their feasibility? What can oppose a separate person to the offset of his life?). The results of reflections of the main character.

Elements of anti-wasteopia in the novel.

3. The scale, irreversibility and catastrophicity of contempt for the rights of the individual in the artistic analysis of Yu. Dombrovsky. Art load of the writer's appeal to the history of the execution of Jesus Christ. The specifics of the interpretation of the evangelical plot, the parallelism of the Gospel and modern history in the artistic world of Roman Yu. Dombrovsky.

Scientific and critical literature:

1. Zverev A. . "Deep Well of Freedom": above the pages of Y. Dombrovsky // Lit. Review. 1989. No. 4.

2. Sotnikova T. . Unreparable keeper // Questions of literature. 1996. No. 5.

3. Turkov A. . What happened to Zybin? // Banner. 1989. No. 5.

Practical lesson №19 : Multi-term content of prosaic works of avant-garde writers; Determining the nature of the text stylistics in the formation of multidimensional content. Man and his life path; Coopony and ethics; Images of peace and chaos in the poem of the veins. Yerofeyev "Moscow-Petushki" .

1. Avant-garde prose: the nature of the problematics, lyrical and philosophical began in it. Man and Genesis, life (ethical) position of a person as the central topics of avant-garde prose.

2. Creative path of V. Erofeev; The place of the poem "Moscow-Petushki" in the work of the writer, the autobiographical principle in the work.

3. Rejection by V. Erofeev official Soviet culture, generally accepted worldviews, ethics, cultural level, ways to express the author's position in the text:

The opposition of the hero of "Moscow-Petushkov" and the mass person (personality without borders is a limited person): "Moscow-Petushki" as a quotation of "Greater Soviet style" and world artistic culture.

The opposition of the hero of Moscow-Petushkov and the mass person (modest and assertive personality, abstract and specific humanistic values). Sacrifice and ethics of the life position of the main hero of the poem.

4. "Moscow-Petushki" as a narrative of the doomes and fragility of a person. Pafos sympathy to a person in the poem; Composite and style techniques of its expression.

Scientific and critical literature:

1. Muravyov V. "High spectacle viewer" // veins. Erofeev notes of the psychopath. M., 2000.

Section 4. .: :

Practical lesson №19-20: Thematic and stylistic analysis of lyrical works of modern literature .

Practical occupation is in shape colloquium - sequences of reports fully prepared by students and dedicated to the analysis of 1 poem for the choice of the speaker.

publications of magazines literary sites :

Bykov D. Poems // http://mephisto.pisem.net/poems/bykov/poems/index.htm

http://grustno.hobby.ru.

Nine measurements: Anthology of the newest Russian poetry / Sost: I. Kukulin. M.: UFO, 2004.

Eremenko A. Poems // Banner. 1992. No. 1; New poems // Banner. 2005. No. 1.

Adding to the rusticity. M., 1990; Horizontal country. M., 1997.

Opus Magnum. M., 2001.

Zhdanov I. Place of land. M., 1991; Unphant Sky. M., 1990.

Photorsobot forbidden peace. St. Petersburg., 1998.

Calpidi V. Outsaydea: Project of the book of poems and poetic texts. PERM, 1990; Mixing. Pepem, 1995.

Kenezhev B. Angel from John. Poems // Banner. 2003. No. 2;

Thunderstorm over Central Asia. Poems // Banner. 2004. No. 4;

New poems // October. 2004. No. 3.

Kibirov T. Poems // Friendship of Peoples. 1991. № 6; 1993. No. 3; 1994. No. 4.

Banner. 1992. № 6; 1993. No. 11; 1994. No. 10; 1995. No. 9; 2002. No. 1.

New World .991. Number 9;

Sitment: eight books. Belogen, 1994.

Humpty Dumpty. Free poems. M., 2002.

The Red Book of Marquis: Wreath on the grave of the World Literature. M., 1995.

Nekrasov Sun. Poems from the magazine. M., 1989; From the published (poems) // Bulletin of the new literature. 1990. Vol. 2; Reference. M., 1991.

Figures A. Figures intuition. M., 1989;

Choose. M., 1996.

Fights D.A. Catalog of metro Handwritten book. Moscow, 1991.

Works // Theater. 1993. No. 1.3.

Fifty blood droplets: a collection of poetic and graphic work. M., 1993;

Book of happiness (in verses and dialogues) // Banner.1994. Number 8.

Collection of prevails for a variety of things. M., 1996.

Rubinstein L. from the wrong. Everywhere life. Sonnet 66 // Literary Review. 1989. №10.

Regular letter. St. Petersburg, 1996.

"I'm here" // Banner. 1996. №6.

Russian poetry at the turn of the XX-XXI centuries. Selection of materials //NLO .995.№16.

Sapgir Poems // New World .992.№2; New World .993. Number 2.;

Friendship of Peoples. 1994. No. 9;

Flying and sleeping. M., 1997.

Sedakova O. Poems // New World. 1990. №5; Banner. 1991. №6; Banner. 1992. №8.
Friendship of Peoples. 1993. №11.; Banner. 1996. №2.

Schwartz E. Dicules of recent times. St. Petersburg, 2001.

Non Dolet. Poems // Banner. 2001. No. 8.

Ring Dioscurov. Poems // Banner. 2003. No. 6.

:

2. Conditions of understanding and interpretation of the text of the selected poem (what points of the text make attention? How are they in a holistic meaningful picture?)

3. Shaped system, leading lyrical mood of the work.

4. To classic or avant-garde aesthetics, the author of the analyzed poem in understanding the phenomenon of the human person? What is the scale of the image of lyrical states? What categories (epoch / nature / being ...) Recalls a person and his inner world in the image of the poet?

5. To classic or avant-garde aesthetics, the work on the poetic techniques used by poetic techniques?

To summarize work in practical classes No. 19-20, issues are offered to the general discussion:

As far as the circle of topics of modern lyrics is changed relatively with the era of the 70s. Xx in. / With the epoch of the silver century / with Russian poetry of the XIX century?

Is modern poetry more artistic techniques, fine-expressive means - compared with the domestic lyrics of the Silver Age?

Is it possible to talk about any prevailing topics, genres, directions of modern lyrics?

What are the new forms of existence lyrics (compared to the epoch of the Silver Century) in modern culture? Do they determine the topics, stylistics, form of communication of the poet and reader in modern poetry?

Scientific and critical literature:

1. Bessonova M. The myths of the Russian avant-garde in the controversy of generations (from Malevich to Kabakov) // Questions of art and knowledge. 1993. No. 1.

2. Genis A. . Babylonian tower. Art of the present time. - Tallinn, 1996.

3. Ivanova N. . Post-Soviet literature in writing new identity // Banner. 1996. No. 4.

Ladiderman N. . The trajectories of the experimentening era // Questions of literature. 2002. №4

Practical lesson №21: The traditions of the Russian classic theater and the options for their updates in modern drama (on the plays N. Sadur / N Blinds / L. Petrushevskaya - Works on the selection of students) .

1. Creative path, creative interests of N. Sadur, Features of perception and evaluation of its drama criticism, readership, auditorium.

Determine the target audience, the type of expected visual response for Dramaturgia N. Sadur (on the example of the "nose" play)

2. Problems of the play, specific character characteristics, validity of action and the type of its validity (by external circumstances, internal logic of characters ...), tonality, artistic results "Nose".

3. Realistic and unrealistic starts in the play: In which episodes, each of these began, how they are combined with each other in the artistic space of the play (form each individual sphere, continue each other ...) What relationships are related to realistic and unrealistic plays between themselves (causal, associative ...) What is their artistic burden in the play?

4. Symbols of gesture, sound, miceanssen, suit in the play N. Sadur.

5. What kind of dramaturgical tradition (traditions) should N. Sadur? How is the aesthetics of the play with her artistic intent?

Scientific-critical literature

1. PA BV . Theater Dictionary. M., 1991.

2. Salikova E. . Return of reality // Modern dramaturgy. 1997.№ 4.

3. Gromova M.I. Russian drama at the present stage (80-90s). M., 1994.

4. Gromova M.I. . Russian modern dramaturgy. M., 1999.

Practical lesson №22: Genre of anti -topia in modern literature: philosophical anti-nightopia as an option of the genre. Culture and man, culture and history in artistic analysis Tolstoy (novel "Kysh").

1. The reasons for the popularity of anti -topia genre in modern literature; Thematic varieties of the genre.

2. The city of Fedor-Kuzmichsk as a world-blinding from the totalitarian state: the form of life and manifestation of power in it.

3. The population of the city as a people-cast from the inhabitants of the totalitarian state: a system of values, forms of life, features of the worldview.

Thought T. Tolstoy on the paradoxical commitment of people to existence in the conditions of totalitarianism; Compare the novel's motive with Pafos of Antiutopia 70-90s. ("Rabbits and Fleavas" F. Iskander), with the artistic results of later anti-nightopy.

4. Benedict as a dual character: the traits of the "man of mass" and the features of individualism in his personality.

5. The plot of the thirst reading as the event is the basis of the book. Explain the paradoxicality of the situation: the thrust for spiritual life leads to the degradation of the hero (comment on the steps of the "fall" of Benedict, the nature of the perception of the works of fiction, an explanation, this situation by the Roman's resonant - Nikita Ivanovich).

6. Comment on the roman's artistic results: how much, from the point of view T. Tolsto, art (fiction) can be a container of morality and the cultural potential of the nation? Personality? Under what conditions does it be able to perform this role?

Scientific-critical literature

1. Genis A. .: Field drawing: T. Total // Star. 1997. No. 9.

2. Piskunova S., Piskunov Vl . LESSONS OF CASERICAL // October. 19888. No. 8.

Practical lesson №23: Historical novel in modern literature. Man and history, true and false values \u200b\u200bof the human world before the face of history (according to the novel, Vladimov "General and his army".

1. The creative path of Vladimov, the place of the novel "General and his army" in the work of the writer.

2. Roman G. Vladimova as a narrative of the "Victory price" (the actual side of World War II in the artistic analysis of the writer).

3. The Soviet Union as a paradox country in the artistic analysis of Vladimov: inexplicable in great politics and soul of a Soviet person; Media of a narrative point of view due to these motifs, the artistic load of their choice.

4. Traditions L. Tolstoy (Roman "War and Peace") in the Roman G. Vladimov: Stylistics and narrative issues.

5. Freedom phenomena and dependence, their relationship in private and public life as the central questions of the novel. Analyze the main storylines of the text (Kobssov, Donskoy, Sirotin, Sherterikov, Industors) from the point of view of the combination of thrust in them to freedom and thrust to dependence. Comment on the nature of the final choice of each of the heroes.

Scientific and critical literature:

1. Arkhangelsky A. . Rigor and clarity // New World. 1989.№ 7.

2. Anninsky L. . Rock. Fate. Fate // Georgy Vladimov. General and his army. Long path before typerari. M., 2006.

Practical lesson №24: Psychological prose in modern literature: ways to create an image of a person, traditional and new in the view of a person (on the story of L. Petrushevskaya "Time Night").

1. Creative path L. Petrushevskaya. The place of psychological prose in her work: the specifics of the problematics, the reasons for contacting the topic of the inner "I" of the contemporary.

2. The similarity in the subject and composition of the story of L. Petrushevskaya "Time Night" and "urban prose" 70-90s. ("Preliminary results" Y. Trifonov).

3. The difference in Paphos and the artistic results of the works of Yu. Trifonov and L. Petrushevskaya. "Time night" as a narrative of distorted life and distorted human relations; Character and causes, scale of distortion in the artistic analysis of the writer.

4. The nature of the conflict of the story "Time Night", artistic techniques for expressing its insoluability.

Scientific-critical literature :

1. Barzakh A. On the stories of Petrushevskaya: Notes of Outsider // Postscript. 1995. No. 1.

2. Milman N. . Reading Petrushevskaya: a look from Ocean. St. Petersburg., 1997.

Practical lesson №25-26: Thematic and style analysis of the works of small prose on the selection of students (work with the publications of the magazines "New World", "Russian literature", "Literary newspaper", "Neva") .

Practical occupation is in shape colloquium - Sequences of reports fully prepared by students and devoted to the analysis of 1 work on the choice of the speaker.

Resources for choosing works can be publications of magazines "New World", "Russian literature", "literary newspaper", "Neva", or the following literary sites :

Library M. Moshkov - http://www.lib.ru

Babylon library - http://www.vavilon.ru

UFO magazine. Electronic version - http://www.infoart.ru/magazine/nlo/index.htm

Internet literary resources - http://www.litera.ru

Russian Journal - http://www.russ.ru

Project "Coffee Hall" in the "Russian Journal" - http://www.magazines.russ.ru

Electronic Library of the portal KM.Ru - http: // www.lib.km.ru

Electronic Library of Fiction - http://www.e-kniga.ru

Russian Virtual Library - http://www.rvb.ru

Each report includes the following items. :

2. Conditions of understanding and interpretation of the text of the selected work (what points of the text make attention? How do they add up to a holistic meaningful picture?)

3. Fashionable system, the leading mood of the work, its artistic results.

4. To classic or avant-garde aesthetics, the author of the analyzed work in the understanding of the phenomenon of the human person? What is the scale of its image? What categories (epoch / nature / being ...) a person relations, the situation of his life, his inner world in the image of the writer?

5. To classic or avant-garde aesthetics, the work on the artistic techniques used?

To summarize work in practical classes No. 25-26, issues are offered to the general discussion:

As far as the circle of topics of modern prose is changed relatively with the era of the 70s. The twentieth century / with the era of the silver century / with Russian poetry of the XIX century?

Does the modern small prose generates new artistic techniques, fine-expressive means - compared to the literature of the Silver Age?

Is it possible to talk about any prevailing topics, genres, directions of modern small prose?

What are the new forms of existence of literature (compared to the epoch of the Silver Century) in modern culture? Do they determine the topics, stylistics, form of communication of the poet and reader in modern small prose?

Scientific and critical literature:

1. Leiderman N., Lipovetsky m . Between chaos and space: the story in the context of time // New World. 1991.№ 7.

2. Nommer A. . A look at the Russian prose in 1996 // Friendship of Peoples. 1997. No. 2.

3. Modern prose - the eyes of the Prosaikov // Questions of Literature. 1996/1 1-2.

4. Modern prose: "Landscape after battle" // Questions of Literature 1995. No. 4.

5. Topors B. . Literature on the outcome of the century: the experience of reasoning in the form of theses // Star. 19991. № 3.

List of fiction

To section "Literature 40-50x GG" :

M. Zoshchenko "Before sunrise"

E. Schwartz "Dragon"

V. Nekrasov "In the trenches of Stalingrad"

K. Vorobyov "This is us, Lord!"

E. Kazakevich "Star"

To section "Literature" Thaw "(60s)" :

V. Tenryakov - Tale to choose from (2-3 works)

Nikolay Arzhak (Yu.M. Daniel) - "Says Moscow", "Atonement".

Y. Nagibin Stories and a story to choose from (4-5 works)

B. Pasternak "Dr. Zhivago"

Lyrics of the poets of the Silver Age (late stage of creativity: 40-60E.): A. Akhmatova, B. Pasternak, N. Zabolotsky - 5-6 poems.

Lyrics of poets - "Students of the Silver Century": A. Tarkovsky, S. Lipkin, M. Petrovsky - 5-6 poems.

Early lyrics of poets-Petersburgers: E. Rain, A. Kushner, V. Uflynd, I. Berrovsky - 5-6 poems.

Creativity of poets "Loud Lyrics": E.Evtushenko, R. Christmas, A. Voznesensky - P5-6 poems.

Creativity of avant-garde playing poets: about Grigoriev, V. Uflynd, Sapgir, Sun. Nekrasov, I.Holin, Ya. Satunovsky (author and works of the selection of students: 5-6 works).

The genre of the "lyrical diary" in the literature "Thave": Yu. Cossacks "Blue and Green" / O. Bergholts "Daystocks" / V. Solooukhin "Vladimir Caps", "Rose drop" / K. Powesty "Golden Rose" (1 From works by selection of students).

"Lieutenant Taale" of the 60s: Y. Bondarev "Latest Slops", "Battalions are asking for fire" / G. Baklanov "South of the main strike", "Land of the Earth" / V. Bykov "Crane Creek", "Third Rocket" , "Front Pages" / V. Astafiev "Starfall" / K. Vorobyov "Creek", "killed near Moscow" (one work 2-3 authors on the selection of students).

V. Grossman "Life and Fate"

A. Solzhenitsyn "One day Ivan Denisovich"

V. Shalamov "Kolyma stories" (7-8 works from the cycle on the choice of students).

A. Arbuzov "Irkutsk History"

V. Rosov "In Good Hour!", "Gluhahar's nest", "Cabanchik"

To section "Literature 70-90x" :

A. Solzhenitsyn "Matrenin Dvor"

V. Shukshin stories to choose from (6-7 works on the selection of students)

V. Rasputin "Latest Term", "Farewell to Mother"

V. Astafiev "Tsar-Fish", "Sad Detective"

Y. Trifonov: "Old man"; "Exchange" / "Preliminary results"

Military Tale 70-80x.: V. Kondratyev "Sasha" / B. Vasilyev "And Zori here are quiet" / G. Baklanov "Forever nineteen-year-old" / V. Bogomolov "The moment of truth" / S. Aleksievich "The war is a nejoye face" / V. Astafiev "Shepherd and Custlushka" / V. Rasputin "Live and Remember" / V. Bykov "Badge of trouble", "Quarry", "Clip" (one work 2-3 authors on the selection of students).

G.Vladimov "Pretty Ruslan".

Yu. Dombrovsky "Faculty of Unnecessary Things"

B. Okudzhava "Poor Avrosimov" / "Travel of amateurs" / "Date with Bonaparte" (1 of the novels of trilogy in the selection of students)

V. Winovich "Life and extraordinary adventures of the soldier Ivan Chonkin" (Part 1).

F. Iskander "Rabbits and Blows"

Ch. Aitmatov "And longer than a century lasts a day ...", "Floha"

A. and B. Strugatsky novels to choose

S. Dovlatov "Zone", "Suitcase" (5-6 stories for the selection of students)

Veins. Erofeev "Moscow - Petushki", "Valpurgiyeva Night, or Commander Steps."

S. Sokolov / A. Bitov - 1 novel for the selection of students.

"Quiet Lyrics": N. Rubtsov - 5-6 poems on the selection of students.

"Bard song": B.Okudzhava, V.Vysotsky, A.Galich - 5-6 poems of each author.

Poets-Neoakmeists "- B. Ahmadulina, A. Kushner, O. Chukhontsev - 5-6 poems.

I.Brodsky - Lyrics.

Poetic avant-garde 70-90x.: D.A. V. L.Vubystein, T.kibirov ... - (author and works on the selection of students - 5-6 poems).

A. Vampilov "Duck Hunting".

A. Volodin "Mother of Jesus", "Dulcinea Tobos"

E. Radzinsky "Conversations with Socrates" / "Theater of the Times of Nero and Seneki"

Gorin "Til" / "House, which built Swift" / "Forget Herostrata"

L. Petrushevskaya, N. Kolyada, N. Sadur - 1 play for the selection of students.

To section "The newest domestic literature" :

Genre of anti -topia in modern literature: V. Aksenov "Island of Crimea", A.Zinoviev "Graying heights", V. Dvdanovich "Moscow 2042", Top "see", in Pelievin "OMON RA", "Generation P", in . Associnant "Day of the Ochrichnik" (2-3 works on the selection of students).

G.Vladimov "General and his Army".

V.Makanin "Underground, or a hero of our time"

Y. Mamleev "Soothe my head"

Gandalsky S.<Нрзб>

Psychological novel, a story in modern literature: L. Petrushevskaya "Time Night", Top "not going" (stories from the collection), L. Ilitskaya "Medea and her children", V. Tokarev, O. Sulatnikova, D.Rubina , Shcherbakov - Tale (2-3 works from the list of the list or on the selection of students).

Questions for the exam

1. Overview of literature 40-50s.: Socio-cultural situation, official and unofficial literature (general characteristics of the literature of social realism; authors, the number of themes, the stylistics of unofficial art; "Before the sunrise" M. Zoshchenko and "Dragon" M. Schwartz As works of "hidden literature").

2. The literature of the Epoch of World War II: a general overview of the genres, the pathos of works; Comparative characteristics of the authors of military prose 40s.: V. Nekrasov, K. Vorobyov, E. Kazakevich.

3. "In the trenches of Stalingrad" V. Nekrasova as an epic work about the Great Patriotic War; Traditions L. Tolstoy ("War and Peace") on the pages of the story. The phenomenon of "hidden heat of folk patriotism" and the ways of his image in the book.

4. The system of characters of the story V. Nekrasov "In the trenches of Stalingrad": the diversity of destinies, ethical discoveries, ideological losses and acquisitions on the battlefields.

5. Cultural atmosphere "Thaw": external and hidden reasons for the phenomenon "thaw", the distinctive features of the people's identity of the era, the form of its manifestation in various spheres of life. Clearness of the 60s. On the pages of fiction (on the example of analyzing 3-4 works - on the choice of students).

6. Ethical issues and lyrical worldview as 2 artistic centers of literature "thaw." Ethical and lyric in the novel B. Pasternak "Dr. Zhivago".

7. Art journalism of the period of "thaw": the causes of its demand, the subject of the image. Public and journalistic and artistic in the works of V. Ohchkina, V. Tenndryakov.

8. Ethich as a distinctive feature of the literature issues "thaw". The moment of "reassessment of values", choosing a hero of life position as a characteristic plot of thawing literature. The fantastic plot and the ethical ideal of the "flying time" in the prose Y. Daniel.

9. Ethich as a distinguishing feature of the literature issues "thaw". The moment of "reassessment of values", choosing a hero of life position as a characteristic plot of thawing literature. Conflict and artistic results of thawing dramaturgy (on the example of a comparative analysis of 2-3 works of students' selection).

10. Lyriculture as a distinctive feature of the worldview and literature "thaw", the reasons for its appearance and in demand. A general overview of the artistic directions of lyrics of the 60s. Clearance options of the 60s. In the works of thawing lyrics (on the example of the analysis of creativity of one of the poets - on the selection of students).

11. The period of the 50-60s. In the creative evolution of the poets of the Silver Age: the tonality, the central motives of their lyrics, the style features of their works (an analysis of the late stages of creativity A. Akhmatova B. Pasternak, N. Zabolotsky - on the selection of students).

12. "Students of the Silver Century" (A. Tarkovsky, S. Lipkin, M. Petrovy ...): 50-60s. as the time of creative lifting of poets; The tonality, the central motives of their lyrics, the style features of their works (analysis of the creativity of one of the poets - on the choice of students).

13. "Traditional Lyrics" in the interpretation of young poets (E. Rain, A. Kushner, I. Brodsky ...): The direction of their creative searches, traditions and innovation of their lyrics; The period of the 60s. In the creative path of poets (analysis of the creativity of one of the lyrics - on the choice of students).

14. Avant-garde lyrics 60-90s: Conditions and reasons for the revival of the avant-garde in the domestic literature; The meaning of the non-classical type of creativity. The subject and stylistics of the artistic searches of lyrics-avant-gardeists 60-90s. (Analysis of the creativity of one of the poets - on the selection of students).

15. "Loud Lyrics" as a phenomenon of public and cultural life of the thawing era. Topical and eternal in the works of the authors of the "loud lyrics", the features of their poetic style (the comparative analysis of the creativeness of the authors of the "loud lyrics" of the period of the 60s.).

16. Lyriculture as a distinctive feature of the ministry and literature "thaw", the reasons for its appearance and in demand. Lyrical start in the works of drama 60s. (On the example of a comparative analysis of 2-3 works of students' selection).

17. Lyriculture as a distinguishing feature of the ministry and literature "thaw", the reasons for its appearance and in demand. The genre of the lyrical diary in the literature of the 60s. (On the example of analyzing the works of O. Berggolts, V. Solowhina, K. Powesta ... - on the choice of students).

18. Lyriculture as a distinguishing feature of the worldview and literature "thaw", the reasons for its appearance and in demand. The lyrical beginning in the plot prose of the 60s. (On the example of a comparative analysis of 2-3 works of students' selection).

19. Genres, heroes, artistic results of military literature of the 60s. (on the works of small prose: a story, a story - 2-3 texts on the choice of students).

20. "Camp Prose" of the 60s: the specifics of the plot, conflict. A. Solzhenitsyn as the founder of the topic in the domestic literature. The result of the coexistence of a person and the camp world in the story "One day ..." Solzhenitsyn.

21. "Camp Prose" of the 60s: the specifics of the plot, conflict. The world of Kolyma camps in the art cycles V. Shalamov. Conditions, patterns, results of the coexistence of a person and the camp world in an artistic analysis of V. Shalamov.

22. Second World War in the artistic analysis of V. Grossman: its historical, ideological importance, the role in the self-determination of the Russian nation. The problems of the novel "Life and Fate". Style and composite features of text. The manifold of the forms of humanity in the conditions of World War II, their role in a given historical event, the life of humanity in general.

23. Second World War in the artistic analysis of V. Grossman: its historical ideological importance, the role in the self-determination of the Russian nation. The problems of the novel "Life and Fate". Style and composite features of text. Totalitarian states, the causes of their occurrence, patterns of functioning, their future in the artistic analysis of V. Grossman.

24. The Second World War in the artistic analysis of V. Grossman: its historical, ideological importance, the role in the self-determination of the Russian nation. The problems of the novel "Life and Fate". Style and composite features of text. The phenomenon of freedom and its role in the self-determination of the nation, personality. The conditions and results of the experience of freedom by the heroes of the Grossman epic.

25. Epoch 70-90s.: Internal periodization similar in the public atmosphere of decades of this era. The main cultural events of the 70-90s. GENERAL REVIEW OF LITERATURE 70-90-X: Genre system, pathos options, style of literature. Features of the worldview of the post-thermal period (based on comparative analysis of 2-3 works of selection of students).

26. Satyric literature 70-9-k.: Causes of patina's demand. The subject of satirical image in the literature of 70-90s, artistic results of satirical works.

27. Literature "Rustic prose": thematic specifics, causes of occurrence, thematic groups within the direction. A. Solzhenitsyn as the founder of the topic in the domestic literature. Heroes, results of their lives, artistic results of the Matrenin Dvor.

28. The world of the Russian village: its inhabitants, moral priorities, his future in the literature of "Rustic Prose" (on the example of a comparative analysis of 2-3 works on the choice of students). The motive of opposition to the "rustic" and "large" world in the works of "Rustic Prose": grounds, artistic results.

29. Russian man, his character: beautiful and terrible in it - in the artistic analysis of V. Shukshina. The similarity and difference between the creative heritage of V. Shukshin from the literature "Rustic Prose".

30. Changing the issues of the "village prose" in the creative world V. Astafieva (on the novels of the cycle "Tsar-Fish"). Man and nature as two central starts of the world order in understanding V. Astafieva. The relationship between humans and nature in the specific and existent aspects in the artistic analysis of the writer: options, consequences, the future of man and nature.

31. The phenomenon of "urban prose": the features of its problems, stylistics. Ethical and psychological issues in the works of the "city prose": the subject of reflections of the author and the hero, the features of the artistic image of these reflections (based on the comparative analysis of the "urban" ages of Yu. Trifonov). Artistic results of his works.

32. Philosophical and social and illuminated issues in the works of "urban prose" (on the example of the analysis of the story "Sad Detective" V. Astafyva).

33. Historical prose 70-90s.: Thematic groups. World War II on the pages of military prose 70-90s.: Artistic tasks of the image of historical events, historical and philosophical generalizations on the pages of military prose 70-90s. (based on comparative analysis of 2-3 works on the choice of students).

34. Historical prose 70-90s.: Thematic groups. B.Okuzhava novels in a number of works of historical prose; Artistic tasks of the writer's appeal to the past of the country. Man and power, man and state in artistic analysis B. Okudzhava: the causes of confrontations, the consequences for a person.

35. Historical prose 70-90s.: Thematic groups. Dilogy Yu. Dombrovsky in a number of works of historical prose. Artistic objectives of the writer to the historical past of the country: time of 30-40s. As a determining moment for the current state of the country. Directions of influence. His consequences in historical and existent aspects.

36. Intellectual prose techniques in the Roman Y. Dombrovsky "Faculty of Unnecessary Things", their artistic burden.

37. Avant-garde prose 60-90s: Conditions and reasons for the revival of avant-garde in the domestic literature; The meaning of the non-classical type of creativity. The subject and stylistics of artist searches for prosaikov-avant-gardeists 60-90s. (Analysis of the works of A. Bitova, S. Sokolova - on the selection of students).

38. Multical term content of the works of avant-garde writers. Determining the nature of the text stylistics in the formation of multidimensional content. Poem Ven. Yerofeyev "Moscow-Petushki" as a multi-minded story.

39. Man and his life path; Coopony and ethics; Images of peace and chaos in the poem of the veins. Erofeev "Moscow-Petushki".

40. A general overview of genre-thematic directions of lyrics 70-90s. Options for the month of interest of the post-control age in lyrical works (based on a comparative analysis of works of 2-3 authors - on the selection of students).

41. "Quiet Lyrics": Thematic originality of works; Common in the artistic content, stylistics of the works of "quiet lyrics" and "rustic prose" (based on comparative analysis of texts).

42. The phenomenon of the "Bard song" in the culture of the 70-80s.: The reasons for the demand of the genre, themed and stylistic peculiarity of works. The traditions of the "Bard song" and the way out of its limits in the work of the poets of the 70-80s. (based on the analysis of lyrics B. Okudzhava, V. Vysotsky, A. Galich - on the selection of students).

43. "Traditional Lyrics" in the interpretation of poets of the 60-90s. (E. Rain, A. Kushner, D. Samoilov, B. Akhmadullina, O. Chukhontev ...): The direction of their creative searches, traditions and innovation of their lyrics; The post-thermal period in the creative path of poets (analysis of the creativity of one of the lyrics - on the choice of students).

44. Classical and avant-garde poetic techniques of lyrics I. Brodsky; The meaning of synthesis. Man, process and result of his contact with the world and with himself in the artistic analysis of the poet (according to the works of I. Brodsky 70-90s.).

45. Classic and avant-garde poetic techniques of lyrics I. Brodsky; The meaning of synthesis. The state of totalitarian and postatalitarian type and its people in the artistic analysis of I. Brodsky.

46. \u200b\u200bGenre and thematic groups of drama 70-90s. The avant-garde theater: its scenic tasks, artistic and technical techniques of their incarnation.

47. Historical plays 70-90s: thematic groups (general review). Pieces-parables: The reasons for the appeal of the authors to the cultural heritage of mankind, ethics and the psychology of a person, society in their image.

48. PSYCHOLOGICAL DRAM 70-90-GG.: Problems, means and artistic goal of threading of stage action, artistic results of the psychological drama of the 70-90s.

49. GENERAL REVIEW of the genre system, the style features of the literature to. 20 - Nach. 21 centuries. The phenomenon of experimental prose, artistic load of polystyption (on the example of a comparative analysis of 2-3 texts - on the choice of students).

50. Genre of anti-nightopia in the literature to. 20 - Nach. 21 centuries. Political and cultural and psychological antiwopia. Composite and style techniques, the subject of artistic reflection and its results in the novel Tolstoy "see".

51. Psychological prose to. 20 - Nach. 21 centuries. The literary tradition and innovation of L. Yulitsky in the image of a person, the process of his development of life.

Introduction ................................................... ................................... 3.

Work program program ............................................................. ......... eight

Main types of works ................................................. ............... nine

Comprehensive analysis of the literary work

(approximate plan) .............................................. ...................... 13

Topics of lectures, basic concepts of the course ............................ 25

Tutorials, scientific and critical literature for the course. 39.

Topics of practical training

List of fiction ....................................... 67

Questions for the exam ................................................. .................. 70

See: Literary Encyclopedia Terms and Concepts / Ed. A.N. Nikolyukina. - M., 2001. P. 1008.

Leiderman N.L., Lipovetsky M.N. Modern Russian literature: in 3-kN. Kn. 1: Literature "Thaw" (1953 - 1968): Tutorial. M., 2001. P. 7.

See: Yu.B. Borev aesthetics: Tutorial. M., 2002. P. 417.

Grisman M.M. Literary work: theory and practice of analysis. M., 1991. P. 70.

Maksimov L.Yu. On the method of philological analysis of the artwork (on the material of the story I.A. Bunin "Light breathing") // Russian language at school. 1993. №6. P.5.

Definition of N.L. Leiderman, M.N. Lipovetsky. See Read more: Leiderman N.L., Lipovetsky M.N. Modern Russian literature: in 3-kN. Kn. 1: Literature "Thaw" (1953-1968). M., 2001. P. 95).

Definition I.B. Rodnanskaya. See Read more: Rodnyanskaya I.B. Movement of literature. In 2 t. T. 2. Ch. IV: ideological novel. M., 2006. P. 221.

Definition of P. Wail and A. Geenis. See Read more: Vail P., Genis A. 60s. The world of the Soviet person // Waile P., Genis A. Satr.Som.: 2 tons. T. Ekaterinburg, 2003. P. 535.

Definition of N.L. Leiderman, M.N. Lipovetsky. See Read more: Leiderman N.L., Lipovetsky M.N. Modern Russian literature: in 3-kN. Kn. 2: Seventies (1968-1986). M., 2001. S. 201.

See: Levin Yu.I., Segal D.M., Timemenchik R.D., Toporov V.N., Tsivyan T.V. Russian semantic poetics as a potential cultural paradigm // Russian Literature (Hague). 1974. No. 7/8. P. 51.

Definition of N.L. Leiderman, M.N. Lipovetsky. See Read more: Leiderman N.L., Lipovetsky M.N. Modern Russian literature: in 3-kN. Kn. 2: Seventies (1968-1986). M., 2001. P. 191.

Reflecting on the proximity of these types of fiction, see: Genis A. Ivan Petrovich died. Articles and investigations. M., 1999. (Ch. Serapion Lesson: Experience of the modernization of Russian prose, pp. 176-188).

Definition of N.L. Leiderman, M.N. Lipovetsky (Leiderman N.L., Lipovetsky M.N. Modern Russian literature: in 3-kN. 2: Seventies (1968-1986). - M.: 2001. P. 191).

For a more detailed list of poetic works of modernity, see: Tyuleva E.M. Actual problems of modern literature. Program and methodological instructions to the course for students of the Faculty of Philology. Ivanovo, 2009.

Russian literature has always been closely related to the moral searches of our people. The best writers in their works constantly raised the problems of modernity, tried to solve the issues of good and evil, conscience, human dignity, justice and others.

The most interesting are works in which the problems associated with the morality of a person are raised, with his quest for a positive ideal in life.

One of the writers who sincerely sick for the morality of our society is Valentin Rasputin. A special place in his work occupies a story "Fire" (1985). These are thinking about our contemporary, about the civilian courage and moral positions of man. Short plot: A fire broke out in Sosnovka, the whole village was running on it, but people were powerless before the swollen elements. There was a few those who risking their lives, defended People's Good. Many came to "warm hands." People saved bread. The saved shop is nothing compared to human lives, with huge burned warehouses, with monstering folk good. Fire is the result of universal disadvantage. People corrupt the incompleteness of life, the scarcity of spiritual life, a soulless attitude towards nature.

Many of the problems of our modern day, including moral, raises Anatoly Plophane in the story "Tuchka Golden Opened.". He sharply puts the issue of national relations, talks about the connection of generations, raises the topic of good and evil, speaks of many other matters, whose solution depends not only on politics and economics, but also on the level of common culture. "For a person - nationality, and not merit, and not wines, if in the country they say otherwise. It means that this country is unfortunate," Robert Christmas wrote.

The story "Fire" is all permeated with pain, so I want to shout: "It's impossible to live so more!" The fire became only a gloomy fold that he had long drained the soul. It is necessary to save the human soul, the writer says that the support of life should be sought in his soul. Rasputin acutely expressed what many people felt - you need to call people, make it very much, still retreat anything else. The writer writes that when, instead of truth, a person systematically presented a lie, it is scary. In the fire clock, the main character opens truth: a person needs to be the owner of his native land, and not an indifferent guest, you need to seek convergence with nature, you need to listen to myself, you need to clean my conscience.

My favorite writer was always Daniel Granin, because this author has an extraordinary giving, all of him is interesting to the fact that he puts the sharp problems of today. I can not name a single writer who would compare with him on a versatility of both problematic, so I.Thefully artistic interests, although Granin is a writer of one common problem. Granin graduated from the Technical Institute, worked as an engineer, so everything he writes about, well acquainted to him. His novels "seekers", "I am going on a thunderstorm", "Picture" brought him a well-deserved success. In the center of many of his works there is a problem - "scientist and power". The gardens approaches the problem of lifestyle, as a result of times and forever made by a person's choice. There is no reference path, no matter how we wanted it. The fate of a person - what does it depend on? From the focus of the person or the force of circumstances? In the story "This strange life" he shows real human fate, a real person. The protagonist Alexander Lyubshchev was a real scientist. "The feat was not," the Granin writes, "but it was more than the feat - there was a well-lived life." The performance and energy of its unattainable. From his youth, loved, he had already firmly knew what he wanted, he had hardly programmed, "chose" his life, which was subordinated to the ministry of science. From beginning to end, he was faithful to his youthful choice, his love, his dream. Alas, at the end of life, many of him consider him a loser, because he did not reach personal well-being. He did not chase prestigious positions, for large salaries and privileges - he was just quiet and modestly made his work, was a real devotee in science. It is such people, our contemporaries, engineered technical progress.

Honesty and principled - these qualities have lost these qualities in life over the years, but the best of people did not chase over minute successes, honors, and worked in the name of the future. The problem of living choice is sharply in another story of the "namesakers" borders. The hero of this story is a foreman, in the past - the mathematician has given great hopes. Granin seems to face two options for fate in one person. Kuzmin, the main character, was a man of marginal honesty and decency, but fate broke it, he moves through the life of the "shared stream". The problem of choice, the problem of a deed, from which the whole of the fate of a person may depend on, the Garin analyzes not only through the fate of Kuzmina, but also on the fate of the older generation in science, on the fate of very young scientists, mathematicians. In the center of the story - the conflict between scientists who see different goals in their work. The Mastic Scientist of Laptev In order to "erase from the face of the Earth" of another scientist Lazarev, broke the fate of Kuzmina (student "Lazarev), he sacrificed him with human and scientific fate seems to be from humane considerations: the direction in which Lazarev and Kuzmin worked, according to him Opinion, it was mistaken. And only after years, when Kuzmin threw math, his first student work was recognized as the largest mathematicians of the world. A scientist from Japan made a big discovery, referring to the forgotten original work of the Russian student Kuzmin, who for incomprehensible reasons missed his opening to the end So Laptev broke the fate of a large Russian scientist. In this story, the garnist continues the theme that he began to write in the 60s in the novel "I am on a thunderstorm". This novel brought out all-union fame. So from the problem of choosing the hero of his way, the Garin proceeds to The problem of the fate of a person, the problem of making talent given to him. Now there is a spiritual restructuring of a person as a person. Catastrophe And our time is that we often do not hear each other, we are emotionally deaf to other people's problems and troubles. The literature morally brings up us, forms our consciousness, opens the depths of the beautiful, which often in everyday life we \u200b\u200bdo not notice.

Bibliography

To prepare this work, materials from the site http://www.coolsoch.ru/ were used http://lib.sportedu.ru

Tags: Moral problems in modern literature Composition of literature

The most important of human efforts is the desire for morality. Our internal stability and our existence itself depends on it. Only morality in our actions gives the beauty and dignity of our life. Make her live strength and help clearly realize its meaning - the main task of education.

Albert Einstein

"A person is born not just to eat and drink. For this it would be much more convenient to be born with a rainworm, "said Vladimir Dudintsev in the novel" not by bread together ". The search for the meaning of life is the lot of every thought and conscientious person. Therefore, the best our writers always stagnantly searched for the artistic solution of this eternal question. And Soviet literature did not bypassed him. And today, when the former ideals have sweated, and new ones are only alleged, these problems have become almost the most important.

The question of moral problems, of course, is wider than the matter of the sense of life, but this last, is the kernel of morality. When there is no faith, there is no point in life, there is no morality. Ville Lipatov in the story "Gray Mouse" portrayed the former chief, before the well-spoken, that he had nothing to eat, and there are not even mice in the house. So, the meaninglessness of life leads to human degradation, turns it into an animal or a criminal.

In another work "And this is all about him." Lipatov considers the conflict between good and evil. The Komsorger Evgeny Tzetnov seeks to live in truth, takes deeply in good, justice, honesty. And of course, he inevitably faces a person who has long to sell conscience living for the sake of benefits, deceiving people and the state. This is the master Peter Gasilov. The novel was written in the years when cheating and hypocrisy flourished, so the death of Zhenka was the inevitable final.

Moral problems are found in the works of Valentina Rasputin. In the story "Live and Remember" the author raised the question: is it fair to consider a criminal of a person, honestly had three years, who after the injury was fatally wanted home? You can reason differently, but humanly sorry Andrei Guskova, who fell under the repressive car.

Chingiz Aitmatov in his books always sought to show a person looking for his place in life. With particular force, this manifested itself in his novel "Floch". The writer admits that in this work I would like to "reflect all the complexity of the world so that the reader to walk with me through the spiritual spaces and rose to a higher step." Roman Aitmatova Disciped. We see people who seek to profit at all costs: Whether the extermination of animals, or the sale of drugs, or direct murder. We see and appeal to the writer to the eternal theme of the crucified Christ. Guessing here the similarity with the novel M. Bulgakov "Master and Margarita". Deeply symbolic fate of the wolf pair. But I would especially like to say a hero of atypical for Soviet literature. This is Avdiy Callistrants, who was looking for the meaning of life in God. But in the spiritual seminary, he did not find himself, did not satisfy his frozen thought, he wanted to find his God himself. The young man goes to the world. Like the Pushkin prophet "Glagol, burn people's hearts", like Lermontovsky - to proclaim "love and truth pure teachings." He hopes to clean and revive the souls of fallen people. But, however, the lives of Surov. It is difficult to reach the shower of criminals. He is beaten, Avdii miracle stays alive. In the hospital meets his love and in love, it seems, finds himself. But such a person is difficult to live in the world of evil, hypocrisy, profit. His article about drug addiction does not print: she is too true. In a collision with Fighters Saigakov Avdii dies. Dies like a martyr like Christ.

Far from philosophy, Chuban Boston also seeks the meaning of life. Seeing the abnormal relations that have developed in his farm, he painfully reflects: "If I am not the owner of my work, someone in the end should be the owner?" The shepherd sees the meaning of life in honest work, in love for animals, to the ground, in the increase in the wealth of society, in decency in relations with people. However, his honesty and dedication to the work as well as in Kallistov and Kallistratova are in conflict with the established system of generally accepted deception, the spirit of profit.

Fate pursues Boston. The figure of it becomes a sheckspire tragic. During the transition to a new pasture, his friend dies. Then his wife dies. Around the new wife, widow of a friend, begins gossip. Finally, nature will twist people, choosing him with an unfair victim. Offended by another person, wolves are carrying Boston's child. Brought to despair, the shepherd commits murder.

So straight, the absence of faith in society continues the tragic conflict between honest and dishonest. The plate ends the life of the Auge and Flag - the life of Boston.

Ries on his fell and Onysimov, the hero of the work of Alexander Bek "New Appointment". It is high rank apparatus, chairman of the State Committee, approximate Stalin. Objectively, this is a person who has a sense of duty and amazing performance. Personal devotion to Stalin is infinite, despite the fact that his brother died in camps. In this devotion, he finds his meaning of life, demanding the same devotion and full return in the work from his subordinates. But the writer emphasizes that the false understanding of the debt breaks and distorts the nature of man. There is a "strange disease" - the result of the "error of two opposing impulses - orders coming from the cortex of a brain, and internal motivations." In the end, a man begins to create evil, justifying the debt. That is why Onysimov so worked on the exposure of the cult of the personality - the meaning of life and confidence is right away. He could not "get out of the soul from those times," as the Chelyshev advised him. And no wonder the author "rewards" the hero of an incurable disease, because he goes along with his time. Yes, the novel says that his meaning of life every person is obliged to find himself, no one can give it in the finished form.