The upbringing of the personal attitude of high school students to the problems of the world outlook in literature lessons. Worldview and attitude of the writer

I took every opportunity to oppose my work to Pushkin's. They called this "the polemic of Nekrasov with Pushkin," and in their articles they abundantly quoted such works of Nekrasov, which, on a superficial glance, could indeed be considered anti-Pushkin. But only at a superficial glance.
For the first time, this polemic was outlined with sufficient clarity in Nekrasov's poem "Muse" (1851).
Born into the family of the Polish aristocrat Apollo Kozhenyowski, romantic poet, follower of A. Mickiewicz. The first idea of English literature As a child, Konrad received his parents' translations of W. Shakespeare's plays. A contradictory attitude towards Russia was formed in him, if their family with the participation of the father of the national liberation movement was subjected to administrative expulsion to Vologda in 1863
In 1874, the young man unexpectedly left the Krakow gymnasium in Marseille, where he was hired as a sailor. In 1878 Konrad tried to kill himself.
In A. I. Solzhenitsyn's novel In the First Circle, which is rich in reflections on the appointment of a writer in Russia, we find frequent reviews on a topic of interest to us. These reviews belong both to the narrator himself and to characters close to him in spirit. One of the episodes of the novel (chapter sixty-two) is devoted to our frank "male conversation" of two in-laws: the "famous" Soviet writer Nikolai Galakhov and Soviet diplomat Innokenty Volodin.
And it seemed that this would be the beginning of immortality ... "Now (during the novel action) or.

Worldview of the era | Size: 21 kb. | Volume: 14 pages | Price: UAH 0| Added: 03/28/2010 | Seller code: 0 |
For many countries Western Europe The 15th century was a turning point in their development. Was coming new era- the era of the collapse of the feudal system and the emergence of bourgeois social relations, which destroyed the feudal isolation of economic relations, their limitations and required space for further development productive forces. Only now, in fact, were the foundations for the late development of large-scale production being laid. The Writer's Diary, which he writes almost entirely himself, requires a tremendous amount of work, but he still publishes two novels: The Teenager and The Brothers Karamazov, which he considers to be his masterpiece. Not wrong. In this main work, he again returns to the main themes of his work. Opening the book, the reader finds himself in a chaotic world where the real is intertwined with.
The phantoms that are found in those twilight lands do not need food or sleep, and, because they close their eyes to rest, they are immediately possessed by dreams.
Annual turnover rural life in our country not long ago (and in some places - and still, although in fragments) amounted to a very
interesting is the system of rituals and services: prayers, magical acts and meals - victims, to which the old Ukrainian
supported and managed his relationship to the pre-Christian world: to those forces that are ruled, to his
human surroundings and to those generations that have gone down to whom he inspired his own truth.

Worldview and attitude of the writer. Maugham's books often talk about money.

Sometimes the plot requires this, as, for example, in the novel "Razor's Edge" (1944), in other cases the conversation arises in relation to the writer's own work. Maugham did not hide the fact that he writes not for the sake of money, but in order to get rid of the ideas, characters, types that follow his imagination, but at the same time he does not at all object if creativity provides him, among other things, with the opportunity to write what he wants, and to be his own master in a world where everything is decided by money.

The artist's legitimate, from the point of view of common sense, desire was perceived by many critics, and continues to be perceived as convincing evidence of the notorious Moeham's "cynicism", the myth of which the long-lived writer managed to survive. Meanwhile, we can talk certainly not about greed, but about the life experience of a person who experienced poverty in his youth and had seen enough pictures of humiliation, poverty and lawlessness to understand: poverty in an aura of holiness and meek humility is an invention of bourgeois philanthropists, poverty does not adorn , but corrupts and pushes to crimes.

That is why Maugham viewed writing as a way to make a living, as a craft and labor, no less, but no more honorable and worthy than other honest crafts and works: “The artist has no reason to treat other people downright. He is a fool if he imagines that his knowledge is something more important, and a nerd if he does not know how to approach every person as an equal. " You can imagine how this and other similar statements in the book "Summing Up" (1938), later sounded in such essay-autobiographical works as "The Writer's Notebook" (1949) and "Points of View" (1958), could infuriate self-righteous "priests of the graceful", who boast of their belonging to the elect and consecrated. From their point of view, “cynicism” is still a mild word about a colleague in the creative department, who allows himself to assert: “the ability to correctly characterize a picture is not at all higher than the ability to figure out why the engine stalled”. At best, as the plots of Maugham's works testify, the snobbish outlook turns into a tragicomedy (as in the stories "Something Human" or "Exactly a Dozen"), which, however, can end in the most deplorable denouement (the short story "In the Lion's Skin"). In the conditions of colonial reality, strict adherence to the moral and social prescriptions of the code “ white man"Or, on the contrary, their violation serves as a source of life's tragedies, ruined destinies and reputations, abuse of human dignity, meanness and crimes.

On this topic, in fact, written such strong stories as "Macintosh", "Backwater", "On the outskirts of the empire." Without anticipating the reader's acquaintance with these novellas, we only note that they tactfully and at the same time clearly show the "force of circumstances", the moral climate of the colonial order, which not only allows, but condones the oblivion of universal human morality while outwardly observing the accepted social "protocol." In Maugham's opinion, the absolutization of any imaginary, generating intolerance, and all sorts of, even the most sincere, forms of fanaticism that have entered the flesh and blood, including religious ones, are contrary to human nature, are violence against a person.

Life, the writer does not get tired of reminding, sooner or later crushes them, choosing the person himself as his tool, and the retribution is cruel.

A paradoxical combination of things seemingly incongruous, which, for lack of or unwillingness to explain, it is convenient to write off according to the category of contradictions, was in the highest degree characteristic of Maugham, man and writer.

One of the wealthiest writers of his time, he denounced the power of money over man.

The skeptic, who argued that people are, in principle, indifferent to him and nothing good to expect from them, he was especially sensitive to the beautiful in a person and put kindness and mercy above all else.

Thus, we can make the following conclusion. The variety of trends and groupings, polemics between them, attempts by individual writers to actively intervene in the social policy of the government, performances of promising young artists, staging new, previously forbidden topics in their works and a violent response from the reading public, awakening interest in the art of other countries - all this testifies about intensity literary life England of this period.

In works of art - and Maugham is significant primarily as an artist - the originality of his method is important. artistic thinking, then how exactly he, W. Somerset Maugham, on his own material and fully armed with his own style, comes to the discovery known truths about man and art. Maugham, who argued that people are, in principle, indifferent to him and nothing good to expect from them, he was especially sensitive to the beautiful in a person and put kindness and mercy above all else. 2 ROMAN S.MOEMA "DECORATED CURTAIN" 2.1

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Ideological and artistic analysis of S. Maugham's novel "The Painted Curtain"

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Fostering the personal attitude of high school students to the problems of worldview in literature lessons

Berestovitskaya S.E., Ph.D. n.
teacher of Russian language and literature
gymnasium No. 205, St. Petersburg,
Methodist of the Scientific and Methodological Center

“The worldview, which consists in the absence of any worldview, is the worst possible… such a worldview undermines not only spiritual life, but also the foundations of life human society in general, - wrote the philosopher Albert Schweitzer. - Vocation of every human being is to develop his own thinking worldview, to become a true personality. "

By worldview problems, we mean problems associated with a person's attitude to yourself (Who am I? What am I? What am I supposed to be? What is my place in the world? What is the meaning of my life?) to another person (which is reflected in the problems of duty, conscience, honor, love, friendship, etc.; the national problem, the problem of patriotism, etc.), to the world (How does the world work? What is Good and what is Evil? How to relate to Nature? What is considered beautiful and what is ugly? Etc.), to god (Does God exist? What is he like? How to relate to him? What awaits a person after death? Is a person free? Etc.).

Give students an idea of ​​how

· What is the worldview;

What ideological problems the humanity posed and is posing before itself;

How they are solved by science, art, religion, philosophy,

to awaken in them the need for philosophizing - this, in our opinion, is the education of a personal attitude to the problems of the worldview.

Techniques and methods of work in a literature lesson that implement dialogue approach to teaching the subject, help to actualize the problems of worldview in the minds of students. We have identified both methods and methods that have long been known in methodological science and widely used in pedagogical practice, and those that have not yet found wide application in school literature teaching, and therefore require scientific substantiation.

Let us show how the dialogue approach permeates the teaching of literature, using the example of lessons in the 9th grade.

1. Dialogue as human communication(student and teacher, students with each other)

Along with the traditional methods of organizing a dialogue in a literature lesson (heuristic conversation, discussion of a problematic issue, debate, etc.), we use a system of creative work specifically aimed at revealing the student's personality, creating a communication situation that actualizes attention to the personality of another person:

Happy memory.

How childhood leaves ...

The person to whom I am grateful.

My mom's favorite poem.

Portrait of a neighbor on a desk, etc.

These works solve several pedagogical problems:

Pupils reveal their character traits, personal preferences, interests, hobbies, sometimes write about those that arise in their lives psychological problems that enables the teacher to better understand his students;

· Getting acquainted with the work of comrades, they begin to better understand the mood, thoughts, feelings of each other, because, as S.L. Rubinstein, "One of the essential parameters by which a person is measured is the attitude towards another person ...".

For one of the generalizing lessons on the topic "Literary Directions", students were given the task: to bring their photographs or photographs of their loved ones, in which you can see specific traits portraits of classicism, sentimentalism and romanticism. Then the students had to choose the photo they liked the most and describe it using the artistic style of the direction to which the chosen portrait is close. This style is reflected even in the titles of the works, they are all emotionally colored: “Sweet pretender”, “Little adult boy”, “Azure calm”, “Smile, sparkle of eyes, tulips”, “The most intimate ...”, “Autumn looks at you ... "," Little Paradise "," Tunisian Sentimentalism "," My Mom ", etc.

The ninth-graders did not just describe the portrait, but tried to capture its mood, to penetrate into the inner world of the person captured in the photograph:

“... In the eyes of Polina - a deep and mysterious thoughtfulness. There is a slight, barely noticeable smile on her lips, it even seems that she is not there, but if you look closely at her simple facial features, she is immediately noticeable ... This portrait expresses the real life beauty of a person. Although the photo is black and white, it immediately becomes clear that this person is very bright inside: he will succeed in life and he will achieve everything he wants ”(Vanya R.).

This feature is noteworthy: when describing the portraits of their classmates, the students tried to see the best in them, even slightly embellish both externally and internally, inspiring amateur photographs with their feelings and attitude:

“Plump clouds descended to the ground, and above them - the azure sky. In the background are calm, unhurried ships. Anya is depicted on foreground... She put her hand on the side of the ship so calmly and confidently, as if this was not the first time she had been on it. The wind blows her hair unhurriedly. There is a restrained smile on his face. Her blouse merges with the azure color of the sky. It seems to me that after this picture was taken, Anya was left alone on the deck, sitting down on a bench. She was thinking about something of her own, about something personal ”(Anton F.).

When the papers were read in class, a warm, friendly atmosphere of interested attention to each other arose.

Analysis of the works showed that

Knowledge about literary directions x became deeply meaningful, personal for ninth-graders;

The students were able to see the inner world of another person behind the external image;

The work aroused interest in the subtlest emotional experiences, personality traits seemingly familiar people;

The idea of ​​the uniqueness and uniqueness of each person became a personal discovery for the ninth-graders, which many of them said when discussing their works.

Interest in peers, their problems, experiences is characteristic of adolescence. It is much more difficult to help ninth graders think about abstract philosophical problems. Despite the fact that the desire to comprehend the world, the solution of moral issues is also characteristic of this age, it takes serious efforts of the teacher so that the need for philosophizing can be realized in the lesson.

We begin the dialogue about ethical, philosophical categories in a literature lesson by defining these categories. Ninth graders are invited to write their article in an explanatory dictionary, which would explain the meaning of the words conscience, justice, morality, love, etc., depending on the topic of the lesson. Trying to explain the meaning of a word, the student, perhaps for the first time, seriously ponders both the content of the concept and his attitude to it. Of course, such a task should organically fit into the context of the lesson. So, studying the work of Guy Valery Catullus, ninth-graders reflected on the nature of the feelings that the poet has for his beloved. Love or passion? How is love different from passion? The students tried to define these concepts. In the lesson, everyone read their definition. We then turned to explanatory dictionary and - again to poetry. The bitter passion of the ancient Roman poet brought the modern schoolchild closer to the mystery of love, helped to philosophically comprehend this concept. Several students had a short essay instead of a definition. Here is one of them:

Sand. Hot sand, hard, on which you walk somewhere and hope that now - just around that corner - everything will be over, and what remains will be fine. But you go, you go, and nothing is perfect. And only sand, hot and hard, like passion. He gives off his heat to his legs, and he himself demands something in return. And you walk, tired, it is hot and painful, and you want to put your feet in cool water, you want the breeze to blow - you want love, not passion, all-consuming like sand ... (Alexandra R.).

We see that the student is trying to sort out her feelings. Since a girl is emotional by nature, she has an associative-figurative type of thinking, instead of a direct answer to the question ("How is love different from passion?"), She mentally draws a series of pictures that seem to be linked into a small film, where thoughts, feelings, sensations are converted into a visible image - a video sequence. Thus, reflection generates creativity.

In this case, the reason for reflection was the poetry of Catullus, then the students turned to personal experience (by the age of 15, boys and girls already have experience, if not experiences, then reflections on love) and then, after reading the works in the classroom, a dialogue took place, during which discussed the "eternal" problem of love and passion.

The students recalled the love of Romeo and Juliet, Peter Grinev and Masha Mironova, as well as the attitude towards Masha Shvabrin, Antigone's love for her brother and Phaedra's passion for Hippolytus. Having written and then read the work, each internally already joined the discussion and even if he did not speak at the lesson, he closely followed the performances of his classmates. Most of them came to the following conclusions:

Passion, "all-consuming like sand," absorbs, takes, demands for itself, is directed at itself, passion is insane and painful, it contains only you, your desire and pain, it can kill and destroy, because it is not controlled by the will.

Love is directed at another, it gives, it is "a light cool breeze in the heat", "light and harmony."

However, the following opinions were also voiced:

- It's boring to live without passion!

- It is impossible to think about something else all the time!

Got a question:

- And what to do if you feel not love for a person, but passion, and suffer like Phaedra?

At the end of the lesson, ninth graders asked the teacher for their opinion. We shared our thoughts on this topic, talked about how love and passion are understood in Christianity, cited excerpts from the articles of Vl. Solovyov, V. Rozanova, however, they noticed that this is only our vision of the problem, our beliefs for a given period of time, which can change, since "eternal" problems are therefore eternal, because they do not lend themselves to an unambiguous solution and at the same time do not allow us to forget about yourself.

A dialogue about worldview problems does not end with their solution, but awakens reflection, a desire to return to the problem on a different basis.

This methodological technique can be used in the study of any topic in order to actualize its ideological potential. Depending on the educational goals of the lesson, the mood of the students (it must be taken into account), the degree of trust in the teacher's relationship with the class, the teacher chooses those philosophical categories, the definition of which will lead to an ideological dialogue.

So, when studying the friendly, love, freedom-loving lyrics of A.S. Pushkin at the beginning of each topic, before talking about what friendship, love was for the poet, as he understood freedom, the students gave their own definition of these concepts. At the end of the study of the topic, they again turned to these definitions, changed something in them, supplemented them. We focused the attention of the students on the fact that Pushkin's attitude to friendship, freedom, and other philosophical categories changed throughout his life, became deeper, and acquired new shades over the years. This happens in the life of every person, if he does not stop in his spiritual development... For many, the first meaningful definition of the most important ethical categories was the beginning of the creation of their own philosophy of life, about which, over the years, the graduates said: “We would so much like to sit at a literature lesson again, talk about the meaning of life, argue”; “I think the more time passes, the more often we will remember how we discussed together what love, honor, true friendship are. Literature lessons taught us a deeper understanding life values, awakened our souls. "

Pupils show their personal attitude to the categories of conscience, duty, justice, mercy, good and evil, inspiration and creativity in that, firstly, they give their own definition of these categories, which already contains this attitude, and secondly By participating in the discussion, getting acquainted with the opinions of classmates, teachers, learn to defend their point of view or correct it. Such work prepares a dialogue with artistic text, in which students can already highlight the worldview problems posed by the author.

2. Dialogue with the writer

Such well-known techniques as analytical reading, posing problematic questions, oral verbal drawing, etc., help to enter into a dialogue with the text in a literature lesson.

We offer ninth graders such a type of work as writing an essay about a poet. The work immediately sets the student up for a dialogue with the author, stimulates interest in the problems of the author's worldview.

We choose 10-15 of the most striking poems, read them in class or instruct students to compose a composition that they themselves perform; the task is written on the board:

1. Write down the brightest, memorable, favorite lines.

2. Write down words that often appear in poetry.

3. What does the poet write about, what problems do he care about?

4. What feelings and thoughts do these verses give you?

5. What kind of poetry is it? Pick up epithets.

6. What can be said about the character and fate of the poet from his poems?

7. Musical associations.

8. Color associations.

9. Literary associations.

10. Did you like the poetry? How?

In italics, we have highlighted the questions that focus the student's attention on how the poet's view of the world was reflected in artistic creation.

Ninth graders read their notes, record interesting thoughts of classmates. Further, the teacher briefly talks about the fate of the poet, so that the students can be convinced of the correctness or error of their guesses. The result of the lesson is a written work that reflects the impression of the verses sounded. You need to call it a line from a poem, which, according to the student, reveals something very important in the work of the poet under study.

Let us analyze the works that were the result of the first acquaintance with the poems of ancient Greek poets.

“I am a faithful servant of the free-loving god Ares,

Likewise, the sweet gift of the Muses is well known to me. "

Archilochus is a warrior. Since childhood, he was haunted by need. He is accustomed to swallowing the dust of the roads of foreign countries, enemy chariots, accustomed to bear death and run away from it. It was wars and privations that made him a poet and gave him wisdom, shaped his personality, his sharp mind. Only the faces of death made him love life: “We are alive. The share of the fallen is worse than the share. " He is not attached to war, he is not cruel at all, he can enjoy the wonderful side of life. But his profession is to be rude and merciless to enemies and offenders, he is a warrior - and this gives him the right to “repay with evil terrible themes who wronged me. " His poetry is the poetry of a warrior, it is rough, it is truthful, it castigates human vices... His poems are battle ranks.

(Petrov Alexander)

"It doesn't seem difficult for me to touch the sky ..."

... She had a gift from nature: she saw the bright side in everything. Love for life, beauty of the human soul, harmony - this is what Sappho wrote about. What a contrast between the dramatic works of Homer, where it is full of death and blood, the work of Archilochus, where passion coexists with bitter irony and sarcasm, and the joyful, almost airy poems of Sappho! I agree that severity is needed, reality is needed, but sometimes this severity and reality becomes too much! After all, revenge and death, war and slavery - all this is so terrible and disgusting that one wants to leave this world. Get away, at least for a while, from deception and vice, from heartlessness and cruelty to where there is only light and joy, kindness and affection. Into the world created by Sappho.

(Lyasheva Marina)

Working on the creation of an essay, ninth-graders are trying to penetrate into the artistic world of the poet, to comprehend his worldview, to understand his origins. The fate of the hired warrior, according to Alexander Petrov, determined the view of the world of the poet Archilochus. "Faithful servant of the god Ares" and in poetry remains a warrior. The young man does not express his attitude to the work of Archilochus - he is trying to understand the inner world of the poet-warrior, expressed in excerpts from his poems that have come down to us through the millennia. On the contrary, in the work of Marina Lyasheva, we see, first of all, an attitude towards the poems of the ancient Greek poetess. And it is the attitude towards the world, light, light, harmonious, that most of all attracts the girl in Sappho's poems. We set ourselves the task of helping ninth-graders to see his view of the world in the poet's verses, to involve them in thinking about what determines the poet's worldview, why these themes inspire him, and then how a person can generally relate to the world and what kind of view the world is closer to them.

The transition from literary problems to universal human ones is always associated with the actualization of the personal experience of students. So, after reading and discussing the ode by G.R. Derzhavin's "God" ninth-graders were given the task to reflect in writing on the poet's words: "I am a king - I am a slave - I am a worm - I am God."

Interpreting poetic thought, the student relied on personal experience: the experience of analyzing the characters and actions of people, literary heroes, the experience of reflection. At the same time, if there was no such experience, the work prompted analysis and reflection. Philosophical problem"What is man?" and why he is simultaneously a "slave", "king", "worm" and "God" made you think about the question: "What am I, after all, I am a man?" Have there been situations in my life when I showed myself as a "worm" and "slave"? These questions were not posed by the teacher, but arose in the minds of the students when they wrote a work or participated in a discussion. Thus, ninth graders involuntarily turned to introspection.

Reading and discussing the papers led to a discussion about human nature.

- A person is a king, when he does not have power over the people, but over his feelings, actions, thoughts. A person is a slave not when he is under the rule of someone, but when he does not control himself, he is a slave to laziness, envy, anger.

- Man is the king of himself. He is free to command himself and do with himself what he wants. On the other hand, he is his slave. A slave to his desires and whims. Only people who are very strong in spirit can resist themselves.

- Man is a worm. He's pathetic. Circumstances dictate them. On the other hand, he is God. After all, you can do yourself and your destiny with your own hands.

- A worm is one who spoils not himself, but other people, and does mean things. Interferes with life. A real worm spoils fruits and plants. And the man-worm spoils people. Man-God is the one who helps people, protects them, saves them.

Arguing their thoughts, the students gave examples from life, literature, cinema. Gradually, the majority of the class joined the discussion. One of the ninth-graders drew attention to the fact that Derzhavin, when listing the hypostases of a person, is not commas, but dashes. Why?

- Probably, the poet wanted to emphasize something with this. The dash seems to connect these concepts with one line.

- Derzhavin talks about different possibilities of one person. He can become both a "worm" and a "God".

- And sometimes a person can be both good and bad at the same time. In some ways he can be like a "slave" or "worm", and in some ways like a "king" or "God". For example…

We finished the lesson with the words of F.M. Dostoevsky: "Man is a mystery ..." and gave the students an assignment to look Feature Film, based on "Little Tragedies" by A.S. Pushkin, and think about why the director took Derzhavin's line, which was the subject of the discussion, as an epigraph to the film. Thus, the reflection on the ideological problem does not come to an end in principle.

The problems of happiness, the meaning of life, love, attitude to the Motherland, nature, art run through all Russian literature. And each time, turning to them, the student grows as a person.

Creative work in the genre of imitation is another opportunity to personally reveal and enter into a dialogue with the studied work, author, literary direction. The student masters the aesthetic form, putting his own content into it. Creative works, which are based on this technique, there are a lot: this is an imitation of a genre (write a fairy tale, song, ode, sonnet, etc.), a literary movement (a letter in the style of sentimentalism, a poem in the style of romanticism), the style of the author, a work (write a poem about modern life in the style of the poem "Who Lives Well in Russia", continue the description of nature in the style of Gogol, Turgenev, finish a sentence of love in the style of Bunin or Kuprin, etc.). Working on imitation, the student passes through himself both the author's ideas and the author's style, learns to look at the world through the eyes of another person, at the same time remaining himself.

Before giving the assignment to write an imitation, it is necessary to prepare the student for such work. First, to carry out a stylistic analysis of the text that will need to be imitated. Highlight and explain the special features of the style of the era, literary movement or author. Secondly, to teach how to find them in the text. Then practice in recognizing the texts of the studied literary direction or author. And only after that we gave the task to write an imitation. After studying the poems of the ancient Greek poet Theognis, the ninth-grader wrote her hexameters:

The worst thing, friend, is not to lose life, but honor.

Few think so, but he is truly right.

The one who will give a hand to the enemy drowning in the sea,

That will be called a fool, but he is a man with a soul.

My friend, remember, we only do not look like a beast,

That we can protect ourselves with firm prohibitions.

(Anastasia S.).

The girl expressed very important ideological ideas in these verses: that honor is more important than life, about compassion for enemies, that a person is obliged to limit himself to the framework of the moral law, if he does not want to become a beast, and that people who live by higher moral laws are not understood and rejected. Ideas expressed in verse became a topic for discussion. Ninth graders recalled literary heroes who acted according to these principles. Not everyone agreed with the thoughts expressed in the verses of a classmate. So much the better: the conversation in the literature class should be frank. At the end of the lesson, we asked the students to answer the poems of a classmate with their hexameters.

A sonnet about love - after reading the sonnets of Petrarch and Shakespeare, a prose poem - after studying Turgenev, "One Day of My Childhood" - after passing Tolstoy's story "Childhood" - these works connect in the minds of high school students classical works with modern life - their life, universal and national problems with their personal human problems... Thus, a dialogue with a literary text, organized as its problematic discussion, an oral or written response to one of the problems posed by the author, the creation of an essay about a poet or imitation of a work, author, literary direction inevitably leads the student to comprehend the problems of the worldview.

3. Dialogue of ideas

“In literature lessons, we see (and should help students see this!) That all our writers painfully think about one thing, in different ways, naturally, solving this or that problem, but constantly keeping each other in mind,” writes I. WITH. Gracheva. The same worldview problems are posed and solved in different ways in the literature. Artists can develop each other's ideas and can enter into sharp controversy. Already in the 9th grade, we begin to work on the cross-cutting themes of Russian literature: attitude to the Motherland, the purpose of the poet and poetry, the meaning of life, etc. In order for young people to have their own answers to worldview questions, we acquaint them with possible options for these solutions, we draw attention to the fact that mankind is constantly looking for answers, therefore, there can be no simple and unambiguous solutions here.

Considering a problem that is being solved in the work of many writers and poets, we draw up a table with quotes and short conclusions.

So, in the first quarter of the 9th grade, students get acquainted with the work of three poets who wrote mainly about love. These are the ancient Greek poetess Sappho, the ancient Roman poet Guy Valery Catullus and the early Renaissance poet Francesca Petrarca. Three poets - three different images of love. Reflecting on their differences, ninth-graders fill out the table, find the necessary quotes.

We return to this table, getting acquainted with Shakespeare's sonnets, love lyrics Byron, Zhukovsky, Pushkin, Lermontov, it can be continued in grades 10-11. At 15-16 years old, love is a magic word. “But the school,” writes I.S. Gracheva, - does not help the young to meet love at least minimally prepared internally ... Young people expect only joy from love, extraordinary incinerating happiness. They miraculously, with our help, however, passed the torment of love, past its traps, its slavery. " In order to create your own idea of ​​love or another ethical category, you need to know what content other people, in particular, poets and writers, put into this concept. This makes it possible young man to get involved in the dialogue of ideas yourself, to express your views on the problem orally or in writing.

4. Dialogue of cultures

“To discover your own face, that is, find your life purpose, you need to face other persons, with a different, unusual way of life, - wrote the Russian philosopher, teacher S.I. Hesse. - Through comparison with others, we come to the realization of our personal property. Deep comprehension native language, native culture ... is possible only through acquaintance with a foreign language, a foreign culture ... ". Unfortunately, a foreign culture for our students - people of the XXI century - is Russian culture XVIII, XIX and most of the XX century. Separately taken literary work it is impossible to comprehend outside the cultural context, a holistic view of the cultural era and at the same time a detailed analysis artwork makes it possible to imagine how the main ideas of the time were reflected in it (in its form, content). That's why great attention we pay interdisciplinary connections:

· Russian literature - Russian language;

Old Russian literature - Russian literature XVIII—XX centuries;

Russian literature - foreign literature:

literature - music - painting - architecture - theater;

literature - philosophy - religion.

It is important that the idea of ​​the determining influence of the social worldview on culture was personally perceived by the students. Considering the main ideas, ideals, expressed in the art of a certain time, the student again turns to worldview problems. In order for the dialogue of cultures to be personally perceived by the student, he needs

· Put yourself in the place of a person of a different time, living in the atmosphere of a different era, to feel this time;

· "Translate" the content of the work into the language of your culture, see the relevance of the problems posed by the author for his time, their universal significance;

· To comprehend the aesthetic form of the work, its non-randomness, organic connection with the content;

· To feel the charm of the ancient language and style, to enjoy their peculiar beauty;

• get a creative impulse, try to write about your own, imitating the style of a foreign era;

· To realize the unity of culture, through immersion in a different culture, to better understand yourself, your time.

This form of lesson, as a creative test, gives the student the opportunity to realize all the selected conditions.

Grade 9 is a very important period in literary education schoolboy. The student gets to know cultural eras and directions, from antiquity to realism. Creative immersion in the cultural atmosphere of the era helps to navigate this complex material. In the creative test, students "present" their knowledge in a creative form, and, in accordance with the idea of ​​personality-oriented education, everyone chooses the form that is closer and more interesting to him.

Let's give an example. Creative test “Classicism. Sentimentalism. Romanticism "completed the theme" Literary Directions ". The ninth-graders got acquainted with the main features of classicism, sentimentalism, romanticism not only in literature, but also in architecture, painting, music, learned about the stylistic features of these literary trends, their ideas, conflict, genres, heroes. Foreign classicism was presented by one of J.B. Moliere, Russian classicism - the work of M.V. Lomonosov, G.R. Derzhavin, D.I. Fonvizin. From the works of sentimentalism, the story of N.M. Karamzin "Poor Liza". D.-G. Byron gave an idea of ​​foreign romanticism, K.F. Ryleev and V.A. Zhukovsky - about Russian romanticism. "Southern Poems" by A.S. Pushkin, the poems "Mtsyri" and "The Demon" by Lermontov, studied earlier, were also mentioned in the lessons on romanticism. Based on all this studied material, the students began to prepare for the test.

The class was divided into three groups (according to the number of presented literary directions). The lesson took place in the form of presentation in groups creative assignments... The teacher only started and finished the lesson, i.e. created an emotional mood and carried out reflection at the end.

The epigraph to the lesson was the words of S.I. Gessen: “Human education is a journey. This is a journey in the land of the spirit, in the world human culture... The goal of education is to familiarize with the world common human culture. "

A month before the creative test, the students received the following assignments.

1.Take a segment of the video: the first group - "Petersburg classicism", the second group - "Petersburg sentimentalism", the third group - "Petersburg romanticism". Then a short video was edited, the script of which was discussed in detail with the students. The poems of 18th century poets about our city were accompanied by video footage of ceremonial St. Petersburg - the city center, then - a sentimental walk through Pavlovsky Park with a volume of Richardson, and then - a lonely wandering around the city, a sad look at the panorama of the Gulf of Finland. This assignment helped ninth graders understand that we live in a city where the culture of the past merges with the culture of the present, where art can help us immerse ourselves in state of mind which we are striving for at the moment.

2.Take a photographic portrait in the style of your literary movement... This task once again drew students to painting of classicism, sentimentalism, romanticism, made it possible to see how a person is represented in portraits different directions... What is emphasized in his facial expression, clothes, what accessories the artist chooses, whether the background of the painting is random. The ninth-graders (especially girls) really liked this task, they diligently chose outfits, did their hairstyles, thus, as it were, trying on a bygone era.

3.Prepare a mini-composition (4-5 minutes) by verse: the first group - D.-G. Byron, the second group - K.F. Ryleeva, the third group - V.A. Zhukovsky. Poems in a mini-composition should be united by one theme or chosen according to some other principle, which should be reflected in the title. It is advisable to choose music for the poems and think over the direction of your performance. Interestingly, all the groups have chosen one theme - the theme of love. And then we were able to pay attention to how differently a person is revealed not only within the framework of different literary directions, but even within the framework of one literary direction, moreover, one topic.

4.To put on a small excerpt from the work of "his" literary direction. The students chose excerpts from the comedy by J. Moliere "Don Juan", stories by N.A. Karamzin's "Natalia, the Boyar's Daughter" and the dramas by M.Yu. Lermontov's "Masquerade" (all three works are non-programmed). Before the ninth-graders showed the prepared scenes, one of the students (this was an individual task), having studied the repertoire of Moscow and St. Petersburg theaters, told which works of literary trends of interest to us are on the modern stage, and made conclusions about why these works were chosen by modern directors, what urgent problems for us were posed by their authors.

5.To write a work - imitation in the style of classicism, sentimentalism, romanticism(by groups).

True art always evokes a creative response. Of course, not everyone can write a witty parody or a serious ode, but a few quatrains, stylization letter or miniature are available to almost everyone. In addition, creative credit assumes the distribution of tasks between all members of the group, i.e. everyone chooses what he likes best, what he does best.

In the lesson, ninth-graders clearly saw how they enter into a dialogue different kinds arts: architecture, music, painting, literature, theater - how the culture of the present and the vulgar interacts in a single space, and how the dialogue of cultures takes place in our minds.

At the end of the creative test, we turned to the students with questions: “The end of the XVIII - early XIX century - a time when all three literary movements existed at the same time. Imagine yourself as a poet, writer or artist of this time. In what direction would you work? " Most of the respondents chose sentimentalism. Classicism frightened off with "rules", romanticism - with tragedy. Modern young men and women have chosen a feeling: sincerity, tenderness, cordiality, however, rejecting excessive tearfulness and sugaryness.

To the question: “What gave you, people XXI century, acquaintance with classicism, sentimentalism, romanticism? What thoughts, ideas, images seemed interesting to you, remembered, became part of your inner peace? " ninth graders answered the following:

- I thought for a long time about the conflict of feeling and duty. What's more important?

- The thought that “the heart of a person decides his destiny” was remembered, I internally agree with it.

- The philosophy of romanticism seemed interesting. However, I realized that you cannot challenge the whole world, this will not change the world, but only lead to personal tragedy.

- Somehow I suddenly realized that the culture of the past helps to better understand ourselves in the present and in general our time.

The pupils' answers testified that interest in worldview problems for many had become stable. The teachers present at the creative test - the chairmen of the methodological associations of the district schools - noted how freely the ninth-graders discussed serious philosophical problems.

In conclusion, I would like to quote the words of the Russian philosopher V.S. Solovyov on the importance of a person's worldview orientations: “... are certainly necessary for life of human convictions and views of a higher order, that is, such that would resolve essential questions of the mind, questions about the truth of things, about the meaning of ... phenomena, and at the same time would satisfy the highest requirements of the will, setting an unconditional goal for will, defining the supreme norm of activity, giving the inner content of all life. "

References

Gessen S.I. Foundations of pedagogy. Introduction to Applied Philosophy. - M .: "School-Press", 1995.

Rubinstein S.L. Problems of general psychology. Moscow: Nauka, 1973

V.S. Soloviev A few words about the real problem of philosophy. // Works in two volumes. Vol. 1. M., 1989.

Schweitzer A. Culture and Ethics. M., 1973

It is most natural to begin characterizing a writer by talking about his public appearance. A person always represents a part of a complex social collective that influences him from the outside and in whose life he participates with a greater or lesser measure of activity. Any work, including the work of a writer, invariably carries social functions. The goals of the writer are not individual, his material is taken from the sphere of human experience, the subject of his attention is the reader, whom he seeks to educate with the power of his creativity.

“A poet,” Belinsky pointed out, “is first of all a man, then a citizen of his land, a son of his time. The spirit of the people and the time cannot act on them less than on others. " And at the same time, a poet is a literary figure performing exclusively important role in the field of human consciousness. According to Dobrolyubov's expressive definition, literature is “an element social development”,“ Language, eyes and ears of a social organism ”. Shchedrin wrote that "literature is nothing more than a focus in which the highest aspirations of society are concentrated." The world's foremost writers speak with delight and pride of the lofty tasks facing fiction. "An artist," wrote Gorky, "is a herald of his class, his battle tube and first sword, an artist always and insatiably longs for freedom - there is beauty and truth in it!" Gorky called literature "the all-seeing eye of the world, an eye whose gaze penetrates into the deepest recesses of life. human spirit". “An artist,” Gorky said later, “is the feeling of his country, of his class, his ear, eye and heart; he - voice of his era ”.

Lenin insistently emphasized the writer's dependence on the social environment in which he grew up: "You cannot live in society and be free from society." In the early years of socialist construction, he spoke about the dependence of art on the people it serves: “Art belongs to the people ... It should unite the feeling, thought and will ... of the masses, and raise them. It should awaken the artists in them and develop them. " Today, at the time of the creation of the communist system, the party is fighting to ensure that literature and art are always inextricably linked with the life of the people.

The public image of the writer is synthesis his beliefs, knowledge and life experience. The artist of the word, as noted by the Armenian writer Stefan Zorian, “only then will he become a master when he knows life to the very depths ... And this requires firm convictions that have become the flesh and blood of the writer ...” These “convictions” form the writer's worldview, which he is guided by in all his artistic creation. The writer's worldview reflects his views on humanity, people, society, on the historical past and the present.

The worldview of a writer may be limited by the interests of a conservatively-minded stratum of society, and then it harms his artistic creativity, makes it smaller and dries it up. Such is Scribe, a consistently bourgeois artist who studied, as Herzen put it, "the slightest bends" of this property-owning class, depicting reality from the point of view of its interests.

In the past, very often the worldview of even progressive writers was notable for inconsistency. Goethe, according to Engels' description, was “sometimes colossally large, sometimes shallow; then it is a rebellious, mocking genius despising the world, then a cautious, contented, narrow philistine » . But in this deeply contradictory worldview, the progressive principle decisively prevailed over philistinism. It was this progressive principle that nourished the most valuable aspects of Goethe's work for us, opened the way for him to a true reflection of reality.

Gogol's worldview was also limited and inconsistent. He, according to Chernyshevsky, “was struck by the ugliness of the facts, and he expressed his indignation against them; about the sources from which these facts arise, what connection is between the branch of life in which these facts are encountered, and other branches of the mental, moral, civil, state life, he didn't think much. " In this respect, Shchedrin is free from Gogol's "instinctive" view of Russian reality, from that "tightness of the horizon" that was Gogol's historical and social misfortune. And this is because, unlike Gogol, the noble enlightener of the 30s, Shchedrin was in his worldview revolutionary democrat, "Party man", as he once called himself.

But Gogol's worldview also had its deeply progressive sides. It was them that Lenin had in mind when he spoke of the ideas of Belinsky and Gogol, "which made these writers dear ... to every decent person in Russia ..." Artistic images Gogol was beaten immeasurably farther than he wanted as a man of his environment. It follows from this that the realistic power of a writer, based on the advanced aspects of his worldview, often triumphs over his prejudices. As Turgenev said, "to accurately and strongly reproduce the truth, the reality of life, is the highest happiness for a writer, even if this truth does not coincide with his own sympathies." But this “striving to reproduce truth, reality” is based on certain progressive aspects of the writer's worldview, which is deeper and more organic than some of his “sympathies”. The nature of this contradiction was characterized by Gorky, who wrote: "The work of a writer is distinguished not only by the strength of direct observation and experience, but also by the fact that the living material on which he works has the ability to resist the arbitrariness of the class sympathies and antipathies of the writer." As we will see later, this ability of living material to resist the arbitrariness of the writer is reflected in his work, in particular on the image and plot (see below, pp. 334–339 and 408–410).

The characteristic that Dobrolyubov gave to the worldview of the writer is extremely significant. "In the works talented artist no matter how varied they may be, you can always notice something in common that characterizes all of them and distinguishes them from the works of other writers. In the technical language of art, it is customary to call it outlook artist. But it would be in vain for us to bother to bring this world outlook into certain logical constructions, to express it in abstract formulas ... His own view of the world, which serves as the key to characterizing his talent, must be sought in the living images he creates. " It is this concrete, sensual, figurative form of worldview that leads the artist of the word to the fact that in his work he objectively often refutes what he believes in as a person, and, conversely, asserts what as a person treats with distrust. Such is, for example, Balzac. Full of legitimist prejudices, at the same time, Engels pointed out, "saw the inevitability of the fall of his beloved aristocrats and described them as people who did not deserve a better fate ... ”In this and in the fact that the writer "saw real people of the future where they were the only one that could be found at that time ", and was one of greatest victories realism of old man Balzac.

The worldview of a writer is not only what he believes in, but also what how he penetrates with the deep gaze of the artist into reality, and what he, as a result of this penetration, captures in his work.

Chernyshevsky declared: "My only merit - but important, more important than any skill in writing - is that I understand things more correctly than others." Exactly this correct understanding of things, stemming from the writer's worldview, helped the most prominent artists of world literature to create their masterpieces. It helped Shakespeare write Hamlet, for the person who wrote Hamlet fully understood Hamlet's illness. This "correct understanding of things" contributed enormously to Balzac's success. It also helped the progressive German writer to outstrip contemporary society in his insight: as Engels wrote, “what neither the government nor the liberals noticed, at least one person saw already in 1833; his name, however, was Heinrich Heine. "

In order to successfully complete the tasks before him, the writer must first of all educate yourself. To achieve this, the writer is helped by the culture of all advanced, progressive humanity influencing him - and above all the culture of the nation that raised him. He is born as her son. Throughout creative activity As a writer, his filial love for his homeland grows and grows stronger in him. That is why the first social quality of a writer, like any other cultural figure, is his blood connection with his homeland, his patriotism.

Since childhood, the writer is imbued with a deep love for nature. native land... V early years he assimilates the characteristic features of folk psychology, gets acquainted with the life of the masses, and absorbs its interests. From childhood, admiration for folklore lives in him, the treasures of which reach the future writer and directly, through the stories of others, through the first books he read, etc. figurative language of his people. "Homeland," Aseev points out, "begins with love for the word, for its language, for its history, for its sound."

But patriotism lies not only and not so much in the sources of the culture on which the writer relies, and not in his views alone. The writer's very work, his most vital work, is patriotic. Pushkin's patriotism is his ardent service to the cause of liberating his people from the oppression of autocracy and serfdom, this is his hatred of the oppressors and his deep love for common people then Russia. At the same time, this is the creation of Pushkin literary language and with the help of the latter - literature, which became available to depict the fullness of Russian reality, all the depths of the inner world of man.

Patriotism has two primordial and worst enemies - leavened nationalism and groundless cosmopolitanism. The first one states: only what is created by hand is good. of this people... Declaring their people "exceptional", nationalists ignore what is happening abroad, despise other peoples. Cosmopolitans completely remove the task of original development, treating everything that constitutes a truly living nerve of culture — its blood connection with national life, with the reality of the native country. Nationalism and cosmopolitanism are two deeply reactionary extremes that converge in a misunderstanding of the value of the original development of national literature.

Rejecting nationalism and cosmopolitanism, patriotic writers affirm the principle of critical development of all the wealth of world culture in the name of the needs of their country and their culture.

Already Belinsky more than a century ago came out to fight both of these hostile ideological systems. “Some,” he wrote in 1848 about the Slavophiles and Westernizers, “rushed into a fantastic nationality, others - into a fantastic cosmopolitanism in the name of humanity”. The great Russian critic was distant and hostile to both the isolationist pathos of the zealots of Russian patriarchalism and the supposedly humanistic pathos of those who replaced the concept of the national with the concept of the human. “The human,” Belinsky pointed out, “does not come to the people from outside, from worthlessness, and it always manifests itself in it nationally.”

Patriotism is part of the flesh and blood of all the activities of the artist of the word; it is clearly reflected in the very methods of writing. The writer seeks to know his country, the whole world, in order to correctly portray them. He takes a direct part in the social struggle, gets to know the mass of people, makes long journeys. He observes reality, introducing the most diverse phenomena of life into his field of vision, getting acquainted with different peoples the globe, depicting its most diverse places. All this boundless fund of life experience and observations is clothed by the writer in a figurative form. No matter how diverse in its forms art work writer, she always pursues the goal of creating a work not only worthy of the people to which the artist belongs, but also leading forward, a work that is a part of the people's struggle. Consciousness of blood connection with the homeland helps the writer to define his creative tasks, multiplies his strength, leads him forward, to new and new achievements.

The best writers of the past thought about the reader incessantly. Belinsky also noted that when a work is artistic, “readers see living images in its faces, and not ghosts, rejoice at their joys, suffer from their sufferings, think, reason and argue among themselves about their meaning, their fate ...” Writers of the past centuries did not think of their work outside the sympathetic perception of it by the reader. Dostoevsky pointed out that "it is always dearer and more important for a writer to hear a kind and encouraging word directly from a sympathetic reader than to read any ... praise in print." Leskov said: “the spiritual connection that forms between the reader and the writer is understandable to me, and I think that it is for everyone sincere writer road".

Gleb Uspensky's impressions from the letter to him from fifteen St. Petersburg proletarians testify to what joy the communication with his readers gave the writer at that time. “We, workers, literate and illiterate, have read and listened to your books, in which you talk about us, a simple, gray people. You speak of him fairly ... ”Ouspensky was deeply moved by these artless lines of letters from ordinary Russian people; he greeted in the last "a new, fresh lover of literature", the first representatives of the rising "mass of a new, future reader."

However, under the conditions of pre-October Russia, there was no strong connection between the writer and his readers - external reasons, mainly of a censorship and political nature, interfered with its establishment. Before the revolution, Serafimovich “instinctively felt all the time”: “I am not reading the desired reader who interested me, for whom I pondered every color, every stroke at night. “My” reader was unattainable for me: I knew that he was overwhelmed by unbearable animal labor, grief and poverty, that he sometimes had no time for books, that he was illiterate. "

Gorky spoke with particular force about the importance of the reader for the creation of literature. socialist realism... In a letter to novice writers, he pointed out that “the literary work only more or less strongly affects the reader when the reader sees everything that the writer shows him, when the writer gives him the opportunity to also“ imagine ”- add, add - pictures, images , figures, characters given by the writer, from his reading, personal experience, from the stock of it, the reader, impressions, knowledge. From the fusion, coincidence of the experience of the writer with the experience of the reader, literary truth is obtained - that special persuasiveness of verbal art, which explains the power of the influence of literature on people. " "... Never before, - emphasized Gorky, - a writer was not so interesting, so close to the mass of readers, as close, interesting he is in our days, in our Union of Soviets ..."

Blok proved the validity of these Gorky statements "by contradiction." In the dead of 1909, he said that "the last and only true excuse for a writer is the voice of the public, the incorruptible opinion of the reader." In the soul of the artist of the word “there should always be hope that in the very the right moment the reader's voice will be heard, encouraging or condemning. It’s not even a word, not even a voice, but a kind of light breath of the soul of the people, not of individual souls, but of a collective soul ”.

These hopes have come true only in our time.

The writer Maxim Gorky reflects in his work about the polarity of views on the world. In the first person, the author describes a person with a worldview that differs from the point of view of the "crowd".

Indicative is the episode of Kapendyukhin's perception of the narrator's words that if he were rich, he would certainly buy books. The Cossack, who asked the question, turned away from him in annoyance. People always dream of changes for the better, but when the majority does nothing for this.

When changes do begin, there are many skeptics who condemn the actions of others.

Gorky believes that people are not able to perceive acts that are unusual for them positively, even clearly good ones. An example of this is the act of the protagonist and his friend. Together with Pavel, the narrator laundered the dying Davydov, but those around him laughed at the assistants, as if they had done something shameful.

I think the author is right in his vision of the problem of worldview. Society, unfortunately, is like a herd; it rejects dissent. Deprived of critical thinking, people always consider other views to be wrong, which leads to disastrous results.

You can refer to the work "Doctor Who", the main character which stands out for its intelligence. This extraordinary quality is perceived as a threat, they even wanted to hide it in a magic box from which there is no way out.

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